THE DEVELOPMENT AND TRENDS OF LITERARY STUDIES IN THAILAND1

Trisilpa Boonkhachorn2

Introduction Part 3: The West Wind: The Paradigm of The New Criticism

The purpose of this article is to survey the Part 4: The Anti-Hegemony: The Local development and trends in literary studies Voice in Thailand from their beginnings to the present with particular focus on the three Part 5: The Outsiders: The Extrinsic and decades between 1965-1995. Analysis is the Interdisciplinary Paradigrris carried out on a selection of distinguished literary research studies which have not Trends for the Future: The Interdisciplinary only stimulated scholarly debate but also Paradigms influenced new study trends, paradigms or reinterpretations of major literary texts. Prologue: Paradigm Shift in Thai From this analysis an attempt will be made Literary Studies to criticize and evaluate these research studies and to suggest what could be the Thomas S. Kuhn in The Structure of future trends in Thai literary studies. Scientific Revolutions (1970; first published 1962) suggested that particular The contents is divided into 5 parts. learned communities or specialities rested upon the acceptance of "a set of recurrent Prologue: Paradigm Shift in Thai Literary and quasi-standard illustrations of various Studies theories in their conceptual, observational, and instrumental applications" These are Part 1: The Pragmatist: Traditional Thai the community's paradigms, which can be Poetics As a Paradigm for Literary Studies found revealed in its "textbooks, lectures, and laboratory exercises. (Kuhn: 1970, Part 2: The Hegemony: Literature as 43) A paradigm is constituted by a set of National History and Identity beliefs which both enables and constrains research: a framework or scaffold which 1 can underpin or support further work but This article is the conclusion to my two which of necessity also excludes a range previous research articles : The Development of possibilities. Kuhn's concept of the and Trends of Literary Studies in Thailand paradigm shift enters into literary study in from the Beginning to 1985 (Boonkhachorn: 1987) and The Development of Literary relation, very often, to arguments about Studies in These Past Three Decades and interpretation. We interpret the evidence Trends For the Future (in progress). of a text differently when our literary 2 Assistant Professor, Department of paradigms change, just as the scientist Comparative Literature, Faculty of Arts, interprets the evidence provided by an Chulalongkorn University, Bangkok, Thailand

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experiment when his or her scientific prosody. Even though, in those ancient paradigms change. (Hawthorn: 1992) times, there was not a Thai word for "poetics" (it having only been coined a In this article, an effort will be made to few decades ago; the result of the analyse the paradigms and the paradigm influence of Western literary criticism on shifts in Thai literary studies from their Thai literary studies) a concept of Thai beginnings to the present . poetics existed and emphasised pragmatism or practical knowledge over Part 1: The Pragmatist: Traditional theoretical knowledge. In Thai, there is Thai Poetics as a Paradigm for nothing which corresponds to the Poetics Literary Studies of Aristotle. Though Indian textbooks about prosody such as Wuttothai and Before contact with the West, the centres Alangkarasat, (the art of poetics and of cultural and literary activities were the elaboration) were cited, they were not royal palace and the temples. The literary actually translated into Thai until the texts which have been handed down to the beginning of the Rattanakosin era. present time were products of these two Kusuma Raksamani in her research titled centres. Popular, common or folk literature "Kan Wikhro Wannakhadi Thai Tam certainly did exist but, its literary periods Thritsadi Wannakhadi Sanskrit" (The are hard to trace. Literature supported by Analytical Study of Thai Literature by royalty had authority over all other literary Sanskrit Theory of Literature) concludes activities, up until the influence of the that the Sanskrit theory of literature (found Western education system on Thai literary in Alangkarasat) did not have influence on studies took effect. the sphere of Thai literature until the Rattanakosin era. (Raksamani: 1989). Thai The word "poetics" is Greek in origin and scholars appear to have selected and means "the art of poetic creation" Poetics adapted only certain parts of these Pali and signifies writing that deals with the art of Sanskrit textbooks, to which they added poetry or presents a theory of the art. The Thai examples and commentaries based on most famous instance of such a treatise is their own aesthetic and moral values. Even Aristotle's Poetics. Emil Staiger, in his though there is no elucidation of the afterword in Basic Concepts of Poetics, concept of Thai poetics, this concept can concludes that poetics is only a question of be indirectly derived from literary texts the practical instructions which will themselves and from textbooks about accomplish for the poet what the doctrine prosody. of counterpoint and harmony does for the composer. Poetics teaches what it is that The concept of poetics thus existed in Thai constitutes the nature of poetic creation. literary history before contact with the Poetics organizes the available models and West, and before a word for it was actually in so ·doing poses the problem of genre. coined in Thai. Some excerpts from Poetics instructs the experienced poet traditional poetry express the poetic wanting to write. repertoire, the poetic process and the aesthetic values of poetry and this Poetics in this sense is similar to the indicates that from the very beginnings of concept of poetics which appears in the Thai literary history, the poetic ancient Thai textbooks written about phenomenon was closely observed by at

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least the poets themselves. Thai poetics J!. (V ~" 4::31 ZllCJncr~n"YFY1CYVJm-:~u HfJJv~1V puts heavy emphasis on the musicality of words. This musicality has its origins in unnfinnCICJ'I.J'Wr~CilJ l~f'Yrj the tonal aspect of the Thai language itself, 7run~trvuu~uno mn~o.J from the choice of words (influenced by prosodic constraints, rhyme, alliteration mn~u1 and assonance), and from the special liemf1 TCI1.11u techniques required by each prosodic form. Having known all knowledge of women and men, When explaining poetic creation or its aesthetic values, traditional Thai poetics I will tell the poetic story of tends to focus on the musicality of words. Phra Law, the Perfect, The aesthetic value of poetry rests heavily on the quality of its melody, this being Narrated melifluously, most enchantingly, created by the beauty of the sounds used. This melody of sounds refers to their Together with the sound of a melodious smoothness to the ear, which originates alluring flute. from a harmonious choice of words arranged in a well organised order, In another stanza from the same source, dictated by poetic constraints and the Lilit Phra law expresses the poet's specified techniques of expression. evaluation of his own poetry along with an expression of his intention to please his Emphasis on the musicality of words was royal patron. obvwus from the beginning of the emergence of Thai poetry, during the early Ayutthaya period (1350-1488). Three crnmiYv.J.Yuchua?.J 1rnhu masterpieces of this period, Lilit Yuan ti.Jtcr'I.J1~ 1rnju nEvu M' Phai, Thawathosamat and Lilit Phra Law, express a similar standard of poetic tnCI7nCIVunm-:~nCJnnm' " evaluation. During that time there existed nCtnliVll 1uu1 a poetic convention refered to as • , 7"' "attawiphak" or self-evaluation, by which O'J1V'U1l~vnn n poets (or scribes) evaluated their own works; they likened their melodious poetry The chanting pleasant sounds are beyond to celestial garlands which adorned the compare, ears of its listeners. According to poets their excellent poetry would endure Peerless, melodious, throughout time. The confidence with which .the poets promoted their own works The artistic poetry soothes the hearts, is apparent and attributable to the fact that, It is provides for the meritorious king. because their works were patronised by royalty, the poetry which they devoted and It is obvious that the aesthetic value of this dedicated to the monarch and presented in work is based on the melodious sounds praise of him and for his entertainment, created by a meticulously arranged could only be perfect. narrative, comparable to the sound of a

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musical instrument. This verbal melody process includes the melodious quality of moves and enchants its listeners. The first sounds, the action of the creative process priority of poetic value or literariness is and the action of the sender. The medium the musicality of words. The function of consists of words and sounds. The receiver poetry in this respect is similar to that of process the action of receiver and the music in that the euphony of rhythms effect on the receiver. In the receiver enchants, enriches and, in some instances, process, the only action mentioned is enlightens its listeners. This emphasis on listening and the effect on the listeners the quality of sounds is still evident in the which can be divided into three steps. poetry of the modem period, though it is First, poetry like music, addresses itself to not the sole quality by which it is the ears. Secondly, it entertains, moves, evaluated. enchants or soothes the heart and the soul of the listeners. In some cases it will reach Another interesting observation can be the third stage; that is, it will broaden the made from these excerpts. The poetic mind of learned persons or scholars. repertoire expressed here consists of three Poetry can entertain, enchant and enrich elements; the producer (the narrator or the ears, the heart and the mind of those chanter), the text (not the written one but who listen to it. that which is performed accompanied by music) and the receiver (who is Thomas Hudak in his chapter about "The emotionally moved by what is heard). As Aesthetic of Sound" in The Indigenization . for the narrator or poet, he claims to have of Pali Meters in Thai Poetry notices that knowledge and understanding of all men the central problem of the definition of and women, in effect human nature. He is what constitutes a melodious sound therefore perfect (by his own estimation), (phairo') is left to the student's intuition. to narrate this poem which concerns Hudak, from the linguistic point of view, human passions. From a Buddhist point of concludes that the specific techniques used view, passionate love is a source of trouble to create a language that is melodious are and misery. An experience and matu:re reduplication, intensification, the use of understanding of human nature and puns, the use of elaborate expressions, the emotions are the basic knowledge a poet is use of particles, and the use of special supposed to have in order to compose vocabulary. (Hudak: 1990) artistic poetry. They are therefore part of poetic creation. What Hudak explains as the "student's intuition" or "subjective" can be perceived The aesthetics of Thai poetry rests solidly from the Thai point of view as "learning upon the quality "phairo", which signifies from the Masters" or "listening to the that which is "melodious, sweet, musical voices of authority." This traditional way and harmonious, pleasing to the ears and of learning, in the Thai social context, tuneful." means that competence in reading poetry and aesthetic evaluation, are based on a The boundaries of poetry and music are student's knowledge of prior texts. The interrelated in the area of aesthetics. The more one reads, the more one can develop poetic process can be divided into three the ability to evaluate because the major elements: the poetic process, the familiarity of the poetic sounds of prior medium and the receiver. The creative texts will become the norms of poetic

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evaluation. In other words, memory "wai khru" is active not only in the literary becomes the basis of aesthetic evaluation. field but also in other domains of cultural This way of learning is common in every activities, such as music, pamtmg, field of traditional Thai arts. For example, sculpture, etc. As for literary convention, the way to learn a Thai musical instrument this type of mimesis can be seen in the tends to be by heart rather than by musical fixed structure of literary texts. These notes. The "wai khru" tradition or "pay "fixed" or constant styles of narrating can respect to the teachers or masters" be classified into two categories: general tradition is, therefore, very significant in literary composition and the literary the Thai social context because the conventions for specific genre. The literary lmowledge from the teacher will guide the convention of mimesis offers two types of student's way to experience and to literary activity. First, the follower encourage his or her own creativity. paradoxically copies the master as well as competes with him. In this way, the The authoritative reference or the voice of innovation is similar to restoration in the the master has been used as a paradigm of sense that the later poet chooses to follow learning since Jindamani, the first only the best and improves the weak textbook that explains the "science" of points for the better. poetry by concentrating on prosodic form. In Jindamani, each prosodic form is This paradigm of traditional Thai poetics explained briefly in prose and is followed dominates the literary world. It can be said by the pattern of numbers of words with that the perceptions of literature which are rhymes and tonal constraints. The best transmitted in the classroom are influenced example of that prosodic form, an excerpt by this paradigm. from a literary text, is given as the masterpiece of that genre. Then the Part 2: The Hegemony: Literature constraints of that prosodic form are as National History and Identity explained in that prosodic form itself. This pragmatic way of learning has the Somdet Krom Phraya Darnrong immediate effect of incorporating the Rajanuphap or Prince Darnrong ( 1862- aesthetic values in the unity of the sounds 1943) played the most important role in and meaning. It is understood that the Thai literary circle when he was the head accumulation of the authorities in memory of Wachirayan Library (at present, the enables the reader to recollect the prior National Library). He can be called the texts when slhe encounters new texts. The founding father of Thai historiography. comparative process and the horizon of The great achievement of Prince Darnrong expectation generates the aesthetic lies in his attempt to create a set of evaluative action in the immediate process systems for Thai literary history. which may vary according to the texts and (Nagavajara, 1985) Most of the textbooks the reading competence of the reader. about the history of Thai literature (iBoonkhachorn: 1992) published nowadays can be said to follow the pattern set by Prince Darnrong. During Traditional Thai literary convention also the time when Prince Darnrong was the emphasizes the mimesis of the authorities head of the National Library, manuscripts or the imitation of the master pattern. The were classified, edited and printed as "paying respect to the teacher" tradition or books with brief introductions on each

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manuscript's history and its author. Prince Phaen is a sophisticated revised version of Damrong himself was interested not only this folk masterpiece. It is, therefore, in literature but also history and necessary to remind oneself of the archeology. He concentrated on editing differences between the manuscripts and Thai manuscripts and initiating· the the printed versions This process of foundation of a historical approach to "chamra" (meaning: to clean, to purify, to literature in the light of history and revise) or editing has been part of the archeology. His historical approach to literary tradition since the Ayutthaya literature, together with biographical and period. In many manuscripts, at the end of generic approaches, emphasized the the story, writers (or sometimes scribes) historical background of literary works left the text "open", inviting later poets or and authors. He wrote studies on many readers to make revisions that they important genres such as drama, the Sepha considered appropriate. (a Verse Narrative), the Kap He Rua (The Boat Song) and Sakkrawa (Verse Prince Damrong's editing also emphasized Repartee). the historical and biographical background of each literary text. He analysed,made Prince Damrong in the History of the comparisons of various versions of texts, Royal Library explains the process of and chose the one which he believed to be collecting and editing. Firstly, the staff had the most appropiate. Many texts, he to act as collectors of the manuscripts. concluded, had multiple authors over the Secondly, they had to fulfil the function of course of their histories. Although Prince editors, and thirdly, the personel also Damrong never wrote a complete history engaged themselves in the dissemination of Thai literature, it can be said that no and promotion of the Thai literary history of Thai literature would have been heritage. In the Preface to Sepha Khun possible without his pioneering efforts. As Chang Khun Phaen (The Story of Khun the authority of Thai literary Chang Khun Phaen), Prince Damrong historiography, he was the pioneer in this states that the process of editing various field. Obvionsly, his works have both manuscripts was very complicated and strengths and weaknesses. His great difficult due to the variations of the achievement lies in the question of different verstons. He solved these authorship, the writing of literary histories problems by cutting out the obscene parts, of some oral literary texts, and the by polishing up the vocabulary and style development of literary genres within a and by editing for the sake of coherence. historical framework.

From this introduction it is interesting to However, there are many weak points in note that the printed literary works Prince Damrong's works which are worth circulated until the present time are considering. First, his standard of aesthetic products of the evaluative and editing and moral judgement was based on his processes of the period. Originally, Sepha social class, political values and aesthetic Khun Chang Khun Phean was folk taste. This standard influenced his editing literature with all the elements of the folk and the rewriting processes. Secondly, literary tradition, such as sexual jokes, literary history from Prince Damrong's black humor and local color. The print point of view, was dependent on political version of Sepha Khun Chang Khun events, which he tended to use as the basis

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for dividing literary periods. In this way, which survey the National library's literary literary history does not have a life of its manuscripts (situated in the Manuscript own, as a cultural activity interrelated with and Inscription service department); others in the social process. "History" in concentrates on, the history of Thai this sense is the chronology of events literature, the editing of manuscripts and which tend to center around the royal the tracing of the real date of the writing of dynasty. Thirdly, his hypotheses about the a text. It bravely challenges old historical period of some manuscripts have conclusions. For example, in "Yuan Phai been proved by later schlolars to be wrong. Klong Dan: New Proposal", she asserts However, because his is considered to be that Lilit Yuan Phai was written during the authoritative voice, the majority of the reign of Phrabaromrajathirat ill textbooks produced still take his (1488-1491, the eldest son of assumptions to be fact.Prince Damrong's Phrabaromtrailokanat). In "Phali Son contribution to Thai literary studies helped Nong, Thotsarot Son Phra Ram and later scholars such as, Pleung Na Nakhon Ratchasawat : Who is the real author?", to draw up a framework for the history of she proposes that King Barommakot wrote Thai literature based on his hypotheses of these three masterpieces and not King the time and period of each literary work. Narai, as concluded by the Literary Because of the lack of textbooks on Thai association committee, headed by Prince literary history, Pleung Na Nakhon's Damron g. Prawat Wannakhadi Thai Samrap Naksuksa (History of Thai Literature for In "Khlong Lokkanit: Study on its Students), written in 1937, is still the most Sources" (1994), Niyada attempts to ·seek popular in this field inspite of the fact that the sources of Klong Lokanit, written by many of its classifications of literary Somdet Krom Phraya Dechadison, by the works in historical periods, have been examination of its manuscript and its Pali challenged by scholars. It is ironic that and Sanslcrit scriptures. It is not hard to later scholars and students in this field say that Niyada has had a significant role have tended to follow Prince Damrong's in the survey of ancient literature, work without further study or discussion. challenging long-established conclusions In the later period, when New Criticism and producing new knowledge for literary entered the arena of Thai literary studies, studies. this historical and traditional text-edit approach was largely ignored. There are few people who have attempted Unfortunately, during these past three to conduct literary research by adopting decades, there have been scholars who historical approaches and concentrating on continue his task and challenge some of the editing of manuscripts. A portion of Prince Damrong's hypotheses, i.e. those who have are students at the Thai Sumalee Keeyakun, Niyada Laosunthom. inscription section of Silpakom University. For the most part the improvement of During the past two decades a work by manuscripts has been the task of foreign Niyada Laosunthorn, Literary scholars, such as Dr. Giles Delouche of the Consideration (1992), is of interest in the University of Paris (I.N.A.L.C.O). An way that it challenges established expert in Tai, he deems the editing of conclusions on literary history. The work, manuscripts as crucial, proposing that a compilation of her academic articles scholars should explain the characteristics

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of each manuscript, compare them and Principles of Literary Criticism. Iri his thoroughly analyse each of them. These opinion, the guidelines for criticism have processes must be carefully observed so two steps. These are, firstly, to analyze the that scholars arrange literary texts sounds of words and style which convey accurately and present information from the deep meaning, and secondly, to all the manuscripts available and not just proceed from sound to senses, images, and from one version. Delouche considers the emotions. I.A.Richards'four kinds of editing of manuscripts to be the most meanings (sense, feeling, tone, and important process for literary studies to intention) were applied along with close progress and be effective. Literary critics reading practices to excerpts from only waste their time if they trust poorly Thai classical literature. Prince edited literary works. In order to work Narathipphongpraphan was the pioneer more effectively, Delouche suggests that who introduced and applied the New literary scholars work together to edit Criticism to Thai literary study. Later on manuscripts and to gather together every the New Criticism was explained in detail available version of a manuscript from in the well-known textbook by Dr.Wit everywhere in Thailand (National library, Siwasariyanon (first published in 1943): temples, personal collections). Then they Wannakhadi lae Wannkhadiwijan should micro-film them and store this (Literature and Literary Criticism). record in the Nartional library. In his However, the New Criticism was not consideration of further projects, he greatly influencial on Thai literary studies maintains that research be conducted until the thesis "Kan Nam Wannakhadi on the Thai . language, vocabulary, Wijan Phaen Mai Ma Chay Kap orthography and grammar, so that ancient Wannakhadi Thai" (The Application of the Thai may be understood (Giles Delouche: New Criticism to Thai Literature) by 1985). Chonthira Sattayawatthana in 1970. This Thesis presents a selection of major The trend in literary historiography and the Western approaches which include the editing of unpublished manuscripts has psychological approach of Sigmund Freud, declined in the last two decades. the archetypal approach of Carl Gustav Jung and the aesthetic approach, especially Part 3: The West Wind: The the close reading technique of Paradigm of the New Criticism I.A.Richards. As for the aesthetic approach, the close reading presented in The New Criticism first emerged the thesis emphasizes the four kinds of in Thailand in the form of a series meaning together with symbolism, of articles written by H.H.Prince paradox, and ambiguity. Excerpts from Narathipphongpraphan and printed in traditional and modern Thai literature are Prachachat after 1932. These articles were analyzed by using practical criticism as a later collected and reprinted in a book paradigm of study. titled, Witthaya Wannakam or Literary Knowledge. In his work, the prince stated This thesis established a precedent for that he had integrated the concepts of succeeding graduate theses and has had a literary criticism from Arnold Bennett's major influence on the teaching of Thai Theory in Literary Taste by Aber literature in higher education. The close Crombie, with those from LA. Richards's reading technique seems to have been the

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most successful aspect of this thesis, Part 4: The Anti-Hegemony: The which has influenced the study of Thai Local Voice literature in many ways. Firstly, the application of the New Criticism to Thai In these last two decades, the progress of literature revitalised the literary world, folklore and local literary studies in many which at the time was stagnating in a institutions all over the country is the technique of paraphrasing and the promising sign. Studies in local literature memonsmg of archaic vocabulary. have obviously been developed in Secondly, the aesthetic approach of close quantitative terms. Many educational reading was compatible with traditional institutions have founded their own Thai literary studies, which emphasized cultural centres, for examples those in, aesthetic evaluation over interpretation. Chieng Mai, Mahasarakham and This "objective" or "scientific" approach Songkhla. They also offer courses at the seemed to upgrade with linguistic postgraduate level. These have led to a explanations the subjective mode of great number of theses and research papers literary study. Thirdly for graduate study, dealing with the transliterations of old the trend in literary research has been manuscripts, which in turn comprise the guided by the close reading approach (or major database for studies in regional the "micro" approach) limiting research to literature. In every region of Thailand, a single piece of literature and tending to these centres for local cultural studies ignore context, especially social context. It together with each institution's department can be said that the objective of close of Thai language and literature play the reading is "aesthetic appreciation" instead important roles of, collecting, conserving of the many other modes of interpretation. and transliterating unpublished local manuscripts. Over the past three decades Another consequence of the the study of local literature has become institutionalization of the New Criticism is one of the major trends of Thai literary the focus on artistic creativity and original studies. Educational bodies which help authorship. The most obvious evidence of champion such studies include the Thai this are the numerous literary awards · Studies Section at Srinakharinwirot which nowadays are major events in the University-Songkhla, the Lanna Studies Thai literary world. The intentional and Section at Chieng Mai University and the the affective fallacies still play their Northeastern (I-san) Studies Section at important roles on the literary stage. With Srinakharinwirot-Mahasarakham. Apart the institutional and pedagogical practices from these, research papers on manuscript of the New Criticism still active, how can transliteration can also be found at the a paradigm shift occur in order to break Thai Inscription Section, the Department out from the institutional self-closure and of Eastern Languages at Silpakorn the closed evaluative criticism that limit University. The approaches and the study of the wider social process methodologies used in such theses and within which texts are written and read? research papers include; those which

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attempt to depict the whole picture of Anatole Roger Peltier, a foreign regional literary studies; those which researcher, to transliterate Tai Lu and Tai select to study the literature of a certain Kheun literature. Peltier is an expert on group of people; those which study Lanna's art and culture, as can be seen regional literature in a comparative from his transliteration of Chao Boonlong manner; and those which conduct studies (The Golden Peacock), an ancient Lanna on a definite topic or story. sermon (1992), and from his comparative study of the literary manuscripts, Tai Lu Information concerning regional literature and Tai Kheun (from Chiengtung in can be gathered from literal sources, such Northern Myanmar).Both works were as ''Koi"or ''But" and palm-leaf manuscripts, transliterated into Thai and later translated or from interviews. It can be said that into French and English. By analysing and cultural centers in each region have played comparing versions of manuscripts, Peltier a significant role in gathering information also transliterated Sukwanna Wua Luang, before it is forever lost. Another point (the Golden Ox), a Tai-Kheun's local worth mentioning here is that not only Buddhist .Jataka from Chientung (1993), information from each region from into Thai and later translated it into Thailand, but that from the Tai region in English and French. His research indicates the South of China, has also been an interesting trend in literary studies accumulated, resulting in the widening of which should be encouraged, as it the scope of literary studies in comparative represents an attempt to preserve manners. manuscripts before they vanish completely, as well as to make regional Many MA. theses by graduate students of literature known to the nation. these universities are the products of editing. these local treasures, i.e. "The Another foreigner who has played a Analysis of Tai Lu Langka Sip Hua (Tai prominent role in conducting research on Lu's Ramayana)" by Charoen Malaroj Lanna regional literature is Harald (1986) and the Comparative Studies of Hundius from Kiel University, Germany. Nang Phom Hom in Lanna, Northestern, Not only does he take interest in and Tai Lu versions" by Kaysorn transliteration research, but he has also Sawangwong (19,88). Even though the studied the relationship between Lanna theses have been conducted on a small literature and society. He asserts that and inclusive scale, they constitute an Buddhism has become a moral code interesting trend in that they help to which determines the mentality of its increase the amount of information about social members. Literature itself reflects regional literature and extend knowledge the moral values which have been of it to an international level. Moreover, generated by Buddhism. Hundius remarks these works in tum serve to preserve are also interesting because he believes unpublished manuscripts and benefit that more important than the research studies on the Tai tribe (which to fully itself is the fact that local monks and understand requires the application of villager should be encouraged to other areas of studies). appreciate and preserve their own cultural heritage, which they can make use of In addition to research m the form of when studying their own intellectual theses, there also exists an attempt by heritage. It is his belief that should

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Thailand wish to preserve its uniqueness, thesis inspired the aforementioned this heritage itself will be of immense use seminar and proves that a thesis written in later. (Harald Hundius: 1995) an educational institution can engender academic debate on a large scale, and The use of other areas of knowledge and make a contribution to new knowledge. other disciplines to study regional literature is another noteworthy trend. Comparative Studies in regional literature, This leads us to better understanding in whether the same work in the same period historical, social, and cultural manners. or different regions is comparatively The Art&Culture Pubishing House, led by studied, or whether local literary work is Sujit Wongthet, organised an academic studied on the same lines as that of the seminar on Mahakap Khong Usakhanay royal court benefits the creation of a Thaw Hung Thaw Cheung Wiraburut complete picture of Thai literary history. Song Fang Khong (The Epic of Southeast Theses in this line of study include Asia: Thaw Hung Thaw Cheung Heroes "Shared Characteristics Between Phra of The Khong River), and collected a Malay Phun Ban lae Phra Malay Kham great deal of research work concerning Luang" by Wattana Na Nakhon (1982), (a this epic, conducted by academics from thesis of the Program in Comparative the past to the present, such as Jit Literature at Faculty of Arts, Phumisak, Thida Saraya (a historian), Chulalongkorn University); and also the Srisak Walliphodom (an archeologist), thesis "Lanna's Versions of Ramayana: A Prakong Nimmannhemin (a literary Comparative Study" by Phichit Akkanit scholar), Maha Sila Wirawong and (1984). To date, however, a textbook or Duangduen Boonyawong, two academics research is yet to be written on the from Laos. The study of a specific literary complete picture of Thai literary history. work from different perspectives, by scholars from different disciplines was an If we take a look at the research on interesting exercise, even though the regional literature in terms of regions, the editor's conclusion could be contested on studies in the North, the South and the certain points. Such an academic seminar Northeastern regions have greatly is able to generate knowledge which advanced. In each of the regions, local should be pursued further. literary scholars can be referred to and the amount of research work is on the rise. Further on the subject of regional Surprisingly, the Central region is the one literature, the thesis "MahaKap Thaw Ba in which the least amount of research Cheung: An Analytical Study" by Prakong work into regional literature has been Nimmanheminda (1987) represents an conducted. The majority of the research attempt to study this epic from -the work concentrates on oral literature, National Library's manuscript, (which rather than on manuscripts. Many cultural Maha Sila Wirawong has transliterated). centres in the Central region do not In this work Prakong conducted her study possess a satisfactory amount of research by comparing this manuscript with other work dealing with the preservation, versions of the epic. She then analysed the dissemination and survey of the region's unity of it by judging its content and literature. Perhaps the most outstanding language, and provided an evaluation of it Central cultural centre is the Petchaburi in terms of its artistic literary content. This

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Teaching College, at which Lorn engendered the lively high class culture of Pengkaew holds a regular academic post. the Early Bangkok period.

The comparative perspective may guide The extrinsic paradigms generate in the this trend to the construction of the "real" literary world in these past three decades Thai literary history. The distinguished are, for examples, those of sociology, scholars in this trend are, for examples, political sciences, history and Marxism. Sutthiwong Phongphaiboon, Thawat Poonnothok, Prakong Nimmanhaeminda, Epilogue and Trends for the Future Udom Rungruengsri, Anatole-Roger Peltier and Harald Hundius. In these past three decades, some interesting trends can be observed. Part 5: The Outsiders: The Extrinsic and the Interdisciplinary Paradigms Firstly, the expansion of the literary texts as objects of study which covers not only Rene Wellek & Austin Warren in Theory the royal and religious texts, but also the of Literature divided the approaches to oral and folk literary texts including the literary study into two types: the intrinsic media creates new horizon for Thai and the extrinsic approaches. The extrinsic literary studies. The emergence of local approach cover "other" disciplines, i.e. literary study is promising and flourishing society, psychology, ideas. In Thai literary in these last two decades. studies' domain, the contributions of the "outside" scholars are extremely challenging Secondly, the New Criticism's paradigm is and productive. The best example is the still very much present in academic debate about literature in the Early institutions which tends to generate a Rattanakosin period by Nithi Ieosriwong historical and aesthetic-oriented and the "inside" scholar, Duangmon perspective and lead to the "micro" study Jitjarnnong in her Ph.D. Thesis titled of literature. "K.hunkha lae Laksana Den Khong Wannakhadi Samai Rattanakosin Ton Ton". Thirdly, the lack of new paradigms in literary discourse is one factor that causes Nithi leosriwong, a distinguished historian, the stagnance of Thai literary studies. The in Watthanatham Kradumphi cultures "extrinsic" scholars have made a much engendered the lively higher class culture needed contribution of controversy and of the Ayutthaya period. Kap Wannakam debate to literary circles, i.e. Nithi Ton Rattanakosin (Bourgeois Culture and Ieosriwong and Sombat Janthornwong. Literature of the Early Rattanakosin Period) concludes that the literature of the Early Under this circumstance, how can we Rattanakosin period was produced and move to the future? consumed in the society when the ·sakdina literary tradition of the late Ayuttaya Thai Literary Studies in the Ivory period declined. The higher classes, a Tower? combination of the ruling class and the new bourgeoisie began to acknowledge The situation of literary studies in the popular literary tradition. The universities is not fundamentally different combination of these two literary cultures from the situation of the other disciplines,

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that is to say it has become too specialised. Raksamani, Kusuma. 1989. Kan Wikro The problem remains of how to reconcile Wannakhadi Thai Tam Thritsadi the "academic" literary studies with life in Wannakhadi Sanskrit. Bangkok: general and the culture of the world Mumlanithi Khrongkan Tamra outside of the universities because the Sangkohmsat lae Manutsayasat. Sattayawatthana, Chonthira. 1970. Kan Nam university is not the whole world. Wannakhadi Wijan Phaen Mai Baep Tawantok Ma Chai Kap References Wannakhadi Thai. M.A. Thesis. Department of Thai, Chulalongkom Bassnett, Susan. 1993. Comparative University. Literature. A Critical Introduction. Wellek, Rene & Warren, Austin. 1977. Theory Cambridge: Blackwell Publishers. OfLiterature. New Revised Edition. Boonkhachom, Trisilpa. 1992. Intertextuality in New York and London: A Harvest Thai Literary and Social Contexts: Book. A Study ofContemporary Poets. A Dissertation for the Degree of Doctor of Philosophy (Comparative Literature). The University of Michigan. . 1987. Patthanakan ------~--~~--Kansuksa lae Khonkhwa lae Wijai Wannakhadi Thai. Bangkok: Faculty of Arts, Chulalongkorn University. Graff, Gerald & Gibbons, Reginald, ed. 1985. Criticism in the University. Tri Quarterly Series on Criticism and Culture, No 1. Illinois: Northwestern University Press. Hawthorn, Jeremy. 1994. A Glossary of Contemporary Literary Theory. Second Edition. New York: Edward Arnold. Hudak, Thomas John. The Indigenization ofPali Meters in Thai Poetry. Southeast Asia Series Number 87. Athens, Ohio: Ohio University Press. · Koelb, Clayton & Noakes, Susan, (ed.). 1988. The Comparative Perspective on Literature: Approaches to Th eory and Practice. Ithaca: Cornell University Press. Kuhn, Thomas S. 1970. The Structure of Scientific Revolutions. Second Edition. London: University of Chicago Press. Nagavajara, Chetana. 1985. "Literary Historiography and Social-Cultural Transformation: The Case of Thailand," in Journal ofthe Siam Society: 73.

Ill

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