Academic literature on the topic 'Indian Epic literature'
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Journal articles on the topic "Indian Epic literature"
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M, Radha. "The Epic Tradition in the Song Natrinai." International Research Journal of Tamil 4, S-13 (November 21, 2022): 249–55. http://dx.doi.org/10.34256/irjt224s1336.
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The reason for the pride and richness of a language is due to the grammar and literature that have emerged in the eyes of that language. The epics occupy a significant place in those verses. Homer's Iliad and Odyssey, considered to be the oldest epics in the world, have also been written in accordance with the epic tradition of that language. Indian language epics are also written within the epic tradition of the regional languages. These include the five great and minor epics that have appeared in the Tamil language; the Kamba Ramayanam, the Periyapuranam, etc. However, if we examine whether the Sangam literature, viz., the songs and the thokai, falls within the epic tradition, the Agam and Puram songs contain at least a few of the epic traditions of the Dandiya author. It can be seen that the majority of the epic elements have been matched in the Kalitthokai and the Pathuppaattu Songs. This study is intended to examine how the epic traditions have adapted to the song that has been taken up for the subject matter of the study. In particular, this study has revealed whether the epic grammar of the Dandiya author has been followed.
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Ravindra Kumar Singh and Usha Sawhney. "Research on Marginalized Literature." Integrated Journal for Research in Arts and Humanities 2, no. 4 (June 28, 2022): 14–21. http://dx.doi.org/10.55544/ijrah.2.4.53.
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Introduction manages the foundation of Indian English Novel. It follows the development of Indian English Fiction in order to place this theory in appropriate point of view. An Indian English epic consistently has given cognizant voice to the enduring segment of the general public. Right now, endeavor is made to make a study of the commitment of Indian English writer to make this type wealthy in quality and amount. The section centers around how Indian authors have purchased name and popularity to Indian English papers. It centers around the commitment of Mulk Raj Anand, Rohinton Mistry, Arundhati Roy and Manju Kapur have given conscious voice to the marginalized area of the general public.
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ТИМОЩУК, А. С. "Ancient Indian epics: essence and existence." Эпосоведение, no. 3(11) (September 24, 2018): 5–19. http://dx.doi.org/10.25587/svfu.2018.11.16937.
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Статья посвящена исследованию вопроса о месте эпоса в социальной памяти на примере индийского общества. Актуальность темы обусловлена как теоретически, так и практически. Теоретический аспект заключается в эпистемическом измерении нарративов, что в них отражает действительность, а что есть результат коллективного творчества? Практический аспект актуальности связан с потребностью осмысления новых мифов в условиях глобальной конкуренции и когнитивизма, когда граница между фейком и фактом пронизана нитями нарративизма.В условиях глобализации мы имеем беспрецедентные возможности изучать мировые эпосы и их влияние на динамику культур, определить внутренние институциональные и структурные условия, обусловливающие социально-политическую роль эпоса в развитии цивилизаций; установить решающие факторы модернизации мифа; наметить главные направления его трансформации в эпохе модерна.Цель работы – провести ценностно-смысловой анализ древнеиндийского эпоса. Задачи работы: 1) определить место эпоса в древнеиндийской литературе, 2) предложить классификацию индийского эпоса с точки зрения эстетического отношения к миру, 3) дать характеристику эстетических нарративов.Предмет исследования: рассматривается семиосфера индийских эпических произведений. Методы исследования: общелогические, общенаучные (структурный, системный и генетический виды анализа) и частнонаучные (герменевтический, частотный).Результаты: индийский эпос представлен как ценностно-смысловой эстезис, эволюция эстетического отношения, трансцендирование прагматического и гностического. Эстетизация эпического массива объясняется реакцией на рутинизацию текстов, потерю их онтопоэтической значимости.Новизна статьи определяется следующими ракурсами: 1) выделяется особый эстетический тип мифотворчества, 2) акцентирование значение Бхагавата пураны, 2) ставится вопрос о различном этосе и эстезисе ритуальных, гностических текстов и эпический нарраций. Перспективы исследования: изучение социокультурной инноватики эпических текстов Индии, их участия в современной социокультурной динамике, влияние на ноосферные процессы глобального синтеза.Исследование индийского эпоса приурочено к выходу в 2018 г. на российские экраны грандиозного индийского телевизионного проекта 2015-2016 гг. «Сита и Рама», который включает в себя 304 серии и выполнен по мотивам древнеиндийского эпоса «Рамаяна». The paper is devoted to the study of the place of the epics in social memory on the example of Indian society. The relevance of the topic is determined both theoretically and practically. The theoretical aspect is the epistemic dimension of narratives: how do they correspond to the reality and what is there from creative imagination? The practical aspect of research is related to the need to comprehend new myths in the conditions of global competition and cognitivism, when the border between fake and fact is marked with the fine line of narrativity.In the midst of globalization, we have unprecedented opportunities to study the world epics and their influence on the dynamics of cultures, determine their internal institutional and structural conditions that influence the socio-political role of the epic in the development of civilizations; to fix the decisive factors in the modernization of myth; to outline the main directions of its transformation in the era of modernity.The purpose of the work is to conduct a value-semantic analysis of the ancient Indian epic. The tasks of the work are: 1) to determine the place of the epic in the ancient Indian literature, 2) to propose the classification of the Indian epic from the point of view of the aesthetic attitude to the world, and 3) to characterize the aesthetic narratives.The subject of the study: the semiosphere of ancient Indian epics. Research methods: structural, systemic and genetic types of analysis and philosophical hermeneutic.Results: The Indian epic is presented as a value-semantic aesthesis, the evolution of the aesthetic attitude, the transcendence of the pragmatic and the Gnostic. The aesthetic dynamics of the epics is explained by the reaction to the routinization of texts, the loss of their ontopoietic significance.The novelty of the article is determined by the following perspectives: 1) a special aesthetic type of myth-making is singled out, 2) the emphasis of the aesthetic meaning of the Bhagavata Purana is stressed, 2) the question is raised about the different ethos and aiesthesis of ritual, Gnostic texts and epic narrations. Prospects for the study: the study of socio-cultural innovation of India's epic texts, their participation in modern socio-cultural dynamics, the impact of Indian narratives on the noospheric processes of global cultural synthesis.The study of the Indian epic is timed to coincide with the launch in 2018 on Russian screens of the grand Indian television project 2015-2016 “Sita and Rama”, which includes 304 series and is based on the ancient Indian epic “Ramayana”.
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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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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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Rajkumar, G. "Retelling of The Ramayana in The Voice of Sita- A Epic Revisiting in Chitra Banerjee Divakaruni’s The Forest of Enchantment." Shanlax International Journal of Arts, Science and Humanities 9, no. 4 (April 1, 2022): 1–5. http://dx.doi.org/10.34293/sijash.v9i4.4606.
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Epic and Myth has its significance and impact in Indian culture and writing all as the years progressed. The characters and the happenings in the novel have invigorated numerous readers and writers. Reinterpretation /Reevaluation and retelling have arisen in Literature, Re-telling Myth in unique perspective view has become a pattern lately. Drawing out the unseen perspectives of the characters in prewritten text, have impacted numerous in all dialects. The large portion of retelling folklore in current scenario isn’t on men rather on women's Perspective. Most of the stories that rotates around the female characters and their perspective on the happenings. Among numerous Indian writers, Chitra Banerjee Divakaruni is one who gives voice in the predominant man patriarchal culture/society.
The Forest OF Enchantments by Chitra Banerjee Divakaruni is about the retelling of our old lofty epic of The Ramayana according to Sita's perspective. This novel brims the Sita who is a celebrated female character from an ancient India to Modern India. In this way, Divakaruni has changed her perspective from conventional depiction of basic and selfless women into Modern day female characters that is looking for their Self Identity in the male patriarchal world.
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Yamagata, Naoko. "Young And old in Homer and in Heike Monogatari." Greece and Rome 40, no. 1 (April 1993): 1–10. http://dx.doi.org/10.1017/s001738350002252x.
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Homer's epics have been compared with many other epic traditions in the world, such as Sumerian, Indian, Serbo-Croatian, Medieval German, and Old French epics, from various points of view, such as narrative techniques, genesis of traditions, oral or writtern nature of texts, and motifs. If comparative studies of the existing sort have any significance, it is rather surprising that there has been no serious attempt to compare Homer's epics and Heike monogatari(translated as The Tale of the Heike, Heikefor short), the best of the medieval Japanese epics, for there are many reasons to believe that the comparison could be worthwhile.1 While many of the oral epic traditions in Europe, including Homer, have been long dead, the Heikehas kept a lively tradition of performance (chanting accompanied by a type of lute) by travelling bards until recently, and still today there are a few performers. One can therefore still obtain first-hand knowledge of the performance which might throw light on some unknown features of oral epics.2 Rather like Homer's influence over Greek literature and culture, the Heikehas influenced the way of life and thinking of the Japanese profoundly thanks to its popularity and wide circulation. The way in which the Heikeinfluenced other arts, such as no plays, is comparable to Homer's influence on later Greek literature such as tragedy,3 and the way the Heike'swarriors set models for later warrior ethics4 is comparable to the Homeric influence on the later Greek senses of virtue (arete), honour time), shame (aidoōs), and so on.
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RAJA, SURESHA. "Glimpses of Ancient Indian Town Planning for Building Modern Heritage Cities." Dev Sanskriti Interdisciplinary International Journal 7 (January 31, 2016): 07–11. http://dx.doi.org/10.36018/dsiij.v7i0.71.
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Ancient Indians had a good architectural knowledge that is evident from the various temples, palaces, forts and other monuments seen spread all around the country. With vast urban population and pilgrim centers, the knowledge of town planning was to be very effective and the ancient Indians enunciated the rules of town planning in their ancient architectural treatises. Glimpses of these features are also to be found in earlier archaeological finds, texts belonging to the Vedic, Epic and Purānic periods. The features of various cities and town planning aspects dealt in these texts are first briefly described that serve as a model for developing Modern Heritage cities. Since hundred Indian cities are soon going to be developed as ‘Smart-Cities’, it would be apt and imperative to discuss the concept of Heritage-Cities as well. Just as the Smart-Cities would be the torchbearers of future growth; Heritage-Cities connect us to our glorious past. Thus, in this paper, humble efforts are made to identify and recognize the valuable factors that contribute to enhance the charm of Heritage-Cities giving a brief overview of earlier Town planning features from ancient Indian texts. Ancient Indians had a well planned system of building villages, towns, intricate drainage, water supply systems, markets, palaces, households and public spaces that are evident from archeological and literary sources. The features mentioned in Vedic, epic and post-Vedic literature could serve as a model for modern town planning, for harmonious living with nature.
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Mishra, K. C. "Learning from The Mahabharata For an Anew Contemporary Political Understanding." Journal of Public Management Research 6, no. 2 (October 14, 2020): 23. http://dx.doi.org/10.5296/jpmr.v6i2.17823.
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The Indian Spiritual Epic, the Mahabharata, is a precise write up of Indian mythology of yesteryears and the way social life was led by the top Statesmen who were at the helm of all societal affairs. The Indian Holy Scripture, the Bhagavad Gita, the socio-philosophical- literature of the Indian Socio-Cultural Milieu, also find special place within the Mahabharata in the format ‘Special Dialogue’, otherwise can be quoted as Spiritual Discourse. This literary work originally composed in Sanskrit, the Mother of all Indian Languages, sometime between 400 BC and 400 AD is set in a legendary era thought to relate to the period of Indian culture and history approximately during the tenth century BC.
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
Dissertations / Theses on the topic "Indian Epic literature"
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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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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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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’.
Books on the topic "Indian Epic literature"
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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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Epic of the dispossessed: Derek Walcott's Omeros. Columbia: University of Missouri Press, 1997.
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Narayan, Rasipuram Krishnaswamy. The Ramayana: A shortened modern prose version of the Indian epic (suggested by the Tamil version of Kamban). New York: Penguin Books, 2006.
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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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Narayan, Rasipuram Krishnaswamy. The Mahabharata: A shortened modern prose version of the Indian epic. Chicago: University of Chicago Press, 2000.
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Sarma, M. V. Rama. Milton and the Indian epic tradition: A study of Paradise lost, the Ramayana, and the Mahabharata. New Delhi: Prestige Books, 1995.
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Narayan, Rasipuram Krishnaswamy. The Ramayana. New York: Penguin Group USA, Inc., 2008.
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Narula, Joginder. Hanuman, God and epic hero: The origin and growth of Hanuman in Indian literary and folk tradition. New Delhi: Manohar Publications, 1991.
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The mythological foundations of the epic genre: The solar voyage as the hero's journey. Lewiston, NY USA: E. Mellen Press, 1989.
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Mariani, Giorgio. Post-tribal epics: The native American novel between tradition and modernity. Lewiston: E. Mellen Press, 1996.
Find full textBook chapters on the topic "Indian Epic literature"
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LaCroix, Alison L., Jonathan S. Masur, Martha C. Nussbaum, and Laura Weinrib. "Introduction Cannons and Codes: Law, Literature, and America’s Wars." In Cannons and Codes, 1–13. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197509371.003.0001.
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Western literature as we know it begins with a mythic war: the anger of Achilles that “brought thousandfold pain upon the Achaeans.” Many non-Western literary traditions are built on similar origin stories: the Indian epic Mahabharata is, like the Iliad, a war story, and one could find many other examples in other traditions, both oral and written....
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Magdelaine-Andrianjafitrimo, Valérie. "Judith Gautier, La Conquête du Paradis or L’Inde éblouie : When French Colonization becomes Indian Epic." In French Decadence in a Global Context, 175–96. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070569.003.0008.
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Judith Gautier’s 1887 novel La Conquête du Paradis compensates for France’s 1870 defeat by reminiscing about a more glorious episode in French history. Gautier gives a glowing account of the conquest of India by Dupleix and Bussy in the eighteenth century. Her novel takes on epic traits, a tendency followed by many late nineteenth-century popular novels and historical essays on France’s colonial history in India. Gautier’s reinvention of history is not itself decadent, but some key decadent paradigms — gender trouble and occult practices — are what make the French victory possible. The novel’s feverish aesthetic, ‘all shimmering in purple and gold’ (Verlaine), present the conquest of India as a passionate union of peoples. Gautier’s novel is also characterized by a kind of reverse colonization of the text, in which Bussy is held up as a true Rama. While the novel does tell a story in which France plays a glorious role, this glory relies on exoticism, so that French literature is possessed by Indian epic intertextuality.
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"Towards a Socio-Cognitive Approach to Religious Texts: A Case Study in Indian Epic Literature." In Religious Narrative, Cognition and Culture, 247–56. Routledge, 2014. http://dx.doi.org/10.4324/9781315729299-19.
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Henry, Justin W. "Moving Mount Kailasa." In Ravana's Kingdom, 26—C2.N76. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197636305.003.0002.
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Abstract This chapter traces the gradual identification of the island of Sri Lanka with the “Lankapura” of the Ramayana epic, beginning from the Cholas of the ninth century. The chapter goes on to explore the impact of various South Indian literary conventions on northern Sri Lankan literature, including the uniquely sympathetic rendering of Ravana in the temple histories of Koneswaram (the famed Siva temple of Trincomalee), and the self-identification of the Ārya Cakravartis rulers of Jaffna as “guardians of Rama’s bridge.” The chapter concludes by demonstrating avenues of transmission of Tamil impressions of Ravana’s character, along with other themes from Tamil Puranas, into late medieval and early modern Sinhala literature.
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Balk, Michael. "BIBLIOGRAPHICAL SURVEY OF LITERARY WORKS IN THE TIBETAN LANGUAGE BASED… ON POST-WAR HOLDINGS OF THE STATE LIBRARY IN BERLIN: A GARLAND OF HINTS PRESENTED TO CONNOISSEURS OF FICTION." In Modernizing the Tibetan Literary Tradition, 7–20. St. Petersburg State University, 2018. http://dx.doi.org/10.21638/11701/9785288058455.01.
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The paper provides a bibliographic overview of Tibetan literary works published in both the People’s Republic of China and by Tibetans in India after the Second World War. The basis for the observations presented here are the holdings of the Staatsbibliothek zu Berlin (Berlin State Library), which has a relatively comprehensive Tibetan collection from the said period. It can be seen that literary works in the modern sense can only be observed to a considerable extent in China in the 1980s. This emerging modern Tibetan literature seems to be closely linked to the reception and publication of epic literature of the Gesar genre. In the 1990s, the new literary movement, which emerged in particular from the Amdo region, spread to the Indian subcontinent among exiled Tibetans, as the publication figures show. In addition, the article provides a general overview of literary works that have been translated from other languages into Tibetan, as well as an overview of the main publishers of the People’s Republic.
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"2. The Indian Epics and The Wayang in Malay Literature." In A History of Classical Malay Literature, 49–112. ISEAS Publishing, 2013. http://dx.doi.org/10.1355/9789814459891-004.
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Bhushan, Uma, and Thomas Seow. "Perspectives on Executive Coaching, Mentoring, and Counselling From Indian Mythologies." In Workforce Coaching, Mentoring, and Counseling, 1–17. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9235-8.ch001.
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The purpose of this chapter is to point towards how modern-day coaching can benefit from the ancient wisdom of the world's oldest surviving civilization extant in India. Drawing from academic literature, this chapter looks into one instance of mentoring and coaching from each of the two great Indian epics, Ramayana and Mahabharata, to define what constitutes coaching, the attributes of an effective coach, hallmarks of good coaching, and characteristics of a good coachee. With the insights and understanding offered in this chapter, coaches can quickly and effectively guide their coachees to achieve more confidence and motivation. This contributes both to the understanding and knowledge in the mechanism of coaching as well as to the practice and methodology of coaching.
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Khandkar, Arundhati C., and Ashok C. Khandkar. "Know Thyself." In Swimming Upstream, 152–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199495153.003.0007.
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Having won acclaim with his receiving India’s highest literary honour, the Sahitya Academy Award, he set his sights on encouraging Dalit writers and thinkers to express themselves in their own words, helping them find their own authentic voices, without regard to the vast literature that was essentially canonical and brahminical in origin. He hoped that this would help heal the wounds that the Untouchables felt deeply as a result of the deprivations that they had experienced for generations. At the same time, he also pointed to the varied and opposing interpretations of stories and parables from the great Indian epics, Ramayana and Mahabharata. His distillation of the vast span of Vedic and Vedantic literature offered depth and meaning extending from the ancient Sanskrit to the contemporary nascent Dalit literature. Marathi Dalit literature blossomed during this time and saw extraordinary growth. He expanded his analysis and thinking into other creative realms including the aesthetics of art, poetry, and drama.
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Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction, 45–64. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.
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‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).
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Palit, Ashok. "The Odyssey of Odia Cinema." In Handbook of Research on Social and Cultural Dynamics in Indian Cinema, 267–73. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3511-0.ch022.
Full textAbstract:
There was a time in India when education was confined to a privileged class. At that period, Sanskrit was the only language in which most of the epics and other religious texts were written. A majority of the population had no access to these texts. Later, when regional languages and kinds of literature were developed, all these Sanskrit texts were translated for the common people. The immense popularity of The Ramayan influenced Mr. Mohansundar Devgoswami of Puri (actor, director) to make a feature film based on the Ramayan. Based on a mythological theme with elements of Rasa integrated into the structure of the talkie film, Sita Bibaha became the first Odia film, and though its work began in 1934, this film was eventually released in 1936. Keeping all these things in mind, this chapter intends to give a bird's eye view of the unknown legacy and odyssey of Odia cinema.
Conference papers on the topic "Indian Epic literature"
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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.
Full textAbstract:
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.