And Their Addresses for Titles Cited in Both Editions; and a Short List of Book Stores Specializing in Outstanding Sources of Asian Studies Materials
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China: a Resource Unit for Secondary Schools
Prepared originally by a group of prospective social studies teachers at Brooklyn College and edited by Professor Leonard S. Kenworthy. AFFAIRS MATERIALS Brooklyn College Brooklyn I 0, N. Y. Revised Edition: 1959 p.l Resource Unit on China for Secondary Schools Introduction China is in the news today--and will undoubtedly be in the news for years (or centuries ) to come. It is the world's largest nation, with approximately 650 million per sons--or about one person in every four on our globe. In size it is the world's lecond largest country- next to the U.S.S.R. in total area and larger than Canada, Brazil, and the U.S.A. It is a country with nearly 4000 years of history and of great contributions in many fields to the world. In this vast land there is a revolution underway today which is political, social, and economic in nature. This revolution has caused the rest of the world to watch China with interest--and in some cases with great concern. Certainly the repurcussions of this revolution are being felt all over the world. Furthermore, the fact that the communist government of China has not been recognized by the United States and has not been admitted to the United Nations and its specialized agencies has provoked heated and bitter discussions around the globe. These questions are still being debated and dis cussed and will be for some time to come. What happens in China is of profound interest to the rest of the world. It is a country which needs to be studied in secondary schools throughout the United States. -
Dr. Lin Yutang Keynote Speaker for Institute
WELLESLEY, MASS., OCTOBER I, 1942 ew Staff of War Chemistry Dr. Lin Yutang Keynote Service Fund Lecture Topic Speaker For Institute Officers and Members of Miss Seikel When the noted author-philo opher, Lin Yutang speaks to Chosen. for this Year night at the Welle ley In titute on the Far East, he will open a Demonstrating· chemical agents four day all college conference on Oriental Life and culture. At Final election has been made of used in war, Miss Margaret Seikel 8 p.m. in lumnae Hall, Dr. Lin will discu on "Ea t and West." officer and committee members of the Chemistry Department will Lanting Thur day, Friday, aturday, and unday from who will work together in the Ser lecture before the Sigma Xi So 0 tober 1-4, the Institute repre ent the combined effort of eight vice Fund Dl'ive and through the ciety at its open fall meeting Tues ~college departments and the year. The officers for the year in day, October 6, at 7:30 p.m., in major tudent organizations. clude: Head Faculty Advisor, Miss Room 105 Pendleton. Miss Seikel Legenda Although ome of the lectures Charlotte GoodfeHow; Senior has taken a special course recently are being given for the particu- on the various poison gases and Chairman, Ann Campbell '43; Agents Named lar benefit of ce1~tain specific methods of handling them. Junior Chairman, El ie Pavitt '44; Carol Steiner '43, Head of Le college clai:: e , the whole stud nt Head Canvasser, Cornelia Jones In her lecture she will discuss genda's Circulation Staff, assisted body will be welcome at all of '43; Secretary, Betty Freyhof '44. -
Karun Rasa and Tragic Feeling
THE TWO SIDES OF A SINGLE COIN: KARUN RASA AND TRAGIC FEELING ANUPAM NAGAR University of North Gujarat, India 91 The tragic feeling (stress mine) is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing — his sense of personal dignity Arthur Miller, “Tragedy and the Common Man”, New York Times, 27 February 1949 In Sanskrit Poetics (SP) there is a discernible absence of tragedy perhaps on account of its idealistic character. Though conflict is present it is not the type of conflict as perceived between individuals. It is based, rather, on inclination and idealism in which idealism ultimately triumphs. In Indian thought Death is a fantasized happening; the body is prone to decay, while the soul is eternal. The issue then is how do we address Death, even when the manure of rotten leaves gives birth to new shrubs? Death possibly is not the denouement of life. On the contrary Life and Death are corollaries of each other. The second possible reason for SP being idealistic in nature is that here time does not follow a chronological sequence —it is circular in movement (chakravat parivartante). Therefore tragedy along western lines becomes impossible on account of philosophical compulsions. A man here after casting off his body assumes a new form and then takes another when the present body decomposes. This intermittent process goes on and on till he accomplishes total deliverance. And salvation can only be realized after having attained the first three goals of righteousness (dharma), prosperity (artha) and pleasure (kama). -
Recommended East Asian Core Collections for Children's, High
DOCUMENT RESUME ED lfb 021 IR002289 AUTHOF. Scott, William H.p 0., Ed,. TITLE s Recommended EastALsian Core Collections for Children's, High School, Public, CommunityCollege .,. and tndergraduate College Libraries. INSTITUTION East Asian Bibliographic Group. PUB DATE 74 L, NOTE 19615 EDPS PRICE t6-$0.76 HC-$9.51 Hips POSTAGE DESCRIPTORS *Audiovisual Aids; *BibliogFaphies; Books; College Libraries;'Films; Filmstrips;. Fine Arts; Junior College Libraries; *Library Collections;Library Material Selection; Periodicals; PublicLibrries; School libraries; University Libraries IDENT:FIERS China; *East Asia; Japan; Korea; Mongolia ABSTRACT A basic buying list forlibraries seeking to develop their Far East holdings is given in thisbibliography. Over 1700 items include published material up to1973--books, periodicals, films, filmstrips, tapes, and phonographrecotds"pertaining to China, Formosa, Japan, Korea, Mongoliaand Tibet. 'The items are 'arranged geographically with topicalsubdivisions. (Author/DS) *********************************************************************** unpublished *' * Documents acquired by ERIC include many informal * materials not available fromother sources. ERIC makes everyeffort * * to obtain the best copyavailable. nevertheless, items of marginal * * 'reproducibility are ofte encountered and this affects the quality * * of the microfiche and haIicopy reproductions EPIC makesavailable * * via the EPIC DocumentReproduction Service (EDRS). EDRS'is not * * responsible for the qualityof the originAl document. Reproductions* -
Accepts That the Traditional Definition of Abstrac- Tion Does Apply to Some
9781405169226_4_00A.qxd 12/8/08 7:50 PM Page 107 A abstraction Artworks are abstract, we might accepts that the traditional definition of abstrac- think, when they do not represent: abstraction tion does apply to some paintings. The prob- is simply the absence of representation. After all, lem is that it does not apply to most of those we there is a natural contrast between abstract think of as abstract. and representational painting; and music, at We can flesh out the second difficulty by least in its “absolute” (i.e., abstract) form, does considering either abstract painting or music. not clearly represent at all. Absolute music, It is hardly plausible that these never make like abstract painting, expresses feelings and any reference to things beyond themselves. perhaps thoughts, but, we suppose, expression The idea that they express emotions and ideas and representation are different. is intended to concede as much, without rein- However, there are two difficulties with tak- troducing representation. But is it clear that ing this to capture the nature of abstraction. expression is not simply another form of repre- First, on closer inspection it excludes art that sentation? Of course, it differs from some kinds intuitively counts as abstract; and second, the of representing – from the depiction that con- definition is only as clear as the rather murky cerns Wollheim, for instance, or from describing notion of representation itself. things in language. But the notion of represen- To illustrate the first difficulty, consider tation is both highly general and resists easy Richard Wollheim’s argument (1987: ch. -
(RJELAL) BHARATA MUNI and WESTERN DRAMATIC THEORY Lecturer, Govt. Acharya Sa
Research Journal of English Language and Literature (RJELAL) Vol.1.Issue.2.;2013 A Peer Reviewed International Journal - http://www.rjelal.com RESEARCH ARTICLE ISSN 2321 – 3108 BHARATA MUNI AND WESTERN DRAMATIC THEORY MANOJ KUMAR SORTHA Lecturer, Govt. Acharya Sanskrit College Chirana (Jhunjhunu) Raj ABSTRACT This Paper highlights a few generalizations about the Western dramatic theory represented by Aristotle and Indian dramatic theory represented by Bharata Muni. The purpose of this paper is not to suggest that Indian theory of drama is superior to the western but is to point out their differences. Obviously there is a fundamental difference between the Western and the Indian modes of thinking. Aristotle’s Western dramatic theory is based on tragedy. On the other hand Bharata Muni’s dramatic theory is based on the Indian theory of Karma. In Bharata’s theory “Rasa” is the sole object of dramatic representation. But there is one interesting point. Whereas western dramatic theory cannot be applied to Sanskrit drama, Bharata’s theory of rasa, as S.C. Sen Gupta MANOJ KUMAR SORTHA has shown, can be employed with profit in appreciating the western drama. The Paper concluded by suggesting that both the Indian and the Western theories of drama as Article Info: represented by Bharata and Aristotle respectively have broken down and splintered. In Article Received :13/06/2013 fact, the very idea of tradition, which had sustained these theories, has disappeared Revised from : 14/06/13 from the modern world. Its place is now occupied by individualization and Accepted : 26/06/2013 experimentation. KEY WORDS : Dramatic theory, Theory of Tragedy, Indian theory of Karma, Rasa, Aesthetic pleasure, bhava, vritti, pravitti, siddhi, svaras, vinoda(amusment). -
Indian Aesthetics in Sri Aurobindo's Criticism
www.galaxyimrj.com Galaxy: International Multidisciplinary Research journal ISSN 2278-9529 Indian Aesthetics in Sri Aurobindo’s Criticism Dr. K. Ujjwala Associate Prof of English K. L. University Vijayawada. The origin of Indian culture and philosophy marks the beginning of literary criticism in India. Indian poetic theory bears evidence to the impact of rich, cultural, philosophical and religious heritage on Sanskrit literature. The theory of beauty is not only confined to literary forms of Poetry, Literature and Drama but also applicable to other arts like music, dance, painting, sculpture etc. The Hindus first developed the science of music from the beginning of Vedic Hymns. The Samaveda was especially meant for music. And the scale with seven notes and three octaves was known in India centuries before Greeks had it. Probably Greeks learned it from Hindus. According to Swami Abhedananda, “It will be interesting to know that Wagner was indebted to the Hindu science of music, especially for his principal idea of the ‘leading motive’; and this is perhaps the reason why it is so difficult for many people to understand Wagner’s music.”1 Eminent Indologists and art critics like A. K. Coomarawamy vouchsafe that the theory is capable of considerable extension even to the other Indian arts like painting. He points out, “It is true that this theory is mainly developed in connection with poetry, drama, dancing and music, but it is immediately applicable to art of all kinds, much its terminology employs the concept of colour and we have evidence that the theory also infact applied to painting.”2 The ancient Indian critical texts had concentrated more on theory; and philosophy was not dissociated from literary criticism. -
Aesthetics As Resistance: Rasa, Dhvani, and Empire in Tamil “Protest” Theater
AESTHETICS AS RESISTANCE: RASA, DHVANI, AND EMPIRE IN TAMIL “PROTEST” THEATER BY DHEEPA SUNDARAM DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Michael Palencia-Roth, Chair Professor Rajeshwari Pandharipande, Director of Research Professor Indira Viswanathan Peterson, Mount Holyoke College Associate Professor James Hansen Abstract Aesthetics as Resistance: Rasa, Dhvani, and Empire in Modern Tamil “Protest” Theater addresses questions concerning the role of aesthetics in the development, production, and impact of Tamil “Protest” Theater (1900-1930) on the success of the Indian anticolonial movement in the colonial Tamil state. In addition, I explore the possibility for a Modern Tamil aesthetic paradigm that arises from these syncretic plays, which borrow from both external and indigenous narrative and dramaturgical traditions. I begin with the following question, “Can aesthetic “relishing” (rasasvāda) be transformed into patriotic sentiment and fuel anticolonial resistance?” Utilizing Theodore Baskaran’s The Message Bearers, which examines the development and production of anticolonial media in the colonial Tamil state as point of departure, my research interrogates Tamil “popular” or “company” drama as a successful vehicle for evoking anticolonial sentiment. In this context, I posit the concept of “rasa- consciousness” as the audience’s metanarrative lens that transforms emotive cues and signposts in the dramatic work into sentiment through a process of aesthetic "remembering.” This lens is constituted through a complex interaction between culture, empire, and modernity that governs the spectator’s memorializing process. The culturally-determined aesthetic “lens” of Tamil spectator necessitates a culture-specific messaging system by anticolonial playwrights that links the dramatic outcome with feelings of nationalism and patriotism. -
MHRD UGC Epg Pathshala Subject: ENGLISH Principal Investigator
MHRD UGC ePG Pathshala Subject: ENGLISH Principal Investigator: Prof. Tutun Mukherjee, University of Hyderabad Paper Title: Indian Literary Criticism and Theory Paper Coordinator: Dr. Bhandaram Vani, S.N. Vanita Mahavidyalaya, Hyderabad Module 13: Abhinavagupta: Abhinavabharati Content Writer: Saswati Saha, Assistant Professor, Department of English, Sikkim University Content Reviewer: Dr. Bhandaram Vani, S.N. Vanita Mahavidyalaya, Hyderabad Language Editor: Dr. Mrinmoy Pramanick, University of Calcutta Abhinavagupta: Abhinavabharati Contents I. Introduction II. What is Rasa in Indian Poetics?: A Brief Understanding III. Abhinavagupta’s Contribution to the Rasa theory: The Ninth Rasa IV. The Realisation of the Rasa and the Concept of Sahrdaya V. The significant features of Abhinavagupta’s theory of Rasa-realisation VI. Obstacles to the realisation of Rasa VII. The Concept of Guna and Riti in Abhinavagupta VIII. The Difference between Abhinavagupta and other Critics of Indian Poetics IX. Conclusion X. Reference 1 What is this module about? In this module we will learn about the eleventh century Kashmiri philosopher Abhinavagupta and his remarkable commentary on Bharata’s Natyashastra called Abhinavabharati. We will discuss how Abhinavagupta through this commentary contributed to Indian poetics. We will also discuss how his work Abhinavabharati has helped the subsequent generations of philosophers and critics of Indian poetics to understand and comprehend Bharata’s Natyashastra better. The module will talk about how he expanded upon Bharata’s concept of rasa and included the ninth rasa, the Shanta Rasa in the list. We will talk about the concept of Sthayibhava and its relation to the experience of rasa. We will also discuss how the dhvanikaras regarded the concept of Guna and Riti. -
ACLA 2018 Print Guide 13768
Annual Meeting of the American Comparative Literature Association ACLA 2018 | TABLE OF CONTENTS Welcome and Acknowledgments .............................................................................................................4 Welcome from UCLA ...............................................................................................................................6 General Information ..................................................................................................................................7 Conference Schedule ................................................................................................................................15 Pre-Conference Workshops ....................................................................................................................18 Seminars in Detail (Stream A, B, C, and Split Stream)........................................................................26 Index ........................................................................................................................................................169 CFP ACLA 2019 Announcement .........................................................................................................182 ADVERTISEMENTS Duke University Press ........................................................................................................................ 24-25 Edinburgh University Press ....................................................................................................................69 -
Tracing Indian Aesthetics to Find an Ecosophy of Personal Art Practice Srisrividhiya Kalyanasundaram
Document generated on 10/01/2021 4:25 a.m. The Trumpeter Journal of Ecosophy Bird and Line Tracing Indian Aesthetics to Find an Ecosophy of Personal Art Practice Srisrividhiya Kalyanasundaram Volume 36, Number 1, 2020 Article abstract "Bird and Line" is an artistic inquiry into the relationship between a deep state URI: https://id.erudit.org/iderudit/1075877ar of artistic consciousness and the act of drawing a line to arrive at the form of a DOI: https://doi.org/10.7202/1075877ar bird. This inquiry further proposes that by using line as a mode of research, the artist begins to perceive the consciousness of a bird and the relationship it See table of contents shares with its form. For me, the embodied and porous experiences of watching and knowing birds through the practice of working with "line" as an artistic element allow for an Publisher(s) intimacy of experiencing and an unfolding of intersubjectivity. Artistic inquiry also acts as an investigation into self-awareness and self-realization in this Athabasca University Press space of making eco-art. These acts of being lead me into reflections on how perception and creativity are melded together during creative moments to ISSN allow for a porous consciousness to emerge and perform the act of drawing a bird. As an artist working with text, movement, and image, I embed questions 1705-9429 (digital) on the ethics of creativity into how we evolve our lines of art, as well as encounter other beings. By unraveling the relationship between the inner and Explore this journal the outer through Indian aesthetic philosophy, I evolve methods for eco-art practice using line as an element. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप.