Uttarajjhāyā studies

Ohne Zusammenfassung     

Die Pravāranā in den kanonischen Vinaya-Texten der Mūlasarvāstivādin und der Sarvāstivādin

Indo-Iranian Journal -     

Yaḥyā Dawlatābādī’s Contribution to Persian Poetic Modernity

In 1912, Ya?yā Dawlatābādī composed two poems, the form of which diverged greatly from the canonical rules of tradition. Both poems were based on syllabic meters. Critics and historians of modern Persian literature have given these poems little consideration, and discussed them merely from the point of view of metrics. When compared to the great modernist endeavors in the poetry of the time, these pieces were judged severely, or altogether disavowed. This paper aims to show that, beyond mere metrical audacity, Ya?yā Dawlatābādī’s syllabic poems were in fact innovative. As the article argues, they were born out of the same quest for fresh poetic forms that induced contemporaneous modernists to create new, individualized poetic patterns.     

Pākehā Women and Māori Protocol: The Politics of Criticising Other Cultures

Feminists have fiercely debated whether it is wrong for outsiders to criticise gendered customs and practices identified with cultural minorities. This article explores the ethics of criticising other cultures by analysing the reaction to public criticism of Māori ceremonial protocol by two Pākehā women. It argues that the response to outsiders' criticism does not depend in a simple and direct way on whether insiders have resisted the criticised practice. There is a history of Māori women formulating critiques of the gender roles in Māori ceremonies, but the public response from Māori women to the Pākehā women's criticism was overwhelmingly negative. The outsiders' criticism was understood as an attack on the incorporation of Māori cultural expression into the public sector, rather than as a gesture of support or solidarity.     

Zum Gebrauch der samāsopamā bei aśvaghosa

Contrary to those similes which are constructed with the particles of comparison iva and yath, the samsopam has scarcely been investigated so far. Only M.-C. Porcher in her monograph titled Figures de Style en Sanskrit. Théories des Alamkrastra. Analyse de Poèmes de Vnkatdhvarin, Paris 1978, has dealt with this kind of upam separately. There are, however, no detailed investigations with respect to the use of the samsopam in the early kvya-literature. The samsopams occurring in avaghosa's Saundarananda and his Buddhacarita can generally be divided into the following categories:

A Diplomatic Edition of the Introductory Section of Yamāri's Pramā(n)avārttikālankāra(t)īkā Supari(s)uddhā Folios 10a1-14b2

This is the second part of the diplomatic edition of Yamāri's Pramā.navārttikālatkāra.fīkā Suparisuddhā,the continuation of the part published beforeJ In the part published here,Yamāri explains Prajnākaragupta's two initial verses,i.e.,folios 10a1-12a3 on PVA 1,and 12a3-14b2 on PVA2.     

Nabataean Dushārā (Dusares) — an overlooked cuirassed god

Abstract

This paper sheds new light on the images of the Nabataean god Dushārā on the coins of Roman Bostra under Commodus, Caracalla and Philip the Arab. It analyses and interprets for the first time iconographic details such as the god's cuirass, his Alexander-like hairstyle and the assimilation of his facial features to the emperor of the day on the coin obverses. This study argues that Dushārā's image is a late ad-hoc creation for a local Bostran context that did not travel far beyond the city. Alongside the anthropomorphic representation, Dushārā continued to be depicted and worshipped in the form of a betyl at Bostra, Petra and throughout the Roman province of Arabia.