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Journal articles on the topic 'Indian epic poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Barth, Vinicius. "CONTEMPLAÇÃO NAS SOMBRAS: O GUESA DE SOUSÂNDRADE E A MEIA-NOITE ÀS MARGENS DO SOLIMÕES." Revista Épicas 8, no. 2020 (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

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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 (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

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3

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

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

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The article is focused on the motif of a journey in the works of a modern Indian poet, Kunwar Narain, a representative of New Hindi poetry. This motif of a journey is extremely important in Indology studies. Starting with the Indian epic poems “Mahabharata” and “Ramayana”, the motif of pilgrimage has been one of the significant plot lines. During the Medieval period, the motif of a journey became an allegory of individuality cognition. In modern Hindi literature writers introduce innovation in the image of travel, remaining within the established Indian tradition. The research in this article

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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.

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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters

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6

Reichl, Karl. "The search for origins." Journal of Historical Pragmatics 4, no. 2 (2003): 249–67. http://dx.doi.org/10.1075/jhp.4.2.06rei.

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Although in some traditions (notably in India) oral epics are performed as part of a religious ritual, there is no overt ritual function of the epic in most oral traditions known today. However, even in a purely secular and seemingly non-ritual context, the performance of oral epics can have ritual dimensions. This is discussed with reference to the oral epic poetry of the Turkic peoples of Central Asia. It is argued that the performance of oral epics is a particular type of communicative event, of which the comparatively rigid act sequence can be seen as being on a par with the patterning of

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7

Plourde, Éric. "Kalevala through Translation: Continuity, Rewriting and Appropriation of an Epic." Langue, traduction et mondialisation : interactions d’hier, interactions d’aujourd’hui 51, no. 4 (2006): 794–805. http://dx.doi.org/10.7202/014343ar.

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Abstract The Kalevala, the national epic of the Finnish people, published in the 19th century and created by E. Lönnrot from songs collected in the Karelian countryside (Northwestern Russia), is the result of a long process of rewriting. This process has manifested itself through successive retranslations in various languages and through certain strategies favored by the epic’s translators. Recent translations reflect a tendency to appropriate the epic through the use of a vocabulary and poetic style that are specific to the culture of the translator. For example, verse translations in Tamil a

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8

van der Woude, Joanne. "Indians and Antiquity: Subversive Classicism in Early New England Poetry." New England Quarterly 90, no. 3 (2017): 418–41. http://dx.doi.org/10.1162/tneq_a_00626.

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Two exceptional colonial poems, Thomas Morton's version of the events around his Maypole at Merrymount and Benjamin Tompson's epics on King Philip's War, are heavily classical, especially in their descriptions of Native Americans. The essay examines the advantages that the use of classical comparisons have over the more common tropes of Biblical typology.

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9

НАЗАРОВ, НАЗАРІЙ А. "Індоєвропейські витоки обрядовості слов’янського епосу". Studia Slavica Academiae Scientiarum Hungaricae 64, № 1 (2019): 117–30. http://dx.doi.org/10.1556/060.2019.64110.

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Was there a goddess Slava in Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex. The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainian dumas, Russian bylinas, and Serbian heroic songs that contain

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10

Cruz, Gabriela. "Laughing at History: the third act of Meyerbeer' L'Africaine." Cambridge Opera Journal 11, no. 1 (1999): 31–76. http://dx.doi.org/10.1017/s0954586700005516.

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A mythical giant, a Malagasy slave, a song, an accomplished baritone, an outraged critic; these seemingly incompatible figures are bound together in the Paris premiere of Giacomo Meyerbeer's L'Africaine in 1865. They are the fundamental elements of my story of the opera's third act, a narrative web binding together early modern nautical history, epic poetry, grand-opera dramaturgy, and the nineteenth-century politics of operatic performance and listening in an exploration of how the opera's rather fictionalised account of Vasco da Gama's first sea voyage to India five centuries ago bears witne

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11

Sohnen, Renate. "On the concept and presentation of yamaka in early Indian poetic theory." Bulletin of the School of Oriental and African Studies 58, no. 3 (1995): 495–520. http://dx.doi.org/10.1017/s0041977x00012921.

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Figures of repetition occur very early in Sanskrit literature. In the oldest stratum, the hymns of the Rgveda, this phenomenon seems to be restricted to the repetition of words with the same meaning, its function being either to express continuation or regularity, i.e. in the case when a single word, normally an adverb, is duplicated (āmreḍita, e.g. dive-dive), or to give a special emphasis to a phrase, preferably at the end of a number of stanzas of a hymn (refrain type). Both kinds of repetition continue to be used in later literature, such as the Pāli Jātakas and the two epics, Mahābhārata

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12

Khan, Muhammad Sajid. "Hali’s Poetic Endeavors to Change the Perception of Society About the Indian Widows." Pakistan Journal of Gender Studies 19, no. 1 (2019): 91–104. http://dx.doi.org/10.46568/pjgs.v19i1.77.

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 This paper attempts to address a very sensitive social issue that concerns the status of a widow in the society of the Sub-Continents. The purpose of this paper relates to the period of undivided India. However, the theme takes into its fold the widows also of the present time. Keeping in view the status of women, widows still face many problems as they suffered at classical epic period. The social norms and practices in those days (and even at present) are not much different about widows. In some societies, remarriage of the widow did not allow once their husbands die. This situation i

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13

Rubiés, Joan-Pau. "Tamil Voices in the Lutheran Mission of South India (1705-1714)." Journal of Early Modern History 19, no. 1 (2015): 71–81. http://dx.doi.org/10.1163/15700658-12342439.

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The English edition of the Bibliotheca Malabarica, a manuscript catalogue of the Tamil works collected by the young Lutheran missionary Bartholomäus Ziegenbalg during his first two years in India (1706-8), attests to his prodigious effort to acquire, read, and summarize all the works of the “heathens” of South India that he could possibly get hold of. Most of this literature seems to have originated from local Śaiva mattams. Besides epics and puranas, the collection included many popular works on ethics, divination and astrology, devotional poetry, or folk narratives and ballads. Ziegenbalg se

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14

Demchenko, Maxim B. "MUNDANE MIRACLES IN AWADH. ENCOUNTERS WITH THE REVEALED AND THE HIDDEN." Studia Religiosa Rossica: Russian Journal of Religion, no. 3 (2020): 130–40. http://dx.doi.org/10.28995/2658-4158-2020-3-130-140.

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The sphere of the unknown, supernatural and miraculous is one of the most popular subjects for everyday discussions in Ayodhya – the last of the provinces of the Mughal Empire, which entered the British Raj in 1859, and in the distant past – the space of many legendary and mythological events. Mostly they concern encounters with inhabitants of the “other world” – spirits, ghosts, jinns as well as miraculous healings following magic rituals or meetings with the so-called saints of different religions (Hindu sadhus, Sufi dervishes),with incomprehensible and frightening natural phenomena. Accordi

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15

Cook, James Wyatt. "Mark Davie, Half-serious Rhymes: The Narrative Poetry of Luigi Pulci Dublin: Irish Academic Press, 1998. 199 pp. $39.50. ISBN: 0-7165-2601-8. - Luigi Pulci, Morgante: The Epic Adventures of Orlando and His Giant Friend Morgante Trans. Joseph Tusiani. Intro, and notes, Edoardo A. Lèbano. Bloomington: Indiana University Press, 1998. xxxiii + 975 pp. $49.95. ISBN: 0-253-33399-7." Renaissance Quarterly 52, no. 2 (1999): 504–7. http://dx.doi.org/10.2307/2902067.

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16

Pierdominici Leão, David. "Through the Eyes of a Warrior, Traveller and Poet: Portugal, Malabar and Indian Traditions as Seen by Luís Vaz de Camões ("Os Lusíadas" VII, 17–85)." Cracow Indological Studies 21, no. 2 (2019). http://dx.doi.org/10.12797/cis.21.2019.02.06.

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An adventurer, soldier and great poet, Luís Vaz de Camões (1524–1580) arrived in India in 1555 and remained there till 1567, with ups and mishaps. The author of the Portuguese national epic poem, Camões recounted in a marvellous poetic form the heroic crossing of Vasco da Gama, who reached the Calicut coasts in 1498, skirting for the very first time the Cabo da Boa Esperança (Cape of Good Hope). The paper focuses on the analysis of some ottavas from the 7th canto of Os Lusíadas, in which the arrival of Portuguese sailors and the first meeting with emissaries from the Zamorin are narrated. Thes

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