Rhetoric,Narrative, and the Remembrance of Death in ʿAttār's Mosibat-nāmeh

This paper examines the anecdotes of ?Attār’s Mosibat-nāmeh as temporal phenomena from the perspective of a reader moving progressively through the text; it is argued that that these anecdotes do not function primarily as carriers of dogmatic information, but as dynamic rhetorical performances designed to prod their audiences into recommitting to a pious mode of life. First, the article shows how the poem’s frame-tale influences a reader’s experience of the embedded anecdotes by encouraging a sequential mode of consumption and contextualizing the work’s pedagogical aims. Next, it is demonstrated that these anecdotes are bound together through formulae and lexical triggers, producing a paratactic structure reminiscent of oral homiletics. Individual anecdotes aim to unsettle readers’ ossified religious understandings, and together they offer a flexible set of heuristics for pious living. Finally, it is argued that ?Attār’s intended readers were likely familiar with the mystical principles that underlie his poems; he therefore did not use narratives to provide completely new teachings, but rather to persuade his audience to more fully embody those pious principles to which they were already committed.     

Omniscience in the Mahāyānasūtrālankāra and its commentaries

I am indebted to Charles Hallisey, Matthew Kapstein, John Keenan, and J. W. de Jong, each of whom read an earlier draft of this paper and gave me useful criticisms. I have adopted some of their suggestions, and this paper has benefited considerably therefrom. I alone am responsible for deficiencies and errors that remain.     

Partial texts: Representation,colonialism and agency in pacific history ∗

Abstract

The great ruling and sacred families of Polynesia were the senior representatives of tribal groupings or clans claiming a common homeland, or cult, and sometimes canoe tradition. Using the traditional framework of Polynesian history the inter‐island links and marriage patterns are examined in the four traditional periods, the age of the gods, the legendary period of the national or tribal ancestors, the semi‐legendary first genealogical period and the fourth period which commences with an ancestor from whom living chiefs can trace their descent without contradiction. A fifth period dealing with the great families since European contact and the rise of independent monarchies is also introduced. Particular emphasis is given to the interdependent yet dichotomous nature of tribal culture, the principal example being the relationship between Tonga and Samoa which originally appeared to be culturally distinct but socially one unit made up of two moieties. While modern political boundaries are largely artificial the great families continue to be mutually interdependent forming exogamous alliances and sharing a sense of pan‐Polynesian identity. The great sacred families, in contrast, tend to favour endogamous unions, a pattern emerging in modern Tonga indicative of a process of sacralisation.     

Iskandar's Bibulous Business: Wine,Drunkenness and the Calls to the Sāqī in Nizāmī Ganjavī's Sharaf-nāma

The twelfth-century poet Nizāmī Ganjavī has produced his version of the adventures of Alexander as a unique composition mingling known Persian historiography and Qur'anic legends with unusual non-Islamic, especially Greek, elements in order to create his Iskandar-nāma (containing two parts, the Sharaf-nāma and the Iqbāl-nāma) as a synthesis of eastern and western cultures. A first point is the examination of the reasons behind the importance given to wine and drunkenness within the narrative. The poet has stressed this further by heading each chapter with a call to the sāqī. The essay examines the appositeness of the invocations with the episodes in the narrative, it analyses examples of wine imagery (containing references to medicine, to the mirror and to religion) and questions the relation between authorial persona, narrator and characters, examining in particular the famous teetotaler claim in one of the introductory chapters of the first part of the Iskandar-nāma.     

Vintages of the Sāqī-nāma: Fermenting and Blending the Cupbearer's Song in the Sixteenth Century

Drawing on a rich tradition of anacreontic poetry and taking inspiration from works by Nizāmī and Hāfiz, the sāqī-nāma or “cupbearer's song” emerged as an independent genre in the early sixteenth century and flourished throughout the Persian literary world for the next 250 years. Looking back on the development of the genre, the early seventeenth-century literary historians ‘Abd al-Nabī Qazvīnī and Awhadī Balyānī give contrasting accounts of its formation, but both agree on the significance of the work of Hakīm Partuvī Shīrāzī (d. 928/1520–21). An examination of his sāqī-nāma, together with two other early representatives of the genre by Sidqī Astarābādī (d. 952/1545) and Sharaf Jahān Qazvīnī (d. 968/1561), shows how closely this new genre was tied to the politics and ideology of the new Safavid state and reveals profound structural similarities to the preeminent panegyric genre of the Islamicate world, the qasīda. But once the basic components of the sāqī-nāmā were distilled and taken up by poets outside this socio-political environment, the genre proved to be as protean as the wine symbolism at its core. Cupbearer songs from the end of the century, particularly those of Muhammad Sūfī Māzandarānī (d. 1035/1625–26) and Sanjar Kāshānī (d. 1021/1612), show how the basic elements of the genre could be reconfigured to serve a variety of more personal interests.     

Buddhist Deities and Mantras in the Hindu Tantras: II The Śrīvidyārnavatantra and the Tantrasāra

Indo-Iranian Journal -     

‘Fertility’ and the Carnival 2: Popular Frazerism and the Reconfiguration of Tradition in Europe Today

This article examines European festive culture through the lens of two ethnographic case studies of carnivals, conducted in Italy and the Czech Republic. The article analyses processes of meaning construction, cultural circulation, and reconfiguration of local traditions that are currently widely at work in rural and marginal European contexts. It explains why I propose to name the cultural complex shaped by those processes ‘popular Frazerism’. The article also argues that these phenomena are representative of a certain post-modern romantic imaginary of magic, antiquity, and primitiveness, and explores the symbolic sources and the social needs from which this imaginary draws its strengths and legitimacy.

This article is the second part of a broader study divided into two parts.