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1

Tantrism and Women’s Empowerment in India

100%
Dascăl R.
Gender Studies
|
2012
|
vol. 11
|
issue Supplement
220-234
EN
It is the purpose of this paper to explore some aspects of Tantrism, an esoteric system of spiritual advancement by the cultivation of physical and psychic resources rooted in the ancient Hindu philosophical concept of shakti. Between 900 and the fifteenth century it not only contributed immensely to feminizing and galvanizing Hinduism, but it also gave rise to a scriptural corpus, rewriting goddess theology, her relation to male deity, her cosmic functions, being at the same time subversive of dominant Brahmanical values and speaking directly to women’s experiences.
2

Tirumankaiyālvār’s "Matal" Poems and Social History of Early Medieval South India

100%
Woźniak J.
Cracow Indological Studies
|
2013
|
vol. 15: Text History and Society as Depicted in Indian Literature and Art. Part II. ŚRAVYA. Poetry & Prose
355-373
EN
Tirumankaiyālvār (ca. 9th century A.D.), one of the South Indian medieval poet-saints, was an ardent and prolific exponent of early Tamil bhakti ideology, focusing on Visnu as the Ultimate Being. In his two matal poems, he used the literary techniques known to classical Tamil poetry to express his devotion and love towards his favourite God. Although not adopted directly, the main theological concepts of later Śrīvaisnavism seem to play an important role in his stanzas. In this paper I am trying to apply some of them (in the most general way) to analyze Tirumamkai’s stand and his probable influence on philosophical notions of the later Śrīvaisnava doctrine.
3

Religijny wymiar miłości na przykładzie baletu Bhakti Maurice’a Béjarta

94%
Narewska A.
Roczniki Kulturoznawcze
|
2016
|
vol. 7
|
issue 3
215-224
PL
Maurice Béjart (1927-2007) był jednym z najsłynniejszych choreografów XX wieku, który traktował balet jako sztukę nowoczesną, aktualną, która jest w stanie skłonić współczesnego człowieka do refleksji nad otaczającym go światem. Wypracował on własny styl choreograficzny, rozpoznawalny na pierwszy rzut oka, dzięki któremu prezentował widzom niebanalne balety o głębokiej, filozoficznej treści. Jako człowiek szeroko wykształcony, wrażliwy, inspiracji dla swoich dzieł często szukał w kulturze Wschodu, w mądrości Starożytnych Indii. Dowodem na to jest spektakl Bhakti z 1968 r., w którym Béjart za pomocą tańca przedstawił tytułowe zagadnienie, będące określeniem szczególnej formy miłości i przywiązania do boga, odmiany wyjątkowej pobożności i religijności. Analiza i interpretacja tego baletu pozwala nie tylko na zapoznanie się z fascynującą i bogatą kulturą Indii, lecz także prowokuje człowieka z cywilizacji zachodniej do nowego spojrzenia na fundamentalne wartości i ideały.
EN
Maurice Béjart (1927-2007) was one of the most famous choreographers of the twentieth century. He perceived ballet as a present day art and had the power to induce the modern day man to reflect on the world around him. Béjart created his own choreographic style which was recognisable from first sight and through it, he showed audiences around the world interesting ballets that contain deep, philosophical content. Béjart often sought inspiration from the Eastern cultures for his works, especially India. One prime example was the ballet Bhakti (1968). In this performance, Béjart explains the issues of bhakti through the body of his dancers only. Bhakti specifides the form of love and devotion to God. The analysis and interpretation of the ballet allows us to familiarise ourselves with the fascinating, rich culture of India, and it also provokes new insights on fundamental values and ideals.
4

Tying the Knot with the Dēvi Gender Transgression in Regional and Trans-Regional Discourses

67%
Merkle S.
Cracow Indological Studies
|
2016
|
vol. 18: Cosmopolitanism andRegionalism in Indian Cultural Dynamics
367-389
EN
The jōgappas are male-born dedicated devotees of the South Indian goddess Reṇukā-Ellamma who adopt feminine characteristics. Due to their devotional practices and gender-specific expression, jōgappas are confronted with and affected by a range of notions on religious hierarchy and gender. They are opposed by cultural agendas in favour of a Sanskritic form of worship, are drawn into urban debates on sexual minorities and become increasingly interlinked with the hijra community. Furthermore, arguments regarding transgenderism in the context of the divine power and aspects of bhakti provide a rhetoric of deification which can be identified as specifically regional. Today, jōgappas face the challenges of negotiating their individual positions and identities within these global, national, urban, trans-regional and regional discourses.
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