Karun Rasa and Tragic Feeling
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Sanskrutha Bharathi, New Jersey & Sangam Festival
Sanskrutha Bharathi, New Jersey & Sangam Festival- Princeton, New Jersey hosted a seminar and performance - commemorating the 1000th year of the Kashmirian genius Acharya Abhinavagupta on Saturday, April 8th 2017. The program opened with a brief prayer followed by a paper presentation by Bharatanatyam exponent and scholar Bala Devi Chandrashekar on Sri Abhinavagupta's commentary on Bharata muni's treatise "Natya shastra". The presentation stressed the immense value of understanding Abhinava Gupta's commentary "Abhinava Bharathi" to comprehend Natya Sastra. The Key takeaways from Bala Devi's presentation - Abhinava Gupta's two major works on aesthetics are - Dhvanyaloka -locana and Abhinava Bharati, they point towards his quest into the nature of aesthetic experience. In both these works Abhinava Gupta suggests that aesthetic experience is something beyond worldly experience, and has used the word ‘Alaukika’ to distinguish the former feeling from the mundane latter ones. He subscribes to the theory of Rasa Dhvani and thus entered the ongoing aesthetic debate on nature of aesthetic pleasure. Bharatha in Natyashastra, his pioneering work on Indian dramatics, mentions eight rasas and says rasa is produced when ‘Vibhaava’, Anubhava and Vyabhichari bhava come together. According to Abhinavagupta, the aesthetic experience is the manifestation of the self. It is similar to the spiritual experience as one transcends the limitations of one's limited self because of the process of universalisation taking place during the aesthetic contemplation of characters depicted in the work of art. Abhinavagupta maintains that this rasa is the supreme good of all literature. Abhinavagupta extended the eight rasas categorized by Bharata, by adding one more to the list, the Shanta rasa. -
And Their Addresses for Titles Cited in Both Editions; and a Short List of Book Stores Specializing in Outstanding Sources of Asian Studies Materials
DOCUMENT RESUME ED 059 132 SO 002 365 AUTHOR Embree, Ainslie T., Comp.; And Others TITLE Asia: A Guide to Basic Books. 1971 Supplement. INSTITUTION ASIA Society, New York, N.Y. PUB DATE 71 NOTE 53p. AVAILABLE FROM Asia Society, 112 East 64th Street, New York, New York 10021 (Supplement .500; Original Edition and Supplement .750.) EDRS PRICE MF$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies; *Area Studies; *Asian History; Burmese Culture; Chinese Culture; *Cross Cultural Studies; Cultural Awareness; Developing Nations; *Foreign Culture; Higher Education; Indians; Japanese; Non Western Civilization; Resource Guides; Secondary Grades IDENTIFIERS Asia; *Asian Studies; China; India; Japan; Southeast Asia ABSTRACT This selective bibliography, compiled and annotated by Asian specialists, is intended for the general reader as a continuation of Asia: A Guide to Basic Books published in 1966. The purpose is to identify 156 books covering extensive subject areas about Asia. The supplement is a geographically arranged into four major sections: General Asia, South Asia, Southeast Asia, and East Asia. Books pertaining to India, China and Japan comprise over onethird of this bibliography supplement and are classified by subjects under the categories: 1)general works;2)cultural, economic, and political history;:1) religion and philosophy; 4) literature; 5) art; and 6) modern political, social, and economic developments. Alphabetically arranged author and title indices are provided for both the original and the supplement. Special features include additional title bibliographies; a list of recent pub.`ishers and their addresses for titles cited in both editions; and a short list of book stores specializing in outstanding sources of Asian studies materials. -
Counsellors Corner
Counsellors Corner A Collection of pieces by Nick Luxmoore Contents (Not Really) About Snow 1 Acting Out 2 Advice 3 Being Bored 4 Being the Eldest 5 Being the Youngest 6 Breaking Friends 7 Bullies 8 Daring to be Different 9 Disappointment 10 Does my Bum Look Big? 11 Endings 12 Everybody Hates Me! 13 Exams 14 Excitement 15 Facing the Future 16 Fathers & Daughters 17 Fighting 18 Friends & Enemies 19 Going into One 20 He Needs a Man 21 Help, Doctor! There’s a Young Person in the House! 22 High Achievers 23 Homophobia Affects Everyone 24 How Are Things At Home? 25 I Am (Not) My Body 26 I Know Everything Now and I Can Do Everything 27 In Praise of Ordinariness 28 Learning to be Alone 29 Missing Stories 30 Mixed Feelings 31 Mothers & Sons 32 My Mother the Fridge 33 My Room 34 Negative Feelings 35 Not Knowing 36 Not Taking it Personally 37 Of Course we Hate our Children! 38 Parent-Figures 39 Playing 40 Pornography 41 Promises 42 Rules! Rules! Rules! 43 Rumours 44 Saying Sorry 45 Searching for Proof 46 See Me! Feel Me! Touch Me! Heal Me! 47 Seeking Attention 48 Self-Harm 49 Self-Esteem 50 Sex 51 Shame 52 Sleep 53 Stuck Family Roles 54 Taking Responsibility 55 The Cruelest Thing about Splitting Up 56 The Disillusioning of Parents 57 The Future 58 The Happiness Illusion 59 The Meaning of School 60 The Meaning of ‘Things’ 61 The Meaning of Uniform 62 The Myth of Anger Management 63 The Necessity of Failure 64 The Pink and the Black 65 The Problem with Hard Work 66 The Problem with Inspiration 67 The Real Me 68 The Secret Purpose of Rows 69 The Stories -
Sharanagati, Year Third
1. Sentimentalism and Compassion (from lecture of B.K.Tirtha Maharaj, 27.02.2007, Sofia) “O descendent of Bharata, he who dwells in the body can never be slain. Therefore you need not grieve for any living being.” 1 This verse actually gives the definition of sentimentalism. Because one definition of being sentimental is when you try to give more compassion to a living entity than God. Although this is a very difficult definition, if you try to give more compassion to an entity than God, then this is sentimental. How to understand this? This definition is very much connected with karma. Karma means action and reaction, you get what you deserve. You sow the wind – you reap the tempest. Whatever we do, there will be some reaction. This is one element of this question. So, fate is written on the foreheads of people. Whatever happiness, success, suffering and failure is awaiting you in this lifetime, it is given in the beginning. So, do not revolt against your fate. Actually fate is not a punishment, but fate is a chance to fulfill our progress. Therefore we should be thankful for getting all the different opportunities in our lifetime. Of course, during our spiritual progress, we must learn what is compassion. But remember the definition: sentimental means you try to be over-compassionate – compassionate over the path, over karma, over the fate of people. Of course, it does not mean “do not give help” if help is needed. But there are certain things that we cannot change. We should identify our limits. -
Rasa: Estética E Semiose Na Índia1 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ JOSÉ LUIZ MARTINEZ
Rasa: estética e semiose na Índia1 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ JOSÉ LUIZ MARTINEZ Resumo Na Índia, desde a antiguidade, a representação artística é realizada pela conjugação das artes. Música vocal e instrumental, dança e teatro constituem uma unidade mul- timidiática englobada pelo termo sangita. Uma extensa literatura de tratados em sânscrito, assim como uma tradição milenar de debate acadêmico, discutem não apenas questões técnicas e normativas das artes, mas sobretudo a construção de significado e o processo de percepção estética. A teoria do rasa (sentimento, essência) é uma das con- tribuições indianas mais importantes nessa área. Neste artigo, intermeando uma visão panorâmica desse amplo campo de pesquisa, proponho algumas interpretações semióti- cas (de acordo com a teoria do signo de Charles Peirce) a respeito da teoria do rasa. Palavras-chave música, dança, teatro, Índia, rasa, estética, semiótica, Peirce Abstract In India, for millenia, artistic representation is the result of the conjunction of arts. Vocal and instrumental music, dance and theater constitute a multimediatic unity, circumscribed by the term sangita. A vast literature of sanskrit treatises, as well as an ancient tradition of academic debate, discuss not only normative and technical questions in performing arts, but above all the ways of constructing meaning and the process of aesthetic perception. The theory of rasa (feeling, essence) is one of the most important Indian contributions to this area. In this article, permeating a panoramic view of this broad field of research, I propose a semiotic interpretation (according to the sign theory of Charles Peirce) of the rasa theory. Key words music, dance, theater, India, rasa, aesthetics, semiotics, Peirce 1. -
The Good Book: a Secular Bible AC Grayling
[Pdf] The Good Book: A Secular Bible A. C. Grayling - download pdf The Good Book: A Secular Bible PDF Download, The Good Book: A Secular Bible Download PDF, Read Online The Good Book: A Secular Bible E-Books, The Good Book: A Secular Bible Full Collection, I Was So Mad The Good Book: A Secular Bible A. C. Grayling Ebook Download, PDF The Good Book: A Secular Bible Free Download, free online The Good Book: A Secular Bible, online pdf The Good Book: A Secular Bible, Download PDF The Good Book: A Secular Bible Free Online, A. C. Grayling epub The Good Book: A Secular Bible, the book The Good Book: A Secular Bible, A. C. Grayling ebook The Good Book: A Secular Bible, Download The Good Book: A Secular Bible E-Books, Download pdf The Good Book: A Secular Bible, Download The Good Book: A Secular Bible E-Books, Read Best Book The Good Book: A Secular Bible Online, Read The Good Book: A Secular Bible Books Online Free, Read The Good Book: A Secular Bible Ebook Download, The Good Book: A Secular Bible Popular Download, PDF Download The Good Book: A Secular Bible Free Collection, CLICK HERE - DOWNLOAD Their genius is shown. My opinion explores the story of their relationships and made it a great. Also small would be good for stress farm and search for a book of scratch. This patient was one of those books that really liked the synopsis of the one. It 's not everything that surprised me. I do not need to read this books to go and the command is different. -
Seventh Goswami."
Dedication Preface 1. Prologue 2. Family Lineage 3. Birth and Infancy 4. Schooling 5. Marriage & Studies in Calcutta 6. College 7. Orissa 8. Deputy Magistrate 9. Preaching Days Begin 10. The Öhäkura in Puré 11. The Chastisemant of Bisakisen 12. Vaiñëava Studies and Two Mahätmäs 13. Royal Conspiracy 14. Kåñëa-saàhitä and Other Works 15. Initiation and Çréla Jagannätha Däsa Bäbäjé 16. Bhakti Bhavan 17. Bankim Chandra and a Flow of Books 18. Discovery of Lord Çré Caitanya's Birthsite 19. Preaching the Holy Name 20. A Mighty Pen 21. Retirement and Expansion of Preaching 22. His Preaching Reaches the Western World 23. Preaching and Publishing Until the Last 24. Bhakti Kuti and Svänanda-sukhada-kuïja 25. Acceptance of Bäbäjé-veña 26. Last Days 27. Summary of Life and Qualities 28. His Daily Schedule 29. His Character 30. His Writing 31. His Predictions 32. Appendices 33. Glossary A Biography of His Divine Grace Çréla Saccidänanda Bhaktivinoda Öhäkura (1838-1914) by Rüpa-viläsa däsa Adhikäré Edited by Karëämrta däsa Adhikäré "I have not yet seen the Six Goswamis of Vrindavan, but I consider you to be the Seventh Goswami." Shishir Kumar Ghosh (1840-1911) Amrita Bazar Patrika, Editor and founder, in a letter to glorify Çréla Bhaktivinoda Öhäkura Dedication To His Divine Grace A.C. Bhaktivedanta Swami Prabhupäda, my eternal spiritual master, who delivered the merciful teachings of the Vaiñëava äcäryas to the suffering world. I pray that he may be a little 2 pleased with this attempt to glorify Çréla Sac-cid-änanda Bhaktivinoda Öhäkura. namo bhaktivinodäya sac-cid-änanda-nämine gaura-çakti-svarüpäya rüpänuga-varäya te namaù-obeisances; bhaktivinodäya-unto Çréla Bhaktivinoda Öhäkura; sat-cit-änanda-nämine-known as Saccidänanda; gaura-(of) Lord Caitanya; çakti-energy; svarüpäya-unto the personified; rüpa-anuga- varäya-who is a revered follower of Çréla Rüpa Gosvämé; te-unto you. -
Walker Percy, Looking for the Right Happened in the Trevon Martin Hate Crime
2013 Presented By The Pirate’s Alley Faulkner Society Photograph by Joséphine Sacabo Faith & The Search for Meaning As Inspiration for The Arts Published December 1, 2013, New Orleans, LA Guarantors Bertie Deming Smith & The Deming Foundation, Cathy Pierson & Charles Heiner Theodosia Nolan, Tia & James Roddy & Peter Tattersall Judith “Jude” Swenson In Memory of James Swenson Randy Fertel and the Ruth U. Fertel Foundation Joseph DeSalvo, Jr., Rosemary James & Faulkner House, Inc. Frank G. DeSalvo, Attorney The J.J. and Dr. Donald Dooley Fund: Samuel L. Steel, III, Administrator Pam Friedler Joséphine Sacabo & Dalt Wonk Louisiana Division of the Arts, Department of Culture, Recreation & Tourism The State Library of Louisiana & The Louisiana Festival of the Book The Louisiana State Museum Hotel Monteleone & The Monteleone Family: Anne Burr, Greer & David Monteleone, Denise Monteleone, Ruthie Monteleone Anne & Ron Pincus Diane Manning, Floyd McLamb, Courtenay McDowell & Richard Gregory Hartwig & Nancy Moss In Memory of Betty Moss, New Orleans Hispanic Heritage Foundation David Speights in Memory of Marti Speights Mary Freeman Wisdom Foundation, Joyce & Steve Wood Zemurray Foundation Good Friends Jennifer E. Adams; Barbara Arras; Barbara & Edwin Beckman; Deena Bedigian; John & Marcia Biguenet; C.J. Blanda; Roy Blount, Jr. & Joan Griswold; Angie Bowlin; Birchey Butler; Charles Butt; Hortensia Calvo; Batou & Patricia Chandler Cherie Chooljian; Jackie Clarkson; Ned Condini; Mary Len Costa; Moira Crone & Rodger Kamenetz; Jerri Cullinan & Juli Miller Hart; W. Brent Day; Susan de la Houssaye; Stephanie, Robin, & Joan Durant; Louis Edwards; James Farwell & Gay Lebreton;Madeline Fischer; Christopher Franzen, Patty Friedmann; Jon Geggenheimer; David & Sandra Groome; Douglas & Elaine Grundmeyer; Christine Guillory; Janet & Steve Haedicke; Michael Harold & Quinn Peeper; Ken Harper & David Evard; W. -
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. -
Edifying Parables
Edifying Parables of His Holiness Jagadguru Sri Abhinava Vidyatheertha Mahaswamigal Publisher Sri Vidyatheertha Foundation Chennai www.svfonline.net First Edition 1995 (1200 Copies) Reprint 2000 (1500 Copies) 2004 (3000 Copies) 2014 (1200 Copies) 2015 (2000 Copies) Digital Version 2016 © All rights reserved ISBN 81-903815-4-7 Published by: Sri Vidyatheertha Foundation G-B, Sai Karuna Apartments 49, Five Furlong Road Guindy, Chennai - 600 032 Mobile : 90031 92825 Email: [email protected] This E-Book is for free distribution only. 6 Edifying Parables Preface His Holiness Jagadguru Sri Abhinava Vidyatheertha Mahaswamigal, reverentially referred to as ‘Acharyal’ in this book, had an innate ability to explain even complex topics in a simple manner through stories composed by Him on the spot or based on texts such as the Vedas, Ramayana, Mahabharata and Puranas. This book contains well over a hundred edifying parables of our Acharyal compiled by a disciple and grouped over 97 heads. The sources of the parables are Acharyal’s benedictory addresses and His private conversations with the disciple. Following are the minor liberties that have been taken in the preparation of the text: 1. Parables narrated by Acharyal in more than one benedictory address have been grouped under a single head. 2. In rare cases, names have been given to the characters of a story even when Acharyal did not do so during His talk with the disciple. 3. Where Acharyal has narrated more than one version of a story, information from all the versions have been utilised. 7 We are glad in publishing the digital version of this book and offering it to all for free-download in commemoration of the birth-centenary of His Holiness Jagadguru Sri Abhinava Vidyatheertha Mahaswamigal. -
(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). -
Sentiment Analysis of Residents of the Puget Sound on Indigenous Fisheries
Sound Perspectives: Sentiment Analysis of Residents of the Puget Sound On Indigenous Fisheries By Hailey Kehoe Thommen A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Natural Resources, Forest Ecosystems & Society (Honors Associate) Presented May 24, 2019 Commencement June, 2020 AN ABSTRACT OF THE THESIS OF Hailey Kehoe Thommen for the degree of Honors Baccalaureate of Science in Natural Resources, Forest Ecosystems & Society presented on May 24, 2019. Title: Sound Perspectives: Sentiment Analysis of Residents of the Puget Sound On Indigenous Fisheries. Abstract approved:_____________________________________________________ Kelly Biedenweg Indigenous management and coordinated co-management of natural resources is an emotionally filled topic, especially for those within the Puget Sound region of Washington, but has yet to be studied in depth from the emotional perspective of residents. This research used sentiment analysis to find the overarching sentiment of indigenous fisheries, how it varies by demographics and level of trust in governance, and frequency of reported fishing. I also sought to identify which primary emotions were most evoked by respondents. From this I found that when people chose to make a free comment, the sentiments were predominantly negative. Demographics did not vary significantly between those evoking positive or negative sentiment, although the few people of color within the sample evoked positive sentiment. Primary emotions evoked by respondents within the negative sentiment group were sadness and disgust, while those within the positive sentiment group expressed trust and joy. These primary emotions of the sentiments groups are directly opposing according to the psychology of emotion theory.