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Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners Sharma, Chinmay (2017) Many Mahabharatas : linking mythic re-tellings in contemporary India. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/24908 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. Many Mahabharatas: Linking mythic re-tellings in contemporary India Chinmay Sharma Thesis submitted for the degree of PhD/MPhil 2017 Department of Languages and Cultures of South Asia SOAS, University of London 1 Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Chinmay Sharma Date: 20/03/2017 2 Abstract The ‗Many Ramayanas‘ paradigm has argued for decentering the Sanskrit Ramayana, suggesting that the Sanskrit text(s) are rarely the first point of engagement with the narrative for large portions of the audience (A.K. Ramanujan, 1999). Drawing upon this paradigm, my thesis analyzes and compares the specific networks of production, circulation and influence that exist between different contemporary Mahabharata re-tellings and their cultural milieus. The thesis seeks to understand the re-tellings conjuncturally—the formal choices that each re- telling makes and why, their articulation given the resources available and new demands, the relation of the re-tellings produced after liberalization to older ones, and the position of each in their respective cultural field. The thesis argues that to understand the ways and forms in which the Mahabahrata narrative circulates today, we must excavate and foreground the re- tellings, their multiple aesthetics, and their networks of production and circulation. In particular, the thesis focuses on specific fields—television, modern Indian theatre and poetry, and Hindi and English fiction and publishing. Chapter 1 argues that while there was a correlation between the rise of the Hindu Right and 1988 Mahabharata television serial (Arvind Rajagopal 2003), the serial drew extensively from already popular aesthetics of Hindi films and popular visual art, and created and instituted a mythological aesthetic for Indian 3 television. Chapter 2 focuses on modern Indian theatre and poetry, which eschewed commercialism, took greater liberties to experiment, and carved out a cultural niche through official canonisation and historic and repeat performances. Chapter 3 deals with popular English abridged translations, arguing that these were specifically meant to ‗teach‘ Indian culture to supposedly deracinated Indian readers and international readers. Deceptively simple, their narrative tends to iron out the problematic episodes from the epic. Chapter 4 charts the new wave of mythological fiction in Indian English literature that has followed the liberalisation of the economy and the growth of Indian English book publishing and market. Chapter 5 turns towards the mythological novel in Hindi, arguing that the pauranik upanyas carves a separate aesthetic niche for itself from Hindi mythological verse, drama and television by re-telling the mythological through psychological realism. 4 Note on Translation and Transliteration All translations from Hindi are mine unless stated otherwise. I have not bothered to transliterate the character names, though quoted passages and titles have been transliterated. For transliteration I have used the ISO 15919:2001.1 1 Available here- http://transliteration.eki.ee/pdf/Hindi-Marathi-Nepali.pdf. Last accessed, 29/09/2016. 5 Acknowledgements I owe a debt of gratitude, first and foremost, to Francesca Orsini, who has been beacon of clarity since she first supervised my postgraduate thesis at SOAS. It would not be an overstatement to say that I would not have even begun this project without her guidance and support, much less finished it. I am extremely fortunate to have had her as my guide and mentor, and she has been a model of academic and intellectual rigor that I shall continue to strive towards. I am also really grateful to Rachel Dwyer for her criticism and company, without which I would be a poorer scholar, and lead a much duller life. More generally I would also like to thank Karima Laachir, Alistair Gornall, Grace Koh, Amina Yaqin and David Lunn for their guidance, conversation, support and friendship from when they began teaching me when I first began here, and continued even after the classes had finished. My thanks to Kajri Jain for her comments on parts of my first chapter first presented a conference at Princeton. My thanks also to Stefanie, Aakriti, David, Guanchen, Maddalenna, Poonam, Nate, and Sruthi. Their friendship, thoughts and camaraderie made SOAS a welcoming, vibrant and intellectually stimulating environment for me. This thesis would not have been possible without the kindness of folks in India who were generous with their time and resources. At the Centre for the Study of Developing Societies (CSDS) I would like to thank Ravikantji for his thoughts and support, Fatimaji for her kindness and generosity, and Sachin, Alankar and Ravi Vasudevan who tolerated an interloper at Sarai with patience and good humour. My thanks to Swatantra Bogra and S. Padmanabhan, the librarians at Sangeet Natak Akademi, and Sahitya Akademi for helping me hunt down obscure primary texts and secondary readings. My thanks also to Professors Romila Thapar, Paula Richman, Brian Black, and Badri Narayan for taking the time to discuss my project. This project would have been lacking if not for the people who agreed to speak with me on the Mahabharata re-tellings in different cultural fields in Delhi, whose words have not always made it into the text, but were integral in providing me with a sense of the field. In the field of television production, my thanks to Shakti Sagar, Anand Sagar, Gufi Paintal, Shiv Sharma, and Sanjay Bhutiani for helping me understand the intricacies of television production in India in the 1980s and now. My thanks also to Akshay Manwani, Nischaya Lalka and Arvind Sharma for 6 introducing me to television people in Mumbai. In the field of theatre, my thanks to Girish Karnad, Ramgopal Bajaj, Tripurari Sharma, Amitava Srivastava and Atul Satya Kaushik for tolerating long and persistent questions on their craft. In publishing, my thanks to Achala Upendran, Ramona Sen, Arcapol Chaudhuri and Sameer Mahale at HarperCollins India for answering my questions about the intricacies of the publishing business; for the same reason I am also grateful to booksellers in Delhi, Mumbai, Ahmedabad, Juhu, Allahabad and Dehradun. My thanks to John Mason in Dehradun, Arshia Sattar, Supriya Nair, and Raghuji on their thoughts on Mahabharata in English generally. I am also grateful to Dr. Shashi Tharoor‘s office for their generosity in providing me an advance copy of Dr. Tharoor‘s introduction to the silver jubilee edition of his novel. This project would not have been possible without the love and support of friends and family scattered across the globe. My thanks to Taarini, Tanima, Sarah, Achala, Sumedha, Winnie, Elisha and Pappu for their constant support and solidarity. My thanks to Georgi, Genie, Malik, Anh-Dao, and Laila, for being there at the beginning of the PhD and for bringing calm and joy in the midst of unintentional turbulence. My thanks to Gudiya Didi and Gyan bhaiya for their generosity and support; to Jonathan, Annisa, Pooja and Shreya for their company; as well as to Asha Venugopalan and Anushka Matthew for their emotional support, patience and love through the course of this project. My thanks also to the Bonds (Pete, Ruth, Hannah and James, Max and Maria, Winston and Daisy, and Essie and Alfie), who provided a home away from home in London. Last but not the least, my gratitude to my parents— Sushma, and Gyanesh— and my brother, Akshat. They made this project possible through their emotional and financial support. I will always be in awe of their courage, and perhaps one day be just as courageous. This dissertation was made partly possible through a small grant from the Charles Wallace India Trust Fellowship. 7 Contents Abstract ....................................................................................................................................................... 3 Note on Translation and Transliteration ............................................................................................... 5 Acknowledgements.................................................................................................................................... 6 Introduction .............................................................................................................................................
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