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Conclusion: roots and routes
South Asian History and Culture Pub Date : 2020-01-02 , DOI: 10.1080/19472498.2020.1719757
Heidi Pauwels 1
Affiliation  

What have we learned about the construction of memory at the moment of the rise of vernaculars in South Asia? This volume has challenged certain inherited notions and shown the productivity of reinvigorated methodological approaches. Each chapter has zoomed in on the specifics of processes of memory construction in Classical Hindi and other literatures in Gwalior in the fifteenth century. It has proven to be very fruitful to look through the lenses of performance and emotion. Thinking of performance, has first, revealed the multiple competing patrons and audiences present in Gwalior at the time, described in the first chapter as distinct yet overlapping milieus: the Tomar court, Jain traders and religious specialists, and Sufi saints, singers, and their audiences. Too often we study these milieus in isolation, but awareness of crossovers and interactions has deepened our understanding of the multiple performative backgrounds for the first Classical Hindi texts. Jain traders were financiers of Tomar military campaigns and held influential positions at court. Sufi saints were likewise called upon for advice and protection. Second, the lens of performance has made us aware of concerns of time and space involved in decisions when and where exactly to ‘publish’ the new Classical Hindi literature, that is, to stage its initial performances. Understanding this helps us situate the new productions against their context of preoccupations with military opportunism, social status, and piety, as well as apocalyptic scenarios prevailing at times of political instability in the course of the long fifteenth century. The lens of the history of emotion proved fruitful in the second chapter. A micro-historical study of early narrative of the Tomars’ coup counters the common-sense understanding of the dynasty sponsoring a Hindu renaissance after triumphing over the Sultanate-installed rulers of Gwalior. As it turns out, even Tomar-sponsored chronicles from two centuries later do not portray anti-Islamic resentment as a factor in the dynasty’s coup, rather they stress their ancestors received Sultanate legitimation before their power grab, which they admit was less than ethical. The new emotional regime of the Tomars has more to do with celebrating their social status as ks _ atriyas, notwithstanding their humble beginnings. However, that is not the complete story behind the Classical HindiMahābhārata of 1435 either. The lens of performance has also revealed that some of the hero Bhīma’s exploits as retold therein are intended to be humorous episodes. In ridiculing Bhīma’s ‘more brawn than brain’ attitude, the author implicitly critiques Tomar adventurism at the beginning of the military season in that year. Reading references to contemporaneous politics beneath the surface of slapstick was inspired by watching the same scenes in contemporary folk performances of the genre Pandvānī, as suggested by Prof. Archana Kumar of Benares Hindu University, who took part in some of the reading sessions in Ghent. More research on this, is in the works by her team, which promises to be another fascinating direction of research, especially as carried out in tandem with the efforts to provide a new scholarly edition of the Classical Hindi Mahābhārata based on manuscripts by Prof. Raj Kumar at the same University. In any case, the revelation of countercurrents to the Tomar patron’s programme underneath the humour lays bare the pitfalls of reducing complex texts to the agenda of the sponsor and cautions the scholar to be sensitive to other, independent voices woven into the text.

中文翻译:

结论:根源与路线

在南亚白话语兴起之时,我们从记忆的构造中学到了什么?该书挑战了某些继承的观念,并展示了重新振兴的方法论方法的生产力。每章都放大了古典印地语和15世纪瓜廖尔其他文学中记忆建构过程的细节。从表现和情感的角度来看,这是非常富有成果的。对表演的思考首先揭示了当时在瓜廖尔存在的众多竞争顾客和观众,在第一章中将其描述为截然不同但又相互重叠的环境:托马尔宫廷,Ja那教商人和宗教专家,以及苏菲圣人,歌手和他们的听众。我们常常孤立地研究这些环境,但是对于跨界和互动的认识已经加深了我们对第一批古典印地语文本的多重表演背景的理解。in那教徒商人是托马尔(Tomar)军事行动的资助者,并在法院担任重要职务。苏菲圣人也同样被要求提供建议和保护。其次,表演的镜头使我们意识到在何时何地准确地“发布”新的古典印地语文学作品,即上演其初次表演时所涉及的时间和空间问题。理解这一点有助于我们将新作品置于其对军事机会主义,社会地位和虔诚以及在十五世纪漫长的政治动荡时期普遍存在的末日场景的关注的背景下。在第二章中,情感史的镜头被证明是富有成果的。对托马斯政变的早期叙述进行的微观历史研究反驳了对胜利支持苏丹国安装的瓜廖尔统治者的支持印度教复兴的王朝的常识理解。事实证明,即使是两个世纪以后由托马尔(Tomar)赞助的编年史,也没有将反伊斯兰的怨恨描述为王朝发动政变的因素,而是他们强调其祖先在夺取政权之前获得了苏丹国的合法化,他们承认这远非道德。Tomars的新情绪体系尽管起初很卑鄙,但与庆祝其ks_atriyas的社会地位有关。然而,这也不是1435年古典印地语《马哈巴哈拉塔》的完整故事。表演的镜头也揭示了英雄Bhīma翻录过的一些行为是幽默的情节。为了嘲笑巴马的“强于脑”的态度,作者在当年的军事季节开始时暗中批评了托马尔的冒险主义。班纳雷斯印度大学的Archana Kumar教授建议,在根特参加一些阅读会议时,通过观看当代潘多瓦尼民俗表演中的相同场景,可以激发阅读对闹剧表面下的当代政治的参考。她的团队正在对此进行更多的研究,这有望成为另一个令人着迷的研究方向,特别是与根据同一大学的拉杰·库玛(Raj Kumar)教授的手稿提供新的学术版印地语印地语Mahābhārata一起进行的努力。在任何情况下,幽默背后的与托马尔赞助人计划的逆流启示都暴露出将复杂文本缩减到赞助者议程中的隐患,并提醒学者对文本中融入的其他独立声音要敏感。
更新日期:2020-01-02
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