BA (H.) English Program Objective
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
The Epic Imagination in Contemporary Indian Literature
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School May 2017 Modern Mythologies: The picE Imagination in Contemporary Indian Literature Sucheta Kanjilal University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the South and Southeast Asian Languages and Societies Commons Scholar Commons Citation Kanjilal, Sucheta, "Modern Mythologies: The pE ic Imagination in Contemporary Indian Literature" (2017). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6875 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Modern Mythologies: The Epic Imagination in Contemporary Indian Literature by Sucheta Kanjilal A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a concentration in Literature Department of English College of Arts and Sciences University of South Florida Major Professor: Gurleen Grewal, Ph.D. Gil Ben-Herut, Ph.D. Hunt Hawkins, Ph.D. Quynh Nhu Le, Ph.D. Date of Approval: May 4, 2017 Keywords: South Asian Literature, Epic, Gender, Hinduism Copyright © 2017, Sucheta Kanjilal DEDICATION To my mother: for pencils, erasers, and courage. ACKNOWLEDGEMENTS When I was growing up in New Delhi, India in the late 1980s and the early 1990s, my father was writing an English language rock-opera based on the Mahabharata called Jaya, which would be staged in 1997. An upper-middle-class Bengali Brahmin with an English-language based education, my father was as influenced by the mythological tales narrated to him by his grandmother as he was by the musicals of Broadway impressario Andrew Lloyd Webber. -
Masculinity and Transnational Hindu Identity
Nidān, Volume 3, No. 2, December 2018, pp. 18-39 ISSN 2414-8636 Muscular Mahabharatas: Masculinity and Transnational Hindu Identity Sucheta Kanjilal University of Tampa [email protected] "Hence it is called Bharata. And because of its grave import, as also of the Bharatas being its topic, it is called Mahabharata. He who is versed in interpretations of this great treatise, becomes cleansed of every sin. Such a man lives in righteousness, wealth, and pleasure, and attains to Emancipation.” - Mahābhārata (18.5) translation by K. M. Ganguli Abstract The climax of the Sanskrit Mahābhārata is undeniably muscular, since it involves a kṣatriya family fighting a brutal but righteous war. Many 21st century Mahabharata adaptations not only emphasize the muscularity of the epic, but also flex these muscles in an arena beyond the Kurukṣetra battlefield: the world. Through an analysis of texts such as Chindu Sreedharan’s Epic Retold (2015) and Prem Panicker’s Bhimsen (2009), I suggest that the increased visibility of epic warrior narratives across global platforms indicates a desire to re-fashion a hypermasculine identity for Hindus in the transnational religio-political sphere. I see this as an attempt to distance Hinduism from Gandhi’s ‘passive resistance’ and colonial conceptions of the ‘effeminate native’. Instead, it aligns with the nationalist and global aims of Prime Minister Narendra Modi, who emphasizes the importance of Hindu traditions and physical fitness for collective prosperity. While these new epic adaptations certainly broaden the reach of Hindu culture beyond national boundaries, I suggest exhuming only warrior narratives from the epic texts oversimplifies Hindu values and threatens a range of gender identities and religious affiliations. -
International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 ISSN: Online: 2347-503X
Research Chronicler: International Multidisciplinary Peer-Reviewed Journal ISSN: Print: 2347-5021 www.research-chronicler.com ISSN: Online: 2347-503X The Vision of Darkness in Andha Yug Basavaraj Naikar Professor & Chairman, Department of English, Karnatak University, Dharwad, Karnataka, India Dharmavir Bharati (1926-97) the Hindi convey. Thus the premiere had to wait till author was born in Allahabad, Uttar 1962, produced by Satyadev Dubey on Pradesh. He studied there and participated Theatre Unit‘s rooftop stage in Bombay. in the anti-British Quit India movement. Subsequently the National School of He earned a doctorate in Siddha saint Drama performed it in 1963, directed by literature in 1947, and then became a full- Alkazi, and revived it several times. Many time journalist, editing the weekly directors in other languages, like Ajitesh DharmaYug from 1960 to 1989. His Bandyopadhyay (Bengali, 1970) and Ratan journal was a war correspondent in Thiyam (Manipuri, 1993), also staged Bangladesh in 1971, made a tremendous important versions.‖ 1 impact. He was also a poet, novelist and His play, Andha Yug, translated into essayist. His two novels, Gunahonka English by Alok Bhalla, deals with the Devata (The God of Sins) and Suraj Ka epical theme of the conflict between the Satvan Ghoda (The Seventh Horse of the Kauravas and the Pandavas culminating Sun) are classics of Hindi literature. He into climax on the eighteenth day of has published five one-act plays under the Kurukshetra war. Although the theme is title Nadi Pyasi Thi (The River was borrowed from the last part of Vyasa‘s Thirsty, 1954), often produced by schools, Mahabharata, Dharmavir Bharati has colleges and amateur groups. -
Rewritings / Retellings of Indian Epics I: Mahabharata the Lecture Contains
Objectives_template Module 9:Translating Religious Lecture 33: Rewritings / Retellings of Indian Epics I: Mahabharata The Lecture Contains: Introduction The Mahabharata Retellings in Other Languages Modern translations Works Based on the Mahabharata Inter-semiotic renderings Influence on language and culture file:///C|/Users/akanksha/Documents/Google%20Talk%20Received%20Files/finaltranslation/lecture33/33_1.htm [6/13/2012 10:48:50 AM] Objectives_template Module 9: Translating Religious Lecture 33: Rewritings / Retellings of Indian Epics I: Mahabharata Introduction Continuing our discussion of the translation of religious texts,it is not quite correct to compare the Bible or Quran with the epics in India. The texts of such religious significance for Hinduism are the Vedas which were composed in Sanskrit. There were injunctions not just against the translation, but even the recitation of Vedic mantras by lower caste people who did not know Sanskrit. Here we again see the attempt to jealously preserve scriptural knowledge without allowing it to be accessed by all. Knowledge of Sanskrit was restricted to the educated few which consisted only of upper caste men. Dash and Pattanaik note: “The Vedas, Vedangas, Smrutis, Darshanas, Samhitas and Kavyas written in Sanskrit were meant to have the function of ratifying the worldview of the ruling class and of the Brahmin clergy. The Brahmins used their knowledge of Sanskrit as an irreducible form of power, and translation was not encouraged since it would have diluted the role the texts could have played as a part of such an officially- sponsored ideology” (134). It was believed that the Vedas were of divine origin and translation into an ordinary language would have been similar to defiling it. -
Examining Dharamvir Bharati's Andha
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347–4564; ISSN (E): 2321–8878 Vol. 9, Issue 1, Jan 2021, 105–114 © Impact Journals POSTMODERNISM IN THE AGE OF DARKNESS: EXAMINING DHARAMVIR BHARATI’S ANDHA YUG Chandni Rauniyar Independent Research Scholar Received: 12 Jan 2021 Accepted: 20 Jan 2021 Published: 30 Jan 2021 ABSTRACT Postmodernism has its various versions depending on which culture and literature it is being applied to, therefore, demanding a subjective approach. The dissolution of distinctions, the futility of war followed by disillusionment, scepticism towards generalized views, decentring of notions, and problematizing concepts like rationality are few norms associated with postmodernism. In the case of India, the catastrophic event of the 1947 partition left tremors that were felt in the subsequent years. Taking this into account, the paper explores the mythical play Andha Yug by Dharamvir Bharati (Translated by Alok Bhalla), written after the Partition of the Indian subcontinent, that uses postmodernist and war discourse lenses. The ancient characters of the Mahabharata are (re)created by the playwright to go with the predicament of contemporary times, which is examined to comment on the darkness and blindness of the era. The study applies the concept of metanarrative used in the discourse of postmodernism to deconstruct the narratives that were being promoted. This post-independence retelling of the play metaphorically uses the myth to question the dehumanisation and confusion taking the shape of normal and natural. The paper also discusses how gradually the Western (global) idea of postmodernism has been redefined to suit the (local) narratives, thereby incorporating the aspects integral to Indian culture, which is significant for the understanding of the play. -
Andhayug: Politics and Its Consequence
ISSN No. 0974-035X An Indexed, Refereed & Peer Reviewed Journal of Higher Education Towards Excellence UGC-HUMAN RESOURCE DEVELOPMENT CENTRE, GUJARAT UNIVERSITY, AHMEDABAD, INDIA ANDHAYUG: POLITICS AND ITS CONSEQUENCE Malhar Jayesh INTRODUCTION My idea or intention in this research paper is to show how politics is still we can see in our current time and its evil consequence on us and most of the people, so therefore one can aware that if we do bad politics (treachery, violence) there will be evil consequence. So we should have to contribute in the fight against bad politics and we have to do good actions with putting truth in the center and live in harmony. To justify my idea or intention, I took Dharamveer Bharati’s most famous play “Andhayug” and The story of the Mahabharata and some contemporary great people’s actions. Dharamveer Bharati (1926-1997) was a renowned Hindi novelist, poet and playwright, a Padmashree award winner. The play “Andhayug” (originally written in Hindi and translated by Alok Bhalla in English) is also called “the blind age” is a verse play written in 1954 by a renowned play writer by Dharamveer Bharati, which is based on the ancient Sanskrit epic, The Mahabharata written by sage Vedvyasa. This five act tragedy is also known as the first important play of modern age, following the 1947 partition of India atrocities, as allegory to its destruction not just human lives, but also ethical/moral values, and is metaphoric meditation on the politics of violence and aggressive selfhood. The Mahabharata war dehumanized both individual and society, thus the victor and vanquished loose eventually. -
Dharamvir Bharati - Poems
Classic Poetry Series Dharamvir Bharati - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dharamvir Bharati(25 December 1926 - 4 September 1997) Dr. Dharamvir Bharati (Hindi: ??????? ?????) was a renowned Hindi poet, author, playwright and a social thinker of India. He was the Chief-Editor of the popular Hindi weekly magazine Dharmayug. Dr. Bharati was awarded Padma Shree for literature in 1972 by the Government of India. His novel Gunaho Ka Devta became an evergreen classic. Dr. Bharati’s Suraj ka Satwan Ghoda is considered a unique experiment in story-telling and was made into a National Film Award- winning movie by the same name in 1992 by Shyam Benegal. Andha Yug, a play set in the time immediately after the Mahabharata war, is another classic that is enacted very often in public by various drama groups. He was awarded the Sangeet Natak Akademi Award in Playwriting (Hindi) in 1988, given by Sangeet Natak Akademi, India's National Acdemy of Music, Dance and Drama. <b> Early Life </b> Dharamvir Bharati was born in Allahabad to Chiranji Lal and Chanda devi. The family underwent considerable financial hardships after his father died early. He had a sister, Dr. Veerbala. He did his MA in Hindi from Allahabad University in 1946 and won the “Chintamani Ghosh Award” for securing highest marks in Hindi. <b> Career </b> Dharamvir Bharati was the sub-editor for magazines “Abhyudaya” and Sangam” during this period. Later he completed his Ph.D. in 1954 under Dr. Dhirendra Verma on the topic of “Siddha Sahitya”, and was appointed lecturer in Hindi at the Allahabad University. -
Case Comment on S.P. Mittal V. Union of India
An Open Access Journal from The Law Brigade (Publishing) Group 578 RE-RIGHTING’ THE ‘WRONGED’ IMAGE OF DRAUPADI Written by Vishal Singh 5th Year BA LLB Student, Jindal Global Law School, Sonipat INTRODUCTION In this narrative, an attempt is made to provide a character sketch of Draupadi. The possible reasons for choosing this character sketch are many. Besides, being the leading lady and the most popular female character in the whole of Mahabharata, she was also one of the most controversial and complex female character ever written in Hindu literature. On one hand, she is an epitome of simplicity, womanly, generous and compassionate character and on the other hand, she is this fearless, unpardoning, unforgiving and intelligent character ever written in any ancient Hindu text or literature. She is a lady with self-respect and always carried herself with dignity. If anyone ever tried doing any wrong to her, she could wreak havoc on those individual. She is this character who is uncompromising when it comes to her rights as a daughter, wife, friend, daughter-in-law, and mother or as a woman. She was always ready to fight back the odds or avenge high handedness and injustice meted out to her modesty. Her character and the fire of revenge inside her can be attributed through the incident whereby she secretly vowed that she won’t tie her hair unless she would definitely seek vendetta on the injustice meted out to her. In my opinion, Draupadi is central character to Mahabharata and one can rightfully say that the story revolves around the peripheries of this leading lady. -
Andha Yug’: Original and in Translation
Man In India, 97 (2) : 403-406 © Serials Publications ‘KRISHNA’ as a Counterpart to the HUMAN AND DIVINE IN Dharamvir Bharati’s ‘ANDHA YUG’: ORIGINAL AND IN TRANSLATION Sangeeta Nath* and Shanthichitra** Abstract: Dharamvir Bharati’s play “Andha Yug” was written in the year 1954 and later translated into many languages. It positions itself on the last day of the great war of Mahabharata. The play heralds the element of war, injustice, bloodshed, revenge, self realization and the blindness that envelops them all. The Kauravas are in constant conflict with the ideals of Krishna. The play highlights within itself the need to speak out for the betterment of the society and in the process calling out for the need to better oneself. The research paper will attempt at seeking the role of Krishna as a counterpart of both human and divine power. The researcher will attempt to coerce the theories of Existentialism and Identity to highlight the role of Krishna in the larger scheme of things. Krishna’s role as a human and as a divine power is portrayed through the other characters in the play. The Mahabharata unproblematically ‘posits the battle as one of good over evil’, but Bharati’s play debunks this premise. The play is portrayed from the point of view of the defeated Kauravas who see Krishna not as a God but as an opportunist and a politician who helped the Pandavas to win the battle against them. Keywords: Humanity, Divinity, Consciousness, Conflict, Existentialism, Self-realization, Identity. In the play “Andha Yug” Krishna is portrayed as a disembodied voice. -
Rudrakshya's Odissi
Price Re. 1/- IIC EXPERIENCE: A FESTIVAL OF THE ARTS, 2019 The rhythmic waves of pure dance elaborations in Taal Rudrakshya’s Odissi Tarang were comparable to Hatha Yoga’s physical coordination while using different rhythmic patterns PERFORMANCE (chhanda) and speeds (laya) within one tala. It was a joy to Magic in Movement. Odissi presented by artists of the Rudrakshya Foundation, Bhubaneswar witness the expansive, luxurious movement we remember of Gurus Kelucharan Mohapatra and Gangadhar Pradan’s 11 October 2019 styles of Odissi. Yaha Krishna Saha Kali showcased Rudrakshyas’ The opening performance of the annual Festival was an ability to communicate in expression and movement, impressive Odissi presentation by the all-male Rudrakshya the metaphysical similarities and contrasts of Shakti Foundation troupe under the direction of choreographer and Krishna. Kali’s strength and power alternated with Guru Bichitrananda Swain. the lasya of Odissi’s nuanced sensuality, as Krishna Guru Bichitrananda Swain likened dance to yoga, both played out his leela with Radha and the other Gopis. The sharing the ultimate goal of mokshya, union of self with intimate embraces of Radha–Krishna were aesthetically the divine. His Surya Stuti Mangalacharan communicated shown between two male dancers, as is also done in the the essence of Bhakti Yoga with an elegantly unrushed cousin–brother, traditionally all male form of Mayurbhanj choreography. The Jagannatha Swami opening, Chhau, something that would generally be uncomfortable performed as a round with dancers moving on different between male–female partner artists. levels, was a refreshing variation of the pushpanjali We saw the mental focus of Raja Yoga in the evoking of rasa offering of flowers.Mangalacharan concluded with the through dramatic expression (abhinaya). -
FALL 2010 COURSE DESCRIPTIONS (9-4-10) Complete and Up-To-Date Course Information Is Available on Thehub
FALL 2010 COURSE DESCRIPTIONS (9-4-10) Complete and up-to-date course information is available on TheHub COGNITIVE SCIENCE (CS) CS-104T-1 DR; FY Cognitive Science Fiction Lee Spector Can androids fall in love? Could a planet have a mind of its own? How might we communicate with alien life forms? Will it ever be possible for two people to "swap minds"? How about a person and a robot? And what would it feel like to engage in a Vulcan "mind meld"? Cognitive science research can shed light on many of these questions, with results that are often as strange and as wonderful as the inventions of science fiction authors. In this course we will read and view science fiction while simultaneously reading current scientific literature on the mind, the brain, and intelligent machines. The science fiction will provide a framework for our discussions, but the real goal of the course is to provide a tour of issues in cognitive science that will prepare students for more advanced cognitive science courses. PRS, QUA, REA MW 10:30AM-11:50AM ASH 111 M 07:00PM-09:00PM ASH 112 CS-117T-1 DR; FY Philosophy of Education Ernest Alleva This course explores central questions in the philosophy of education: What is education, and what is it for? What is the meaning and value of education to individuals and society? What should the aims and content of education be? Are there things that everyone should know or be able to do? Should education promote moral virtue? What are alternative methods of education? How should educational opportunities and resources be distributed? What roles should the individual, family, community, and state have in education? What should the role of education be in democratic societies? We will examine alternative perspectives on these and related issues of educational theory and practice.