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(Indian historian Romila) Thapar raises the point that in Buddhist texts, Ashoka is celebrated as an emblem of peace, non-violence and tolerance. The figure was then later picked up by Nehru and turned into an emblem of ‘New India’. However, in Brahmanical texts, he is listed merely as a Mauryan ruler.
https://www.thequint.com/news/romila-thapar-mahabharata-reference-c...
She then point out how, contrary to popular belief, some historians in the recent past have been arguing for the presence of Buddhist ideas in epics. Thapar then highlights Yudhisthira’s struggle in Shanti Parva, the twelfth of eighteen books of the Indian Epic Mahabharata.
Sharing a struggle common with Ashoka’s, ‘Yudhisthira’ has to pick between kingship and renunciation. This, Thapar points out, can be traced to the Buddhist idea of power vs renunciation.
Popular historian and mythology expert Devdutt Pattanaik tweeted to clarify the time periods of the two texts that Thapar highlights. A supporter of parallel narratives, Pattanaik’s work on Mahabharata, Jaya, is widely read and celebrated.
Pattanaik clarified that Thapar refers to Yudhisthira, the character in an epic composed 2000 years ago and Ashoka who ‘wrote edicts’ 2300 years ago.
Past Controversies
In the beginning of September, JNU administration had received flak from academic circles and media as the University had asked Thapar to submit her CV for ‘assessment’.
Thapar holds the position of Professor emeritus in the history department of the University. Several professors were taken aback by this action as the emiratus post is usually designated for life. Thapar, who taught at JNU between 1970 and 1991, was appointed to the post in 1993.
Others called out the University’s demand a step to “dishonour the acclaimed historian”, who has been critical of changes in the JNU and for not ascribing to the right-wing narration of ancient history.
In the past, her works have been criticised by the Right for perpetuating a plural history of the nation.
In reply to the demand, Thapar had submitted a letter to the administration explaining the status of her position, and had refused to submit her CV.
How did Rajiv Gandhi, applauded for his modernist ideologies, accelerate Hindu nationalism politics?
An excerpt from ‘India is Broken: And Why It’s Hard To Fix,’ by Ashoka Mody.
Ashoka Mody
https://scroll.in/article/1042462/how-did-rajiv-gandhi-applauded-fo...
In 1987, Indians owned just 13 million televisions. Friends and neighbours gathered around television sets in homes and at shopfronts. In villages, hundreds of people assembled around the one available set. On average, about 80 million people (almost 10 percent of the population) watched an episode. By the time the serial ended, almost all Indians had seen multiple episodes. More so than the Ekatmata yagna (the series of processions in late 1983), the Ramayana serial fused Savarkar’s view of India as the fatherland and holy land of the Hindus.
In a tribute Savarkar might have savored, the Indian Express’s media correspondent Shailaja Bajpai commented on August 7, 1988, a week after the series ended, “From Kanyakumari to Kashmir, from Gujarat to Gorakhpur, millions have stood, sat and kneeled to watch it.” Reflecting on that total absorption, she wondered: “Is there life after Ramayana?” No, she answered, there could be no life after Ramayana. Instead, echoing the void Jawaharlal Nehru sensed when Mahatma Gandhi died, Bajpai wrote: “the light has gone out of our lives and nothing will ever be the same again.”
For the 78 weeks that Ramayana ran, it presented a martially adept and angry Ram dispensing justice. The VHP projected its partisan view of the serial in its iconography of Ram. The author Pankaj Mishra described the Ram in VHP posters as an “appallingly muscle- bound Rambo in a dhoti.” Theatre scholar Anuradha Kapur lamented that VHP images showed Ram “far more heavily armed than in any traditional representation.”
In one image, Ram carried a dhanush (a bow), a trishul (trident), an axe, and a sword “in the manner of a pre-industrial warrior.” In another image, Ram, the angry male crusader, marched across the skies, his dhoti flying, chest bared, his conventionally coiled hair unrolling behind him in the wind. Accompanying those images, every VHP poster pledged to build a temple in Ayodhya. The dismayed Kapur noted that Ram, the omniscient and omnipresent Lord, was everywhere. Pinning him down to Ayodhya made no sense. “Hinduism,” she despairingly wrote, “is being reduced to a travesty of itself by its advocates.”
The Hindutva movement’s heavy reliance on young hypermasculine warriors to achieve its mission only exacerbated this travesty. In April and May 1987, when the Ramayana serial was in its early months, bloody Hindu-Muslim riots broke out in Meerut, a city in western Uttar Pradesh. By most accounts, Muslims provoked the riots. But then the Uttar Pradesh Provincial Armed Constabulary, infected by the Hindutva virus, killed hundreds of Muslims in cold blood.
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