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12 pages, 258 KiB

Open AccessArticle

by Signe Cohen

Religions 2020, 11(2), 60; https://doi.org/10.3390/rel11020060 - 28 Jan 2020

Cited by 1 | Viewed by 2425

The Upaniṣads (ca. 800 BCE) were composed during a transitional time period in Hinduism when Vedic ritual and cosmogonic ideas began to give way to new worldviews. The intriguing Upaniṣadic notions of time have received little attention in the scholarly literature compared to [...] Read more.

The Upaniṣads (ca. 800 BCE) were composed during a transitional time period in Hinduism when Vedic ritual and cosmogonic ideas began to give way to new worldviews. The intriguing Upaniṣadic notions of time have received little attention in the scholarly literature compared to the elaborate models of cyclical time that develop in later texts. I propose, however, that the Upaniṣads represent a seminal reorientation in Hindu conceptions of time. We still find an older view of time in the Upaniṣads as something that marks the rhythms of the ritual year, but later Upaniṣadic texts begin to explore entirely new ways of thinking about time. I propose that the movement away from the more integrated view of the material and immaterial as one reality in the Vedas towards a radical dualism between the spiritual and the material in later Hindu thought informs many of the new ideas of time that emerge in the Upaniṣads, including that of time as an abstract construct. The authors of the Upaniṣads investigate—and ultimately reject—the notion of time itself as the cause of the visible world, ponder the idea that time is something that is created by a divine being in order to structure the world, speculate that time may be a mere intellectual construct, and postulate that the highest reality may be situated in a realm that is outside of time altogether. Full article

(This article belongs to the Special Issue Religious Texts and Interpretations)

18 pages, 228 KiB

Open AccessArticle

Living the Bhagavad Gita at Gandhi’s Ashrams

by Karline McLain

Religions 2019, 10(11), 619; https://doi.org/10.3390/rel10110619 - 08 Nov 2019

Cited by 3 | Viewed by 4036

Abstract

The Bhagavad Gita is a philosophical Hindu scripture in which the god Krishna imparts lessons to the warrior prince Arjuna about sacred duty (dharma) and the path to spiritual liberation (moksha). This classical scripture has had a long and [...] Read more.

The Bhagavad Gita is a philosophical Hindu scripture in which the god Krishna imparts lessons to the warrior prince Arjuna about sacred duty (dharma) and the path to spiritual liberation (moksha). This classical scripture has had a long and active interpretive life, and by the 19th century it had come to be regarded as a core text, if not the core text, of Hinduism. During the colonial period, interpretations of the Bhagavad Gita considered the relevance of Krishna’s lessons to Arjuna in the context of British colonial rule. While some Indians read a call to arms into their interpretation of this scripture and urged their fellow Indians to rise up in armed resistance, Gandhi famously read a nonviolent message into it. This article argues that equally as important as Gandhi’s hermeneutics of nonviolence is his commitment to enacting the lessons of the Bhagavad Gita as he interpreted them in the daily life of his intentional communities. When explored through the lens of daily life in these intentional communities (which Gandhi called ashrams), we see that Gandhi’s interpretation of the Bhagavad Gita emphasized not just nonviolence but also disciplined action, including self-sacrifice for the greater good. Full article

(This article belongs to the Special Issue Religious Texts and Interpretations)

20 pages, 463 KiB

Open AccessArticle

Adhiyajña: Towards a Performance Grammar of the Vedas

by Caley Charles Smith

Religions 2019, 10(6), 394; https://doi.org/10.3390/rel10060394 - 21 Jun 2019

Cited by 3 | Viewed by 4030

Abstract

Recent scholarship has challenged the anachronistic projection of the modern category of the poem onto premodern texts. This article attempts to theorize how one might construct an alternative to modern conceptualizations of “the poem” that more closely appropriates the conceptualization of textuality in [...] Read more.

Recent scholarship has challenged the anachronistic projection of the modern category of the poem onto premodern texts. This article attempts to theorize how one might construct an alternative to modern conceptualizations of “the poem” that more closely appropriates the conceptualization of textuality in the Rigveda, an anthology of 1028 sūktas “well-spoken (texts)” that represents the oldest religious literature in South Asia. In order to understand what these texts are and what they were expected to do, this article examines the techniques by which the Rigveda refers to itself, to its performer, to its audience, and to the occasion of its performance. In so doing, this article theorizes a “performance grammar” comprising three axes of textual self-reference (spatial, temporal, and personal); these axes of reference constitute a scene of performance populated by rhetorically constructed speakers and listeners. This performance narrative, called here the adhiyajña level, frames the mythological narratives of the text. By examining the relationship between mythological narrative and performance narrative, we can better understand the purpose of performing a text and thus what kind of an entity Rigvedic “texts” really are. While this article proposes a rubric specifically for the Rigvedic context, its principles can be adapted to other premodern texts in order to better understand the performance context they presuppose. Full article

(This article belongs to the Special Issue Religious Texts and Interpretations)

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