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Journal articles on the topic 'Indian aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Dinakaran, N. Victor David, and E. Vara Prasad. "Indian Feminist Theatre: aesthetics." Global Journal For Research Analysis 3, no. 8 (June 15, 2012): 1–6. http://dx.doi.org/10.15373/22778160/august2014/182.

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2

R, Kumaraguruparan. "Dravidian Aesthetics - the foremost of Indian Aesthetics." International Research Journal of Tamil 4, S-5 (August 25, 2022): 230–40. http://dx.doi.org/10.34256/irjt22s536.

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The influences of contemporary events on the field of study and society on speakers of Dravidian languages such as Tamil indicate the primacy of Dravidian ideology. Scholars in other countries look at the functioning of the Dravidian movement in the political, social, and cultural spheres behind the Tamil aesthetics of Dravidian aesthetics being at the forefront of Indian aesthetics. The Czechoslovakian multi-linguist recalls in the interview the Sanskrit-Tamil linguistic exchanges, the unity, and other differences. The contribution of Dravidian culture to Indianization is revealed through the media interviews of Sri Lankan Tamil scholar Karthikesu Sivathambi. There is an explanation of the understanding of Tamil consciousness. Accordingly, the Dravidian movement developed by rejecting the Sanskrit tradition, the North Indian tradition, the Bhakti tradition, etc. Aside from religion, which is a feature of the past, the temple towers, the Nataraja image, the bhakti literature, etc., must be regarded as the active contribution of the Tamils, who were fully absorbed in Indian culture. These aspects were not adopted because of the atheistic, rationalist, and anti-Brahmin elements of the Dravidian movement. BC 100- AD 250 lays claim to Sangam literature, the Pre-Bhakti period literature. The central theme of the article was that the Dravidian movement regarded it as belonging to Tamils who did not have the Sanskrit tradition. It is understood that the contributions of Periyar and others led to the development of the Dravidian cultural ideology. Experts in other languages expound on Dravidian aesthetics. Malayalam scholar K. Ayyappa Panicker praises the Thinai doctrine of Tamil as a rare wealth of knowledge not found in the languages of the world. Not all Sanskrit language texts are based on the orthodox tradition they also include books.

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3

Joshi, Neeti, and Shalini Bhati. "AESTHETICS IN INDIAN ART." REVIEW JOURNAL PHILOSOPHY & SOCIAL SCIENCE 47, no. 2 (2022): 373–78. http://dx.doi.org/10.31995/rjpss.2022.v47i02.041.

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4

Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

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Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.

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Pudaruth, Santosh Kumar. "A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita." SAGE Open 6, no. 4 (October 2016): 215824401667451. http://dx.doi.org/10.1177/2158244016674512.

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Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.

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6

Mariani, Giorgio. "The Red and the Black: Images of American Indians in the Italian Political Landscape." Studia Anglica Posnaniensia 53, s1 (December 1, 2018): 327–45. http://dx.doi.org/10.2478/stap-2018-0016.

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Abstract In Italy, over the last decades, both the Left and the Right have repeatedly employed American Indians as political icons. The Left and the Right, that is, both adopted and adapted certain real or often outright invented features of American Indian culture and history to promote their own ideas, values, and political campaigns. The essay explores how well-established stereotypes such as those of the ecological Indian, the Indian as victim, and the Indian as fearless warrior, have often surfaced in Italian political discourse. The “Indiani Metropolitani” student movement resorted to “Indian” imagery and concepts to rejuvenate the languages of the old socialist and communist left, whereas the Right has for the most part preferred to brandish the Indian as an image of a bygone past, threatened by modernization and, especially, by immigration. Indians are thus compared to contemporary Europeans, struggling to resist being invaded by “foreign” peoples. While both the Left and the Right reinvent American Indians for their own purposes, and could be said to practice a form of cultural imperialism, the essay argues that the Leftist appropriations of the image of the Indian were always marked by irony. Moreover, while the Right’s Indians can be seen as instances of what Walter Benjamin (1969) described as Fascism’s aestheticization of politics, groups like the Indiani Metropolitani tried to politicize the aesthetics.

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7

Singh, Anita. "Aesthetics of Indian Feminist Theatre." Rupkatha Journal on Interdisciplinary Studies in Humanities 1, no. 2 (December 7, 2009): 150–70. http://dx.doi.org/10.21659/rupkatha.v1n2.05.

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8

Dr Rabia Zafar. "The Aesthetics of Hassan Shouqi." Dareecha-e-Tahqeeq 1, no. 2 (March 21, 2022): 19–29. http://dx.doi.org/10.58760/dareechaetahqeeq.v1i2.10.

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After the fall of the Bahmani Empire, it disintegrated and five kingdoms came into existence which included Adil Shahi, Qutb Shahi, Nizam Shahi, Barid Shahi and Emad Shahi. With the exception of Qutub Shahi and Adil Shahi empires, all the other empires fell into decline. In Shouqi's ghazal, the basic and basic aesthetic elements of Urdu are related to the aesthetic tradition of Persian, but at the same time, matai effects. In Hassan Shouqi's ghazal, the basic and basic aesthetic elements of Urdu are connected with the Persian aesthetic tradition, but at the same time, local influences are also noticeable. In short! Hassan Shouqi's poetry contains elements of Iranian and Indian aesthetics which is the hallmark of that era.

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Pajin, Dusan. "Kashmiri aesthetics." Theoria, Beograd 67, no. 2 (2024): 179–91. http://dx.doi.org/10.2298/theo2402179p.

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Indian thinkers from the Kashmiri shaivist tradition, who lived between the 9th and llth c. in Kashmir, created a complex art theory. Their ideas were similar to the Byzantine, and the Western Middle-age tradition, but in many ways are particular, especially because they had a theory of taste. Certain type of rasa (aesthetic taste) fills a man with particular mood. But this emotional attitude that the art creates in man, is different the one in everyday life - it has a purifying (suddha) and unworldly (alaukika) effect. Therefore is the aesthetic pleasure (bhoga, or asvada), different then the sensual or intellectual pleasure. It is conncected with a specific thrill (camatkara), wonder (vismaya).

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10

Satyanarayana, K. "The political and aesthetic significance of contemporary Dalit literature." Journal of Commonwealth Literature 54, no. 1 (July 21, 2017): 9–24. http://dx.doi.org/10.1177/0021989417718378.

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This article attempts to offer a critique of cultural critic D. R. Nagaraj’s theoretical approach to the analysis of contemporary Dalit literature. According to Nagaraj, contemporary Dalit literature is a literature of decultured Dalits which articulates rights and entitlements in liberal polity. Rejecting claims of a separate aesthetics for Dalit literature, he locates Dalit literary contributions in the broad sphere of Indian culture and argues for a new aesthetics for Indian culture. His aim is to recover from the Indian tradition the civilizational contribution of Dalit writers, such as folk and oral cultural forms. This framework undermines the theoretical innovation and aesthetic significance of contemporary Dalit literature. Proposing Dalit literature as a form of contemporary politics in the sphere of modern Indian literary culture, Marathi Dalit critic and writer Baburao Bagul presents Dalit literature as a modern, written, and Ambedkarite tradition that reconfigured modernity, invented new modes of writing, and imagined Dalit as a generic identity, lived experience, and perspective in modern Indian literary history. Dalit literature is human and democratic, Bagul argues, as it draws on the humanist legacy of Buddha, Christ, Phule, Ambedkar, and also the Western Enlightenment. A reading of some Dalit texts, following the discussion of Bagul, illustrates the limitations of Nagaraj’s approach.

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11

Sukla, A. C. "Aesthetics as Mass Culture in Indian Antiquity." Dialogue and Universalism 7, no. 3 (1997): 91–99. http://dx.doi.org/10.5840/du199773/410.

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Aesthetics originated in ancient India (4th c. B.C.) as a descriptive account of the drama which was meant for both entertainment and education of the mass. If the drama was a mass medium, aesthetics — its account — represented the mass culture. Philosophical thinking, rigorous ethical practices and the dramatic art had a common aim — experience of the Reality as a whole. The difference was that while the first two were accessible to only a few elite or intellectuals, the third one was meant for all. The mass was experiencing the representation of Reality in the drama by a dehghtful emotional response. The sensibihty necessary for such response was technically called "like-heartedness" which was also a necessary qualification for a healthy social life.

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12

Katz, Jonathan. "Music and aesthetics: an early Indian perspective." Early Music XXIV, no. 3 (August 1996): 407–22. http://dx.doi.org/10.1093/earlyj/xxiv.3.407.

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13

Ravinthiran, Vidyan. "(Indian) Verse and the Question of Aesthetics." New Literary History 50, no. 4 (2019): 647–70. http://dx.doi.org/10.1353/nlh.2019.0061.

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Katz, J. "Music and aesthetics: an early Indian perspective." Early Music 24, no. 3 (August 1, 1996): 407–20. http://dx.doi.org/10.1093/em/24.3.407.

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Mendes, Aysha. "Indian aesthetics: balancing budgets for Bollywood beauty." Journal of Aesthetic Nursing 4, no. 5 (June 2, 2015): 238–39. http://dx.doi.org/10.12968/joan.2015.4.5.238.

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Loundo, Dilip. "The Indian Aesthetics of Emotions ("rasa"): Non-duality, Aesthetic Experience and the Body." Terceira Margem 25, no. 46 (May 31, 2021): 51–66. http://dx.doi.org/10.55702/3m.v25i46.41586.

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As a spiritual discipline leading one towards the universal, Indian performing arts involve a pedagogy of disclosure, showing things as they really are: art in not a matter of unpredictable inspiration, but an effortful exploration into the extraordinary residing in the ordinary. As such, while embracing the ever-present essence of things, art is defined by Tagore as a means of disclosure of the essentiality of life, rather than a representation of it. In other words, art is a means of bringing transparency to life, getting one rid of the dust, the fantasies and the distractions that dominate one’s quotidian dealings. It’s, finally, a kind of meditative performance, a radical exercise of paying attention to one’s immediate reality.

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Fernandes, Lawrence S. "Indian Aesthetics and Christian Art of Jyoti Sahi." SALESIAN JOURNAL OF HUMANITIES & SOCIAL SCIENCES 8, no. 1 (May 1, 2017): 105–12. http://dx.doi.org/10.51818/sjhss.8.2017.105-112.

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18

Jean-François, Emmanuel Bruno, and Neelima Jeychandran. "African-Asian Affinities: Indian Oceanic Expressions and Aesthetics." Verge: Studies in Global Asias 8, no. 1 (March 2022): vi—xxi. http://dx.doi.org/10.1353/vrg.2022.0011.

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19

Chandra, Nandini. "Slumlord Aesthetics and the Question of Indian Poverty." Monthly Review 61, no. 1 (May 6, 2009): 50. http://dx.doi.org/10.14452/mr-061-01-2009-05_6.

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20

Kumar, Divya. "Aesthetics of Silence in Indian and International Cinema." Journal of Creative Communications 6, no. 1-2 (March 2011): 179–93. http://dx.doi.org/10.1177/0973258613499096.

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21

Bhattacharya, Indranil. "Sound and the masters: The aural in Indian art cinema." Studies in South Asian Film & Media 12, no. 1 (February 1, 2021): 49–66. http://dx.doi.org/10.1386/safm_00037_1.

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The study of art cinema has emerged as a richly discursive, but, at the same time, a deeply contested terrain in recent film scholarship. This article examines the discourse of art cinema in India through the prism of sound style and aesthetics. It analyses the sonic strategies deployed in the films of Satyajit Ray, Ritwik Ghatak, Mrinal Sen and Mani Kaul, in order to identify the dominant stylistic impulses of sound in art cinema, ranging from Brechtian epic realism on one hand to Indian aesthetic theories on the other. Locating sound as a key element in the discourse of art cinema, the article surveys the different modes through which aesthetic philosophies were translated into formal strategies of sound recording, designing and mixing. Using previous scholarship on art cinema in India as the point of departure, this study combines theoretically informed textual analysis with new historical insights on Indian cinema.

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Martin, Philip. "Toward a Model of Distributed Affectivity for Cinematic Ethics." Projections 13, no. 2 (June 1, 2019): 80–107. http://dx.doi.org/10.3167/proj.2019.130205.

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Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.

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Patel, Deven M. "Book review: Sheldon Pollock, A Rasa Reader: Classical Indian Aesthetics." Indian Economic & Social History Review 55, no. 4 (October 2018): 586–90. http://dx.doi.org/10.1177/0019464618797191.

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Irengbam, Devina, Ashish Yadav, Vaibhav Misra, Sonal Attri, and Sai Teja Yenaganti. "Evaluation of golden proportions among three ethnic groups of Indian females." IP Indian Journal of Orthodontics and Dentofacial Research 10, no. 2 (June 15, 2024): 96–102. http://dx.doi.org/10.18231/j.ijodr.2024.018.

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The study aimed to assess and compare the presence of golden proportions among three ethnic groups of Indian females: North Indian, North East Indian, and South Indian. Understanding ethnic variations in facial measurements and assessments related to golden proportions has implications for aesthetic treatments and facial reconstruction procedures.A cross-sectional observational study was conducted, involving 150 Indian females aged 18-35 years from the three ethnic groups. Facial measurements were collected using photographs captured using high-resolution Canon EOS 1500D camera with 18-55mm & 55-250 mm macro lens. Evaluators independently assessed facial photographs based on the golden proportion principle of Ricketts’ Golden Ratio. Statistical analyses, including Analysis of Variance (ANOVA) and post-hoc tests were performed to compare the measurements and assessments among the ethnic groups.Statistically significant differences in facial measurements and assessments were observed among the North Indian, North East Indian, and South Indian ethnic groups. The TR - ME:LC-ME (Total Facial Height: Length of face between Lateral Canthus of Eyes to Menton) was exactly in relation to the golden proportions in all three groups. The total facial height was thus in golden proportion to the middle and lower facial sections in all three groups. LNr:CHr and TSr:LCr were similar to the golden proportion in North Indian and North East Indian ethnicity, while LNr:CHr was similar to the golden proportion in South Indian ethnicity. Variations in intercanthal distance, interalar width, and philtrum height indicated distinct facial proportions within each ethnic group. The evaluators' assessments of facial proportions also varied significantly among the ethnic groups, highlighting the influence of cultural and societal beauty standards on aesthetic perceptions.The study findings underscore the importance of considering ethnic variations in golden proportions when planning aesthetic treatments and facial reconstruction procedures for Indian females. Recognizing and appreciating the diversity in facial aesthetics can lead to more personalized and culturally sensitive care, resulting in enhanced patient satisfaction and outcomes. Further research is needed to explore golden proportions in other ethnic groups and their impact on treatment preferences and outcomes.

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KEATING, Ross. "Connecting Art with Spirituality within the Indian Aesthetics ofAdvaitaVedanta." Studies in Spirituality 18 (December 31, 2008): 25–37. http://dx.doi.org/10.2143/sis.18.0.2033281.

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Gamache, Geneviève. "Pollock, S. (2016). A Rasa Reader. Classical Indian Aesthetics." Malaysian Journal of Performing and Visual Arts 3, no. 1 (December 31, 2017): 75–77. http://dx.doi.org/10.22452/mjpva.vol3no1.4.

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Jia, Yan. "“Trans-Asian Popular Aesthetics”." Journal of World Literature 4, no. 4 (December 6, 2019): 530–51. http://dx.doi.org/10.1163/24056480-00404005.

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Abstract From 1980 to 1991, seven titles of Gulshan Nanda’s Hindi popular fiction were translated into Chinese without Western involvement, and Kaṭī pataṅg alone spawned nearly twenty adaptations in both theatrical and picture-story book forms. This essay argues that Nanda’s popular fiction contributed to China’s cultural reconstruction in the 1980s by fulfilling the previously repressed need of Chinese readers for entertaining novels that conveyed a desired moral order, by enabling Chinese translators of Indian literature to engage with the literary debate about the re-evaluation of popular literature, and by helping revitalize Chinese theatre in a time of crisis. This paper shows the complexity of transnational flows of popular literature by presenting a Trans-Asian example that relies on the melodramatic appeal of the works, their relevance to local issues, and the scholarly engagement in the host culture, rather than the author’s global stardom or the marketing strategies of multinational publishing companies.

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Ivbulis, Viktors. "Only Western influence? The birth of literary Romantic aesthetics in Bengal." Acta Orientalia Vilnensia 9, no. 2 (January 1, 2008): 145–57. http://dx.doi.org/10.15388/aov.2008.2.3703.

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University of LatviaMuch has been said about how fruitfully European aesthetics worked on the minds of Indian writers in the 19th century. For this reason Rabindranath Tagore (1861–1941), even before he turned twenty, in the eyes of some of his compatriots was already a Romanticist—‘the Shelley of Bengal’. Of course, he could not be Shelley because of the very different historical circumstances of India and England (in India at that time historically could not be born aesthetic rebels like Shelley). But what was implied in this assertion remains: in Bengali writing about Tagore and his embarkation upon new aesthetic approaches, almost always the view is expressed that this happened only because of foreign influences. The task of this paper is to show very summarily that such a conclusion may not be correct.

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Gorman-DaRif, Meghan. "“Other and More”: Indian Ocean Literature and the Archipelagic Discourse of the Caribbean." Monsoon 2, no. 1 (May 1, 2024): 22–34. http://dx.doi.org/10.1215/2834698x-11128221.

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Abstract In his 1992 Nobel Prize acceptance speech, Derek Walcott imagines the broken vase and the subsequent reassemblage of its “African and Asiatic” fragments as a metaphor for Caribbean art forms, especially poetry. His vision of the particular archipelagic form of art that is invested in remaking from fragments, while specific to the Caribbean, is also visible in writing from other archipelagic spaces in the Indian Ocean. This article connects the Caribbean concept of the archipelago to the Indian Ocean through an analysis of the way Yvonne Adhiambo Owuor's The Dragonfly Sea (2018) and Amitav Ghosh's The Hungry Tide (2005) each present the littoral island spaces of the Indian Ocean. These texts construct alternatives to the possessive ontology of global capital through their articulation of the unique ontology and aesthetics of the Indian Ocean archipelago, borne out of the specificity of the littoral and its association with permeability, symbiosis, and a “back and forth” mirroring the tides themselves. The article argues that while Owuor's novel, like Walcott, is invested in the ontology and aesthetics of the archipelago as transformative and resistant, Ghosh's novel can be read with Braithwaite's concept of tidalectics as well as Glissant's creolization, to similarly depict the ontology and aesthetics of the archipelago as emerging out of fluidity and change rather than linearity or stasis.

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Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (September 15, 2020): 471. http://dx.doi.org/10.3390/rel11090471.

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Disgust occupies a particular space in Buddhism where repulsive aspects of the human body are visualized and reflected upon in contemplative practices. The Indian tradition of aesthetics also recognizes disgust as one of the basic human emotions that can be transformed into an aestheticized form, which is experienced when one enjoys drama and poetry. Buddhist literature offers a particularly fertile ground for both religious and literary ideas to manifest, unravel, and entangle in a narrative setting. It is in this context that we find elements of disgust being incorporated into two types of Buddhist narrative: (1) discouragement with worldly objects and renunciation, and (2) courageous act of self-sacrifice. Vidyākara’s anthology of Sanskrit poetry (Subhāṣitaratnakoṣa) and the poetics section of Sa skya Paṇḍita’s introduction to the Indian systems of cultural knowledge (Mkhas pa rnams ’jug pa’i sgo) offer two rare examples of Buddhist engagement with aesthetics of emotions. In addition to some developed views of literary critics, these two Buddhist writers are relied on in this study to provide perspectives on how Buddhists themselves in the final phase of Indian Buddhism might have read Buddhist literature in light of what they learned from the theory of aesthetics.

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Kaur, Harpreet, and Amandeep Rana. "From Pure Aesthetics to Sensory Gratification: Shifting Paradigm of Aesthetic Pleasure in Indian Popular Campus Fiction." International Journal of English and Comparative Literary Studies 3, no. 3 (July 2, 2022): 13–28. http://dx.doi.org/10.47631/ijecls.v3i3.436.

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This paper explores the shifting paradigm of ‘aesthetic pleasure’ in the field of popular literature with an emergence of cultural studies in Literary Theory. It focuses on the concept of pleasure as a significant measure in analyzing the origin and development of Indian popular campus fiction as a distinct genre. It examines how the concept of ‘pleasure’ has shifted from a purely aesthetic appreciation of the values of truth, beauty and goodness to the contemporary aspects of hedonistic and somatic pleasures in the works of popular arts. The paper also sheds light on various theories, propounded by different cultural critics like Theodor Adorno, Herbert Marcuse and Leo Lowenthal to analyze the ways the cultural industry has incorporated the values of enjoyment and entertainment into the aesthetic appreciation of pleasure, offering the emotional engagement of readers in these popular texts.

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SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film." Popular Music 27, no. 3 (October 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.

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AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.

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James, Dr Siby. "The Aesthetics of Rupture: Deconstructing Rasa." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 27, 2021): 105–13. http://dx.doi.org/10.24113/ijellh.v9i3.10953.

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Semantic fixity is a transcendental signified. One of the touted aims of literary theory was to topple it. The Indian semantic concept of Vyañjana attempted to do this millennia before. But canonical theories of Rasa established Rasananda as an attainment of absolute coherence and harmony. What this paper calls trans-epistemic praxis is a viable methodology to reclaim the long-lost rupturality (if structurality is resisted, rupturality must be embraced, at least as a neologism) inherent to aesthetics. This is done in a Post-theory context. “Bhanga” (rupturing) leads to “bhangi”, aesthetic charm. It is an aporetic textual disruption that leads to the most fertile indeterminacy of meaning. Modern literary theory set out on a debunking and destabilizing mission of liberal humanist tenets, but got hardened into “doxa”, crystallized structures and hierarchies. This necessitated a theorizing of theory itself. The chronotope of Post-theory gets foregrounded. A crossing of spatio-temporal boundaries gives us the freedom to site Rasa Theory and Indian Poetics as Post-theoretical. Inter-spaces and inter-times are engendered. Deconstruction and Rasa become heterodoxic knowledges to each other, subverting each other honouring the alterity of the other. This exercise liberates Theory from becoming sclerotic. Orthodoxics and monologisms get flouted. Theory is a story. Story is built on the figurality of language. The tropology of language is built on a never-ending desire for signification. This desire never meets with satiation. The concept of “Rati” can be seen as this interminable desire of language. Post-theory is a call to wake up from amnesia, the terrible oblivion regarding the fact that Deconstruction and Rasa are ceaseless streams of reading processes and not rigid and straitjacketed end products. This ruptural aesthetics leads to the rapture of poeisis, the indeterminate significatory process.

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Dr. Mukesh Kumar Gupta. "Application of Ala‚k¹ra Siddh¹nta in ‘Ode To A Skylark’ of Shelley." Creative Launcher 4, no. 1 (April 30, 2019): 63–68. http://dx.doi.org/10.53032/tcl.2019.4.1.10.

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Aesthetics “A Science of Fine Arts” is an outcome of the self-realisation, which Indian aestheticians, has attained by their tap and devotion (s¹dhya) through their age old experiments by the way of their sensuous power. There is well experimented siddh¹ntas (theories) or processes of judgement with sensuous taste in relishing aesthetic beauty, that Indian aestheticians assure. These siddh¹ntas (theories) can be relished, enjoyed and can be expressed in words. The multifarious process of appropriating words and sentences like syntax, diction, style matures as a result of their cumulative refinement for centuries, till it is appreciated as full fledge doctrine (siddh¹nta) of Indian poetics. These siddh¹ntas (theories) are: rasasiddh¹nta of ¸c¹ryaBharat (theory of aesthetic pleasure), alaṁkāra siddhānta of ¸c¹ryaBh¹mah (theory of figures of speech), dhvani siddhānta of ¸c¹rya ¸nandavardhana (theory of suggestion), rīti siddhānta of ¸c¹ryaV¹man (theory of style), vakrokti siddhānta of ¸c¹ryaKuntaka (theory of obliquity), and aucitya siddh¹nta of ¸c¹rya K¬emendra (theory of propriety). The essence of the Vedic and the Non-Vedic religious, sectarian concepts, philosophical thoughts and doctrine (siddh¹nta) of different schools has considerably enriched and sweetened Indian philosophy; and its scope is so great and the span is so vast, that we find no such line of literary study that is not perfumed with its essence.

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Nerkar, Amit Gajanan. "Pharmaceutical organic chemistry: Actual teaching aesthetics." Current Trends in Pharmacy and Pharmaceutical Chemistry 5, no. 1 (April 15, 2023): 1–3. http://dx.doi.org/10.18231/j.ctppc.2023.001.

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The most difficult subject for students of Pharmacy or Pharmaceutical Sciences undergraduates and postgraduates is Pharmaceutical Organic Chemistry. The professor teaching this subject should be well versed with basic concepts of the Organic Chemistry belonging to the specialization of Chemical Sciences. The Pharmaceutical Organic Chemistry specialization has vast scope, and the teaching professor needs to clear the basics concepts of the subject. In this connection the actual teaching aesthetics of Pharmaceutical Organic Chemistry (POC) has been described. The review is an attempt to summarize the importance of the POC and make aware the teachers of Indian and Foreign Universities for the new direction and aesthetics of the teaching of the same.

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Zubko, Katherine C. "Christian Themes and the Role of the Nāyikā in Bharatanāṭyam." International Journal of Asian Christianity 1, no. 2 (September 11, 2018): 269–89. http://dx.doi.org/10.1163/25424246-00102006.

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Within the Indian classical dance style of bharatanāṭyam, performers traditionally embody the stories of Hindu gods and goddesses. This paper discusses selected examples of how Christian themes have been incorporated into the art form by both Hindu and non-Hindu participants, including the adaptation of the aesthetics of the nāyikā, a female heroine yearning for her absent beloved. In an extended case study, I examine the presentation of one such unique nāyikā, a Christian Indian woman who contracts HIV from her husband, in particular demonstrating how various gesture sequences draw upon the recognizable, empathetic foundation of the suffering heroine to depict the realities of the illness of HIV. The despair and pain of the nāyikā, and the role of a sakhī as sympathetic doctor, invite audiences into a familiar aesthetic framework that also creates receptivity towards a significant social critique.

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Rajagopal, Arvind, and Paromita Vohra. "On the Aesthetics and Ideology of the Indian Documentary Film." BioScope: South Asian Screen Studies 3, no. 1 (January 2012): 7–20. http://dx.doi.org/10.1177/097492761100300102.

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Cerulli, Anthony. "Archival Aesthetics: Framing and Exhibiting Indian Manuscripts and Manuscript Libraries." South Asia: Journal of South Asian Studies 43, no. 3 (May 3, 2020): 455–77. http://dx.doi.org/10.1080/00856401.2020.1740436.

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Blaney, Aileen, and Chinar Shah. "The Aesthetics of Contemporary Indian Photography in an “Incredible India”." Photography and Culture 11, no. 1 (January 2, 2018): 3–18. http://dx.doi.org/10.1080/17514517.2017.1410322.

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赵, 茹卿. "In Search of Ancient Indian Aesthetics—Three Faces of Shiva." Art Research Letters 12, no. 01 (2023): 27–31. http://dx.doi.org/10.12677/arl.2023.121005.

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Pal, Dr Tanmoy. "An Analysis of Indian Music Aesthetics with Particular Reference to Hindustani Classical Music." Praxis International Journal of Social Science and Literature 6, no. 5 (May 25, 2023): 1–9. http://dx.doi.org/10.51879/pijssl/060501.

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Learning a language is no easy process. Although English is a worldwide language, mastering all four micro skills is difficult. There are several problems and stumbling blocks to mastering English, particularly for non-native speakers such as Myanmar students. For example, insufficient teaching and learning materials, large numbers of students in classes, utilizing their native language in spite of English, not being in an English-speaking setting, less confident in speaking English and using the incorrect syllabus. These are only a few examples. I occasionally teach English in Myanmar. In both teaching and learning English in Myanmar, I encountered several hurdles and barriers. It motivates me to conduct particular studies on the difficulties that students and instructors face in Myanmar.I used the quantitative research approach to determine the specific issues and impediments experienced in teaching and learning English. I implemented Google Form to identify the most relevant 15 questions for instructors, which took about two months, and I received 47 replies out of 50 surveys on obstacles in teaching English. Through the survey findings, we could clearly see what hurdles and obstacles Myanmar instructors had throughout their teaching and how they dealt with all of these concerns, as well as their dos and don'ts remarks and wise advise. Then I concluded by outlining how we should use the recommended strategies and implementations to overcome all of the obstacles that we have when teaching and learning English.

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van der Linden, Bob. "Music, Theosophical spirituality, and empire: the British modernist composers Cyril Scott and John Foulds." Journal of Global History 3, no. 2 (July 2008): 163–82. http://dx.doi.org/10.1017/s1740022808002593.

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AbstractThis article deals with the life and work of the early twentieth-century British modernist composers Cyril Scott and John Foulds, in the context of British national music and ‘imperial culture’ at large. Through a discussion of their Theosophical spirituality, Indian musical exoticism, and modernist aesthetics (for all of which they became outsiders to the British music establishment), it tentatively investigates their ideas as part of an ‘alternative’ ideological cluster, which equally influenced British ‘imperial culture’. Furthermore, it discusses the role of Theosophists (such as Annie Besant, Margaret Cousins, and Rukmini Devi) in Indian nationalism and the making of modern South Indian music. This situates the cases of Scott and Foulds within Theosophy as a global movement, and illustrates how cosmopolitan radicalism, Western self-questioning, modernist aesthetics, and anti-establishment thinking linked up with the emergence of non-Western anti-imperial nationalism through an intricate network of personal relationships in metropolis and colony.

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Khorakiwala, Ateya. "An Archive of Development." Comparative Studies of South Asia, Africa and the Middle East 40, no. 3 (December 1, 2020): 541–64. http://dx.doi.org/10.1215/1089201x-8747513.

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Abstract This article argues that a fantasy of Indian road infrastructure was archived in official documentary films. It analyzes two 1960s road construction projects through three corresponding Films Division of India documentaries, which represented India's northern borders. These show how the playfulness of film, the unruliness of infrastructure, and the precariousness of the border and its imaginary have meant that even propaganda films with set narratives erupted with an aesthetics of pleasure and violence. Replete with such dramatic signifiers, the films offer a psychic archive of the developmental state. The projective capacity of architectural knowledge enables this article to speculate on this archive of fantasy and thus interrogate infrastructure, modernization, and development, not as normative categories, but as aesthetic techniques. These produced for the Indian state a spatial narrative of fraught borders contiguous with metropoles, a condition that created a new tyranny of proximity.

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Makokha, J. K. S. "Afrasian Aesthetics in M.G. Vassanji’s The Magic of Saida." Matatu 52, no. 1 (November 22, 2021): 176–87. http://dx.doi.org/10.1163/18757421-05201002.

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Abstract The Magic of Saida by M.G. Vassanji (2012) centres on the central figure of the novel’s story, Kamal. He is the son of an African mother and an Asian (read Indian) father, who grows up in Tanzania and then relocates to Canada where he becomes an established doctor. The novel tackles themes of African-Asian (read Afrasian) racial identity, belonging, and the effects of the past on the present. Kamal identifies mainly as an African when residing with his mother in Kilwa during his childhood; he is then urged to embrace an Indian identity when he is sent to live with his uncle in Dar es Salaam in his early adolescence. Decades after moving to Edmonton, Canada, Kamal decides to come back to Kilwa. This paper explores the tension and ambiguity in Kamal’s identity by analyzing the way he defines himself—or is defined—in Kilwa and Dar es Salaam, and then investigating, through an eclectic psychochriticism lens, how that in turn affects him as he ages and drives him to return in seach of what it means to be both an Asian and an African in the context of East African cultural landscapes.

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Koul, Radhika. "Navigating the Space Between Hermeneutics and Aesthetics: Dhvani and Comparative Poetics." Comparative Literature Studies 59, no. 2 (May 1, 2022): 292–315. http://dx.doi.org/10.5325/complitstudies.59.2.0292.

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ABSTRACT In Production of Presence: What Meaning Can’t Convey (2003), Hans Ulrich Gumbrecht suggests that through their unremitting emphasis on hermeneutics, modern critics have ignored the ineffable, bodily aspect of aesthetic experience that he calls “presence.” In the realm of poetics, such a theory implies a dissociation between the hermeneutic activity of a poem and a reader’s emotional response to it. Two aestheticians from medieval Kashmir, Ānandavardhana, c. ninth century CE, and his tenth-century commentator Abhinavagupta, propose a cause of poetic beauty and aesthetic effect that is still grounded in meaning: dhvani. They delineate how, in certain poetic conditions, dhvani leads to rasa, roughly “aesthetic enjoyment,” an experience at once mental and visceral. Whereas the poetic forms the Indian aestheticians discuss go beyond the lyric per se, this paper brings some of the most critical aspects of their poetics in conversation with current critical overtures as well as resonant poetry we might be more familiar with today in order to inspire further work on comparative literary aesthetics and “world criticism.”

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Barlow, Matt. "Waste and its masquerades: On the production of urban natures in Kochi, India." Anthropology Today 39, no. 5 (October 2023): 11–14. http://dx.doi.org/10.1111/1467-8322.12837.

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Waste management has been a focal point in ethnographic research, yet its aesthetic and ideological facets in shaping ‘urban nature’ have been largely overlooked. The article delves into a comparative study of two parks in Kochi, a South Indian city, examining the intersection of environmental aesthetics, infrastructural visibility, and the conceptualization of urban nature. Through this juxtaposition, the study elucidates how divergent waste management strategies reflect broader ideologies concerning urban environments and their role in urban development initiatives. The article posits that waste and its management are not peripheral elements in the urban experience of nature; rather, they are integral components that shape it.

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Singh, Kaninika. "Aesthetics of Postcoloniality: An Insight into Town Planning and Architectural Practices of Madras Under the Colonial Rule." International Journal of English Language, Education and Literature Studies (IJEEL) 2, no. 4 (2023): 39–47. http://dx.doi.org/10.22161/ijeel.2.4.6.

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This research paper delves into the aesthetics of town planning and architecture during colonial rule in India, with a focus on the city of Madras. The paper explores how the British colonial project enforced segregation based on race, resulting in the creation of the ‘White Town’ and the ‘Black Town’ that fit into the scheme of ‘divide and rule.’ Examining the implications of such spaces and architecture on the treatment of the native population and the postcolonial legacy that persists to this day, the paper highlights how town planning and architectural practices in Madras were used as tools of colonial power-play, enforcing racial divides and socio-political hierarchies. The research also delves into the creation of distinct European spaces, exclusive native neighbourhoods, and caste-specific localities defining the trade of each community with its distinct aesthetic. It also discusses the appropriation of Indian architectural elements in the Indo-Saracenic style by the British, aimed at legitimizing their rule and showcasing their cultural superiority while hypocritically introducing fortifications as a means to reinforce their differences. By analyzing historical accounts, architectural features, and urban planning in Madras, the paper offers insights into how the aesthetics of segregation and appropriation shaped the colonial landscape and continue to influence contemporary perceptions and spaces. It emphasizes the resilience of native aesthetics despite colonization and highlights the complex interplay between the colonizers' control and the colonized's agency in shaping their own spaces and identities. The research concludes with reflections on the lasting impact of colonial aesthetics and the evolving narratives of postcolonial India.

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Taber, John A., and Anand Amaladass. "Philosophical Implications of Dhvani: Experience of Symbol Language in Indian Aesthetics." Philosophy East and West 37, no. 4 (October 1987): 462. http://dx.doi.org/10.2307/1399038.

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Gerow, Edwin, and Anand Amaladass. "Philosophical Implications of Dhvani: Experience of Symbol Language in Indian Aesthetics." Journal of the American Oriental Society 106, no. 4 (October 1986): 855. http://dx.doi.org/10.2307/603576.

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Joshua Miner. "Remediating the “Famous Indian Artist”: Native Aesthetics beyond Tourism and Tragedy." Studies in American Indian Literatures 30, no. 2 (2018): 79. http://dx.doi.org/10.5250/studamerindilite.30.2.0079.

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