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17Th World Sanskrit Conference 17⁠ TH WORLD S⁠A⁠N⁠S⁠K⁠R⁠I⁠T CONFERENCE 9-13 July 2018 University of British Columbia Vancouver, Canada Abstracts Abstracts of Papers 17th World Sanskrit Conference July 9th–13th, 2018 University of British Columbia Vancouver, BC, Canada Typeset in Alegreya Sans, designed by Juan Pablo del Peral for Huerta Tipográfica and released under the SIL Open Font License. i Editorial Remarks All the abstracts have gone through an editorial process in which the sections convenors and the organizing committee have participated, and the papers have received a varying amount of editing. The abstracts have been arranged first according to the section in which the paper will be presented, and second alphabetically according to the last name of the author. ii Table of Contents Keynotes and Plenaries ................................................................................................................................ 1 1. - Veda.................................................................................................................................................. 7 !"#$ 2. - Linguistics ........................................................................................................................ 47 %&'&(&)* 3. - Vyākaraṇa ........................................................................................................................... 75 +&,-.* 4. - Epics ................................................................................................................ 106 -&/&0.1 /2&%&-31 4 5. - Purāṇas ................................................................................................................................ 121 56-&.& 78 6. - Tantra Studies .................................................................................................................. 140 319 !8/ :($ 7. - Ritual Studies ....................................................................................................... 158 !8;76<&7 !8/ :($ 8. - Poetry, Drama and Aesthetics ................................................................................. 166 ,&+/=>&-? 9. - Scientific Literature ............................................................................................... 217 !@A& 78,1 !&B0* 10. - Buddhist Studies ............................................................................................................. 221 CDE !8F& 11. - Jaina Studies ...................................................................................................................... 246 G@7 !8F& 12. - Vaiṣṇavism and Śaivism ................................................................................. 264 !@H!/31 (@!/31 4 13. - Religious Studies ............................................................................................................ 273 I :/!8/ :($ 14. , - Philosophy ..................................................................................................... 281 # :(7&78 3J(&)* 15. - History, Art & Architecture, Epigraphy ........................ 339 K 3L2&M$ ,=&$ N&5O/ %P="Q(&)1 4 16. - Sanskrit & Regional Languages, (& Southeast Asia).................................... 354 M1RS31 T#"(%&'&? 17. - Sanskrit Pedagogy........................................................................................... 363 M1RS3 (UV&(&)* 18. - Modern Sanskrit Writings ................................................................... 375 WI6 78,1 M1RS3M& 2XO* 19. - Computational Sanskrit & Digital Humanities................................... 389 M1RS31 !8A&73& YZ,[ 4 20. - Manuscriptology................................................................................................ 406 2\="Q !8A&7* 21. - Law and Society .............................................................................................. 416 I :/(&)/ :](&)1 4 22. - Yoga and Āyurveda ........................................................................................................ 432 0^_&06!`#D 23. - Sanskrit and the Panjab............................................................................... 456 M1RS31 5a&CT#"(? 24. - Sanskrit and Indo-Persian Culture ........................................................... 460 M1RS31 5&-Mb!&B01 4 Special Panels ........................................................................................................................................... 463 iii 17th World Sanskrit Conference, 2018 Keynotes and Plenaries Keynotes and Plenaries Registres de la théâtralité indienne : le théâtre comme pratique religieuse (En hommage à André Padoux) Lyne Bansat-Boudon EPHE (Paris, France) Théâtre et religion ont en commun d’être, avant tout, des « pratiques ». Pas de religion sans ses rites, pas de théâtre (dans les conceptions indiennes, comme en Occident) sans sa représentation, c’est-à- dire sans sa mise en œuvre et en jeu. C’est ce que met en évidence le Nāṭyaśāstra, non seulement dans le mythe d’origine qui se déploie au long des cinq premiers chapitres (et dans les deux derniers), mais aussi dans la majeure partie des autres chapitres du traité, consacrés à la « fabrique » du théâtre, en particulier, et très longuement, aux registres de jeu (abhinaya). Il en est de l’histoire du théâtre indien comme de celle du théâtre occidental : on pose pour lui l’hypothèse d’une origine religieuse. Dans ce contexte, nous examinerons le mythe d’origine du théâtre, dans lequel le modèle herméneutique dominant est celui du rite. Outre que le théâtre s’accompagne de rites réels, il vaut, métaphoriquement, pour un rituel, participant ainsi, à divers degrés, de la pratique religieuse. Toutefois, il n’est plus question de métaphore quand on en vient à considérer le fruit même de la pratique dramatique, à savoir l’émotion esthétique (rasa). Avec le rasa, c’est directement, cette fois, que le théâtre se constitue en pratique religieuse, puisqu’il s’agit d’une expérience de l’ordre de l’intime et de l’intériorité, au même titre que l’expérience spirituelle. Ce sera l’occasion de rapporter à l’expérience esthétique les spéculations du śivaïsme non dualiste du Cachemire. Registers of Indian Theatricality : Theatre as Religious Practice (In homage to André Padoux) Lyne Bansat-Boudon EPHE (Paris, France) What theatre and religion have in common is to be first and foremost practices: there is no religion without rites, no theatre (whether in Indian or Western conceptions) without performance, that is to say without putting drama into production and into play. 1 Keynotes and Plenaries 17th World Sanskrit Conference, 2018 So teaches the Nāṭyaśāstra, not only in the myth of origin narrated in the first five and the last two chapters but also in most of the other ones dedicated to the ‘making’ of theatre, in particular the extensive analysis of the registers of acting (abhinaya). The history of Indian theatre shares something with its Western counterpart: both, each in its own way, assume that theatre has religious origins. In this context, we shall analyze the myth of origin of theatre, in which the prevailing hermeneutic model is that of the rite. Besides the fact that theatre is accompanied by actual rites, it has the metaphorical value of a ritual and thus comes under religious practice in several ways. Yet there is nothing metaphorical about the effect of dramatic performance, namely the aesthetic emotion (rasa). With rasa, theatre indeed actually turns into a religious practice, since it is an inner, intimate experience, like the spiritual one. This will be an opportunity to compare the Indian aesthetic experience to the speculations of non dualist śaivism of Kashmir. 2 17th World Sanskrit Conference, 2018 Keynotes and Plenaries Philology, Text History and History of Ideas George Cardona University of Pennsylvania (Philadelphia, PA, USA) I consider several aspects of a passage from the beginning of Yāska’s Nirukta. In manuscripts, the text itself commonly is not punctuated. The earliest commentator on the Nirukta, Durga, adopts a division of the text that is also found not only in Skandasvāmin’s commentary but in citations by later authors in different contexts: Śabarasvāmin, Maṇḍanamiśra, and Śaṅkara, the author of the Yogaśāstravivaraṇa. Moreover, this textual division is in harmony with Yāska’s presentation of ideas and a particular syntactic feature. In 1916, however, P. D. Gune argued that this division is unacceptable. Gune’s main reason given for this claim is that the traditionally accepted textual division reflects an interest in the sentence and its meaning which should not be attributed to Yāska. Since Yāska was an etymologist, claimed Gune, he was interested only in the individual word. In his own words, “Moreover, to the etymologist with a vengeance, as Yaska (sic) surely is one, the word or पद is everything and the sentence or वाक is nothing.” This assertion was advanced without supporting it with textual evidence from the Nirukta itself. Nevertheless, as I show, this work shows that Yāska did indeed concern himself with the sentence. Consequently, the argument against the traditional textual division fails. Another important consequence is that the text shows Yāska held a view concerning the sentence which matches the position of Pāṇini: the principal meaning of a sentence with a finite verb form is the action denoted by this verb. 3 Keynotes and Plenaries 17th World Sanskrit Conference, 2018 The Śākta Transformation of Śaivism Alexis Sanderson University of Oxford (Oxford, England) In this lecture I shall provide the basic elements of a history of the development of major
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