Relevant bibliographies by topics / Arts, Kannada

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Academic literature on the topic 'Arts, Kannada'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Arts, Kannada"

1

SREEKANTAIYA, T. N. "Notes on Loans and Native Replacements in Kannada." American Anthropologist 58, no. 2 (October 28, 2009): 306–8. http://dx.doi.org/10.1525/aa.1956.58.2.02a00550.

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Koudur, Shashikantha. "Languages, Castes and Hierarchy: Basel Mission in Nineteenth-Century Coastal Karnataka." South Asia Research 40, no. 2 (April 26, 2020): 250–65. http://dx.doi.org/10.1177/0262728020915563.

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In the former South Kanara or south coastal Karnataka region, the presence of overlapping languages, mainly Tulu and Kannada, posed prolonged dilemmas in the nineteenth century for the Basel Mission. The choice of language was important for their evangelical work, supported by important language-related activities such as dictionary making, grammar writing and translations. Since language use was intertwined with caste hierarchy, this raised issues over the position of lower castes, mainly Billavas, for the native elites and upper castes. This article argues that the prioritisation of Kannada, and relegation of Tulu to a secondary position, was an outcome not only of missionary perceptions of the larger Kannada context, but also more importantly can be traced back to elite representations regarding the subaltern Tulu culture and lifeworld. As missionary intervention in education and native language use challenged the status quo of social hierarchy among local communities, this sparked efforts by the native elites to reclaim and restore the earlier hierarchy. In the process, the native elite representations of Tulu language and culture became at the same time an effort at dismissal and appropriation.
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3

Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Siddi dances and street theatre parallel and yet may differ from other performing arts in South India. Further, the paper complicates the current discourse on how diasporic African communities use the performing arts. My paper goes beyond the Atlantic Diaspora model. It examines ways in which Siddis of South Asia use their dance and theatre to express multiple domains of cultural art forms alongside the everyday use of such performances including a counter-hegemonic stance.
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Rao, B. Damodar, and Robert J. Zydenbos. "The Calf Became an Orphan: A Study in Contemporary Kannada Fiction." Journal of the American Oriental Society 120, no. 2 (April 2000): 296. http://dx.doi.org/10.2307/605067.

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5

Kochetov, Alexei, Marija Tabain, N. Sreedevi, and Richard Beare. "Manner and place differences in Kannada coronal consonants: Articulatory and acoustic results." Journal of the Acoustical Society of America 144, no. 6 (December 2018): 3221–35. http://dx.doi.org/10.1121/1.5081686.

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6

Gopal, H. S. "VOT values of voiceless and voiced stop contrasts in Hindi and Kannada." Journal of the Acoustical Society of America 93, no. 4 (April 1993): 2298. http://dx.doi.org/10.1121/1.406482.

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7

Bharucha, Rustom. "Under the Sign of the Onion: Intracultural Negotiations in Theatre." New Theatre Quarterly 12, no. 46 (May 1996): 116–29. http://dx.doi.org/10.1017/s0266464x00009945.

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Rustom Bharucha's Theatre of the World (Routledge, 1993), sections of which first appeared in New Theatre Quarterly, was a major intervention in the debate about the nature and ethics of interculturalism – an unfortunate side-effect being that he has, by his own wry admission, now been ‘academicized as Peter Brook's Other’, a category he finds both offensive and redundant. The following article extends his explorations by developing a careful and pertinent distinction between interculturalism and intraculturalism – a distinction derived from practice rather than theory, specifically from his experience directing an Indian production of Peer Gynt, performed in Kannada as Gundegowdana Charitre. Rustom Bharucha explores the implications of ‘translating’ such a classic text across and within cultures as well as languages – and the further paradox of this being, as for most of us, a process of transmission through English rather than Norwegian. He sums up the nature of the challenge as ‘to negotiate different selves, cultures, histories, and languages through the labyrinth of multiple Others’.
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8

Vasantamadhava, K. G. "A Note on the Pejavar Copper Plate 1352 Saka, 1430 A.D." Journal of the Royal Asiatic Society of Great Britain & Ireland 117, no. 1 (January 1985): 29–34. http://dx.doi.org/10.1017/s0035869x00154929.

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Karnataka has rich epigraphical sources. The entire edifice of Karnataka history from the 3rd century B.C. down to the end of Vijayanagara rests on epigraphical records. A volume of information concerning the political conditions, government and administration, political geography, the social structure and the life of the people, the religious faiths, economic conditions and many other topics, can be derived from a critical study of the inscriptions.The inscription under discussion is a copper plate from the village of Pejavar, Mangalore Taluka, South Kanara District, Karnataka State. The copper plate is now in the possession of K. Venkatraya Achar, Suratkal. It belongs to the period of the Vijayanagara emperor Immadi Devarāya (1424–1446 A.D.). The copper plate is in the Kannada language and script. The script seems to belong to a later period. The epigraphic department of the Government of India noticed this inscription in its annual report in the year 1967–68. Sri Venkatraya Achar, the discoverer of the inscription, made a few observations in the year 1957. This paper seeks to provide fresh information on political, religious and land transaction procedures on the basis of the contents of the copper plate.
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9

Vinod Rao, N., and R. Rajeshwari. "OTT as New Platform of Cinema Exhibition: Opportunities and Challenges for Kannada Films." Asian Review of Social Sciences 10, no. 1 (May 15, 2021): 48–51. http://dx.doi.org/10.51983/arss-2021.10.1.2681.

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COVID-19 pandemic has affected many areas including cinema exhibitions. Due to non-opening of cinema theatres film makers found the platform that is over-the-top (OTT). Before COVID-19 OTT was not able to compete with theatrical release. However, the pandemic situations changed the way of movie release through OTT platforms such as Netflix, Amazon Prime, Hot-star and others. The usage of OTT increased during the period of lockdown. According to Boston Consulting Group, subscriptions increased 60% and average watching hours increased to 14.5%. In the Kannada film industry, the well-known actor and producer Punith Rajkumar’s two films titled Law and French Biriyani were released on India's second largest OTT platform Amazon Prime during the lockdown period. In this context, this research tried to find prospects of Kannada film exhibition through OTT platform. The specific objectives are to explore the opportunities for releasing Kannada films through OTT, to study the challenges ahead in this way. The study used both quantitative and qualitative research methods. Online surveys conducted with structured questionnaires among 100 OTT users and in-depth interviews conducted among the people who are involved in film making from Kannada film industry to answer the research questions. This study would help filmmakers who are intended to release their film through OOT in future.
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10

Emeneau, M. B. "Kannaḍa Kampa, Tamil Kampaṉ: Two Proper Names." Journal of the American Oriental Society 105, no. 3 (July 1985): 401. http://dx.doi.org/10.2307/601516.

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Books on the topic "Arts, Kannada"

1

Śrī, Mugaḷi Raṃ. Punarnavōdaya. Beṅgaḷūru: Rasikaraṅga Prakāśana, 1986.

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2

Rādhākr̥ṣṇamūrti, Mikkilinēni. Teluguvāri jānapada kaḷārupālu. [Hyderabad, India]: Telugu Viśvavidyālayaṃ, 1992.

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3

Shankar, M. Sannata: Minor folk-plays of north Karnataka. Udupi: Regional Resources Centre for Folk Performing Arts, MGM College, 1986.

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4

Shankar, M. Sannata: Minor folk-plays of northern Karnataka. Udupi: Regional Resources Centre for Folk Performing Arts, 1986.

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5

Kannaḍa janapada kalāpravēśa. Beṅgaḷūru: Sāgar Prakāśana, 2006.

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6

Karnatak University. Kannada Research Institute. Museum. Jaina bronzes in the Kannada Research Institute Museum. Dharwad: Kannada Research Institute, Karnatak University, 1985.

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7

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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Book chapters on the topic "Arts, Kannada"

1

"Temple architecture: the Kannada and Telugu zones." In Architecture and Art of Southern India, 25–72. Cambridge University Press, 1995. http://dx.doi.org/10.1017/chol9780521441100.004.

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