The impact of
Tantrism on kingship extends from India through to Southeast Asia. At the heart
of the tantric idea of kingship is the ritual diagram, the mandala, where the
deity and his consort are surrounded by a retinue of deities who are themselves
emanations or belonging within the same sphere, clan or lineage. David White1 has
convincingly argued that underlying this structure are the goddesses of clans
and land, and the formation of alliances between ruling families is important
in this understanding. At one level the king is identified with the high god Visnu or Siva and so transcends particular political
alliances within the kingdom, while the tutelary goddesses represent
connections to land and powerful ruling families, who ratified and energised the pragmatic religious life of the kingdom as a
whole. This mandalic model of kingship can also be
seen in Nepal, where three gods are important for royalty and from them the
king derives his power: the sovereign god Visnu; the
master of ascetics and of Nepal, Pasupati; and the
secret tantric goddess, Taleju. Indeed, among the NeNvars of Nepal the power of the Goddess lies in royalty.
The most important tantric rite connected with kingship is the king's
consecration or anointing (abhiseka). Davidson has shown the connection between
royal consecration and tantric initiation. The Jai, khya-samhitd
interestingly links the anointing of kingship - although texts such as the
Netra-tantra may well be from courtly circles - yet the ideal of kingship is
directly influenced by them in the medieval period. in the areas of
temple-building and iconography. As the body of the king becomes divinised in the rite of anointing, so the temple deity
becomes enlivened through the appropriate rites (as in standard temple
Hinduism). The divine body of the king in the palace recapitulates the divine
body of the deity in the temple and there is a parallelism between the temple
and the palace, as Tofflin has shown existed in Nepal
to recent times.
Temples are an
important concern in tantric literature, and texts of the Saiva Siddhanta contain much material on the construction of
temples, installation of deities, and temple rites. The Rauravottaragama
describes different kinds of temple styles, octagonal (dravida),
circular (vesara) and square (nagara), along with the
deities to be installed The text describes the installation of the main deity,
the Siva liriga on its pedestal (pitha),
the installation of the Goddess and her marriage to Siva, and the installation
of the guardians of the doors (dvarapala),
descriptions which, with some variation, are found in other Tantras as well.
Temple tantrism continues into present times in temples of Tamil Nadu and,
especially, Kerala where 'tantric Hinduism' is normative, some Nambudiri
families using the fifteenth-century Tantrasamucca,
as their base text. Even the more extreme cults of goddesses, the Yoginis, were
expressed in temples during the early medieval period. In line with orthodox,
puranic tradition, such temples can be seen as the body of the deity, and
indeed when discussing the temple the distinction between the tantric and
non-tantric becomes blurred. The great Saiva temple at Cidambaram,
for example, a centre of orthodox power and learning,
performed temple rites according to Saiva Siddhanta
texts, yet there were also non-dualist theologians such as Mahesvarananda
writing against dualist interpretations of scripture within the institution of
that temple.
As the divinisation of the body occurs at the level of the
individual practitioner, in the body of the king, and, in an extended sense,
with the temple, so the same topos occurs in
possession and exorcism and even in popular devotion (bhakti). Indeed, it would
be possible to read the history of religion in South Asia in terms of
possession as the central paradigm of a person being entered by a deity which
becomes reinterpreted at more refined cultural levels.2
We see this with the
term saniavesa, whose primary designation is, like dvesa, `possession', coming from the root vii, `to enter',
but which comes to mean `immersion' in non-dual consciousness for the Saiva
theologian Abhinavagupta. The whole idea of the self becoming brahinan, the very
term r'ipra, `shaker', as a term for a Brahman and ritualised divinisation through
initiation and consecration (abhiseka) might be seen as pointing to this
foundational, recurring process.The institutionalized
possession is a central paradigm of worship which is anciently attested for
example in the Tamil Cankam literature of the
early centuries of the common era.3
Clearly possession is
a fundamental trope in the history of Indian religions, and alternativly
can be said to be an entextualisation, through the
identification of the self with the `text' both oral and written. And becomes
divination where it has a `good' aspect when the deity enters a performer and
so gives a blessing (darsana) to the assembled
community or makes a prophesy, or a `bad' aspect when possession is said
to manifest as illness, especially illness in children, about which
much of the literature is taken up. Smallpox, for example, was thought to be
due to the hot goddess euphemistically called Sitala,
`the cool one', orNlariamman in the South. Possession
can be seen as the divinisation of the body, which is
also its entextualisation. In becoming the host for
the deity or supernatural being external to the self, the body becomes
constructed in tradition and text-specific ways. While the process and symptoms
of possession might be common - even across cultures - it is the specificity
that is important and that gives the possession legitimacy for a particular
community.
The interiority of
the first person is subsumed by a more powerful first person, and the `I' comes
to refer not to the everyday self but to a greater self
defined within the parameters of the tradition. The body is colonised by textually defined supernatural beings, it is
then recolonised by the Brahmanical tradition, tamed,
controlled, and brought back into conformity through being entextualised
in ways legitimised by a tantric, Brahmanical
orthodoxy. Indeed the ritual procedures are familiar to us from other contexts,
especially divinisation in the dehasuddhi
or hhutasuddhi. This inscription of the text on to
the body is at times literal, with the subtle centres
of the possessed being inscribed with Siva's trident. The ritual procedures are
tradition-specific - as we see from overlap with the Kuruara-tantra
- showing how the body becomes the vessel for supernatural beings, in a way not
dissimilar to the divinisation of the body in the
tantric ritual process of the hhutasuddhi, but this
process is controllable and unwanted entry by lower categories of supernatural
agents can equally be affected through ritual means. The entextualisation
of the body is the control of the body and arguably the community's
self-policing of its boundaries, as well as giving expression to those
otherwise excluded from mainstream channels of expression.
Devotion or bhakti as
a particular form of interiority is not central to tantric discourse and
practice generally, but it is undoubtedly present as is attested by devotional
hymns to deities and the supplication of practitioners to their gods for the
purposes of power and/or liberation. Erotic bhakti, such as that articulated in
the Bhagavata puraiza and the Gaudiya
Vaisnava tradition more widely, is pervaded by
tantric ideas, not only seen in the centrality of tantric Vaisnava
theology in the form of the Pancaratra, but seen in
the erotic devotion (madhura/srngara
bhakti) of the late medieval Caitanya sect and the Gosvamins. Here devotion to Krsna
is akin to the devotion of lovers, and as the deity enters the practitioner
through formal ritual structure in tantric daily ritual or in possession, so
the deity is invited to enter into the devotee. The types of devotion
articulated by rupa Gosvamin
in his Bhaktirasamrta siudhu.
This kind of devotionalism becomes explicitly fused with a left-hand ritual
practice in the Vaisnava Sahajiya
sect. The reverse is also true, that bhakti becomes influential and important
in tantric traditions, especially the Pancaratra and
Saiva Siddhanta in the South, but also in monistic
Saivism.
The Purification of the Body
The general idea of
the identification of the body with the cosmos is of course ancient, with
textual antecedents in the Veda, where, particularly in the Brahmanas,
correspondence (bandliu) between the sacrifice and
the cosmos becomes central to ritual performance and speculation. Second, its
origins may arguably be found in early Buddhist meditation exercises (krtsna/kasina) and the
cultivation of the meditative sign (nimitta) that
leads into meditative absorption (dhyana/jhana).
Indeed, it is possibly here that we find the origins of the visualisation
methods that were to become so important in the tantric traditions, both Hindu
and Buddhist. These exercises are ten among forty objects of meditation
described in Buddhaghosa's Visuddhimagga,
although they also occur in the Pall canon itself.4
The kasiyzas comprise the five elements and five colours, focusing upon which leads into the higher levels
of medittion. For example, the earth kash.za is a
clay disc, an object that is concentrated upon until the image is internalised within consciousness without external support.
In this way the kasina is akin to the internally
arising sign (nimitta), like an afterimage, which
leads into jhana.
In a Hindu context,
the bhutasuddhi's earliest occurrences are in the Jayakhya and in the Saiva Kamikagama.
There is a passage in (sadadhvan), which are parallel
ritual courses through the cosn inscribed on the body.These ways incorporate the cosmological categories
(tattva) and their division into five realms (kaM).
In the Saiva system we have thirty-six tattvas, which adds eleven Saiva ones to
the twenty-five Samkhya ones, while the Pancaratra
assumes only the Samkhya categories, although it has cosmological functions
analogous to the higher Saiva ones, as we have seen. There is a common overall
structure here of a pure, mixed and impure creation, although for the monistic Trika Saivism the broad distinction is between the pure and
the impure creations. While these cosmologies are theologically important - as can
be seen in Bhojadeva's linking of higher beings to
different levels of the cosmos in the Tattvaprakasa -
their primary importance is as ritual rather than theological entities;
cosmology has a primarily ritual function in these traditions.This
can be illustrated particularly well in the bhutaiuddhi
sequence where the cosmos is mapped on to the body and dissolved, as the lower
levels of the cosmos are dissolved into the higher during the cosmic
dissolution (prala)ia). The
terminology here is that of the tattvas of Samkhya in which the gross elements
(bhuta) that comprise the physical world are
dissolved into the subtle elements (tanmatra) that
are their source. The purification of the body through dissolving its
constituent elements into their cause would seem to be a characteristically
tantric practice.
Within all tantric
ritual, visualisation of ritual action and deities is
of central importance in daily and occasional rites, and in both the Pancaratra and Saiva Siddhanta to
perform a visualisation is to perform a mental action
that has soteriological effects. Once initiated, the Saiva or Vaisnava adept in these cults was expected to perform
obligatory daily worship. For the Pancaratrin his
practice meant following the Pancaratra samskaras,
whereby his body was inscribed with tradition by being branded at initiation
(tapa) with a hot iron discus (cakra), being given a ritual name, reciting
mantra, and engagaing in ritual practice (yaga). The Pancaratrin's daily
observances involved five obligatory acts adopted from vedic
orthopraxv characterised by
Gupta as the recitation of laudatory verses or stotras
(brahmayajna), daily liturgy (devayaji
a), making offerings to malevolent supernatural beings (bhuta),ajna), making offerings to the ancestors (pitr),ajna) and the feeding of (Vaisnava) guests (nTyajna).
The Saiddhantika similarly follows the orthoprax
injunctions of the dharmasastra, performing rites at
the junctures (samdh),a) of the day, particularly the
puja at dawn (as do the Pancaratrins). The purpose of
this daily rite, apart from its being a sign of the devotee's adherence to the
cult of his initiation, was to enable him eventually to destroy the limiting
factors (mala) which constrain his soul (jzta) within
the cycle of reincarnation (samsara) and so to be ready for liberation (moksa) by receiving the grace of the Lord (Siva or Visnu) at his death. In this sense the Pancaratra
and Saiva Siddhanta are very different from the
monistic traditions of non-Saiddhantika Saivism, as
Sanderson has demonstrated.
The Jayakl ya describes four classes
of adept, the samayajna, putraka,
sadhaka and dcarya,}'each
having undergone a particular ablution (ahhiseka) as
part of his initiation (diksa). As other texts, the
7ayakhya has the male practitioner in mind, although it does allow women
initiation, aligning them with sudras and Chapter 10
of the Jayakhya is devoted to the bhutasuddhi
and the spiritual ascent of the soul (jiva) ready for
the creation of the divinised body. Through
symbolically destroying the physical or gross body, the adept can create a
pure, divinised body (divyadeha)
with which to offer worship to the deities of his system. He does this first
only in imagination and second in the physical world, for - as in all tantric
systems - only a god can worship a god. The textual representation of the bhutasuddhi is set within a sequence in which the physical
or elemental body (bhautika-sarira) is purified and
the soul ascends from the heart through the body, and analogously through the
cosmos, to the Lord Narayana located at the crown of the head. The text
presents us with a detailed account of this process, which can be summarised as follows.
Going to a pure,
unfrequented, but charming place, the adept offers obeisance to the Lord and
pays homage to the lineage of teachers (gurusantati),
and having received the mental command (naanasi-djna)
from the Lord and lineage of teachers, he is ready to perform mental action (mdnasim nirz•ahet... kriham).` The practitioner purifies his hands with the
weapon (astra) mantra and purifies the place by visualising Visnu, like a
thousand suns, vomiting flames from This process of inhaling the visualised element that pervades a particular area of the
body, dissolving it into its mantra, then into its subtle cause, and exhaling
it, is followed with the other elements. The energy of smell having been
exhaled into the substratum of water, the water element is then imagined as
having the form of a half-moon, marked by a lotus, and containing all aquatic
media - the oceans, rivers, the six flavours (rasa) -
and aquatic beings. Inhaling the image, it pervades the adept's body from the
thighs to the knees and is dissolved into its mantra, then into the energy of
taste (rasasaki), which he emits with the exhaled
breath.' The same process occurs with the remaining elements. The triangle of
fire containing all fiery and bright things, including beings at higher levels
of the cosmos with self-luminous bodies (svaprakasa-sarira),
is inhaled, pervades the body from the navel to where the water element had
begun, is dissolved into its mantra, into the energy of form (rupasakti), and exhaled as before. Similarly the air
element is inhaled, pervades from throat to navel and is exhaled as the energy
of touch (sparsasakti). This merges into space (akasa), which, in the same way, is inhaled, pervades to the
aperture of the absolute (brahmarandhra), dissolves
into its mantra, then into the energy of sound (sabdasakti),
and is emitted through the aperture at the crown of the head (brahmarandhra). All this is accomplished by the power of
the mantras of the elements. Having left the body through the brahmarandhra, individualised
consciousness (caitanya jivabhuta)
has transcended the `cage of the elements' (bhutapanjara)
by rising through the stages of space, the stars, lightening, the sun and moon,
stages which are themselves found in the Upanisads.
In this way the soul ascends in imagination up the central channel of the body
(susumna) from the heart, through the levels of the
cosmos (pada), to the Lord at the crown of the head. He is envisaged in his
supreme body (paravigraha) as a mass of radiance (tejopu)ia) standing within a
circle of light;" a standard identification of Narayana with the sun. The
joy that arises is the supreme energy of Visnu (pard vaisnavi sakti) and results in a
state of higher consciousness (sanaadhi) that is the
ineffable freedom from ideation (sankalpanirmukta avacya).
He enjoys this state
of bliss, but the process of purification is not yet complete. Having
transcended the subtle elements along with the his mouth. The earth then
appears as if baked by the fire of mantra.' In this process we see the
construction of a `ritual body' in opposition to the `genetic' or `biological'
body, which, in its non-ritual state, is impure (malina),
subject to decay, not autonomous (asvatantra), and
made from blood and semen (retoraktodbhava). The
non-purified body is the opposite of the Lord's body possessed of the six
qualities.' This purification of the body entails the construction of the ritual
body; a process which had begun with bathing and which continues with the
selection of the place and the placing of a blade of sacred grass, flower or
leaf in the tuft of hair, with mantra. The symbolic destruction of the body
takes place through dissolving the elements of the cosmos within it. As in the
final dissolution of the cosmos, when each element or category retracts into
its source, so in daily ritual this process is recapitulated within the adept's
body. The actual process occurs through linking together sequences of syllables
to form mantras associated with the elements, such as the OM SLAM PRTHIVYAI HUM
PHAT corresponding to the earth element, which are modified for each element,
replacing the seed syllable (bija) SLAM with SVAM, HYAlM and KSMAM as necessary. Each of the elements is visualised in a certain way, associated with particular
symbols, and as pervading a particular part of the body in a hierarchical
sequence. Each element is in turn symbolically destroyed in the imagination
through being absorbed into its mantra and into the energies (sakti) of the powers (vibhava) or
subtle elements (tanmatra) which gave rise to it.
For example, the Jayakh_ya describes the purification
of the earth element as follows:
[The practitioner]
should visualise a quadrangular, yellow earth, marked
with the sign of thunder, connected with the five, sound etc. [i.e. the five
subtle elements sabda, sparia,
rupa, rasa and gandha] and
filled with trees and mountains, adorned with oceans, islands, good rivers and
walled towns. He should visualize [that earth] entering his own body from the
outside with an inhaled breath, and uttering the mantra he should imagine it as
tranquilized, pervading in due order from the knees to the soles of the feet by
means of the retained breath, O best of twice born ones. Then, [the earth is]
gradually dissolved in its own mantra-form, and this mantra-king [dissolved] in
the energy of smell. After that he should emit the energy of smell with the
exhaled breath. gross body, the sadhaka should burn
it with the fire arising from his feet, generated by the power of his mantra.
All that remains is a pile of ashes that are then washed away to the quarters
in his imagination by a flood of milky water arising from his meditation."
With the universe of his imagination now filled with the ocean of milk, a lotus
emerges out of it containing Narayana, whose essence is his mantra, the truth
of the six cosmic paths." The sadhaka's body,
identified with Narayana, is purified, freed from old age and death and has the
appearance of pure crystal and the effulgence of a thousand suns and moons.
Having purified his body in this way, his soul enters the inner lotus of this
subtle body (puryastaka) through the aperture of the
absolute from which it had earlier vacated its residence. With a calm awareness
(prasannadhi) the adept is ready to perform worship
of the deity pajed devam);
that is, ready to perform the divinisation of the
body through imposing mantras upon it, followed by mental sacrifice (manasayaga) and external sacrifice (bahyayaga).
The process of
imposing mantras on the body is called nyasa, from
the verbal root ny plus as, to put or cast down,
within whose semantic range is to place something in a picture, to paint and
depict. The practitioner touches the requisite part of the body and recites the
correct mantra. The Jayakhya is in no doubt about the
importance of this procedure as it makes the practitioner `equal to the god of
gods' (devadevasama), fearless, and having power over
unexpected death.
With this ritual
sequence we are presented with an excellent example of the way the body becomes
the text in tantric traditions. The practitioner imposes deities as mantras
upon his body and these mantras and deities are text- and tradition-specific. While
the material of the Jayakhya is recapitulated to a
large extent in the Laksmi-tantra, the text is unique
in its full explication of the ritual process of the identification of the
practitioner with the universe and divinity. While the process, as I argue, is
common to tantric traditions, the content is always text- and
tradition-specific. Thus the initiate into the Pancaratra,
specifically the Jayakhya-samhita, becomes divinised by Pancaratra deities
through Pancaratra mantras.
Once again we see how
indexicality is variable and the subject of first person predicates, the
indexical-I of everyday transaction, becomes expanded to the cosmic
subjectivity of Visnu. It is this indexical
variability that is important in the ritual sequence that is directly linked to
the entextualisation of the body. With the Pancaratra there is a potential theological problem in that
Visnu-Naravana is thought to be ontologically
distinct from the devotee, and this would generally seem to be the case, but at
the level of ritual this theological desire for separation is eroded. We are
dealing here with a tradition that might be characterised
as having both monistic and theistic or dualistic dimensions, or, as its later
theological articulation has it, a theology of `qualified non-dualism' (visistadvaita).
Next, during the
inner worship, the practitioner visualises the
hierarchical cosmos in the forms of deities located within his own body. The
account that follows is from the Saydkhya, although
an almost identical account is found in the Lakszni-tantr,
and also occurs in other Samhitas.5
We have here a
constructed vision of the body in which the hierarchical universe pervades the
practitioner's body from the genitals to the heart and corresponds to the
Goddess Kundalini. Above her is the `fire of time' (kalagni),
then the Tortoise (kurma) bearing the insignia of Visnu, the discus and club. Above him is the cosmic snake
Ananta, upon which Visnu is represented as lying, in
traditional mythology; above him is the Earth goddess and above her at the
level of the navel is the ocean of milk. Out from this arises a white lotus
which gives rise to sixteen supports of the throne. These comprise the eight
dispositions (bhava) of the buddhi, the four sacred scriptures or Vedas and the
four ages of the world yuga). They support a white lotus, upon which are the
sun, moon and fire. Above these, although not explicitly named in this
sequence, is the `throne of being' (bhdvasana), upon
which rests the vehicle of Visnu, the great
mythological bird Garuda, and the boar incarnation Varaha.
Visnu is invoked in due course upon his mount. Each
of these visions is in turn identified with one of the hierarchical categories
or tattvas of the Sankhya system, with the addition
of two more tattvas, time (kala) and lordship (tivaratva),
making a total of twenty-seven. This is described by for example following
passage from Oberhammer and M. Rastelli, 2002:
So having formerly
become Visnu [through the purification of the body
previously described], the practitioner should then worship Visnu
with the mental sacrifice. Imagining [the area] between the penis and the navel
filled with four parts, one should visualise the
energy whose form is the earth (Adhara-sakti), above
that the fire of time [Kalagni], above that Ananta,
and then the Earth Goddess [Vasudha Devi]. [2-3b] From the place of the `bulb'
(kanda) to the navel is divided into four parts. Visualising the ocean of milk in the navel and then a lotus
arising [out of it], extending as far as a thousand petals and whirling with a
thousand rays [of light], having the appearance of a thousand rays, he should fix
the throne on its back. [3c-5b] The fourfold [dispositions] dharma, knowledge,
detachment, and majesty, descend by means of their own mantras to the four
[directions] of Fire [the south east] and so on [south west, north west and
north east], fixing those four up to the abode of the Lord Isana
[the north east]. On the four feet of the throne they are white, with lion
faces, but the forms of men in their body and possessing exceeding strength.
[5c-7] The parts from the eastern direction up to the northern abode are fixed
with the opposites of dharma, knowledge, detachment, and majesty. These are of
human form, blazing like the red bandhuka flower.
[8-9b] The four [scriptures] the Rg-veda and so on
have the form of a horse-man, are yellow, and [situated] in between the east
and the direction of the Lord [north-east], between the east and the direction
of Fire [the south east], between the south-west and Varuna
[the west], and between the wind [north-west] and Varuna
[the west]. [9c-io] The group of ages, namely Krta
and so on, have the form of a bull-man, are black, and are located in the
directions between Isana [north-east] and Soma
[north], between Antaka [another name for Yama, the
south] and Agni [south-east], between Yama [south] and the demon [Yaksasa, the south-west], and between the Moon [the north]
and the wind [north-west]. [11-12b] They all have four arms; with two they
support the throne and with two they make obeisance to the Lord of the
universe. [12c-13b] Above them he should fix first a white lotus [and then]
threefold [forms, namely sun moon and fire], way above with those mantras,
arising from himself and previously articulated, 0 Narada.
On the back of that he should establish both the King of Birds and the Boar.
Having imagined [the area] from the navel to the heart pervaded by five equal
sections, he should worship the mantra-throne. 13c-15].
After creating
himself as the deity, inscribing the body with the text in visualisation
and imposing mantras upon it, the practitioner is ready to perform external
worship (bahya yaga),
making offerings to the deity in the physical world. The Jayakhya
raises the question that the performance of external worship may seem
superfluous," and to the question as to why external worship should be
performed after the internal the Laksmi-tantra says
that while inner worship removes karmic traces (vasana)
from internal causes, external worship removes karmic traces from external
causes. The Jyakhya describes the construction of a
diagram (mandala) in which to house the deity for the purpose of worship.
Offerings are gathered together and Narayana's presence along with his retinue
of deities is invoked through mantra and visualisation
and installed in the mandala. Incense and food are offered to the deity, along
with bell sounds and so on - in other words, a standard puja for a Hindu deity.
Mantra repetition is performed with a rosary (aksamala), followed
by the fire offerings (homa) made into the fire-pit (kunda), as would occur in a standard Brahmanical rite.' Some
concluding rites round off the ceremony and the practitioner is enjoined not to
forget the Lord.
The ritual procedure
for the initiate presented in the Jaya.khyasarrahita
follows a standard pattern that in some sense shows the conservative nature of
tantric tradition in following a textually prescribed ritual procedure and also
shows the continuities with standard, Brahmanical practice in the early
medieval period. The tantric Pancaratrin saw his
tradition as complementing and completing the vedic,
and the deity and practice of his cult as ensuring salvation. Through entextualising the body in ritual he is making himself
conform to the tradition and the indexical-I becomes identified with the I
implied in the texts.
1. Kiss of Yogini,
2003.
2. For details see
Frederick Smith, Friendly Acquisitions, Hostile Takeovers: Deity and Spirit
Possession in South Asian Civilization, University of California Press,
forthcoming.
3. For this, see
Freeman, `The Teyyam Tradition of Kerala', in Flood
(ed.), The Blackwell Companion to Hinduism, Oxford, 2003, p. 308.
4. For this see Majjhima-nikaya 2.14. Translated by LB. Horner, The Middle
Length Sayings vol. 2 (London: Pali Text Society, 1972). Dtgha-nikaya
3.268. Translated by TWV and C. A.E Rhys Davids,
Dialogues of the Buddha, part 3 (London: Pali Text Society, 1971). Anguttara-nikaya 111.5.46,60. Translated by EL. Woodward,
The Book of Gradual Sayings vol. 5 (London: Pali Text Society, 1972).
5. G. Oberhammer and M. Rastelli,
Studies in Hinduism III: Pjdcaratra
and Visistadvaita Vienna: Der Osterreichischen
Akademie der Wissenschaften, 2002, pp. 9-59.
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