Of Names/Titles

Total Page:16

File Type:pdf, Size:1020Kb

Of Names/Titles INDEX OF NAMES/TITLES 1 Corinthians: 23, 449 Bachelard, Gaston: 396, 411, 459; Poetics 2 Corinthians: (3:6) 370 of Reverie by 459, 469; Poetics of Space 1 John: (4:16) 252 by 396n1 1 Kings: (18:20–40) 134 Bakhtin, Mikhail: 120, 120n2, 120n3; The 2 Kings: (5:1–19) 134, (5:15) 134 Dialogical Principle by (ed. Todorov) 121 2 Peter: (1:19) 43 Baltoyianni, Chrysanthe: 420 Basava: 38, 40 Abhinavagupta: 219–230, 400; Bateson, Gregory: Mind and Nature by Abhinavabharati by 219, 228; 64, 78 Dhvanyaloka Locana by 219, Benjamin, Walter: 458n12; 469 230; Paratrisika Vivarana by 220; Bhagavad Gita: on karma yoga 51; Tantraloka by 220, 227–230 (4:1–3) 54; 58, 267, 275; translation Abhishiktananda (Henri Le Saux): 12, into Persian 335 17–22, 24, 52, 100, 169, 203–218; The Bharata Muni: Natya Shastra by 221, Secret of Arunachala by 20n5, 31, 399n7; 400–401 205, 207–211, 213–216, 218; Ascent to Biruni (Abu Rayhan al-Biruni): 308–313 the Depth of the Heart 210, 212–213, Bodhidharma: 294–295, 297 216–218 Borges, Jorge Luis: on the crucified face Acts of the Apostles: (10) 138; (4:12) 296, 296n16 258; (17:24–28) 444 Brahmachari Amaldas: Surya Akbar, Emperor: 25–27, 26n9, 331–332, Namashkar 51n7, 52, 55; Yoga and 334–335, 334n6–7 Contemplation by 78 Amaladass, Anand, S.J.: 64, 172; Bruno, Giordano: and the Christian Philosophical Implications of Dhvani Inquisition 26 78, 172, 189 Buber, Martin: 292n8, 298 Amaladoss, Michael, S.J.: “Double Buddha: on “brahmin” 84; Religious Belonging and Liminality Dhammapada by 84; Shakyamuni 388 by” 136, 140 Anandavardhana (Ananda Campin, Robert: Mérode Altarpiece on Vardhana): 64, Dhvanyaloka by 219 the “Annunciation” by 453–455 Angelos of Crete: Kardiotissa and Child Cassirer, Ernst: on Nicholas of Cusa as by 404, 406, 407, 409 “first modern thinker” 434 Aquinas, Saint Thomas: 9, 21, 27, 198, 200 Chuang-Tzu: 295, 297; Chuang- Arguedas, Jose Maria: 461n16, 464–468; Tzu: Basic Writings by 299 Deep Rivers by 461n16, 465; on Clairvaux, Bernard: 76, 436 Inkarrí 464-466; “Puquio” by 465; El Clooney, Francis X.: Divine Mother, Zorro de arriba y el zorro de abajo Blessed Mother by 235 465n23, 466–467 Coleridge, Samuel Taylor: on Aristotle: 398, 398n3, 399, 402; Poetics imagination vs. fancy 45; Biographia by 402 Literaria by 46, 78 Armstrong, Karen: Muhammad: A Coomaraswamy, Ananda: 43, 43n2, Biography of the Prophet by 340, 351 69n14; Dance of Shiva by 78 Augustine, Saint: 436, 447, 448n3; Corbin, Henry: Creative Imagination Confessions by 372 in the Sufism of Ibn ‘Arabi by 364; Aurobindo (Ghose), Sri: 73–74, and Heschel 428; on “imaginal” vs. 289–294; On Himself by 290; The “imaginary” 45, 45n3; on imagination Synthesis of Yoga by 79; Savitri: A and distance 356, 361, 362; on Islamic Legend and a Symbol by 79; On Yoga cosmology 356; Mundus Imaginalis by II by 290 78, 356, 364 Averroes (Ibn Rushd): 27 Council of Ferrara-Florence (1439): 27, Avicenna: 27, 313 442n5 index of names/titles 499 Cusa, Nicholas of: 22n6, 434–445, 447; Ghazali (al-Ghazali, Abu Hamid): The Catholic Concordance by 441n4; 304–309; “The Deliverer from Error” On Inter-religious Harmony by 441; by 305; “The Scale of Right Action” The Layman on Experiments by 435; by 305 The Layman on the Mind/Spirit by Goethe, Johan Wolfgang: 64 434; The Layman on Wisdom by 434, Grant, Sara: 9, 17, 20, 21 22, 22n6, 435, 436, 438n2; modified dualism of 23, 23n7, 24, 197–202, Toward an 444; on devout interpretation Alternative Theology: Confessions of a 442–443; on posse 447; Sifting the Non-Dualist Christian by 31, 202 Qur’an 442; Unity and Reform by Griffiths, Father Bede: 3, 4, 12, 43, 52, 438–439; On the Vision of God by 444 52n8, 100, 128, 129, 140, 169 Gutiérrez, Gustavo: 12, 467, 468; A Dalai Lama: 12 Theology of Liberation by 467n28, 468, Dalrymple, William: 25–26n9; “The 469; Entre las calandrias by 467n27, Most Magnificent Muslims” by 31 468, 469 David, Gerard: diptych on the “Annunciation” by 450–453 Hafiz of Shiraz: ghazal on divine Dilthey, Wilhelm: 108, 113, 114 imagination 28, 325–346; as poetic Dionysius the Areopagite: 444 peer/translator of Ibn ‘Arabi 317–318 Doyle, Anita: on fecund emptiness Heart Sutra (Prajnaparamita 457–458; “Verbum Ineffabilis” by 457 Hrydaya): 367–380, 416 Du Boulay, Shirley: TheCave of the Hederman, Mark Patrick: 10n2; Heart: A Biography of Swami Symbolism by 31 Abhishiktananda by 203 Hegel, Georg Wilhelm Friedrich: 367, 376 Heidegger, Martin: Being and Time Eckhart, Meister: on divine birth 43, by 121; and Cusa 380n2; on Dasein 447; mysticism of 436, 457n10 154; on empathy 110; existential Eliade, Mircea: phenomenological understanding of worldness 154; style of inquiry 150n4; on spiritual “Letter on Humanism” by 380; on transformation 49; on yoga 148, “loving enabling”/”the power of the 148n1; Yoga: Immortality and possible” 377n11; on Seinsdenken 376; Freedom by 79, 165 on Stimmung 371 Eliot, T.S.: “Journey of the Magi” by Henry, Michel: 456; “Speech and 395, 410, 421 Religion” by 469 Ephesians: (1:23) 15 Hermetica (ed. Copenhaver): 346, 351, Exodus: (7:18–12) 48; (3:2) 342; (3:15) 448n3, 456, 469 6; (16:4) 438n2; (3:8) 438n2 Heschel, Abraham Joshua: 425–431; “The God of Israel and Christian Farabi (al-Farabi): 313–315 Renewal” 432; Israel: An Echo of Fish, Stanley: Is There a Text in this Eternity by 425, 432; “No Religion Class? by 164, 165 is an Island” by 427, 432; Warsaw Francis Acharya: 12–15, 24; Conference on 428–429 Meditation: Hindu-Christian Meeting Hiriyanna, M.: Art Experience by 65, 79 Point by 31 Hopkins, Gerald Manley: on “inscape” Francis of Assisi (Saint): “Canticle to and “instress” 64; and Rabindranath Brother Sun” by 75; Prayer of 8, 252, 266 Tagore 65; Poems and Prose by 79, 202; “No worst there is none” by 201 Gadamer, Hans-Georg: 173 Husserl, Edmund: 108, 109, 151, Gandhi, Mohandas K.: 11, 12, 24, 36, 152, 153, 153–154n8, 156, 161, 38–39, 100, 104, 105, 123, 392 376; Cartesian Meditations by 151, Gandhi, Ramachandra: 39, 124; Sita’s 151–152n6, 165; Ideas I by 162n18, Kitchen by 126 165; Phenomenology of Internal Time Genesis: on work (27:40) 51; God’s Consciousness by 153n8, 165; on curse on the serpent (3:15) 66 “seedlessness” 154n8.
Recommended publications
  • Aesthetic Philosophy of Abhina V Agupt A
    AESTHETIC PHILOSOPHY OF ABHINA V AGUPT A Dr. Kailash Pati Mishra Department o f Philosophy & Religion Bañaras Hindu University Varanasi-5 2006 Kala Prakashan Varanasi All Rights Reserved By the Author First Edition 2006 ISBN: 81-87566-91-1 Price : Rs. 400.00 Published by Kala Prakashan B. 33/33-A, New Saket Colony, B.H.U., Varanasi-221005 Composing by M/s. Sarita Computers, D. 56/48-A, Aurangabad, Varanasi. To my teacher Prof. Kamalakar Mishra Preface It can not be said categorically that Abhinavagupta propounded his aesthetic theories to support or to prove his Tantric philosophy but it can be said definitely that he expounded his aesthetic philoso­ phy in light of his Tantric philosophy. Tantrism is non-dualistic as it holds the existence of one Reality, the Consciousness. This one Reality, the consciousness, is manifesting itself in the various forms of knower and known. According to Tantrism the whole world of manifestation is manifesting out of itself (consciousness) and is mainfesting in itself. The whole process of creation and dissolution occurs within the nature of consciousness. In the same way he has propounded Rasadvaita Darsana, the Non-dualistic Philosophy of Aesthetics. The Rasa, the aesthetic experience, lies in the conscious­ ness, is experienced by the consciousness and in a way it itself is experiencing state of consciousness: As in Tantric metaphysics, one Tattva, Siva, manifests itself in the forms of other tattvas, so the one Rasa, the Santa rasa, assumes the forms of other rasas and finally dissolves in itself. Tantrism is Absolute idealism in its world-view and epistemology.
    [Show full text]
  • Bharata Muni's Natyashastra
    INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745 (ICI) KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol.6.Issue.1.2019 (Jan-March) BHARATA MUNI’S NATYASHASTRA: A COMPREHENSIVE STUDY Dr. M. RAMESHWOR SINGH Assistant Professor, P.G. Department of English D.M. College of Arts, DMU, Imphal, Manipur doi: https://doi.org/10.33329/ijelr.6119.85 ABSTRACT The Natyashastra is a notable ancient encyclopaedic treatise on arts which has influenced dance, music and literary traditions in India. According to Susan L. Schwartz, ‘Natyashastra praises dramatic arts as a comprehensive aid to the learning of virtue, proper behaviour, ethical and moral fortitude, courage, love and adoration of the divine.’ The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwrights, the artists and the Dr. M. RAMESHWOR SINGH spectators, their intimate relationship during the performance. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu gods and goddesses. The general approach of the text is to treat entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators into the expression of ultimate reality and transcendent values. It is notable for its aesthetic ‘Rasa’ theory, which asserts that entertainment is a desired effect of performance arts and it transports the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness and reflects on spiritual and moral questions.
    [Show full text]
  • 3.Hindu Websites Sorted Country Wise
    Hindu Websites sorted Country wise Sl. Reference Country Broad catergory Website Address Description No. 1 Afghanistan Dynasty http://en.wikipedia.org/wiki/Hindushahi Hindu Shahi Dynasty Afghanistan, Pakistan 2 Afghanistan Dynasty http://en.wikipedia.org/wiki/Jayapala King Jayapala -Hindu Shahi Dynasty Afghanistan, Pakistan 3 Afghanistan Dynasty http://www.afghanhindu.com/history.asp The Hindu Shahi Dynasty (870 C.E. - 1015 C.E.) 4 Afghanistan History http://hindutemples- Hindu Roots of Afghanistan whthappendtothem.blogspot.com/ (Gandhar pradesh) 5 Afghanistan History http://www.hindunet.org/hindu_history/mode Hindu Kush rn/hindu_kush.html 6 Afghanistan Information http://afghanhindu.wordpress.com/ Afghan Hindus 7 Afghanistan Information http://afghanhindusandsikhs.yuku.com/ Hindus of Afaganistan 8 Afghanistan Information http://www.afghanhindu.com/vedic.asp Afghanistan and It's Vedic Culture 9 Afghanistan Information http://www.afghanhindu.de.vu/ Hindus of Afaganistan 10 Afghanistan Organisation http://www.afghanhindu.info/ Afghan Hindus 11 Afghanistan Organisation http://www.asamai.com/ Afghan Hindu Asociation 12 Afghanistan Temple http://en.wikipedia.org/wiki/Hindu_Temples_ Hindu Temples of Kabul of_Kabul 13 Afghanistan Temples Database http://www.athithy.com/index.php?module=p Hindu Temples of Afaganistan luspoints&id=851&action=pluspoint&title=H indu%20Temples%20in%20Afghanistan%20. html 14 Argentina Ayurveda http://www.augurhostel.com/ Augur Hostel Yoga & Ayurveda 15 Argentina Festival http://www.indembarg.org.ar/en/ Festival of
    [Show full text]
  • Unit 2: Theories of Rasa
    1 UNIT 2: THEORIES OF RASA Contents 2.0 Objectives 2.1 Introduction 2.2 Bhatta Lollata and his Utpattivada 2.3 Sri Sankuka and his Anumitivada 2.4 Bhatta Nayaka and his Bhuktivada 2.5 Sadharnikarana 2.6 Let us sum up 2.7 Key words 2.8 Further readings and references 2.0 OBJECTIVES The main objective of writing this unit is to make you see how the school of Rasa, instituted by Bharata, took its first steps towards developing into an influential tradition. Transcending beyond the boundaries of Natya the influence of Rasa spread to other art forms like Painting, Architecture and Poetics. More noticeable was its entry into the hallowed circle of Philosophical reflections. Hailing from the nurturing ground of a rich tradition of poetics-Kashmir three scholars of repute, each following a different philosophy, pursued one common goal-study Rasa. Bhatta Lollata took the lead in this direction followed by Sri Sankuka and Bhatta Nayaka. This unit makes an effort to outline their interpretations of Rasa-theory and highlight their contributions towards its advancement. We are sure after reading this unit you should be able to: 1. have an overview of the theories of Rasa propounded by: a) Bhatta Lollata b) Sri Sankuka c) Bhatta Nayaka 2. have a basic understanding of the principle of Sadharnikarana. 2.1. INTRODUCTION The rise of Rasa to achieve the status of a foundational concept of Indian poetics is a historical fact but how it happened is an area of interesting study. As an aesthetic principle Rasa gained an easy entry in to the world of Painting and Architecture but its tryst with sanskrit poetics had not been affable in its initial phase.
    [Show full text]
  • Rasa in Sanskrit Drama Princy Sunil
    The Indian Review of World Literature in English, Vol. 1, No. I – Jan, 2005 RASA IN SANSKRIT DRAMA PRINCY SUNIL Sanskrit rhetoricians distinguish Kavya into two kinds: Drsya (that which can be seen) and Sravya (that which can be heard). In drama, Drsya takes a predominance over Sravya. It is because of its capacity to afford a two-fold pleasure that drama is considered as the best form of literature. Kalidasa, the veteran of Sanskrit drama, says: "Sages declare it to be a charming sacrificial feast for the eyes of the Gods. Siva bisected it in his own person which is made one with Uma. Here are seen actions of the world arising from the three qualities (Satva, Rajas and Tamas) and distinguished by various sentiments. Drama, though single, is a mainfold entertainment for people of diverse tastes". (Kalidasa, Malavikagnimitram, I.4). According to Bharata, Brahma created a fifth Veda called Natya for the benefit of all classes of people. For the composition of his work, he took Patrya from the Rig-Veda, Pathya Gita from the Sama-Veda, Abhinayas from the Yajur-Veda and Rasas from the Atharva -Veda. `Rasa’ is one of those words in Sanskrit whose precise significance is as indefinite as its usage is widespread. In the history of Sanskrit Poetics, perhaps no other concept has given rise to so much controversy. According to the renowned poet-critic Anandavardhana, poetic creation is an expression of the aesthetic experience of the poet, and in this, Rasa represents the ultimate emotive experience evoked by the literary work. Bharata served to compile the meaning of the multifaceted word `Rasa' in a single sentence.
    [Show full text]
  • The Chowkhamba Sanskrit Series Office, Varanasi-1 •Prirtkr : Vidya Vilas Press, Varanasi-1 Edition : Second, 1968
    WublhhS : The Chowkhamba Sanskrit Series Office, Varanasi-1 •Prirtkr : Vidya Vilas Press, Varanasi-1 Edition : Second, 1968. Price : Rs. 45-00 This is a Second Edition of the work, revised, enlarged, and re-elaborated by the Author, the First Edition having appeared in the SOR, No. XI, published by 1SMEO ( Jstituto Italiano per il Medio ed Estremo Oriente ), Rome 1956. (C) The Chowkhamba Sanskrit Series Office PUBLISHERS AND ORIENTAL & FOREIGN BOOK-SELLERS K. 37/99, Gopal Mandir Lane P. O. CHOWKHAMBA, P. BOX 8, VARANASI-1 ( India ) 1968 PUBLISHERS' NOTE ATBËJNAVAGUPTA seems to have given the final shape to the philo- *.*.* -><- £Uty -m india. His name is familiar to all students of Sanskrit ^tî^lanîd.Indian Aesthetics. His fame is still alive and his poetical PmpMlbsöphical theories hold ground even today. It is no wonder |Aë;%esthetic thought of Abhinavagupta, one of the most profound äffest minds that India has ever known, captured the imagination j&aniero Gnoli who, besides being an erudite scholar, well- pÄö'käitor and able translator of various Sanskrit Texts, is a Saludaya l(tiu&, sense of the term. His thorough understanding and scholarly of the Rasa-theory of Abhinavagupta in particular theories of other thinkers in general, are simply wonderful, work, AESTHETIC EXPERIENCE ACCORDING , he has edited and translated the Com- y Abhinavagupta on the famous smra of Bharata, Vibhavânu- ( Nalya sastra ) which constitutes text in the whole of Indian aesthetic thought, and the light of the views of prominent rhetors and philo- ancient and modern. The theory of Abhinavagupta has eô:presented here in a garb which can very easily appeal to of this work was issued some ten years back by the in the SERIE ORIENTALE ROMA ( No.
    [Show full text]
  • Scheme and Design of M.A Program in Philosophy
    Scheme and Design of M.A Program in Philosophy Weight of each Course : 4 credits Number of teaching Courses : 19 Total Credits of Teaching Courses : 76 Dissertation : 4 Credits (Internal – 2 Credits, External – 2 Credits) Number of Core Courses : 12 Number of Electives : 5 Multi Disciplinary Courses : 2 Total Weight : 80 Credits Dissertation is attached to the final Semester of MA program. While preparing the Dissertation the students should follow a consistent and discipline specific methodology. The Dissertation must be formally submitted on the stipulated date to the Department which may be forwarded to the University for valuation. Evaluation: Half of the credits will be valued internally through Continuous Assessment and half of the credits will be evaluated through a University Level Monitored External Examination System The evaluation will be based on the 9 point Grading System A+ 9 B- 4 A 8 C+ 3 A- 7 C 2 B+ 6 C- 1 B 5 F 0 An average of B- is the passing grade. No minimum grade is required in each course. However, if a student fails in a course, i.e., if he/she gets ‘F’ then he/she should pursue that course again when it is offered subsequently. There will be no supplementary examination. 1 The Internal/External evaluations is in the ratio 50:50 Each course is evaluated by a Nine Point Scale as followed at present. The Pass Minimum for each course is B- (B Minus). A student who acquires Pass Minimum for at least twelve credits will be promoted to the next semester. ‘Internal Assessment’ of the Teaching Courses will consist of three components: Assignment (1 No.), Seminar (1 No.), Test papers (1 No.).
    [Show full text]
  • Natyashastra, Specially Dance Related Chapters and Sangita Ratnakar Module 2 Relevance of Natya Shastra Today
    Paper: 1 Detail Study Of Natyashastra, Specially Dance Related Chapters And Sangita Ratnakar Module 2 Relevance Of Natya Shastra Today The Impact of Natyashastra and Traditional Indian Theatre on Contemporary Theatre Practice Bharatamuni’s Natyashastra has remained an akaragrantha / आकारग्रंथ – authentic source book – for centuries, containing within itself a systematic presentation of the conceptual framework of theory and praxis of the tradition of performing arts that is followed in India even today. It is believed that the Natyashastra was discovered sometime in the 19th century, with Sir William Jones being the first scholar to have referred to it in the preface of his 1789 edition of Abhijnanasakuntalam in English translation. Later, in the second half of the 19th century, Natyashastra attracted the attention of several scholars in Europe and India who referred to it in their writings. They include H H Wilson (Select Specimens of the Theatre of Hindus – 1826), Fitz Edward Hall (Dasarupakam – 1865), Paul Regnaud (French translation of Natyashastra, around 1880), Grosset (critical editions of Natyashastra, 1888, 1898), Kavyamala edition (KM) of Natyashastra prepared on the basis of two different copies of one manuscript in 1894, Ramkrishna Kavi (first volume of 1 Natyashastra with Abhinavabharati, Gaekwar Oriental Series (GOS), Baroda, 1926; three more volumes were released in 1934, 1954, and 1964), Batuk Nath Sharma and Baldev Upadhyay (edition of Natyashastra under Kashi Sanskrit Series (KSS), 1927), M M Ghosh (critical edition of Natyashastra in English translation, Kolkata), R S Nagar(text edited with Abhinavabharati on basis of four editions from Delhi). In recent years, scholars like N P Unni (complete edition of Natyashastra with English translation and notes based on Kerala edition by Narayan Pisharoti), R Gnoli (textual studies on the Rasa portion of Abhinavabharati), Ramaswami, K Krishnamurthy, T S Nandi, Rajendra Nanavati, and S K Belvelkar have worked on the Natyashastra.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Bharata's Rasa Theory
    Chapter: 2 Bharata’s Rasa Theory ---------------------------------------------------------------------------------------- Introduction: Usually poetics means an internal theory of literature which defines, explains and judges the variety of literary works. Poetics also lays down certain general principles and models that applicable to different literary works, to understand them, to know their commonness and their distinctions. It means that poetics is concerned with literary discourses. The word Indian Poetics is often knows as Sanskrit Poetics that lays principles and laws for interpretation of different literary forms. In general India is known for its rich literary traditions. Indian’s view literature in the light of life and spirituality. Literary theory in India is quite old as much as ancient India. Panini, an ancient Grammarian considered literary theory as the fourth category of discourse. Bharata is known as first pioneer of the literary theory in Indian literary tradition. Bharata belongs to second century BC, he writes Natyashastra, in which is, the source text of many literary theories. It deals with the theory of rasa that has been interpreted in various ways by different philosopher and literary scholars during next centuries. Indian thinking is not fragmentary but it is continuous, cumulative and inclusive. They write about different areas of human life and experience, the fact is that, much of the written text are either lost or perished. The some texts are available either in full or bits form deals 79 with different areas of thinking as philosophy, grammar, medicine, literary theories, political thought, logic military science, sociology, agriculture etc. Bharata is a philosopher of kavyashastra (literary science), his Natyashastra is regarded as major text of Indian kavyashastra.
    [Show full text]
  • Natya Shastra
    This page uses content from Wikipedia and is licensed under CC BY-SA. Natya Shastra The Nāṭya Śāstra (Sanskrit: नाट्य शा , Nāṭyaśāstra) is a Sanskrit Hindu text on the performing arts. [1][2] The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between Part of a series on 200 BCE and 200 CE,[3][4] but estimates vary between 500 BCE and 500 CE.[5] Hindu scriptures and texts The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance.[6][7] Shruti [2][8] The Nāṭya Śāstra is notable as an ancient encyclopedic treatise on the arts, one which has Smriti influenced dance, music and literary traditions in India.[9] It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not the primary Vedas goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness, and reflects on spiritual and Rigveda moral questions.[8][10] The text has inspired secondary literature such as Sanskrit bhasya (reviews and Samaveda commentaries) such as by the 10th century Abhinavagupta.[11]
    [Show full text]