Atharvaveda. Inni magici by Chatia Orlandi, Saverio Sani

By Chatia Orlandi, Saverio Sani

Questo testo sacro, il cui titolo in sanscrito vuol dire Veda delle formule magiche, è l. a. ‘bibbia’ dell’antica religione indiana. Si tratta precisamente della quarta raccolta di inni dei Veda dedicata alle formule magiche ed esorcistiche recitate dai bramini durante l’esecuzione dei riti domestici. Utet oggi los angeles propone in edizione digitale critica, completa del testo originale consultabile ipertestualmente.

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I would stress as well that the idea of discourse, especially conveyed through specific stories, entails the possibility of negotiating and shifting identities. ’’54 Keeping this in mind, I can begin to address here what I am doing. One primary strategy I employ for this project is especially to highlight areas where these medieval texts contest received portraits of women’s identities, in the process negotiating new ways for us as scholars in the twenty-first century to be open to the diversity of women’s images.

After this we discuss the different elements of the ‘‘Kalı¯ Practice’’ as well as specific instances of women in venerable positions, women as proficient with mantras, and women as gurus. Finally, I conclude with evidence that suggests that the model for understanding the veneration of women in these texts finds a parallel in the veneration of the Brahmin. Binaries The dialogue between Siva and Parvatı¯ we saw above frames gender in terms of a binary. This model probably originally derives from the well-known classical cosmological and philosophical system of Samkhya, with its notion of male as spirit (puruqa) and female as matter and Nature (prakrti).

In proposing the basis of Krqpa’s identity—Krqpa’s ‘‘real’’ identity—as female, this recoding slyly posits reconfiguring the feminine as the ‘‘real’’ or normative mode of identity. With this it offers a way of reframing female identity away from mere object. This precolonial tale does not explicitly invoke theoretical language to make a case for understanding a different model of female being, nor does Schoterman in his retelling explore the implications, yet the tale employs discourse, story as narrative, to rewrite the way we understand gender.

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