Relevant bibliographies by topics / Indian epic

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

Academic literature on the topic 'Indian epic'

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Published: 24 April 2022

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Journal articles on the topic "Indian epic"

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Le Thi Bich, Thuy. "EPIC - THE SOURCE OF THE “SOFT POWER” OF INDIAN CULTURE IN SOUTHEAST ASIA." Journal of Science Social Science 65, no. 11 (November 2020): 45–53. http://dx.doi.org/10.18173/2354-1067.2020-0070.

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The power of each nation is determined by many factors, including the role of its culture. Culture is seen as an effective tool of soft power to affirm the image of our country in the international community. As one of the originating centers of Asian civilization and one of the largest, oldest civilizations in the world, India's soft power exists naturally in its own long historical culture. The Indian epic is considered to be the source of soft power, the link between the world and Indian culture, helping Indian culture expand its influence on other countries and the world. In this article, we focus on presenting the unique features of thinking, soul, thought, and “Indian spirit” reflected in the epic - the source of Indian culture and the epic continuation in countries in Southeast Asia. Thereby, this article helps its readers have a comprehensive view of the Indian epic - the source of “soft power” of Indian culture in Southeast Asian countries to strengthen and develop the relationship between India and other countries in Southeast Asia more and more sustainably and lasting.
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Thi, Hue Hoang, and Dung Nguyen Tien. "Similarities and Differences of the Dam Giong Epics (Vietnam) and Reamker (Cambodia), Ramakien (Thailand), PhraLakPhra Lam (Laos) (Note 1)." Global Research in Higher Education 1, no. 2 (September 12, 2018): 132. http://dx.doi.org/10.22158/grhe.v1n2p132.

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<em>There are a lot of similarities and differences in The Dam Giong epics of Bahnar ethnic in Central Highlands-Vietnam and Reamkerepic (Cambodia), Ramakien epic (Thailand) and PhraLakPhra Lam epic (Laos). Although there are some similarities in content and themes, these epics differ in capacity, structure, character system and some other artistic elements. Reamker, Ramakien, PhraLakPhra Lam are short independent epics, deriving from Ramayana epic (Indian). Meanwhile, The Dam Giong epics, about a hero named Giong, have a large capacity of hundreds of epics. These epics derive from myths, legends and creeds of Bahnar ethnic in the Central Highlands-Vietnam, especially, they are “living” epics. Nowadays, the epics of Dam Giong are still being circulated and they are developing in the lives of Bahnar ethnic. Currently, in Central Highlands-Vietnam, the epics of Dam Giong are still composed and the number of these epics is constantly increasing.</em>
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SEKIDO, Norio. "Indian Epic Hero Bhisma and Buddha." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 40, no. 2 (1992): 1066–63. http://dx.doi.org/10.4259/ibk.40.1066.

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Narmadha, S. "Chitra Banrjee Divakaruini’s “The Forest of Enchantments: Revisiting the Epic from Sita’s Prespective”." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 114–20. http://dx.doi.org/10.24113/ijellh.v8i6.10634.

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Chitra Banerjee Divakaruni’s The Forest OF Enchantments is about the retelling of our ancient prestigious epic of Ramayan from Sita’s perspective. As an Indian diasporic writer Divakaruni has nostalgia about Indian culture and tradition. The word culture comprises of behaviours and institutions, for its attempts at retelling an ancient epic through the female’s perspective. This novel focuses on the self discovery of Sita who is a celebrated female character of ancient India. So, Divakaruni has changed her way of thinking from traditional portrayal of simple and selfless women into modern female characters who is searching for their identity in the patriarchal world.
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Vassilkov, Y. V. "The Armenian Epic “Daredevils of Sassoun” and the Mahābhārata: Similarity of the Ethnographic Substratum." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 2 (June 26, 2019): 140–47. http://dx.doi.org/10.17746/1563-0110.2019.47.2.140-147.

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The author summarizes the results of his search for parallels between the Armenian epic “Sasna cṙer” (“Daredevils of Sassoun”) and the Mahābhārata. The comparative study has revealed considerable similarity in the “ethnographic substratum” of both epics, particularly that relating to the archaic social organization mirrored by the epic. The earliest layer of both the Armenian and the Indian epics retains the memory of a rural, largely pastoral society, in which an important role was played by the fraternities of young warriors. In the Armenian epic, this is indicated by recurrent motifs such as the young heroes’ rampage followed by exile, the foundation of their own outpost in the backwoods, young male warriors’ fraternities, their defense of herds, warding off enemy attacks, battle frenzy (a common characteristic of all the Sasun heroes), their immutable tutor and leader (“uncle”) Keri Toros, allusions to orgiastic feasts, premarital freedom enjoyed by boys and girls, etc. In Armenians, these motifs were supported by the existence until the recent times of age sets, described by ethnographers. The comparative study of the Armenian epic reveals its hitherto unnoticed socio-historical aspects. Its wider use for studying other epic traditions (not only Indo-European but also those of other peoples inhabiting the Caucasus and the Eurasian steppes) will contribute to the comparative epic studies.
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Le Thi Bich, Thuy. "Narrative viewpoint in the Indian Ramayana epic." Journal of Science Social Science 66, no. 1 (February 2021): 17–25. http://dx.doi.org/10.18173/2354-1067.2021-0003.

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Viewpoint is a key structural matter. The author can not describe and narrate any events about life without selecting a viewpoint for things and phenomena. The artistic point of view is just a means that helps the readers and listeners have a deeper look at the artistic structure of the work to better understand the ideological content and values as well as artistic values of the work. When studying the narrative viewpoint in the Indian Ramayana epic, we want to consider the technique of choosing the author’s position in the spatial and temporal coordinates to observe and tell to the listeners and readers. We have found that the narrative viewpoint is structured very flexibly in the creation of the epic writer, and narrator in the Ramayana epic. That is the narrator’s omniscient viewpoint with the shift of point of view in space and time, showing the attitude and feelings of descendants with the “absolute past” at the unchanging viewpoint.
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M., Ambili. "The Concept of Liberation in Chitra Banerjee Divakaruni’s The Palace of Illusions." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 107. http://dx.doi.org/10.24113/ijellh.v8i4.10527.

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The great Indian Epic Mahabharata celebrates the battle between Pandavas and Kauravas and signifies Draupadi as the fundamental cause of it. Chitra Banerjee Divakaruni unwrapped this belief and made Draupadi a powerful woman with great determination and courage. The Epics all over the world has portrayed woman as pale shadows of men, and men as great warriors. This silence of women has triggered Divakaruni to retell the epic in female voice. Literature always tried to share the changes in society. Unveiling the perfect lady images to the woman, modern female writers made their own literature. This paper goes through the life of an epic woman who has strong cravings of liberation. Also tries to find out whether a female protagonist can undergo inclinations in the life of Male characters who always hold the seal of divine figure, who always live for the warfare.
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Bedamatta, Urmishree, Bhabani Shankar, Santwana Sagnika, and Anshuman Pattanaik. "Engaging with an Indian Epic: A Digital Approach." International Journal of Computer Applications 178, no. 52 (September 17, 2019): 37–40. http://dx.doi.org/10.5120/ijca2019919430.

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Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (December 30, 2020): 119–37. http://dx.doi.org/10.47044/2527-080x.2020v8.119137.

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This article aims to analyze the episode that narrates the Guesa's midnight dream on the banks of the Solimões River, a passage that is present in the first book of Joaquim de Sousândrade's pan-Indian epic O Guesa. This part, which anticipates the epic topic of the “descent into hell” that occurs during the Dance of Tatuturema in the second book, shows some of the literary influences over the poet's voice in formal and thematic aspects. This study will try to identify, through the poetic text, some of these influences, quite varied and assembling aspects of epic poetry - classical, renaissance and modern - of lyric and of romantic and Indianist literature, culminating in an object of singular value within Brazilian poetry. Guesa, a Muisca Indian, personification of the Sun-god and representative of the pan-Indian project of Sousândrade, undergoes a metamorphosis at midnight: he resembles Lucifer and Prometheus, and sings his melancholy just like Baudelaire on the banks of the mythical Lethe.
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Smith, John D. "Winged words revisited: diction and meaning in Indian epic." Bulletin of the School of Oriental and African Studies 62, no. 2 (June 1999): 267–305. http://dx.doi.org/10.1017/s0041977x00016712.

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Scholars working in the field of oral epic all have a particular form of words committed to memory—Milman Parry's celebrated definition of the formula. The definition in fact appears in two slightly differing forms in Parry's writing. In 1928 he wrote, ‘In the diction of bardic poetry, the formula can be defined as an expression regularly used, under the same metrical conditions, to express an essential idea’ (Parry, 1971: 13). Two years later came the more familiar version: ‘The formula in the Homeric poems may be defined as a group of words which is regularly employed under the same metrical conditions to express a given essential idea’ (Parry, 1971: 272). The differences between the two forms of the definition are negligible, and Parry made no further attempt to refine or modify it during the five years of life that remained to him. For Albert Lord, too, the definition was clearly adequate as it stood: in ch. iii of The singer of tales he simply quotes it verbatim (Lord, 1960: 30), and proceeds directly to a consideration of the function of formulaic diction.
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Dissertations / Theses on the topic "Indian epic"

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Kanjilal, Sucheta. "Modern Mythologies: The Epic Imagination in Contemporary Indian Literature." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6875.

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This project delineates a cultural history of modern Hinduism in conversation with contemporary Indian literature. Its central focus is literary adaptations of the Sanskrit epic the Mahābhārata, in English, Hindi, and Bengali. Among Hindu religious texts, this epic has been most persistently reproduced in literary and popular discourses because its scale matches the grandeur of the Indian national imagining. Further, many epic adaptations explicitly invite devotion to the nation, often emboldening conservative Hindu nationalism. This interdisciplinary project draws its methodology from literary theory, history, gender, and religious studies. Little scholarship has put Indian Anglophone literatures in conversation with other Indian literary traditions. To fill this gap, I chart a history of literary and cultural transactions between both India and Britain and among numerous vernacular, classical, and Anglophone traditions within India. Paying attention to gender, caste, and cultural hegemony, I demostrate how epic adaptations both narrate and contest the contours of the Indian nation.
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Bullock, Stefan. ""Respecting the original justice of the claim": reality and legality in John Marshall's epic of Indian divestiture, «Johnson v. M'Intosh»." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86951.

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This thesis examines Chief Justice of the United States Supreme Court John Marshall's opinion for _Johnson and Graham's Lessee v. William M'Intosh_ (1823) in light of the fictional history he employed in justifying the decision of the Court. I work from Hannah Arendt's conceptions of myth and legend as corrective of history, and conclude in line with Milner S. Ball that the legal transcription of custom into statute finds a natural corollary in the poetic license exercised by forging precedence from obiter dicta. In my examination, I treat law as literature insofar as it allows one to elucidate the elements of _Johnson v. M'Intosh_ that are amorally imperial in nature, and on which America is founded. While legend and law can be formally quite similar, I argue that racist, ethnocentric decisions like _Johnson v. M'Intosh_ demonstrate that if we desire for our laws to endure as the paramount social embodiment of justice, it is essential that the forms of law and legend remain disparate. As I conclude, the violence done Indian tribes by the statutory institution of Marshall's mythical opinion as authoritative, "true" history is unforgiveable and irreparable.
Cette thèse examine l'opinion du président de la Cour suprême des Etats-Unis, John Marshall, sur l'arrêt _Johnson and Graham's Lessee v. William M'Intosh_ (1823), au regard de l'histoire fictionnelle qu'il employait pour justifier la décision de la Cour. Cette thèse étudie la conception d'Hannah Arendt du mythe et de la légende comme correctif de l'Histoire, et conclut, en accord avec Milner S. Ball, que la transcription légale de la coutume en loi trouve un corollaire naturel dans la licence poétique exercée dans la construction de la préséance de l'obiter dicta. Puisque épopée et loi peuvent être formellement similaires, je soutiens que des décisions racistes et ethnocentriques telles que _Johnson v. M'Intosh_ démontrent que si nous désirons que nos lois restent l'incarnation sociale prédominante de justice, il est essentiel que les textes de lois et l'épopée restent distincts. Comme je conclus, la violence faite aux tribues indiennes par l'institution, par Marshall, de l'épopée comme faisant autorité car officielle, "vraie" Histoire, est impardonnable et irréparable.
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Kalugampitiya, Nandaka M. "Authorship, History, and Race in Three Contemporary Retellings of the Mahabharata: The Palace of Illusions, The Great Indian Novel, and The Mahabharata (Television Mini Series)." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1462188638.

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Miranda, Douglas Soares de. "A guerra em nome de Deus: uma análise crítica do \'De Gestis Mendi de Saa\' de José de Anchieta." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-14052008-154038/.

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Análise histórico-literária do poema épico De Gestis Mendi de Saa, escrito por José de Anchieta no século XVI. Sob a perspectiva de uma época de reforma e contra-reforma religiosa, procurou-se mostrar como as guerras figuradas, neste poema, pelo padre Anchieta imitam os discursos de autoridades como Santo Agostinho e Tomás de Aquino e o direito canônico vigente do Concílio de Trento. Neste embate de bandeira católica contra bandeira protestante em terras brasílicas, os índios serão figurados não como inimigos dos portugueses, mas, por serem pagãos, do próprio Deus de Roma que, por meio do herói desta epopéia, busca a inserção deles no mundo cristão.
A historical and literary analysis of the epic poem \"De Gestis Mendi de Saa\", written by José de Anchieta in the 16th century. Under a perspective of religious Reformation and Counter-reformation period, this work tried to demonstrate how the depicted wars in this poem by the priest José de Anchieta imitate the speeches of the medieval authorities - Saint Augustine and Saint Thomas Aquinas - and the canonical law of the Council of Trent time. In this struggle between catholic and protestant flags in Brazilian soil, the Indians are considered as non-enemies of the Portuguese, but for being gentile, also of the very roman God that by means of the hero of this epic pursues their insertion through the Christian world.
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Taneja, Pria. "Epic legacies : Hindu cultural nationalism and female sexual identities in India 1920-1960." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/638.

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The thesis investigates the cultural interventions of Hindu nationalist, C. Rajagopalachari (CR), by offering a close reading of his re-tellings of the Hindu epics, The Mahabharata (1951) and The Ramayana (1956). It positions them alongside the writings of M. K. Gandhi and the key responses to Katherine Mayo’s controversial text Mother India (1927). The thesis explores the central female protagonists of the epics – Sita and Draupadi – asking how these poetic representations illuminate the ways in which femininity was imagined by an influential Hindu ideologue during the early years of Indian Independence. Using close textual analysis as my principal method I suggest that these popular-literary representations of sexual identities in Hindu culture functioned as one means by which Hindu nationalists ultimately sought to regulate gender roles and modes of being. I focus on texts emerging in the years immediately before and after Independence and Partition. In this period, I suggest, the heroines of these versions of the epic texts are divested of their bodies and of their mythic powers in order to create pliant, de-sexualised female icons for women in the new nation to emulate. Through an examination of the responses to Katherine Mayo’s Mother India (1927), and of Gandhi’s writings, I argue that there one can discern an attempt in the Hindu Indian script to define female sexual identity as maternal, predominantly in service to the nation. These themes, I argue, were later articulated in CR’s recasting of the Hindu epics. CR’s epics represent the vision of gender within Hindu nationalism that highlights female chastity in the epics, elevating female chastity into an authentic and perennial virtue. I argue, however, that these ‘new’ representations in fact mark a re-working of much older traditions that carries forward ideas from the colonial period into the period of Independence. I explore this longer colonial tradition in the Prologue, through a textual analysis of the work of William Jones and James Mill. Thus my focus concerns the symbolic forms of the nation – its mythologies and icons – as brought to life by an emergent Hindu nationalism, suggesting that these symbolic forms offer an insight into the gendering of the independent nation. The epics represented an idealised model of Hindu femininity. I recognise, of course, that these identities are always contested, always unfinished. However I suggest that, through the recasting of the epic heroines, an idea of female sexuality entered into what senior Hindu nationalist and Congressman, K.M. Munshi, called ‘the unconscious of India’.
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Romero, Anaya Jesus. "Individualidad de la "Historia de la nueva Mexico", de Gaspar de Villagra, en el contexto de la epica indiana." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186119.

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The Historia de la Nueva Mexico, by Gaspar Perez de Villagra, has been one of the less studied epic poems in Hispanic American literary criticism. The purpose of this study is to show the text's literary characteristics and justify its inclusion within the tradition of Ariosto's romanzi, which was earlier followed by La Araucana, paradigm of the epic discourse in Hispanic America. The analysis borrows from a structuralist-narratologic methodology developed in the works of Gerard Genette, Felix Martinez Bonatti, Cedomil Goic and Julia Kristeva. The study begins with the analysis of the different definitions of 'epic genre' from Aristotle and Horatio to the twentieth century and the theories of Genette about architextuality. Once establishing the definitions, the study proceeds to differentiate between the two generic variants: the romance and the epic. The purpose here is to show that the principles of textual disposition applied by epic authors of the sixteenth and seventeenth centuries in Hispanic America belong to the romance, and this gives the discourse a very distinct structural physiognomy. A comparative analysis of some of the best known epic poems in Hispanic America show their structural singularity, as well as their inclusion within Ariosto's tradition. The texts analyzed are: Arauco domado, Peregrino indiano, Puren indomito, Argentina y Conquista del Rio de la Plata, La Christiada, and Bernardo. In Chapter Four the study centers on the transtextual relationships established between La Araucana and Villagra's poem, which determine the individuality of the Historia de la Nueva Mexico and its inclusion within the Hispanic American literary canon. The poem's uniqueness is based on its peculiar narrative structure, the hypertextual relationship it maintains with the Ercillan paradigm, as well as the juxtaposition of codes that determine an intertextual space. This space is the aesthetic image of ideological tensions in the narrator's perspective. It is the tensions which place both the narrator and the text within the ideological and artistic parameters of the Baroque period.
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Lelanuja, Orada. "Savitri - From Epic Poem to Stage Plays: Translation and Adaptation, Translation Issues, and the Passage From India." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1123094121.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.
Title from first page of PDF document. Document formatted into pages; contains [1], ii, 129 p. : ill. Includes bibliographical references (p. 127-129).
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Siraj, Abdul Khalid. "Molecular and epi-genetic characterisation of acute lymphoblastic leukaemia in Indian sub-population." Thesis, University of Sunderland, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435607.

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Elliott, Katherine Lynn Kinsey Joni. "Epic encounters first contact imagery in nineteenth and early-twentieth century American art /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/355.

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Rocha, Roberto do Carmo. "Epopéias indianas e gregas: um estudo da construção dos sujeitos." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-01082007-150207/.

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Desenvolvemos aqui um estudo comparativo entre as epopéias gregas, Ilíada e Odisséia, e as indianas, Mahbharata e Ramayana. Analisamos, primeiramente, similitudes existentes entre essas obras. Nessa primeira etapa, mostramos que elas utilizam procedimentos literários semelhantes, têm os mesmos objetivos e apresentam aspectos mitológicos semelhantes: heróis descendentes de deuses, conformidade nas características dos deuses e temas análogos, além de detalhes análogos relativos ao gênero épico clássico, tais como o tempo pretérito arquetípico, a narração em terceira pessoa e estruturas discursivas semelhantes. Após o desenvolvimento dessa análise, voltamos nossa atenção para a atitude de súplica dos personagens, com o objetivo de demonstrar algumas diferenças significativas entre as atitudes de súplica exibidas pelos heróis gregos e pelos heróis indianos. Podemos observar em todas essas epopéias um quadro semelhante referente à atitude de súplica que busca restabelecer a ordem alterada: o herói ora ao seu deus para obter proteção e força que o tornem capaz de derrotar o inimigo, causador da desordem. Para além desse quadro, no entanto, com análise mais atenta, podemos verificar que o suplicante revela também intenções mais íntimas, ligadas aos anseios referentes à sua vida futura e cujo estudo nos leva a conhecer concepções teológicas e filosóficas da sociedade da época de produção dessas obras. Com o conhecimento das diferenças entre certos conceitos pertinentes à cultura grega e cultura indiana, obtemos elementos para a compreensão das diferenças entre as atitudes de súplica apresentadas pelos heróis dos épicos referentes a essas culturas. Assim, esse relacionamento entre deuses e homens é um aspecto fundamental nessas obras. Faz parte dos valores determinados de antemão pelo destinador sóciohistórico, com os quais o sujeito da enunciação constrói esses discursos. Nessas construções lingüísticas da Antigüidade há um contrato veridictório proposto e assumido referente à exposição alegórica do poder de atuação dos heróis. Nesse contrato, o enunciatário aceita a proposta de que esse poder é conferido pelos deuses. Desse modo, o sujeito da enunciação se desdobra em enunciador e enunciatário, cujas caracterizações nos permitem ter acesso à enunciação. O estudo das diferenças entre as atitudes de súplicas dos heróis gregos e dos heróis indianos foi levado a cabo através de um exame da construção dos sujeitos, em que analisamos marcas diversas existentes no texto - que nos permitem recuperar a enunciação - e também temas sustentados por formações ideológicas. Assim, após inserir cada texto no contexto de sua formação ideológica, examinamos o sentido construído pelo sujeito do discurso de cada obra, e procuramos mostrar essas diferenças
The aim of this thesis is to present a comparative study between the Greek epic poems The Iliad and The Odyssey, and the Indian epics The Mahabharata and The Ramayana. In a first instance we shall analyze some of the several similarities occurring within these epic poems. During this first stage, we shall highlight how these poems make use of similar literary elements; have similar objectives, present similar mythological aspects (i.e. heroes descending from gods; resemblances in the characteristics of the gods) and present similar themes. We also point out similarities in regard to the genre, such as the use of archetypal past tenses and of a third person narrative, as well as of similar discursive structures. After this first analysis we direct our attention to the pleading attitude of the characters in order to highlight some of the significant differences between the attitude of supplication exhibited by the Greek hero and the attitude of supplication exhibited by the Indian hero. Similar scenarios can be recognized in the body of all these epic poems in regard to this attitude of supplicating for the power to re-establish a harmony that has been disrupted: in all of them a hero prays to his god with the hope that he will be granted the protection and strength with which he will be able to defeat the cause of disturbance, depicted as the enemy. However when a more careful analysis is carried out we verify that the supplicant sometimes is also manifesting personal objectives, which are connected to his own expectations about his future. The study of these more subtle personal intentions took us to a thorough study of both the theological and philosophical thought processes of the Greek and Indian societies during the historical periods when these poems were produced. This study of the differences found within the above mentioned thought processes provided relevant information which in turn enabled us to better understand the subtle differences found in the pleading attitudes of the epic heroes related to these cultures. These relationships between gods and men are a fundamental aspect of these writings. They are directly linked to values previously established by the social and historical determiners, with which the subject of the enunciation builds up these discourses. In these linguistic structures of ancient times we find what can be referred to as a pre-established agreement between the enunciator and the enunciater. This agreement is directly connected to the allegorical exhibitions of the acting powers of the heroes, i.e. the enunciater accepts without questioning the proposal that the heroes\' superhuman powers are granted by the gods. Thus the subject of the enunciation unfolds itself between the enunciator and the enunciater, whose characterizations allow us to have access to the enunciation. In summary this study of the differences between the pleading attitude of the Greek hero and the Indian hero was undertaken through examining the construction of the subjective. We analysed several different elements of the texts - this allowed us to recover the enunciation - and we also analyzed themes supported by the ideological backgrounds of the texts. In this way, after inserting the text within the context of the specific historical ideological scenario of each one, we were able to examine the linguistic meanings brought up by the subjective of the discourses and subsequently seek to clarify the resulting differences
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Books on the topic "Indian epic"

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Pai, Anant, ed. Valmiki's Ramayana: The Great Indian Epic. Mumbai: Amar Chitra Katha, 2010.

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Kala, Jayantika. Epic scenes in Indian plastic art. New Delhi: Abhinav Publications, 1988.

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1925-, Brook Peter, ed. The Mahabharata: A play based upon the Indian classic epic. London: Methuen, 1988.

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1925-, Brook Peter, ed. The Mahabharata: A play based upon the Indian classic epic. New York: Harper & Row, 1987.

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Carrière, Jean-Claude. The Mahabharata: A play based upon the Indian classic epic. New York: Harper & Row, 1987.

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National Seminar on Epics in Indian Languages (1995 Delhi Karnataka Sangha). National Seminar on Epics in Indian Languages, December 2-3, 1995. [Bangalore?: The Parishat?, 1995.

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Narayan, Rasipuram Krishnaswamy. The Mahabarata: A shortened modern prose version of the Indian epic. London: Mandarin, 1991.

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Narayan, Rasipuram Krishnaswamy. The Mahabharata: A shortened modern prose version of the Indian epic. Chicago: University of Chicago Press, 2000.

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Epic of the dispossessed: Derek Walcott's Omeros. Columbia: University of Missouri Press, 1997.

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Raja Nal and the Goddess: The north Indian epic Dhola in performance. Bloomington, Ind: Indiana University Press, 2004.

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Book chapters on the topic "Indian epic"

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Tripathy, Basant Kumar. "The Rebirth of an Epic." In Great Indian Epics, 77–82. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-5.

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Jena, Sarat Kumar. "Representation in Medieval Epic Narrative." In Great Indian Epics, 121–34. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-8.

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Barua, Pranjal Protim. "Epics as Pandora's Box to Seek Answers of the Present in the Past for the Future." In Great Indian Epics, 153–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-11.

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Patnaik, B. N. "Peace or War?" In Great Indian Epics, 23–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-2.

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Mishra, Sushant Kumar. "Biardeau's Rendering of the Mahābhārata in the French Indological Traditions." In Great Indian Epics, 143–51. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-10.

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Elst, Koenraad. "Why the Common Roots of Homer and Vyāsa?" In Great Indian Epics, 39–61. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-3.

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Sahoo, Udayanath. "The Tradition of the Mahābhārata in Eastern India: Similarities and Variations." In Great Indian Epics, 13–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-1.

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Sahoo, Umesh Chandra. "Relevance of the Mahābhārata in Contemporary Political Thought." In Great Indian Epics, 161–73. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-12.

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Muniapan, Balakṛṣṇan. "Relevance of the Vālmīki Rāmāyaṇa for Transforming Leaders and Leadership1." In Great Indian Epics, 107–20. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-7.

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Abhinandan, Netajee. "Vernacularization of the Indian Epics." In Great Indian Epics, 135–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003246008-9.

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Conference papers on the topic "Indian epic"

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Ermakova, Galina A., Alena M. Ivanova, Marina E. Kroshneva, Marina P. Savirova, and Galina N. Semenova. "Aesthetic and Philosophical Views on the Human in the Ancient Indian Epic and G.N. Aygi's Poems." In Proceedings of the International Conference "Topical Problems of Philology and Didactics: Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/tphd-18.2019.35.

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Basu, Arun, Mike Gradassi, Ron Sills, Theo Fleisch, and Raj Puri. "Use of DME as a Gas Turbine Fuel." In ASME Turbo Expo 2001: Power for Land, Sea, and Air. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/2001-gt-0003.

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A new, ultra-clean fuel for gas turbines — a blend consisting primarily of dimethyl ether (DME) with lesser amounts of methanol and water — has been identified by BP. This fuel, containing no metals, sulfur or aromatics, burns like natural gas and it can be handled like LPG. The turbine-grade DME fuel can be manufactured from natural gas, coal and other hydrocarbon or biomass feedstocks. High-purity DME, manufactured from methanol, is currently used as an aerosol propellant due to its environmentally benign characteristics. Fuel-grade DME is used commercially as a LPG-substitute in China. BP initiated key programs to test various fuel mixtures containing DME in General Electric test combustors with equivalent electricity production of nearly 16 MW. Later, BP collaborated with EPDC (Electric Power Development Corporation, Japan) to conduct additional follow-up tests. These tests show that DME is an excellent gas turbine fuel with emissions properties comparable to natural gas. BP is currently working with the Indian Oil Corporation (IOCL), the Gas Authority of India Limited (GAIL) and the Indian Institute of Petroleum to evaluate the potential of DME as a multi-purpose fuel for India. In June 2000, the India Ministry of Power issued a notification permitting the use of DME as a fuel for power generation subject to its meeting all the environmental and pollution regulations. This paper presents key gas turbine combustor test results and discusses how DME can be used as a fuel in gas turbines.
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Mittal, S., P. Debashis, S. Lodha, U. Ganguly, A. Nainani, and M. C. Abraham. "Epi Defined (ED) FinFET with dynamic threshold: Reduced VT variability, enhanced performance, and a novel Multiple VT." In 2013 Annual IEEE India Conference (INDICON). IEEE, 2013. http://dx.doi.org/10.1109/indcon.2013.6726142.

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Singh, L. P., S. P. Jain, and D. K. Jain. "Power quality related consumers rights in Indian electricity market." In Energy Conference (EPEC). IEEE, 2009. http://dx.doi.org/10.1109/epec.2009.5420894.

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Dutta, Srijoy, and Rohan Mathur. "EPICS high: Digital literacy project in India." In 2014 IEEE Integrated STEM Education Conference (ISEC). IEEE, 2014. http://dx.doi.org/10.1109/isecon.2014.6891016.

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Tian, Yingtao, Changqing Liu, David Hutt, Bob Stevens, David Flynn, and Marc P. Y. Desmulliez. "High density indium bumping using electrodeposition enhanced by megasonic agitation." In 2009 11th Electronics Packaging Technology Conference (EPTC). IEEE, 2009. http://dx.doi.org/10.1109/eptc.2009.5416576.

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Cheng, X., C. Liu, and V. V. Silberschmidt. "Intermetallics formation and evolution in pure indium joint for cryogenic application." In 2009 11th Electronics Packaging Technology Conference (EPTC). IEEE, 2009. http://dx.doi.org/10.1109/eptc.2009.5416484.

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Jin, Sanghun, Min-su Kim, Shutetsu Kanayama, and Hiroshi Nishikawa. "Effect of indium on deformation of binary In-Bi alloys." In 2017 IEEE 19th Electronics Packaging Technology Conference (EPTC). IEEE, 2017. http://dx.doi.org/10.1109/eptc.2017.8277499.

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Hu, Jianxiong, Zefang Fengchen, Ye Zhang, Yixin Xu, and Fulong Zhu. "Investigation on Thermal Contact Resistance Between Indium and Cap in Packaging." In 2019 IEEE 21st Electronics Packaging Technology Conference (EPTC). IEEE, 2019. http://dx.doi.org/10.1109/eptc47984.2019.9026694.

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