Rada Iveković reflects on the significance of modernity in contemporary Indian philosophy. Where the orient has been figured as the other for western philosophers, she asks how Indian philosophy depicts the west, how philosophers such as Kant have been interpreted, and how thematics such as pluralism, tolerance, relativity, innovation, and curiosity about the foreign have been figured in both ancient and contemporary Indian philosophy. While working on the western side with such authors as Lyotard, Deleuze, Serres, or Irigaray, Iveković doesn't (...) exactly indulge in comparative philosophy. Rather, she tries to make the most of the existing "coincidences," using both western and Asian thought in order to open a new area for the production of concepts and a new field for philosophy in general. (shrink)

The article offers a close reading of the famous upanişadic story of Indra, Virocana and Prajāpati from the eighth chapter of the Chāndogya-Upanişad versus Śankara’s bhāşya, with special reference to the notions of suşupti and turīya. That Śankara is not always loyal to the Upanişadic texts is a well-known fact. That the Upanişads are (too) often read through Śan-kara’s Advaitic eyes is also known. The following lines will not merely illustrate the gap between text and commentary but will also reveal (...) an unexpected Upanişadic depiction of ‘dreamless sleep’ and ‘transcendental consciousness’. Suşupti is described here as ‘one step too far’, as a ‘break’ or discontinuity in one’s consciousness; whereas turīya is depicted positively, and surprisingly even in wordly terms. Unlike the third state of consciousness in which there is no ‘world’ nor ‘me’, and which is described through Indra’s character as ‘total destruction’ (vināśa); in turīya, the world ‘comes back’, or rather the ‘renouncer’ returns to the world. Sankara’s position, as far as the story under discussion is concerned, is radically different. For him, the Upanişadic story illustrates the continuity of consciousness in all its states. For him, the identification with merely one of the consciousness-states is an error (adhyāsa) which causes suffering. Consciousness prevails even in suşupti, and turīya has nothing to do with ‘coming back to the world’, since there is nowhere to come back from or to. Turīya, as seen by the Advaitin, consists of all the other states of consciousness together, or as K. C. Bhattacharyya puts it, ‘It is not only a stage among stages; it is the truth of the other stages’. (shrink)

Classical Sāṃkhya has usually been interpreted as an intellectualist school. Its presumed method for the attainment of liberation is essentially characterized by rational inquiry into reality, which involves the intellectual understanding of the distinction between two principles: the conscious and the material. Some have argued that this liberating process is not only theoretical, but that it entails yogic practice, or that it is the natural outcome of existential forces that tend toward freedom. However, recent studies in Sāṃkhya involving detailed analysis (...) of an anonymous commentary of the Sāṃkhyakārikā, the Yuktidīpikā, suggest a more complex picture. The external functions of the five vital winds in relation to the sources of action and dispositions of being seem to play an important role in the liberating path. In this paper, I review the relation between bhāvas, karmayonis, and the five prāṇas by considering the social, moral, and interpersonal aspects of the five vital winds as described in the Yuktidīpikā. It will be shown how the external functions of prāṇa are related to the moral cultivation of vitality, leading to the enactment and manifestation of dispositions of being that bring about the realization of oneself as a knower in the ethical engagement with others. It is this unique way of understanding prāṇa in the Yuktidīpikā that makes the Sāṃkhya path for liberation something more than a theoretical cognitive method or a spontaneous and predetermined realization of one’s self. (shrink)

This sustained and distinctively Buddhist challenge to the ontology of Jean-Paul Sartre's Being and Nothingness resolves the incoherence implicit in the Sartrean conception of nothingness by opening to a Buddhist vision of emptiness. Rooted in the insights of Madhyamika dialectic and an articulated meditative (zen) phenomenology, Nothingness and Emptiness uncovers and examines the assumptions that sustain Sartre's early phenomenological ontology and questions his theoretical elaboration of consciousness as "nothingness." Laycock demonstrates that, in addition to a "relative" nothingness (the for-itself) defined (...) against the positivity and plenitude of the in-itself, Sartre's ontology requires, but also repudiates, a conception of "absolute" nothingness (the Buddhist "emptiness"), and is thus, as it stands, logically unstable, perhaps incoherent. The author is not simply critical; he reveals the junctures at which Sartrean ontology appeals for a Buddhist conception of emptiness and offers the needed supplement. (shrink)

Krishnachandra Bhattacharyya, one of the preeminent Indian philosophers of the 20th century, proposed that the absolute appears in three alternative forms - truth, freedom and value. Each of these forms are for Bhattacharyya absolute, ultimate, not penultimate. Each is different from the other, yet they cannot be said to be one or many. He contends that these absolutes are incompatible with each other and that an articulation of the relation between the three absolutes is not feasible. This paper will review (...) Bhattacharyya 's presentation of the absolute in its alternative forms and will place these abstractions within the context of three specific religious traditions that he sees illustrating his point. Then, using a model based upon holography, I will illuminate with 'concrete images' that which Bhattacharyya could deductively formulate but could not logically integrate. Holography, the process by which three-dimensional images are produced from an imageless film - a film in which each part can reproduce the whole - will be used as a heuristic device to illuminate the simultaneous and mutually interpenetrating existence of the absolute in three forms. This model will illumine how these three forms can be conceived of as not the same yet not other and how these forms can be incompatible as absolutes, but metaphysically inseparable. (shrink)