Vāsavadatta, a Sanskrit Romance
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Literatura Orientu W Piśmiennictwie Polskim XIX W
Recenzent dr hab. Kinga Paraskiewicz Projekt okładki Igor Stanisławski Na okładce wykorzystano fragment anonimowego obrazu w stylu kad żarskim „Kobieta trzymaj ąca diadem” (Iran, poł. XIX w.), ze zbiorów Państwowego Muzeum Ermita żu, nr kat. VP 1112 Ksi ąż ka finansowana w ramach programu Ministra Nauki i Szkolnictwa Wy ższego pod nazw ą „Narodowy Program Rozwoju Humanistyki” w latach 2013-2017 © Copyright by individual authors, 2016 ISBN 978-83-7638-926-4 KSI ĘGARNIA AKADEMICKA ul. św. Anny 6, 31-008 Kraków tel./faks 12-431-27-43, 12-421-13-87 e-mail: [email protected] Ksi ęgarnia internetowa www.akademicka.pl Spis tre ści Słowo wst ępne . 7 Ignacy Krasicki, O rymotwórstwie i rymotwórcach. Cz ęść dziewi ąta: o rymotwórcach wschodnich (fragmenty) . 9 § I. 11 § III. Pilpaj . 14 § IV. Ferduzy . 17 Assedy . 18 Saady . 20 Suzeni . 22 Katebi . 24 Hafiz . 26 § V. O rymotwórstwie chi ńskim . 27 Tou-fu . 30 Lipe . 31 Chaoyung . 32 Kien-Long . 34 Diwani Chod ża Hafyz Szirazi, zbiór poezji Chod ży Hafyza z Szyrazu, sławnego rymotwórcy perskiego przez Józefa S ękowskiego . 37 Wilhelm Münnich, O poezji perskiej . 63 Gazele perskiego poety Hafiza (wolny przekład z perskiego) przeło żył Jan Wiernikowski . 101 Józef Szujski, Rys dziejów pi śmiennictwa świata niechrze ścija ńskiego (fragmenty) . 115 Odczyt pierwszy: Świat ras niekaukaskich z Chinami na czele . 119 Odczyt drugi: Aryjczycy. Świat Hindusów. Wedy. Ksi ęgi Manu. Budaizm . 155 Odczyt trzeci: Epopeja indyjskie: Mahabharata i Ramajana . 183 Odczyt czwarty: Kalidasa i Dszajadewa [D źajadewa] . 211 Odczyt pi ąty: Aryjczycy. Lud Zendów – Zendawesta. Firduzi. Saadi. Hafis . 233 Piotr Chmielowski, Edward Grabowski, Obraz literatury powszechnej w streszczeniach i przekładach (fragmenty) . -
The Semiotics of Axiological Convergences and Divergences1 Ľubomír Plesník
DOI: 10.2478/aa-2020-0004 West – East: The semiotics of axiological convergences and divergences1 Ľubomír Plesník Professor Ľubomír Plesník works as a researcher and teacher at the Institute of Literary and Artistic Communication (from 1993 to 2003 he was the director of the Institute, and at present he is the head of the Department of Semiotic Studies within the Institute). His research deals primarily with problems of literary theory, methodology and semiotics of culture. Based on the work of František Miko, he has developed concepts relating to pragmatist aesthetics, reception poetics and existential semiotics with a special focus on comparison of Western and oriental epistemes (Pragmatická estetika textu 1995, Estetika inakosti 1998, Estetika jednakosti 2001, Tezaurus estetických výrazových kvalít 2011). Abstract: This study focuses on the verbal representation of life strategies in Vetalapanchavimshati, an old Indian collection of stories, which is part of Somadeva’s Kathasaritsagara. On the basis of the aspect of gain ~ loss, two basic life strategies are identified. The first one, the lower strategy, is defined by an attempt to obtain material gain, which is attained at the cost of a spiritual loss. The second one, the higher strategy, negates the first one (spiritual gain attained at the cost of a material loss) and it is an internally diversified series of axiological models. The core of the study explains the combinatorial variants which, in their highest positions, even transcend the gain ~ loss opposition. The final part of the study demonstrates the intersections between the higher strategy and selected European cultural initiatives (gnosis). 1. Problem definition, area of concern and material field Our goal is to reflect on the differences and intersections in the iconization of gains and losses in life between the Western and Eastern civilizations and cultural spheres. -
Gems from Katha Sarit Sagara-1
Gems from Katha Sarit Sagara-1 Post No.803 Dated 25 January 2014 (From Aphorisms and Proverbs in The Kathasaritsagara by L.Sternbach, Akhila Bharatiya Sanskrit Parishad, Lucknow, Vol.1, 1980) Part 1- Complied by London Swaminathan from the above book. Please read my earlier post ‘The Largest Story Collection in the World’ in this blog. Every quote given below has got similar quotes in Ramayana, Mahabharata and Tirukkural in Tamil. “Somadeva’s Katha Sarit Sagara is vivid and pleasant to read. It is of superior quality, as far as the style and the art of storytelling concerned, it is superior to Ksemendra’s Brhat Katha Manjari. Both of them used different sources for their stories. Brhat Katha of Gunadhya was probably the main source for these stories. Inscriptions in Cambodia mention his name. But his work was destroyed by fire. Gunadhya lived around 400 AD. Ksemendra’s Brhat Katha Manjari has been written in 1037 AD and Somadeva’s Katha Sarit Sagara some thirty years later. Ksemendra’s Brhat Katha Manjari is divided into 18 lambakas and 23 guchas and contains 7561 verses. Katha Sarit Sagara is divided into 18 lambakas and 134 tarangas and contains 21,388 verses. This is one of the longest collections of stories to our times. Quotes on Gods 1.The Creator is never tired of producing marvels, since even after creating Tilottama, he has produced a far superior beauty (Adventures of Anangadeva) 2.Visnu does not neglect the sufferings of those who are devoted to him (Story of Urvasi) 3.The will of Siva EFFECTS EVERYTHING (Story of the Ancestors and Parents of Udayana) 4.Even the Gods are not successful without honouring Ganesa (Story of Phalabhuti). -
Buddhist Birth-Stories; Jataka Tales. the Commentarial Introd. Entitled
Broabwa\> {Translations wither nor custom stale "Age cannot her, " Her infinite variety BUDDHIST ACADEMY MONTREAL, CANADA Broabwa\> translations BUDDHIST BIRTH-STORIES (JATAKA TALES) The Commentarial Introduction Entitled NIDANA-KATHA THE STORT OF THE LINEAGE Translated from Prof. V. Fausboll -s edition of the Pali text by T. W. RHYS DAVIDS New and Revised Edition by MRS RHYS DAVIDS, D.Lrrr., M.A. LONDON GEORGE ROUTLEDGE fcf SONS LTD. NEW YORK: E. P. DUTTON CO. ^^ PRINTED IN GKEAT BRITAIN BY STEPHEN AUSTIN AND SONS, LTD., HERTFORD TO GEHEIM-RATH PROFESSOR DOCTOR STENZLER MY FIEST GUIDE IN ORIENTAL STUDIES IN CONGRATULATION ON HIS DOCTOR JUBILAUM AND IN DEEP RESPECT FOR HIS PROFOUND SCHOLARSHIP THIS WORK IS DEDICATED BY HIS GRATEFUL PUPIL THE AUTHOR TABLE OF CONTENTS PAGE TRANSLATOR S INTRODUCTION . i PART I The Book of Birth Stories, and their Migration to the West Orthodox Buddhist belief concerning it. Two reasons for the value attached to it . i Selected Stories : 1. The Ass in the Lion s Skin . iv 2. The Talkative Tortoise . viii 3. The Jackal and the Crow . xi " " 4. The Birth as Great Physician xiii 5. Sakka s Presents ... xv 6. A Lesson for Kings . xxi The Kalilag and Damnag Literature . xxvii Origin of ^Esop s Fables . xxix The Barlaam and Josaphat Literature . xxxiii Other Migrations of the Buddhist Tales xxxix Greek and Buddhist Fables . xl Solomon s Judgment .... xlii Summary of Part I .... xlv vi TABLE OF CONTENTS PART II The Birth Stories in India PAGE Jatakas derived from the Pali Pitakas . -
6. Narrative Techniques in Panchatantra and the Arabian Nights
Efrosini Vizovitou, Narrative Techniques in the Indian Fables Panchatantra and the Arabian Nights. School of Humanities Language Education for Refugees and Migrants Postgraduate Dissertation Narrative Techniques in the Indian Fables Panchatantra and the Arabian Nights Efrosini Vizovitou Supervisor: Theodora Zampaki Patras, Greece, February 2019 Efrosini Vizovitou, Narrative Techniques in the Indian Fables Panchatantra and the Arabian Nights. Theses / Dissertations remain the intellectual property of students (“authors/creators”), but in the context of open access policy they grant to the HOU a non-exclusive license to use the right of reproduction, customisation, public lending, presentation to an audience and digital dissemination thereof internationally, in electronic form and by any means for teaching and research purposes, for no fee and throughout the duration of intellectual property rights. Free access to the full text for studying and reading does not in any way mean that the author/creator shall allocate his/her intellectual property rights, nor shall he/she allow the reproduction, republication, copy, storage, sale, commercial use, transmission, distribution, publication, execution, downloading, uploading, translating, modifying in any way, of any part or summary of the dissertation, without the explicit prior written consent of the author/creator. Creators retain all their moral and property rights. ii Postgraduate Dissertation Efrosini Vizovitou, Narrative Techniques in the Indian Fables Panchatantra and the Arabian Nights. Narrative Techniques in the Indian Tales Panchatantra and the Arabian Nights Efrosini Vizovitou Supervising Committee Supervisor: Co-Supervisor: Theodora Zampaki Georgios Damaskinidis Hellenic Open University Hellenic Open University Patras, Greece, February 2019 iii Postgraduate Dissertation Efrosini Vizovitou, Narrative Techniques in the Indian Fables Panchatantra and the Arabian Nights. -
“19Th Century: Society; Education and Literature” Mukesh Saha Assistant Teacher Jalpaiguri Hindi High School [email protected] Abstract
International Journal of Research p-ISSN: 2348-6848 e-ISSN: 2348-795X Available at https://edupediapublications.org/journals Volume 04 Issue 09 August 2017 “19th Century: Society; Education and Literature” Mukesh Saha Assistant Teacher Jalpaiguri Hindi High School [email protected] Abstract The abstraction of 19th century India century of stagnation. Indian society, as (years 1801- 1900) provides a glimpse of accomplished remained alone from the India in its beforehand centuries, while political developments. The innumerable abounding records of the century are village communities led their independent accessible due to the western influences. activities as before. Amusing acerbity and aberrant amusing practices became The earlier years were anarchic with apparent affection of the nineteenth abundant kingdoms rising and falling century India. In the nineteenth century, successively. A lot of important contest account and fatalism had been connected that occurred are the enactment of British to extremes. Islam, too, had become an in India, the First Indian War of antipathetic adoration in the heyday of Independence, the end of Mughal empire, Islamic glory, the Sufi preachers preached and aboriginal signs of Indian renaissance tolerance, but the Muslims affected that led to India's abandon and desperate religious bigotry as an allotment of their amusing reforms. State Policy. With religions adhering added accent to alien anatomy than to 19th century India was lagging behind close reality, religious superstitions, began other countries with the prevalence of to affect all aspects of amusing life. caste system in the country. Untouchability Infanticide, adolescent marriage, and Sati were still in practice, and the polygamy, the afire of widows(sati) and literacy rate was actually low. -
Birth & Journey of Katha Sarit Sagar
Birth & Journey of Katha Sarit Sagar A 16th Century folio of an Indian retelling of the Katha Sarit Sagar : Image - Wikipedia Birth & Journey of Somadeva Pandit's Katha Sarit Sagar ... M.K.Raina Birth and Journey of Somadeva Pandit's 'Katha Sarit Sagar' M.K.Raina "India is indeed the home of story-telling. It was from here that the Persians learned the art and passed it on to the Arabians. From the Middle East, the tales found their way to Constantinople and Venice, and finally appeared in the pages of Boccaccio, Chaucer and La Fontaine. It was not until Benfey wrote his famous introduction to the Panchatantra that we began to realise what a great debt the Western tales owed to the East", says N.M.Penzer, the author of 10 volumes of 'The Ocean of Story' based on C.H.Tawney's English translation of Somadeva Pandit's Katha Sarit Sagar written in Sanskrit text. Katha Sarit Sagar is, for its size, the earliest collection of stories extant in the world. Its author, or rather its compiler, was a Brahman named Somadeva. Unfortunately we know nothing of him, except what he himself has told us in the short poem at the end of his work, and what we may gather of his ideas and religious beliefs from the www.mkraina.com 1 Birth & Journey of Somadeva Pandit's Katha Sarit Sagar ... M.K.Raina work itself. The short poem of Somadeva was not included by Brockhaus in his text, but was printed later from MS material by Buhler. -
On Hinduism by Wendy Doniger.Pdf
ON HINDUISM ON HINDUISM ~ Wendy Doniger Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Wendy Doniger 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Doniger, Wendy. [Essays. Selections] On Hinduism / Wendy Doniger. pages cm ISBN 978-0-19-936007-9 (hardback : alk. paper) -
Indian Drama): Origin, Development and Technicalities
postScriptum: An Interdisciplinary Journal of Literary Studies ISSN: 2456-7507 <postscriptum.co.in> Online – Open Access – Peer Reviewed – UGC Approved Volume III Number ii (July 2018) Bhattacharya, Gargi. “A Discourse on Nāṭya: ...” pp. 178-189 A Discourse on Nāṭya (Indian Drama): Origin, Development and Technicalities Gargi Bhattacharya Assistant Professor, Department of Sanskrit, Pali & Prakrit, Visva-Bharati The author did her MA, MPhil and PhD from the University of Calcutta. She ranked 1st in her MA examinations and also received UGC Junior Research Fellowship during her PhD. Her areas of specialization are Vedanta and Manuscriptology. She has great interest in Indian Drama and has directed the staging of Sanskrit drama Ratnavali. She has translated seven minor Upanisads that have been published from Ramakrishna Mission Institute of Culture. She has been teaching in Visva-Bhratai since last 15 years and at present she is the Vice Principal (Deputy Dean) of Bhasha-Bhavana (Institute of Language, Literature & Culture), Visva-Bharati. Abstract ‘Nāṭya’ has achieved the prestigious rank of Veda in Indian civilization. The term ‘nāṭya’ in Indian tradition signifies the mimic representation of particular characters or situations. Origin of this performance-based art can be traced back in the ancient socio-cultural activities. Rituals, festivals, dance etc. are identified as the basic sources of Indian drama that have also helped to evolve it. Different pedagogies regarding the origin and development of Indian drama are discussed in the first part of the paper, while the later part is dedicated to explore the theatrical representation of ancient Indian drama as told in the ancient scriptures like Bharata’s Nāṭyaśāstra. -
Downloaded4.0 License
Indo-Iranian Journal 63 (2020) 263–306 brill.com/iij Review Article ∵ A Resurgent Interest in “Hindu Fiction” On and around the Kathāsaritsāgara, with Special Attention to Buddhism Jonathan A. Silk Leiden University, Leiden, The Netherlands [email protected] A review article on Willem Bollée, A Cultural Encyclopaedia of the Kathāsa- ritsāgara in Keywords: Complementary to Norman Penzer’s General Index on CharlesTawney’sTranslation [Studia Indologica Universitatis Halensis 8]. Halle an der Saale: Universitätsverlag Halle-Wittenberg, 2015, 513 pp. isbn 978-3- 86977-123-6. €98,00. Supplemented by Willem Bollée, “Addenda et Corrigenda to ‘Bollée, Willem B., Cultural Encyclopaedia of the Kathāsaritsāgara.’” Zeit- schrift für Indologie und Südasienstudien 32/33 (2015/2016): 175–202. That the first Western introduction to the compendium of tales called Kathā- saritsāgara, composed by Somadeva in Kashmir in the last third of the 11th century, appeared more than two centuries ago is a fact that should give any scholar of Sanskrit or Indology pause. Just how far have we come in these five or six generations of scholarship? The initial presentation took the form of a relatively short mention in the preface to the Dictionary of Sanscrit and English of Horace Hayman Wilson (1786–1860),1 followed shortly thereafter by 1 A Dictionary of Sanscrit and English: translated, Emended and Enlarged, from an Original Com- pilation prepared by Learned Natives for the College of Fort William (Calcutta: Philip Pereira, at the Hindoostanee Press, 1819): ix–xi (he spells the title here Cat’há Sarit Ságara) . This is reprinted in Works of the Late Horace Hayman Wilson, Vol. -
Rama's Later History; Or, Uttara-Drama Charita
THE HARVARD ORIENTAL SERIES VOLUME TWENTY-ONE HARVARD ORIENTAL SERIES EDITED WITH THE COOPERATION OF VARIOUS SCHOLARS BY CHARLES ROCKWELL LANMAN PROFESSOR AT HARVARD UNIVERSITY ; HONORARY MEMBER OF THE ASIATIC SOCIETY OF BENGAL, THE SOCIETE ASIATIQUE, THE ROYAL ASIATIC SOCIETY (LONDON), AND THE DEUTSCHE MORGENLANDISCHE GESELLSCHAFT ; CORRESPONDING MEMBER OF THE ROYAL SOCIETY OF SCIENCES AT GOTTINGEN, THE IMPERIAL ACADEMY OF RUSSIA, AND THE INSTITUTE OF FRANCE \Dolume CAMBRIDGE, MASSACHUSETTS RAMA'S LATER HISTORY OR UTTARA-RAMA-CHARITA AN ANCIENT HINDU DRAMA BY BHAVABHUTI CRITICALLY EDITED IN THE ORIGINAL SANSKRIT AND PRAKRIT WITH AN INTRODUCTION AND ENGLISH TRANSLATION AND NOTES AND VARIANTS, ETC., BY 3 / <2_ SHRIPAD KRISHNA BELVALKAR GRADUATE STUDENT OF HARVARD UNIVERSITY ASSISTANT TO THE PROFESSOR OF SANSKRIT AT DECCAN COLLEGE POONA, INDIA PART 1 : INTRODUCTION AND TRANSLATION CAMBRIDGE, MASSACHUSETTS Ibarvarb ^University press 1915 The volumes of this Series may be had, in America, by addressing Messrs. GINN AND COMPANY, at New York or Chicago or San Francisco, or at the home-office, 29 Beacon Street, Boston, Mass.; in England, by addressing Messrs. GINN & Co., and in 9 St. Martin's Street, Leicester Square, London, W.C. ; Continental Europe, by addressing Mr. Otto Harrassowitz, Leipzig. For the titles and descriptions and prices, see the List at the end of this volume. 379 / u* 908648 .l ft PRINTED FROM TYPE AT THE UNIVERSITY PRESS, OXFORD, ENGLAND BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY First edition, 1915, One Thousand Copies TRANSLATION OF THE DEDICATORY STANZA That nectar of learning which [by your favour] I drank day after day for two years in succession to make for it an adequate return is not indeed nor have I the and this wreath of the three- my part power ; yet, petaled 6#ya-leaves your pupil Bilvavalikara lays here at your feet in loyal regard. -
Festival Brochure Mandi Theater 2021
MANDI THEATER Six Years, Thirty-four productions and more than Forty-Five performances, and several prestigious awards. Mandi Theater was founded in 2015 by the theater aficionados to keep the culture of Indian theater alive amongst the Indians of Chicago. Its plays are contemporary and thought-provoking, connecting intimate personal spheres of existence to larger social-political M issues. Mandi Theater is characterized by “Contemporary and original texts MANDI THEATER by Indian and International playwrights (in translation), excellent performances by talented actors, and innovative staging techniques. It aims to reach out to both the youth and elderlies and apprise them of the WWW.MANDITHEATRE.COM existing socio-political scenarios. It is recognized for producing the classics [email protected] of Indian literature. Mandi Theater is a 501 (c) (3) T charitable organization: Tax ID number 81-2360681 Mandi Theater Performances God Of Carnage (Le Dieu du carnage) Language: Hindi, English, Malayalam Duration: 60 Min. Khidki Language: Marathi Duration: 20 Min. Ratnavali- Vasantotsavam Language: Sanskrit Duration: 20 min. Sanghmitra Language: Sanskrit, Oriya with Eng. narration Duration: 20 Min Baaton Baaton Mein Language: Hindi Duration: 25 Min. Guest Performances Walking with My Ancestors Language: English Duration: 60 min. Shersher Kobita Language: Bangla Duration: 20 min. RSVP Language: Hindi and Punjabi Duration: 60 min. Behind the curtain of COVID-19 Language: Duration: 30 min. RSVP Walking with my Ancestors Group: ISHA Director: Dalvinder Multani A solo performance by Ama Oforiwaa Aduonum, Cast & Crew details: Goldie Manocha, Paroma ISU professor of music and ethnomusicology; Sanyal, Dalvinder Multani, Sonia Manocha & Director of African Music and Dance Ensemble, Amarjit Multani Bloomington, IL Cast & Crew: Ama Oforiwaa Aduonum, Kojo Playwright: Pali Bhupinder Singh is a prominent Kisseh Aduonum and MaAdwoa Aduonum and veteran theatre & screenwriter, director, Creator/Playwright(s): Ama Oforiwaa Aduonum and theatre scholar.