The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to (...) address caste through a hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema’s lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is “outside of itself”, that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacuna of the issue, as well as the Editor himself. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant (...) states’ (sthayi Bhava), ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development projects in (...) Africa, tells the story of the building of a maternity home in an Igbo village in Nigeria. Furthermore, the article will enhance understanding of the cinematic turn to a counterhegemonic film tradition as a stepping stone to the newly emerging field of African intercultural philosophical cinema. The time-space imagination in Common Threads (2018), shortlisted by the Zanzibar International Film Festival (ZIFF) for the best documentary will be analysed as a case in point. This documentary concentrates on the nineteenth-century and current Afro-Indian textile trade, the associated oral narratives and their visual impact on the so-called Kanga and Vitenge textiles. (shrink)

Contemporary Indian Philosophy is related to contemporary Indian thinkers and contains the proceedings of First Session of Society for Positive Philosophy and Interdisciplinary Studies (SPPIS) Haryana. It is neither easy nor impossible to translate into action all noble goals set forth by the eminent thinkers and scholars, but we might try to discuss and propagate their ideas. In this session all papers submitted electronically and selected abstracts have been published on a website especially develop for this session. In (...) this volume we included some papers from this session and also from open sources and contributors include teachers, research scholars and students etc. This volume is divided into two parts. First part contains papers on Swami Vivekananda and second part contains papers of B. G. Tilak, Sri Aurobindo, Mahatma Gandhi, Jawaharlal Nehru, Saheed Bhagat Singh and Dr. B.R. Ambedkar etc. It is the general intention of the Centre to produce informative as well as positive literature to inspire and motivate the students and the general readers. (shrink)

A rational interpretation is proposed for two ancient Indian logics: the Jaina saptabhaṅgī, and the Mādhyamika catuṣkoṭi. It is argued that the irrationality currently imputed to these logics relies upon some philosophical preconceptions inherited from Aristotelian metaphysics. This misunderstanding can be corrected in two steps: by recalling their assumptions about truth; by reconstructing their ensuing theory of judgment within a common conceptual framework.

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...) concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

This book sheds new light on the fascinating - at times dark and at times hopeful - reception of classical Yoga philosophies in Germany during the nineteenth century. Written for non-specialists, Indian Philosophy and Yoga in Germany will be of interest to students and scholars working on 19th-century philosophy, Indian philosophy, comparative philosophy, Hindu studies, intellectual history, and religious history.

B.K.Matilal, and earlier J.F.Staal, have suggested a reading of the `Nyaya five limb schema' (also sometimes referred to as the Indian Schema or Hindu Syllogism) from Gotama's Nyaya-Sutra in terms of a binary occurrence relation. In this paper we provide a rational justification of a version of this reading as Analogical Reasoning within the framework of Polyadic Pure Inductive Logic.

Rasa, the aesthetic experience, stands as the highest purpose of art according to Indian Aesthetics. In this paper we explore the concept of non-representational dance or nṛtta with the aim of integrating an answerability to rasa into the structure of Bharatanāṭyam, a present-day classical dance of India. Drawing from sage Bharata’s Nāṭyaśāstra and supplemented by insights from Anandavardhana's Dhvanyālōka, the study provides a śāstric (analytical and philosophical) framework for non-representational dance (nṛtta) using three overarching canons of Indian Aesthetics (...) – Rasa, Aucitya, and Dhvani. We present a significant advancement in the field of Indian dance aesthetics by offering a refined definition of non-representational dance or nṛtta by aligning it within the framework of the rasa sūtra (dictum on rasa). The definition is substantiated by a nuanced analysis and interpretation of Bharata’s delineation of nṛtta, and cross-examination with related concepts in the Nāṭyaśāstra. Furthermore, we explore non-representational dance within the frameworks of aucitya and dhvani, enhancing fundamental concepts established by this definition. (shrink)

'ā no bhadrāḥ kratavo yantu viśvato ' Let good thoughts come from all around; inspired by this timeless epic of Rigveda. India has presented an excellent model of Multiculturalism to the world. The multiculturalist model of the West, as established by contemporary thinkers like Wilkymalika, is based on the separate political existence of different cultural classes. been made for thousands of years. India has maintained Multiculturalism not only at the socio-cultural level but also at the political level. Through federal structure, (...) universal suffrage, constitutionally guaranteed civil rights, with other constitutional institutions and provisions, multiculturalism is being addressed at the political level for a population of 13 million people .Thus in India , multiculturalism is not only is not only a political tool for diversity but also a socio-political concept. Therefore, Indian multiculturalism presents a comprehensive, effective, and more sustainable model which have to be discussed. (shrink)

My aim in this paper is to explicate the diversity of Indian Symbolism and to show the changing patterns of symbols. The first part is mostly descriptive and interpretative and tries to bring out the different forms of Indian Symbolism. The second part tries to bring out the different kinds of changes that are possible with regard to symbols.

JOTIRAO GOVINDRAO PHULE occupies a unique position among the social reformers of Maharashtra in the nineteenth century. While other reformers concentrated more on reforming the social institutions of family and marriage with special emphasis on the status and right of women, Jotirao Phule revolted against the unjust caste system under which millions of people had suffered for centuries and developed a critique of Indian social order and Hinduism. During this period, number of social and political thinkers started movement against (...) such systems and methods. These thinkers aimed at upliftment of the status of women socially, economically, educationally and politically. Of these socio-political thinkers Mahatma Phule, Mahatma Gandhi, Dr. B.R. Ambedkar, Raja Ram Mohan Roy, Ishwar Chandra Vidyasagar, and such other have organized movement for striving equality for dalits, backward classes and women. As such, Mahatma Phule was an earliest leader, who strongly opposed gender inequality. He was in the real sense a great thinker finder of truth. He was of the view that every individual should search for the truth and mould accordingly, only then the human society can remain happy. He said that British rule provided an opportunity for the masses to get themselves liberated from the slavery of the Brahmins. But at the same time, he also criticized the British bureaucracy for its policy of supporting higher education and for its tendency to rely upon Brahmin subordinates. Interestingly, Mahatma Phule nurtured a favourable perspective of the British Rule in India because he thought it at least introduced the modern notions of justice and equality into the Indian society. He also criticized the economic policy of the British rule in many respects it was unfavorable to the poor peasants. He suggested a number of solutions to improve the conditions of the agriculture sector. In place of exploitative Indian social order, Phule wanted to establish a society founded on principles of individual liberty and equality and in place of Hinduism he would have liked to put universal religion. In this paper my attempt is to give an analysis of ideas of Mahatma Phule with his core philosophical outlook. (shrink)

This paper attempts to articulate certain inadequacies that are involved in the traditional way of categorizing Indian philosophy and explores alternative approaches, some of which otherwise are not explicitly seen in the treatises of the history of Indian Philosophies. By categorization, I mean, classifying Indian philosophy into two streams, which are traditionally called as astica and nastica or orthodox and heterodox systems. Further, these different schools in the astica Darsanas and nastica Darsanas are usually numbered into six (...) and three respectively. Nyaya - Vaisesika, Sankhya -Yoga and Purva & Uttara Mimamsa are identified as astica darsanas and Carvaka, Buddhism and Jainism are identified as nastica darsanas (6+3). It is my endeavor to critically analyze the usual astica-nastica distinction of 6+3 classification of Indian philosophy so as to find out the meaning of such a rationale in this categorization. This general consensus is contested in this paper. What I am intended to support and strengthen such a critical analysis and exploration is to discuss these systems of India’s philosophy within the general intellectual milieu of Indian cultural traditions, its orientations, presuppositions and preferences. In order to carry out such a task, I shall be taking recourse to the theories of different scholars, both traditional and modern, in approaching and appropriating Indian Philosophy from different perspectives and their critical-creative approaches shall be scrutinized. (shrink)

The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian (...) religious and political conservatism, we explore the role – even the centrality – of the Afrikaans church in cultural activity before 1994, and then after 1994. Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC. After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: exploring the representation of clergy in the contemporary Afrikaans film Faan se Trein in order to describe certain theological implications of this representation. With reference to Faan se Trein, our article notes and comments on the shifts that have occurred in clergy representation in Afrikaans cinema over the past decades. Osmer’s four tasks of practical theology, namely, descriptive, interpretive, normative and strategic are used for theological reflection. With due contextual reference to Afrikaans film dramas such as Broer Matie [Brother Matie], Saak van Geloof [A Matter of Faith], Roepman [Stargazer], Stilte [Silence], Suiderkruis [Southern Cross] and Faan se Trein, we arrive at some preliminary conclusions about the representation of clergy in mainly contemporary Afrikaans cinema. (shrink)

The present work is an attempt to show that ‘important and original philosophy was written in English, in India, by Indians’ from the late 19th c through the middle of 20th c. (xiv). In fact, it tells us that these works ‘sustained the Indian philosophical tradition and were creators of its modern avatar.’ (xiv) The authors of these works ‘pursued Indian philosophy in a language and format that could render it both accessible and acceptable to the Anglophone world (...) abroad.’ (xiv). (shrink)

The Milestone Education Society (Regd.) Pehowa (Kurukshetra) working since 2005 in the field of school education, social work and higher education through its research initiatives. It started Center for Positive Philosophy and Interdisciplinary Studies (CPPIS) in 2010 and contributing continuously in the field of higher education through research journals, various programmes, and published books. -/- The present initiative Centre for Studies in Educational, Social and Cultural Development (CSESCD) will work on the issues related to downtrodden people though its various activity (...) like discussions, programmes and publications etc. It also promotes the ideology of the educational thinkers who positively contributed in the society. -/- The present book, “Ideological Crisis in Indian Society “is the first initiative of the Centre. It includes six essays of the students who participated in the essay competition organized by the Centre for Positive Philosophy and Interdisciplinary Studies (CPPIS) and the Department of Philosophy, P.G.Govt College for Girls, Sector-11, Chandigarh to celebrate World Philosophy Day with the theme “Indian Society and Ideological Crisis” on 21st November, 2013. These essays highlight writers’ thinking and need further improvement on the basis of ideas. -/- On the occasion of Death Anniversary of Dr. B.R.Ambedkar, we dedicated this volume to this great personality who is the real motivation for us. His vision of social democracy and equality was closely related to good society, rationality and the scientific outlook. -/- I must congratulate all the members of Milestone Education Society (Regd.) Pehowa (Kurukshetra) for this new initiatives and submit my humble gratitude towards their positive efforts and kind-cooperation. -/- Dr. Desh Raj Sirswal -/- December 06,2013 -/- Download the book from: http://msesaim.wordpress.com/2013/12/06/ideological-crisis-in-indian-society-a-tribute-to-dr-b-r-ambedkar-on-his-death-anniversary/. (shrink)

Although there is such a thing as Indian thought, it seems to play no role in the way social sciences and philosophy are practiced in India or elsewhere. The problem is not only that we no longer employ terms such as atman, avidya, dharma to reflect on our experience; the terms that we do indeed use—sovereignty, secularism, rights, civil society and political society, corruption—seem to insulate our experience from our reflection. This paper will outline Gandhi’s framing of our predicament (...) in Hind Swaraj. It will then discuss three very different examples taken from our peculiar life with concepts that will also serve to clarify and illustrate the framework I am outlining. It will then very briefly discuss how Gandhi saw the Gita as showing him a way out of the predicament. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin (...) Kalbi Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

Ethical banking is a system of banking where a bank is concerned with the social impact of its activities. In case of India, ethics based banking is having a robust banking network which caters to all the segments of the society while being conscious of the holistic wellbeing of the economy. In this essay I have dealt with the ethical issue of whether we would be justified in blaming the agriculture and the SME for the growing Non-performing Assets (NPAs) in (...) Indian banks. (shrink)

This is an excerpt from a report on the workshop on mind and attention in Indian philosophy at Harvard University, on September 21st and 22nd, 2013, written by Kevin Connolly, Jennifer Corns, Nilanjan Das, Zachary Irving, and Lu Teng, and available at http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This portion of the report explores the question: Are there cross-cultural philosophical themes?

This paper undertakes textual exegesis and rational reconstruction of Mukula Bhaṭṭa’s Abhidhā-vṛttta-mātṛkā, or “The Fundamentals of the Communicative Function.” The treatise was written to refute Ānandavardhana’s claim, made in the Dhvanyāloka, that there is a third “power” of words, vyañjanā (suggestion), beyond the two already accepted by traditional Indian philosophy: abhidhā (denotation) and lakṣaṇā(indication).1 I argue that the explanation of lakṣaṇā as presented in his text contains internal tensions, although it may still be a compelling response to Ānandavardhana.

This paper in an elementary level expresses the inevitable relation between the word and meaning from the prominent Indian philosophical trends by giving stress on Vyakti-śakti-vāda and Jāti-śakti-vāda, the two contender doctrines. The first one puts emphasis on the semantic value of a predicate whereas the latter draws attention to the generic uses of nouns. The second part of the writing underpins Navya Nyāya and Kumārila’s positions on the word-meaning reliance and the debate initiate when we look back to (...) the question whether the word-meaning relation sounds conventional or eternal. I propose a position (śabda-vivarta-vāda) on these issues derived from the works of Patan᷈jali and Bhartṛharị, two grammarians of classical Indian tradition. They defend eternal verbum as the material cause of the word and objects. This doctrine advocates uniforism by giving up bifurcation between the word and the world. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can (...) that seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.

In 2003, biophysicist and Nobel Laureate Maurice Wilkins published his autobiography entitled The Third Man. In the preface, he diffidently points out that the title was chosen by his publisher, as a reference to the famous 1949 movie no doubt, featuring Orson Welles in his classical role as penicillin racketeer Harry Lime. In this paper I intend to show that there is much more to this title than merely its familiar ring. If subjected to a comparative analysis, multiple correspondences between (...) movie and memoirs can be brought to the fore. Taken together, these documents shed an intriguing light on the vicissitudes of budding life sciences research during the post-war era. I will focus my comparative analysis on issues still relevant today, such as dual use, the handling of sensitive scientific information and, finally, on the interwovenness of science and warfare. Thus, I will explain how science autobiographies on the one hand and genres of the imagination on the other may deepen our comprehension of tensions and dilemmas of life sciences research then and now. For that reason, science autobiographies can provide valuable input for teaching philosophy and history of science to science students. (shrink)

This introduction concerns the place that Indian philosophical literature should occupy in the history of philosophy, and the challenge of championing pre-modern modes of inquiry in an era when philosophy, at least in the anglophone world and its satellites, has in large measure become a highly specialized and technical discipline conceived on the model of the sciences. This challenge is particularly acute when philosophical figures and texts that are historically and culturally distant from us are engaged not only exegetically (...) but also with a view to recruiting their topics and arguments for contemporary philosophical debates. (shrink)

American Indian Thought is a contemporary collection of twenty-two essays written by Indigenous persons with Western philosophical training, all attempting to formulate, and/or contribute to a sub-discipline of, a Native American Philosophy. The contributors come from diverse tribal, educational, philosophical, methodological, etc., backgrounds, and there is some tension among aspects of the collection, but what is more striking is the harmony and the singularity of the collection’s intent. Part of this singularity may derive from the solidarity among its authors. (...) In addition to the fact that all belong to Indigenous tribes, there is also a striking sensitivity to the interconnection between distinct Western disciplines—particularly between philosophy and poetry. I take the latter to be a thread which can be strategically woven into the center of the anthology’s weave. In this book discussion, I aim to draw out the poetic aspects of five of the anthology’s essays, which deal with philosophy, metaphysics, epistemology, ethics and aesthetics, respectively. In this way, I hope to illuminate a poetic quality at the heart of the collection, and thus also of the burgeoning field of Native American or Indigenous philosophy in general. In the process, I will also consider ways in which Indigenous philosophy resonates with the Western philosophical traditions of phenomenology and American pragmatism. With the latter tradition in particular this connection has become more fully appreciated, especially through the work of Bruce Wilshire and Scott Pratt. (shrink)

Sob o título "Immanent Frames. Postsecular Cinema between Malick and von Trier", o livro editado por John Caruana e Mark Cauchi inclui um conjunto significativo de artigos sobre cinema “pós-secular”, de autores prestigiados, nomeadamente os próprios editores, mas também Robert Sinnerbrink, Catherine Wheatley, Sarah Cooper e William Rotham, entre outros. O livro está estruturado em 13 capítulos, distribuídos por três partes – Parte I: “The Poles of Postsecular Cinema: Malick and Von Trier”; Parte II: “The Spectrum of (...) Postsecular Cinema: Beyond Malick and Von Trier”; e Parte III: “Conversation on Cinema: Luc Dardenne and Jean-Luc Nancy”, esta última constituída por duas entrevistas, respectivamente com o cineasta e o filósofo. (shrink)

In contrast to a stereotypical account of Indian philosophy that are entailments of the interpreter’s beliefs (an approach that violates basic standards of reason), an approach to Indian philosophy grounded on the constraints of formal reason reveals not only a wide spread disagreement on dharma (THE RIGHT OR THE GOOD), but also a pervasive commitment to the practical foundation of life’s challenges. The flip side of this practical orientation is the criticism of ordinary experience as erroneous and reducible (...) to the agent’s mental states. If we ignore the background practical orientation in Indian philosophy, this seems not like an error theory, that I call Ironic Idealism, but as a defense of idealism. I consider salient candidates for Indian Idealism (Advaita Vedānta, Yogācāra Buddhism, Kāśmīra Śaivism and the Yogavāsiṣṭha) and note that these positions continue a theme in Indian philosophy of articulating Ironic Idealism. Ironic Idealism depends upon the very Indian distinction between ultimate and provisional truth, and Ironic Idealism criticizes the mundane, provisional sort of "truth" as psychological and mental --- and ultimately false. Interpretation, the common approach to the study of Indian philosophy, is an example of what Ironic Idealism criticizes. This explains why authors incorrectly find Idealism everywhere in Indian thought. (shrink)

According to Arti Dhand, it can be argued that all Indian ethics have been primarily virtue ethics. Many have indeed jumped on the virtue bandwagon, providing prima facie interpretations of Hindu, Jain, and Buddhist canons in virtue terms. Others have expressed firm skepticism, claiming that virtues are not proven to be grounded in the nature of things and that, ultimately, the appeal to virtue might just well be a mere façon de parler. In this paper, we aim to advance (...) the discussion of Indian virtue ethics. Our intent is not to provide a catch-all interpretation of the different Indian schools. Our goal is, more modestly, to offer a theory of virtues in Indian philosophies, as a framework for theorists and interpreters who see these diverse traditions as amenable to systematic virtue analysis. Our theory grounds virtues in the reality of genuine moral dispositions and in a system of beliefs where morality is understood as transformative in nature. (shrink)

Indian spiritual and philosophical systems are essentially cognitive scientific in nature. Having origin in the Upanishads all Indian philosophical systems supplemented and complemented one another to develop a comprehensive source book of cognitive science. The nature and form of consciousness, mind and its functions are extensively dealt with and discussed from Upanishads through Buddhism, Jainism, Viseshaka, Nyaya, Yoga, Samkhya, Poorva Meemamsa,and Uttara Meemaams, Sabdabrahma Siddhanta contributing to many concepts which have relevance to cognitive science and language acquisition and (...) communication. In this paper all these will be reviewed and especially the concept of guṇa as envisaged in various Indian philosophical systems will be presented and correlated. The evolution of concept of guṇa through Shaddrarsanas will be specifically looked at. A correlation with Sabdabrahma Siddhānta of Indian grammarians initiated by Patanjali and developed through Bhartruhari will also be presented. (shrink)

In modern Anglo-European philosophy there is a distinct progression from the metaphysical realism of ancient and classical philosophy towards a type of scepticism that eventually leads towards nihilism. Interestingly this progression also appears in the doctrines of the Classical schools of Indian Buddhism that pre-date modern European philosophy by well over six centuries. This progression stems from the application of the same types of logical and philosophical reasoning to the problems of metaphysics. The movement from metaphysical realism to representationalism (...) to idealism and finally towards nihilism, which is seen within both the classical Indian Buddhist tradition and Modern Anglo-European philosophy, are products of a coherent and wholly logical progression from the acceptance of certain metaphysical principles. The fact that these same movements occur in two philosophical traditions that are separated by vast chasms in space, time and culture seems to point to an underlying commonality underlying human philosophical enquiry, whether this is a result of a common intelligible reality, an essential and universal human nature or both is a philosophical question we must continue to pursue. (shrink)

A famous Indian argument for jus ad bellum and jus in bello is presented in literary form in the Mahābhārata: it involves events and dynamics between moral conventionalists (who attempt to abide by ethical theories that give priority to the good) and moral parasites (who attempt to use moral convention as a weapon without any desire to conform to these expectations themselves). In this paper I follow the dialectic of this victimization of the conventionally moral by moral parasites to (...) its philosophical culmination in the fateful battle, which the Bhagavad Gītā precedes. Arjuna’s lament is an internalization of the logic of conventional moral expectations that allowed moral parasitism, and Krishna’s push for a purely procedural approach to moral reasoning (bhakti yoga) does away with the good as a primitive of explanation and provides the moral considerations that allow us to see that the jus ad bellum and jus in bello coincide: the just cause is the approximation to the procedural ideal (the Lord), which is also just conduct. Jeff McMahan is correct in claiming that it is wrong for the unjust to attack the just. But it is also not obviously correct that it is the same set of moral considerations in war and peace that mark out the sides, for peace is largely characterizable by conventional morality, which all are forced to abandon in war. Walzer is correct that there are different sets of standards at play at war and peace, and that getting hands dirty in immorality is a price worth paying in war, but Walzer is thereby incorrect for a subtle reason: conventional standards by way of which jus ad bellum and jus in bello appear corrupt are themselves actually corrupt when the need for a just war arises. It is because moral parasites use conventional morality as a means of hostility and not as a means of fair, inclusive social interaction that conventional morality is corrupted and turned into a tool of the unjust. It is hence unjust to employ these standards to judge those whose cause is just, though such a judgement is conventional. Those who fight for a just cause thereby justly get their hands dirty by departing from conventional moral standards. But this is to the disadvantage of parasites who can only function in a climate where the conventionally good are constrained by conventional morality. Just war so understood deprives parasites their weapon of choice. (shrink)

In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as (...) an alternative solution in understanding the veracity of fictional objects. (shrink)

Comparative philosophical studies can seek to fit some Eastern patterns of thought into the general philosophical framework, or, on the contrary, to improve understanding of Western ones through the view "from abroad". I try to hit both marks by means of establishing, firstly, the parallels between Indian versions of theodicy and the Hellenic and Christian ones, then by defining to which of five types of Western theodicy the Advaita-Vedanta and Nyaya versions belong and, thirdly, by considering the meaning of (...) the fact that some varieties of Western theodicy, like the explanation of evil by free will and divine dispensation aiming at the improvement of man, have Indian counterparts while others lack them. Some considerations concerning the remainders of primordial monotheisms ("an argument from theodicy") under the thick layers of other religious world-outlooks are also offered to the reader at the end of the article. (shrink)

The title of the present paper might arouse some curiosity among the minds of the readers. The very first question that arises in this respect is whether India produced any logic in the real sense of the term as has been used in the West. This paper is centered only on the three systems of Indian philosophy namely Nyāya, Buddhism and Jainism. We have been talking of Indian philosophy, Indian religion, Indian culture and Indian spirituality, (...) but not that which are of more fundamental concepts for any branch of knowledge whether it is social sciences or humanities. No aspect of human life and the universe has been left unexamined by Indian philosophers, and this leads to a totality of vision in both philosophical and psychological fields. In this paper we will discuss the main thinkers, sources and main concepts related to Indian Logic. (shrink)

My aim in this chapter is to describe and resist two intellectual tendencies when thinking about how to do political philosophy in India today. The first involves a resistance to ‘Western political thought’, as alien, unfamiliar, or simply inappropriate for thinking about Indian political realities. The estrangement from Western political thought as 'foreign' comes with a concomitant instinct regarding how we should do political theory in India, namely by engaging with Indian thinkers and traditions, both ancient and modern. (...) -/- My primary aim is to resist this division between ‘Western’ and ‘Indian’ thought, particularly when the ‘Indian’ in Indian political thought is taken to be a matter of origins, motivating a search for the indigenous. My own answer to the question posed by the title of the chapter – “What is ‘Indian’ about Indian Political Thought” does not rest upon such a division. Indeed, I believe that there are forms of engagement with Western political thought in an Indian context which are not different in kind from engagement with that thought in a Western context. These engagements are not well described as doing either ‘Western’ or ‘Indian’ political thought. (shrink)

There are some tantalizing suggestions that Pyrrhonian skepticism has its roots in ancient India. Of them, the most important is Diogenes Laertius’s report that Pyrrho accompanied Alexander to India, where he was deeply impressed by the character of the “naked sophists” he encountered (DL IX 61). Influenced by these gymnosophists, Pyrrho is said to have adopted the practices of suspending judgment on matters of belief and cultivating an indifferent composure amid the vicissitudes of ordinary life. Such conduct, and the attitudes (...) that it embodied, became inspirations to later skeptical thinkers. It is a fact that practices of the sort attributed to Pyrrho are richly evident in a number of ancient Indian philosophical and ascetic movements. On this basis, attempts have been made to determine the identity of these gymnosophists and, further, to pinpoint the dialectical tropes within Pyrrhonism that may have their basis in Indian thought. But despite these attempts, and in the absence of any new discoveries, these suggestions will likely remain just that. The paucity of the historical data and the problematic nature of the data itself prevent us from reconstructing a solid bridge between ancient India and Greek skepticism that may serve as the basis of robust historical theorizing. Classical India does, however, lay claim to a sophisticated and diverse culture of epistemological reflection, which includes a number of innovative skeptical thinkers deserving study on their own merits. This chapter is meant to provide such a study, or perhaps more accurately, a prolegomena for such. After some initial ground-laying, I will discuss three leading Indian skeptics and situate them historically and conceptually within the network of competing schools that comprise classical Indian philosophy. They are Nāgārjuna (c. 150 CE), the founder of Madhyamaka Buddhism, Jayarāśi (c. 800), associated with the Indian materialist tradition, and Śrīharṣa (c. 1150), a thinker connected to the school of Nondual (Advaita) Vedānta. (shrink)

The research is a comparative study of the atomic theories of Kanada and Democritus. Because of their pluralistic tendencies, emphasis on causality, their materialistic account of sense knowledge, and their attempt to explain the physical system by means of reduction to the configuration of its constitutive elements, both philosophers present an epistemological base that could accommodate scientific inquiry. Notwithstanding the early and expansive beginning of Indian atomism, modern scientific atomic theory traces its origin to Democritus. Through cross-cultural critical engagement (...) of parallel ideas between Kanada and Democritus, the paper aims to discover the common problems that they dealt with in order to further our understanding of the early history of atomic theory, to evaluate the relative merits and limitations of their proposed solutions, to resolve some difficulties that each account faces by appealing to the other, and to highlight their contributions to the emergence of atomic worldview. (shrink)

Perspectives on Indian Secularism condemned it and wished to make a clean sweep of it. Almost always it seemed to stand for blind belief and reaction, ...

Old age in the Indian context and facing it through Ayurveda.

Swami Vivekananda is considered as one of the most influential spiritual educationist and thinker of India. He was disciple of Ramakrishna Paramahamsa and the founder of Ramakrishna Math and Ramakrishna Mission. He is considered by many as an icon for his fearless courage, his positive exhortations to the youth, his broad outlook to social problems, and countless lectures and discourses on Vedanta philosophy. For him, “Education is not the amount of information that is put into your brain and runs riots (...) there, undigested all your life. We must have life-building, man-making, character-making, assimilation of ideas.” It is rightly said that, “The Swami’s mission was both national and international. A lover of mankind, he strove to promote peace and human brotherhood on the spiritual foundation of the Vedantic Oneness of existence. (shrink)