This essay offers a fresh interpretation of Bhartr̥hari’s concept of “insight”, and of its identification as the object of a sentence in the second kāṇḍa of the Vākyapadīya. Earlier scholars dealing with this topic disagreed on three main points: whether an epistemologically rigorous concept of insight can be found in Bhartr̥hari’s work, or if the notion remains irrevocably vague and equivocal; whether the concept of pratibhā primarily belongs to linguistics, or to action theory; whether Bhartr̥hari’s identification of insight as the (...) object of a sentence should be taken literally or figuratively. Starting from a close analysis of all passages in Bhartr̥hari’s work mentioning pratibhā, I identify, first of all, a univocal understanding of insight, valid throughout the Vākyapadīya, as immediate cognition informed by verbal transmission, in other words as a form of practical knowledge, non-representational yet essentially productive and dynamic. Showing, on this basis, how Bhartr̥hari’s understanding of language at the level of sentences is pragmatic rather than referential, I demonstrate, against the view prevalent in the late grammatical tradition, that a literal interpretation of his provocative statement on pratibhā as vākyārtha remains perfectly plausible. This thesis is further corroborated by the consideration of post-Bhartr̥hari philosophical sources elaborating on his ideas, which allow us better to understand in what sense pratibhā can legitimately be thought of as cognition “without an object”. (shrink)

This paper presents a study of Rāmacandra–Guṇacandra’s theory of aesthetics in light of the Kashmiri rasa ideology and demonstrates that the Jain authors offer a new and original conceptualization of aesthetic experience, in which the spectator remains cognitively active in the course of watching the drama. In their model, the relationship between rasa and pleasure is mediated by a cognitive error, and the feeling of pleasure does not coincide with the savoring of rasa but emerges after the savoring of rasa (...) ceases. This paper argues that Rāmacandra and Guṇacandra demystify the Kashmiri theory of aesthetics by identifying affinities between the lived world and the fictive world of drama and by rendering the regular means of knowledge, such as inference and memory, as instrumental for the experience of rasa. It further suggests that this new conceptualization, in which pleasure is contingent upon the dissolution of illusion, may have facilitated the development of playwrighting among Jain monks from the twelfth century on. (shrink)

A hypertext learner navigates with a instinctive feeling for a knowledge. The learner does not know her queries, although she has a feeling for them. A learner’s navigation appears as complete upon the emergence of an aesthetic pleasure, called rasa. The order of arrival or the associational logic and even the temporal order are not relevant to this emergence. The completeness of aesthetics is important. The learner does not look for the intention of the writer, neither does she look for (...) significance. Lexia has a suggestive power and she is suggested in the arrival of aesthetics. Hypertext learning does not depend on communication. The learner in her pleasure transgresses the bounds of space-time to be in communion with several writers/learners. Hypertext learning does not appear to be fundamentally different from the analog learning; however, in performance, as in navigation, the learner assumes a mental state that helps her in her emergence into aesthetic bliss, of an arrival to the completed lexial navigation. This completeness is owing to aesthetics and is not owing to either the semantics or the query-fulfilling qualities. (shrink)

This article is an attempt at understanding the use that Abhinavagupta, the Kashmiri Śaiva philosopher and scholar of poetics, makes of a few concepts and theories stemming from the tradition of Vedic ritual exegesis. Its starting point is the detailed analysis of a key passage in Abhinavagupta’s commentary on the “aphorism on rasa” of the Nāṭyaśāstra, where the learned commentator draws an analogy between the operation of the non-prescriptive portions of the Veda in the ritual and the “generalisation” taking place, (...) according to him, in the appreciation of a work of art. Arguing against the tendency of modern historiography to explain this analogy exclusively in terms of Kumārila’s theory of effectuation in its two modalities, the article endeavours to show how Abhinavagupta relies on a variety of other textual sources he knew extensively and presumably first-hand. Some of them belong to the great Mīmāṃsaka tradition ; others, to different trends of medieval Brahmanism claiming exegetical heritage, as in the case of Jayanta Bhaṭṭa’s Nyāyamañjarī The nature of Abhinavagupta’s debt to Bhaṭṭa Nāyaka and his concept of bhāvanā is also reconsidered in light of these new findings. This investigation finally leads to identify, in the Abhinavabhāratī, an original theory of scriptural narratives and their efficacy, irreducible to any of its exegetical sources. According to this theory, mythological passages of the Veda directly prompt action, through the same capacity of abstraction or “de-temporalisation” that is at work in our appraisal of literature and theatre. (shrink)

Organization emerges as reality only through language. Transformation is such an emergence and it must get over the present context. A descriptive or implicative language fails to transcend the context. Linguistic suggestion of imageries and linguistic communion through imagination take departure from the present context and emerge as the new pleasurable transformed reality of organization. Linguistic holds the key to organizational transformation.

According to Utpaladeva and Abhinavagupta, a subject who has freed himself from the bondage of individuality is necessarily compassionate, and his action, necessarily altruistic. This article explores the paradoxical aspects of this statement; for not only does it seem contradictory with the Pratyabhijñā’s non-dualism (how can compassion and altruism have any meaning if the various subjects are in fact a single, all-encompassing Self?)—it also implies a subtle shift in meaning as regards the very notion of compassion ( karuṇā, kr̥pā ), (...) since according to the two Śaivas, compassion does not result from the awareness of the others’ pain ( duḥkha )—as in Buddhism—but from the awareness of one’s own bliss ( ānanda ). The article thus shows that in spite of their radical criticism of traditional ethical categories such as merit ( dharma ) and demerit ( adharma ), the two Śaiva philosophers still make use of ethical categories, but not without pro- foundly transforming them. (shrink)

The classical Indian variety of history may be called ‘istory’. It is not completely true that no real importance was attached to istory in classical India. But much of oral istorical literature is lost since—perhaps—narrating istory was considered a performance. Unlike historical narratives, istorical narratives are presentative, not representative. Istory can be understood as a system of narrating past events that has a purpose and poetic beauty. Finally, the paper will argue that istory is based on cognitive tools of two (...) types: epistemic tools such as testimony, inference, tarka and aesthetic tools. Thus, it has a hybrid cognitive method. (shrink)

There is no denying the difficulty of expressing in words the meanings behind complex emotions. If they cannot be conveyed because they are personal and private, then how are they conveyed when they are neither entirely private nor personal, as in the case of generalized emotions, or the rasa experience? In Ānandavardhana’s Dhvanyāloka, we find a theory of suggestion (dhvani) which can be expanded beyond poetics to account for the evocative nature of emotion outside of all other modes of expression. (...) The result of dhvani in art experiences is the manifestation of aestheticized emotions (rasadhvani). When language serves art, it neither negates nor dispenses with linguistic apprehension. Rather, it delivers more than language can: the ineffable essence of the subject who experiences love, compassion, grief, the comic, and more, including quietude. I argue the question of the sentient subject is conveyed all the better in aesthetic suggestion, precisely because whether or not an artistic construction makes use of linguistic devices, the arts, whether they be theater, dance, or poetry, defies the confines of language. The ineffable subject is made tangible, in ordinary as well as extraordinary ways. (shrink)

Bhāvanā, “bringing into being,” is one of Mīmāṃsā’s hallmark concepts. It connects text and action in a single structure of meaning. This conjunction was crucially important to Mīmāṃsā’s own interpretive enterprise, and functioned— controversially but influentially—in a broader theory of language. The goal of this paper is to outline bhāvanā’s major contours as it is developed by Kumārilabhaṭṭa and some his followers (Maṇḍanamiśra, Pārthasārathimiśra, Someśvarabhaṭṭa, Khaṇḍadeva, and Āpadeva) and to examine some of the arguments they marshaled in support of it. (...) Bhāvanā is shown to open up, for these Mīmāṃsakas, an understanding of the “deep structure” of Vedic injunctions and the vocabulary for systematically representing it; it accounts for both what people do when they perform an action that is enjoined (ārthī bhāvanā) and what the injunction itself does when it motivates people to performance (śābdī bhāvanā). Bhāvanā has resonances with, and relevance to, contemporary discussions of the nexus of language, understanding, and action, and its value as a carefully-elaborated concept of hermeneutical significance should not be overlooked. (shrink)

Meaning in literary texts such as poetry and novel etc., is not determined on the basis of a literal understanding of the words in it, but through a total evaluation of the devices such as metaphors and similes. This paper deals with metaphor to show its significance, to make us aware that metaphoric expressions do give a different kind of knowledge, and to pave the way to disclose a different kind of truth which is perhaps, more valuable than what the (...) literal sense provides. Ordinarily metaphorical use is taken for rhetorical purposes. Literalists of the Western and Indian philosophical traditions believe that it is only the literal or primary meaning that can give us a precise account of language. Metaphors are viewed by them as fuzzy, lies, not corresponding to actual states of affairs, non-propositional in character, not having truth-conditions, and thus not providing us with any knowledge or truth. However, this paper tries to work out the fundamentality of metaphor, how metaphor widens our experience of the world, and how it has the power to take us to an alternative world to introduce with some new truth by exploring certain notions of the Indian aestheticians. (shrink)

Contemporary democracy has given primacy to thought. Building up institutions on thought and reasoned discourse excludes out human actions derived not from thought that one thinks. Ordinary life is visited by emotion and passion. Such actions of unknown origin are captured best in the drama. Indian theory and practice of drama and the poetics offer communion between the performer and the viewer. Blissful relish of the actions and the dialogues lift up the banal actions from the ordinary to a state (...) beyond simple event. Relishing thus resides in cognition. Drama in theory and in its practice thus offers foundation to institutions that could embrace independent actions as well. In relish there is cognition and reasoning alone cannot lay claim. Folk life and folk actions thus could be emancipatory. (shrink)

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review (...) modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology. (shrink)

In contemporary virtue epistemology, responsibilist intellectual virtues in the tradition of Aristotle's moral theory are acquired character traits involving a motivational component and a success component. The motivational component is an emotion that regulates inquiry but which would ordinarily, and problematically, carry bias. In order to monitor the patterns of fallibility in emotions, reflection can correct beyond perceptual errors or logical fallacies. Emotions which survive reflection are less partial and hold more epistemic valance than egotistical emotions. Since the framework of (...) virtue epistemology might be at a loss for monitoring emotions reflectively, given the fact emotions operate rapidly and tend to bypass cognitive functions, a theory of non-cognitive, egoless emotions, such as the Sanskrit aesthetic theory of rasa is a useful paradigm for epistemic value. Aestheticized emotions have a place in emotion-evaluation. In particular, Abhinavagupta's realistic analysis of the aestheticized emotion of pathos in the Abhinavabhāratī, shows that, “aestheticized tragedy,” unlike ordinary compassion or pity, is an immersive but moving higher-order affective response that involves evaluating the transitions from one unreflective emotion to the next. The cognitive fallout for related virtues, such as compassion, is that karuṇa affords insight into the process of transformation. Subsequently, it is possible to articulate a new kind of intellectual virtue, one that regulates observation, anticipates attunement with sentient beings, and adds insight to the evaluative structure of pathos. (shrink)