This study accounts for disparate portrayals of divine destroyer Śiva in the normative Rāmāyaṇa and Mahābhārata as opposed to Kālidāsa’s amatory Kumārasaṃbhava and Raghuvaṃśa by contrasting the primary and secondary Sanskrit epic authors’ respective reliances on the Mānavadharmaśāstra and the Kāmasūtra. By arguing, per Richard Johnson’s postpoststructuralism, that these mythological and philosophical differences deliberately reflect those poets’ specific sociohistorical contexts, this inquiry accounts more accurately for Śiva’s classical-epic depictions than do Stella Kramrisch’s and Wendy Doniger [O’Flaherty]’s investigations informed by Claude (...) Lévi-Strauss’s structuralism and Don Handelman and David Shulman’s researches influenced by Gilles Deleuze and Félix Guattari’s poststructuralism. The present work, in revising such prevailing Indological notions as Romila Thapar’s traditional construal of the “classical,” Donald R. Davis Jr.’s anthropocentric definition of puruṣārtha (human aim), and Sheldon Pollock’s unvarying characterization of śāstras (treatises), models a historically aware approach that appreciates the interrelationship of mythological philosophy and philosophical mythology. (shrink)

In the formation of vernacular North Indian literature in “Hindavī,” an important role is played by “Sufi romance” (premākhyān). The earliest love narrative known as Cāndāyan, written in 1379–80, by Maulānā Dāūd has been cited as evidence supporting arguments about the rise of literary vernaculars by scholars foregrounding religious and political factors in that process. The purpose of this article is to rethink the broader arguments by revisiting the historical circumstances at the time and through a close reading for affect. (...) It invites a shift in perception by demonstrating Cāndāyan’s roots in folk narrative performativity. Concurrent with that, it is a revision of the view that the author, Dāūd, was a member of the sultanate elite. Closely reading the text’s aesthetic elements also creates a new perspective regarding who its audience was. Finally, the article explores what constitutes a vernacular emotional regime and the role of emotional communities in the emergence of Hindavī. It goes beyond the specific case study in looking for new ways to conceptualize the connections between regional centers of power and early devotional communities, highlighting their deployment of interlinkages through multiple networks of cultural production. (shrink)