Relevant bibliographies by topics / Hindi Folk drama

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Academic literature on the topic 'Hindi Folk drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Hindi Folk drama"

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U. U, Mukhibova, Mukhiddinova D, Saidova N, Komilova Sh, Shermatova G, and Egamberdieva M. "Features of The Development of Drama in the Easterncountries." International Journal of Social Science Research and Review 5, no. 3 (2022): 31–41. http://dx.doi.org/10.47814/ijssrr.v5i3.223.

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This article examines the importance of drama in the literature of Eastern peoples, in particular in Hindi, Arabic, Chinese and Japanese literatures, and the periods and features of development of drama in the world literature. It describes the emergence and nature of this genre, as well as the works of playwrights, shows the influence of drama in the progress of literature and performance art. The kinds of folk and contemporary theater, themes and problems arisen on the stage have been discussed in the article.
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2

Yadav, Vinod Kumar. "Social concern in Jagdish Chandra Mathur's play 'Konark'." RESEARCH HUB International Multidisciplinary Research Journal 10, no. 2 (2023): 68–71. http://dx.doi.org/10.53573/rhimrj.2023.v10n02.014.

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Jagdish Chandra Mathur's play 'Konark' is considered a powerful play in the history of Hindi plays. In this the highest peaks of narrative and craftsmanship have been touched. In this drama, on the one hand, artistic life-values have been inaugurated, that is, the principle of 'art for art' is published; On the other hand, at the same time, there is also a grand upsurge of social consciousness suppressing the artistic values. Post-prasad Hindi plays can be divided into these four categories on the basis of thematic expression – historical-mythological themes, mythological themes, themes relate
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3

Jahangir, Amar. "Historical Analysis of Afghan Folk Culture in Kashmir During 1752-1819." Academy of Education and Social Sciences Review 3, no. 4 (2023): 464–71. http://dx.doi.org/10.48112/aessr.v3i4.377.

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Kashmir, the kingdom of fairies and Paradise on World, has a history of being ruled by several dynasties. Hindu, Buddhist, and Muslim empires have all held power over it. Every dynasty has unique folk customs that reflect the character of that dynasty. A community's residents' way of life is referred to as its culture. Afghan and Kashmiri folklore is based on traditional drama, music, and other activities. The current study makes an effort to investigate the traditional view of Afghan authority in Kashmir from 1752 to 1819. Kashmir history demonstrates that several folk beliefs entered Kashmir
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4

Kumar, Dr Yogendra. "Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)". Yog-garima 1, № 1 (2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.

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If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ra
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Trivedi, Poonam. "Framing Lear’s fool in Indian films: ‘Doth any here know me?’." Cahiers Élisabéthains: A Journal of English Renaissance Studies, March 31, 2021, 018476782199998. http://dx.doi.org/10.1177/0184767821999985.

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This article examines three Indian films based on King Lear through their reconfigured framing of the Fool: Gunasundari Katha (Tale of the Virtuous Woman, 1949, Telugu), Rui Ka Bojh (Weight of Cotton, 1997, Hindi), and Natsamrat (Actor King, 2016, Marathi). Though the nature and role of the Fool in the play is much debated, this essay argues that he is central and his treatment reflects the divergent views the films take on Shakespeare’s tragedy. The fact that the Fool is also a familiar figure in Indian drama, from the classical Sanskrit, medieval folk and modern plays, conditions the transpo
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6

Azhar, Muhammad. "العلاقة الوثيقة الثقافية بين الهند وإندونيسيا". Imtiyaz : Jurnal Pendidikan dan Bahasa Arab 3, № 1 (2019). http://dx.doi.org/10.29300/im.v3i1.2069.

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AbstractIndia and Indonesia have historical relations for ages. Indian cultures are flourished and preserved by the Indonesian people. Although Indonesia is a Muslim country, in terms of Culture, Indonesia is influenced by Indian traditions and customs. India and Indonesia have shared two millennia of close cultural and commercial contacts. The Hindu, Buddhist and later Muslim faith traveled to Indonesia from the shores of India. Indonesian folk art and dramas are based on stories from the great epics of Ramayana and Mahabharata. The shared culture, colonial history and post-independence goals
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7

Subramanian, Shreerekha Pillai. "Malayalee Diaspora in the Age of Satellite Television." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.351.

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This article proposes that the growing popularity of reality television in the southernmost state of India, Kerala – disseminated locally and throughout the Indian diaspora – is not the product of an innocuous nostalgia for a fast-disappearing regional identity but rather a spectacular example of an emergent ideology that displaces cultural memory, collective identity, and secular nationalism with new, globalised forms of public sentiment. Further, it is arguable that this g/local media culture also displaces hard-won secular feminist constructions of gender and the contemporary modern “Indian
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8

Kabir, Nahid. "Why I Call Australia ‘Home’?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2700.

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 Introduction I am a transmigrant who has moved back and forth between the West and the Rest. I was born and raised in a Muslim family in a predominantly Muslim country, Bangladesh, but I spent several years of my childhood in Pakistan. After my marriage, I lived in the United States for a year and a half, the Middle East for 5 years, Australia for three years, back to the Middle East for another 5 years, then, finally, in Australia for the last 12 years. I speak Bengali (my mother tongue), Urdu (which I learnt in Pakistan), a bit of Arabic (learnt in the Middle East); but
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Books on the topic "Hindi Folk drama"

1

Ṭohānavī, Yaśvantasiṃha Varmā. Ārya saṅgīta Rāmāyaṇa: Sampūrṇa cāroṃ bhāga. Esa. Guptā eṇḍa Kampanī, 1989.

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2

Mahāvara, Nirañjana. Rahasa, Chattīsagaṛha kā paramparāgata lokanāṭya. Madhyapradeśa Ādivāsī Lokakalā Parishad, 1989.

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3

Āhluvāliyā, Kailāśa. Karyala: An impromptu theatre of Himachal Pradesh. Reliance Pub. House, 1995.

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4

Ṭohānavī, Yaśavantasiṃha Varmā. Ārya saṅgita Mahābhārata: Sampūrṇa cāroṃ bhāga. Guptā eṇḍa Kampanī, 1989.

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5

Purohita, Nārāyaṇa Dāsa. Himācalī lokaraṅga. Sāhitya Prakāśana, 1986.

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6

Nātha, Bahore Ravīndra, and Paṇḍita Vijaya 1963-, eds. Lokanāṭya nauṭaṅkī, kucha praśna. Uttara Pradeśa Saṅgīta Nāṭaka Akādamī, 2000.

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7

Niraguṇe, Vasanta. Kāṭhī. Madhyapradeśa Ādivāsī Loka Kalā Parishad, 1986.

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8

Ṭohānavī, Yaśvantasiṃha Varmā. Ārya saṅgīta Rāmāyaṇa: Sampūrṇa cāroṃ bhāga. Esa. Guptā eṇḍa Kampanī, 1989.

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9

Haṃsa, Aśoka Kumāra. Karyala, a folk theatrical form of Himachal Pradesh. Sahitya Sahakar, 1987.

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10

Tivārī, Nandakiśora. Rahasa. Śānti Prakāśana, 1986.

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Book chapters on the topic "Hindi Folk drama"

1

Richards, Rashna Wadia. "Translating Cool: Cinematic Exchange between Hong Kong, Hollywood and Bollywood." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0008.

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Film historians have long noted the various intertexts of Bollywood cinema, which has historically evolved from the intermingling of Sanskrit drama, folk mythology, Parsi theatre, and ancient religious texts. Comparatively little critical attention, however, has been paid to the ways in which popular Hindi films remake Hollywood films, even though Bollywood films have borrowed consistently from American cinema. Transnational film remakes do much more than reconstruct their narratives to conform to local cultural practices. They engage in intense ideological and aesthetic negotiations, which result in complex performances of resistance, parody, and homage. This chapter explores such negotiations by investigating how Sanjay Gupta’s Kaante (India, 2002) remakes Quentin Tarantino's Reservoir Dogs (USA, 1992), which is itself a remake of Ringo Lam's City on Fire (Hong Kong 1987). Each version of a heist gone wrong emphasises the performance of “cool.” This chapter explores Gupta's cross-cultural makeover by paying attention to the ways in which the idea of “cool” travels across industries and cultures. Such an investigation steers the remake beyond traditional categories of uncritical admiration or derivative plagiarism and allows an examination of the transnational media flows between Hong Kong, Hollywood, and Bollywood.
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2

Martin, Nancy M. "Weaver Woman and Lover Extraordinaire." In Mirabai. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780195153897.003.0005.

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Abstract The sixteenth-century Hindu woman saint Mirabai is extremely popular among marginalized communities in India. This chapter examines two performance traditions of Mirabai circulating among nonelite communities: a khyal or Rajasthani folk drama entitled Mira Mangal (Mira’s Marriage) and an oral epic song tradition Mira Janma Patri (Mira’s Horoscope) performed by low-caste singers in Rajasthan. The saint is portrayed as down to earth, struggling with social and familial pressures, without miraculous divine aid, and her life story becomes a language to expose and resist gender expectations and caste oppression from subaltern perspectives. The khyal, performed in the mixed caste setting of the village as a whole, presents Mirabai’s tale as a romance. Already completely devoted to Krishna, she is clearly forced to marry against her will, with love the pivotal issue around which the plot turns, as individual desires conflict with familial, caste, and social cohesion. In the Janma Patri, she must act under varying degrees of coercion, complying with her arranged marriage in response to her mother’s plea and to protect them both from male violence. Here, however, assignations of caste and the immense suffering this creates are the focus of the tale, as Mira faces rejection initially because her fellow queens suspect her devotional practice but irrevocably when her allegiance to the low-caste guru Raidas is revealed to her royal husband. This epic, though generally performed by male singers, bears the distinctive marks of women’s experiences and song and ritual traditions, and Mira stands in solidarity with all those who suffer under patriarchal and feudal domination, choosing to live as they must and affirming the possibility of alternative values and social relations.
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