Relevant bibliographies by topics / Hindi Epic poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hindi Epic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Hindi Epic poetry"

1

Lesik, Ksenia A. "The Motif of Journey in Kunwar Narain’s Poetry." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 521–33. http://dx.doi.org/10.21638/spbu13.2020.404.

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The article is focused on the motif of a journey in the works of a modern Indian poet, Kunwar Narain, a representative of New Hindi poetry. This motif of a journey is extremely important in Indology studies. Starting with the Indian epic poems “Mahabharata” and “Ramayana”, the motif of pilgrimage has been one of the significant plot lines. During the Medieval period, the motif of a journey became an allegory of individuality cognition. In modern Hindi literature writers introduce innovation in the image of travel, remaining within the established Indian tradition. The research in this article
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Saxena, Priti. "Jagdish Chandra Gupta's poetry: Social concerns." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 6 (2024): 204–8. http://dx.doi.org/10.31305/rrijm.2024.v09.n06.025.

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Literature is a powerful medium of expression of social consciousness. A writer or poet is also a member of the society, who has his own social position, he is also social. Literature is related to many social institutions. The poet actually chooses the basis of his poetry from the faith, environment, religion, customs and social etiquette and public behavior of the society and presents it according to his ideals. The poet represents the same society in which he is born. He has expressed social consciousness in his epic poems 'Shambuk', 'Jayant', 'Gopa Gautam'. Any original poetry is a reflect
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Saxena, Priti. "National consciousness in the poetry of Maithilisharan Gupt: with special reference to the Saket epic." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 7 (2022): 10–14. http://dx.doi.org/10.53573/rhimrj.2022.v09i07.003.

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The eleventh and twelfth cantons in Saket are permeated with those national sentiments, at the core of which is the struggle power of ancient India. In Indian culture, the bravery and honor of the heroes has not been an ordinary thing, while sacrificing everything for it, the shelter of Anandalok has been considered as aspirational and unrefined. The enthusiasm of our heroes has always been oriented towards struggle, away from beauty and in the context of that, the heroes have gone ahead and considered the sacrifice of the body as insignificant.
 Abstract in Hindi Language: 
 साकेत म
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4

Shukla, Annapurna. "INTERCONNECTION OF FINE ARTS AND JUGALBANDI OF POETRY." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 25–39. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.905.

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English : Nature itself is a poisonous plank. This wonderful combination is not only an epic, but also a great visual picture. There are poetic juices, verses and ornaments in it, there is also a variety of colors and forms, only then the poem is a sparkling image and the picture is a sparkling living poem. The feeling of both is counted towards the end. All arts are similar at the cognition level and are expressed and divided in the mediums, irrespective of the artist.
 Elemental analysis of the arts shows that the interrelationships of all the fine arts are very deep and have always inf
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5

Gohil, Namrata. "‘Research Prospects in the peripheral view of Kartika Nair’s epic Retelling ‘Until the Lions’- Echoes from the Mahabharata’." Vidhyayana 9, si1 (2023): 38–48. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1579.

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Indian culture is based on two epics; The Ramayana and The Mahabharata. Every Hindu knows about these two epics, other religion people too. There is not any Hindu house which does not know and follow the rituals which are discussed in these two epics. The present generation takes interest to read Retellings of Indian myths which are written by the contemporary Indian English Writers. Indian women like to read Retellings of myths which are written by Indian women writers. Its reason is that it gives voice to marginalized women of the Indian myths. Females compare their unspeakable voice with th
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6

Rohtash. "Neera Arya: A Forgotten Revolutionary of The Indian Freedom Struggle." Integrated Journal for Research in Arts and Humanities 4, no. 6 (2024): 648–52. https://doi.org/10.55544/ijrah.4.6.43.

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The glorious story of India’s independence is filled with many forgotten heroes and heroines who sacrificed everything in the Indian freedom struggle, but after independence they had to live a life of anonymity in the country. Captain Neera Arya of the Rani Jhansi Regiment of the Indian National Army (Azad Hind Fauj) was one such great patriot, courageous, freedom fighter and heroine. To save the life of Netaji Subhash Chandra Bose, she killed her husband who had shot at him. In view of her unimaginable and unique courage, Subhash Chandra Bose addressed Neera Arya as 'Neera-Nagini'. Hence, she
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Ha, Do Thu. "Localizing India’s Values of Ramayana in Southeast Asia- The Case of Hikayat Seri Rama." International Journal of Religion 5, no. 11 (2024): 910–20. http://dx.doi.org/10.61707/4vqpgs68.

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Intercultural communication is the communication among different cultures, different communities with different lifestyles and worldviews, which is a dispensable and unavoidable trend. The Ramayana is one of the largest ancient epics in world literature and has had an important influence on later Sanskrit poetry and Hindu life and culture because it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman and Ravana are all fundamental to the cultural consciousness of India, Nep
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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.

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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters
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Silalahi, Masna, Wasdo Simbolon, and Kojek Simbolon. "Exploring the Evolution of Indonesian Poetry: A Comparative Analysis of Classical and Contemporary Expressions." Jurnal Ilmu Pendidikan dan Humaniora 11, no. 3 (2022): 170–87. http://dx.doi.org/10.35335/jiph.v11i3.22.

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This research delves into the heart of Indonesian culture and literature through a comparative analysis of classical and contemporary Indonesian poetry. Indonesian poetry, a dynamic and culturally significant form of artistic expression, provides a unique lens through which to explore the evolution of a nation's identity, artistry, and engagement with the globalized world. This research examines the continuities and innovations between classical and contemporary Indonesian poetry, highlighting themes, linguistic features, and cultural influences. In the classical realm, Indonesian poetry, root
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Kala, Jyoti, and Santosh Kumar. "Social Introspection of Myth, Reality and Self in Jayanta Mahapatra's Epic Poem "Relationship"." Dialogue: A Journal Devoted to Literary Appreciation 19, no. 02 (2024): 18–23. http://dx.doi.org/10.30949/10.30949/dajdtla.v19i2.4.

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This paper explores the subjective memory of Jayant Mahapatra through his epic poem Relationship, in which his consciousness is subsumed into the question of how to express his love and gratitude for the motherland, the place of his nativity. His originality and authenticity of a major poetic voice have been precisely for the reason that despite the English language being his early creative writing medium, his sensibilities as a poet operate within the boundaries of his typically Oriya culture. He establishes a relationship between his lonely and rootless life and 'this temple in ruins, in a b
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Dissertations / Theses on the topic "Hindi Epic poetry"

1

Hebbar, Balaji Narayana. "Deciphering patterns of triadism in the Hindu epics." Thesis, 2012. http://hdl.handle.net/10500/9269.

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Books on the topic "Hindi Epic poetry"

1

Manohar, Pandey Shyam, and Caudharī Śivnāth d. 1982, eds. The Hindi oral epic tradition, Bhojpurī lorikī. Sahitya Bhawan, 1995.

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2

Tivārī, Bhagavānadāsa. Rītikālīna Hindī vīrakāvya. Hindī Sāhitya Sammelana, 1987.

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3

Śarmā, Viśvabandhu. Ādhunika Hindī-mahākāvyoṃ kā samājaśāstrīya adhyayana, san 1900 se 1950 taka. Sadbhāvana Prakāśana, 1993.

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Jośī, Gāyatrī. Svātantryottara Hindī prabandha kāvyoṃ meṃ jīvana darśana. Rājasthānī Granthāgāra, 1992.

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Śarmā, Viśvabandhu. Ādhunika Hindī-mahākāvyoṃ kā samājaśāstrīya adhyayana, san 1900 se 1950 taka. Sadbhāvana Prakāśana, 1993.

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6

Siṃha, Rāmasudhāra. Nayī kavitā kī lambī kavitāyeṃ. Rādhā Pablikeśansa, 1993.

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Konagār̥ī, Ḍejī. Mahākāvya ke pratimāna aura ādhunika Hindī mahākāvya. Jayabhāratī Prakāśana, 1996.

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8

Prasad, Jai Shankar. Jai Shankar Prasad's Kamayani: A Hindi epic translated into English verse. Saraswati House, 1987.

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9

Śrīvāstava, Urmilā. Hindī mahākāvyoṃ meṃ nāyikā kī parikalpanā. Sarasvatī Prakāśana, 1993.

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10

Miśra, Mādhurī. Bhāratīya mahākāvya paramparā meṃ Kāmāyanī. Śabda Mahimā Prakāśana, 1990.

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Book chapters on the topic "Hindi Epic poetry"

1

Bangha, Imre. "Early Hindi Epic Poetry in Gwalior." In After Timur Left. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199450664.003.0013.

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Patton, Laurie L. "Introduction." In Jewels of Authority. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195134780.003.0001.

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Abstract The pages of this book glitter with the images of jewelry. Yet its chapters are not concerned only with the colorful worlds of Indian myth, epic, and poetry. They are also the ritual manuals of the ancient Indian sacrifice, the legal texts of the Dharma Sastras, the Tamil commentaries of medieval Vaisnavas, and the Hindi manuals of contemporary organizations of Hindu nationalists. Why does jewelry bring together such disparate topics? If there is any one thing that symbolizes the relationship between women and the brahminical textual tradition of India, it is their jewelry.
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3

Mcconnell, Frank. "Introduction." In The Bible and the Narrative Tradition. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195070026.003.0001.

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Abstract Early on in the Mahabharata, the great Hindu epic and arguably the greatest of all epics, the monk Utanka announces that “whatever is found in this story may be found somewhere else; but nothing found anywhere else will not be found in this story.’’ It is an astonishing claim-”I am the book of books”-and an unprecedented one. A book, for once, not only admits that it is a book, but announces itself to be the book of books, the compendium and summary of all the stories of mankind. Where else do we find such arrogance? In the Koran, maybe. The second chapter or sura of the Koran the fir
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Pillai, Sohini Sarah. "Prayers and Protection." In Krishna's Mahabharatas. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197753552.003.0005.

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Abstract Chapter 4 analyzes how Villiputturar and Sabalsingh Chauhan rework two of the most troubling sequences in the Sanskrit Mahābhārata into devotional stories focused on Krishna. The two epic sequences that are examined in this chapter are the attempted disrobing of the Pandavas’ shared wife Draupadi and the entire fifth book, the Book of Effort, about the preparations for the great battle between the Pandavas and the Kauravas. The comparisons in this chapter reveal significant differences and similarities between these two sequences in Villiputturar’s Tamil Pāratam and Sabalsingh Chauhan
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