Journal articles: '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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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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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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Dailey, Peter. "Days and Nights in the Forest: An Indian Epic Awry." Dissent 52, no. 1 (2005): 26–34. http://dx.doi.org/10.1353/dss.2005.0029.

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

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

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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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Goldman, Robert P. "A City of the Heart: Epic Mathura and the Indian Imagination." Journal of the American Oriental Society 106, no. 3 (July 1986): 471. http://dx.doi.org/10.2307/602106.

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Fleming, Christopher T. "Critical Legal Studies and Narrative Ethics in Contemporary Indian ‘Epic’ Fiction." South Asian Studies 34, no. 1 (November 27, 2017): 81–92. http://dx.doi.org/10.1080/02666030.2017.1402248.

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Pandian, Anand. "In the Light of Experience: An Indian Cameraman." BioScope: South Asian Screen Studies 4, no. 1 (January 2013): 81–92. http://dx.doi.org/10.1177/097492761200483050.

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Light invites an epic scale of imagination. Focusing on the thought and work of a contemporary Indian cameraman, this article explores experience of light in cinema. I examine practical struggles to engage light’s movement and potency, in relation to cinematographic problems of composition, effect, and aesthetics. Relying most closely on ethnographic fieldwork with a studio set constructed for a 2010 Tamil feature film, the article devotes sustained attention to the interplay between luminescent philosophy and practice—to interrelated forms of thinking and working with light.

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Beinorius, Audrius. "On the social and religious status of an Indian astrologer at the royal court." Acta Orientalia Vilnensia 9, no. 2 (January 1, 2008): 39–55. http://dx.doi.org/10.15388/aov.2008.2.3708.

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Vilnius UniversityThe object of this paper is to investigate the social and religious status of an astrologer at the royal court and his relation to royal priests in medieval Indian society. This paper is confined to the social and religious role of an astrologer as it was perceived by members of society, both practicing astrologers and non-astrologers. By consulting different primary sources (i.e., jyotiḥśāstras, dharmaśāstras, purāṇas and epics), one can have some appreciation of various issues regarding, for example, the conditions in which royal astrologers operated, their duties and royal supporters, the salaries they obtained, and many other similar matters of extreme importance for the location of the astrologer within the larger social panorama. The conclusion is made that in India by the Epic times, at least, the astrologer had become one of the six principal officials of the royal court and gradually assumed some of the duties of the royal priest (purohita). In India even the position of royal astrologer had its sanction in myth. Astrology, therefore, was considered divine in origin as well as in its subject matter. The court astrologer was considered indispensible to the king and to the welfare of the kingdom. The astrologer had enormous power and responsibility at the royal court and at every level of society. The astrologer was fulfilling his role as an institutional authority by providing knowledge and understanding to the royal court and society. Indian astrologers had to depend on a patronage system for their sustenance, and they seem to have exploited that system with some success.

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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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Shehin TV, Muhamed. "Representation of The Child In Modern Indian Novels: A Comparative Study of Bibhutibhusan Bandopadhyaya’s Pather Panchali and Krishna Baldev Vaid’s Uska Bachpan." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i2.10420.

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The representation of the child in art has a long history. Great importance is attached to the child in the indigenous literary traditions of India. The antics of Krishna , the ‘balgopal’ are represented vividly in the Bhagavata Purana and the Mahabharath. Likewise, the adventures of the child Rama are sketched in great detail in another epic Ramayana. An array of Indian writers have made the child the protagonist in their novels ; Manu Bhandari’s Aap ka Bunty, Ganeswar Misra’s Face of the Morning, R.K. Narayanan’s Swami & Friends, Salman Rushdie’s Midnight’s Children, and Amitav Ghosh’s Shadow Lines are some typical examples. This paper attempts to make a comparative study of the portrayal of the child in two modern Indian novels namely Bibhutibhusan Bandopadhyaya’s Pather Panchali and Krishna Baldev Vaid’s Uska Bachpan.

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Vink, Markus P. M. "Images and Ideologies of Dutch-South Asian Contact: Cross-Cultural Encounters between the Nayaka State of Madurai and the Dutch East India Company in the Seventeenth Century." Itinerario 21, no. 2 (July 1997): 82–124. http://dx.doi.org/10.1017/s0165115300022865.

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The founding of a coastal trading factory at Kayalpatnam in south-eastern India in 1645 initiated a period of nearly a century of cross-cultural contacts between representatives of the Dutch East India Company (VOC) and the Nayaka state of Madurai. Traditionally this area has received little attention in both Dutch and Indian colonial historiography. While Company historians have tended to focus on either Coromandel or Ceylon, the main centres of VOC activity in the region, their Indian counterparts have concentrated on the epic struggle of the Mughals with the Deccan sultanates, and subsequently the Marathas, during this time period. In the true spirit of the great chartered companies, one historian has held a virtual monopoly in the field for more than two decades, from the late fifties to the early eighties. Only recently have other (ethno)historians, anthropologists, indologists, and sociologists turned their attention to the area south of the Kollidam (Coleroon) River and east of the Western Ghats.

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Ghosh, N. C., Prolay Mondal, and Ranjan Kumar Das. "Aspects of Flows of the Rivers Mentioned in the Indian Epic Ramayana." Research Journal of Humanities and Social Sciences 9, no. 4 (2018): 833. http://dx.doi.org/10.5958/2321-5828.2018.00139.0.

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Gupta, Amit, and Ranjan Kumar Mohapatra. "India Inspires: Incarnations of a leader (Lessons from Indian epic Gita Govinda)." International Journal of Indian Culture and Business Management 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijicbm.2020.10029832.

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Prasad, L. "Raja Nal and the Goddess: The North Indian Epic Dhola in Performance." Comparative Studies of South Asia, Africa and the Middle East 26, no. 1 (January 1, 2006): 157–59. http://dx.doi.org/10.1215/1089201x-2005-023.

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Nihom, Max. "On attracting women and tantric initiation: Tilottamā and Hevajratantra, II, v. 38–47 and I, vii. 8–9." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 521–30. http://dx.doi.org/10.1017/s0041977x00012933.

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Among the well known stories of Indian mythology there is one relating how the god Mahādeva (Śiva) became four-faced and how Indra acquired a thousand eyes. When the divine maiden (divyakanyā) Tilottamā circumambulated the gods, the eyes of all save Pitāamaha (Brahmā) followed her, whence the multiplication of faces and eyes. Indeed, the great epic relates that upon orders from Brahmā, she, consisting of a mass of gems (ratnasaṃghātamayī), was originally fashioned by Viśvakarman. In Indian mythology the figure of Tilottamā is therefore that of the beauty of woman incarnate.

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Chaudhuri, Dr Indrani Datta. "The “Coming” Epic of Freedom: Reading Sri Aurobindo’s Savitri as a Mythopoesis in Opposition to Sovereign Control." SMART MOVES JOURNAL IJELLH 9, no. 2 (February 26, 2021): 201–18. http://dx.doi.org/10.24113/ijellh.v9i2.10922.

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There is a general trend among Western critics, and scholars influenced by the West, to stereotype Third World Literatures, particularly those from India, either as the voice of national consolidation or as providing the emancipated West with the required dose of mysticism and spiritualism. Sri Aurobindo’s works have fallen within either of these two categories. As a result, much of the aesthetic autonomy of his writings have been ignored. This article focuses on the unique quality of Sri Aurobindo’s works, with particular reference to his epic poem Savitri, and shows how he recreates indigenous and classical Indian legends, myths and symbols to subvert sovereign control initiated by the West. Savitri emerges as the representative epic for a new nation that has much more to offer to the future generations apart from the intangible ideas of mysticism and spiritualism. By reinforcing the concept of Shakti and the Mother as the primal Universal Consciousness the mythopoesis in Savitri stands in opposition to the anthropocentric and the anthropogenic machines of sovereignty, both ancient and modern. It establishes the fact that in the human resides the divine and that divinity is a kind of life that can be lived on this earth.

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Lawrence, Adrea. "Epic Learning in an Indian Pueblo: A Framework for Studying Multigenerational Learning in the History of Education." History of Education Quarterly 54, no. 3 (August 2014): 286–302. http://dx.doi.org/10.1111/hoeq.12068.

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Writing from her position as the Office of Indian Affairs (OIA) Superintendent at the Potrero School on the Morongo (Malki) reservation in southern California in 1909, Clara D. True concluded an article on her experiences as an Anglo teacher working with American Indian populations in the United States: The more one knows of the Indian as he really is, not as he appears to the tourist, the teacher, or the preacher, the more one wonders. The remnant of knowledge that the Red Brother has is an inheritance from a people of higher thought than we have usually based our speculation upon. It is to be regretted that in dealing with the Indian we have not regarded him worthwhile until it is too late to enrich our literature and traditions with the contribution he could so easily have made. We have regarded him as a thing to be robbed and converted rather than as a being with intellect, sensibilities, and will, all highly developed, the development being one on different lines from our own as only necessity dictated. The continent was his college. The slothful student was expelled from it by President Nature. Physically, mentally, and morally, the North American Indian before the degradation at our hands was a man whom his descendants need not despise.

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Baitenova, Nagima, and Dariga Kokeyeva. "Studying the Theoretical Aspect of Religious and Philosophical Works in the Genre of Smriti (on the Example of Mahabharata and Ramayana)." Al-Farabi 74, no. 2 (June 30, 2021): 133–45. http://dx.doi.org/10.48010/2021.2/1999-5911.11.

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The article discusses the content of Mahabharata and Ramayana, the Smriti genre widely distributed in the world of Indian literature, with an emphasis on theoretical research. World literary scholars and Turkish scholars analyzed the work of Mahabharata and Ramayana called this work the “Encyclopedia of Ancient Indians” and analyzed the role of heroes as the embodiment of piety, heroism and wisdom of society. Also in the epic of the Mahabharata which describes the bloodshed of two generations includes a religious philosophical poem called “Bhagavad-Gita”. A detailed analysis of the time interval and premises of the Bhagavad-Gita was made. The history of the Bhagavad-Gita, the religious and philosophical ancient Indian memorial written in Sanskrit, takes a huge amount of time. However, this issue is controversial, therefore, each scientist expresses his opinion on this matter. Currently, theoretical studies are being carried out in the genre of commitment B. Tilak J. Belvalkri, Sri Gopal Bazu Malik, Yoganda Paramahansa, Radhakrishnan S., Roy M.A. along with Indian scholars and the European Union. Bopp, L. Schroeder, S. Sorensen, G. Bulle, U. Ruben, and others. works of domestic and foreign scientists.

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Balkaran, R., and A. W. Dorn. "Violence in the Valmiki Ramayana: Just War Criteria in an Ancient Indian Epic." Journal of the American Academy of Religion 80, no. 3 (July 25, 2012): 659–90. http://dx.doi.org/10.1093/jaarel/lfs036.

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Kumar, Madhu Ranjan, and Shankar Sankaran. "The Actions of Mahabharat (an Indian Epic): An Analysis from Action Science Perspective." Systemic Practice and Action Research 19, no. 2 (April 2006): 159–78. http://dx.doi.org/10.1007/s11213-006-9009-5.

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Singh, Jyoti. "Chitra Banerjee’s empathetic view of Draupadi as a protagonist in The Palace of Illusion." SMART MOVES JOURNAL IJELLH 1, no. 5 (February 28, 2014): 4. http://dx.doi.org/10.24113/ijellh.v1i5.3049.

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It is said that “Whatever is here is found elsewhere. But whatever is not here is nowhere else.” These lines are said for the great epic of India The Mahabharata. The name means “great [story of the] Bharatas.” Bharata was an early ancestor of both the Pandavas and Kauravas who fought each other in a great war, but the word is also used for the Indian race, so the Mahabharata Sometimes is referred to as “the great story of India.” The portrayals of women Characters in this epic were left unsatisfied. It wasn’t as though the epic didn’t have powerful, complex women Characters that affected the action in major ways, for instance, there was the widowed Kunti, mother of Pandavas,who dedicates her life to making sure her sons become kings. There was Gandhari, wife of the sightless Kaurava king, who chooses to blindfold her in marriage, thus relinquishing her power as queen and mother. And most of all, there was Panchali, king Drupad’s beautiful daughter, who has the unique distinction of being married to five men at the same time-the five Pandava brothers, the greatest heroes of their time. Panchaali who, some might argue, by her headstrong actions helps to bring about the destruction of the third Age of man. But in some way, they remained shadowy figures, their thoughts and motives mysterious, their emotions portrayed only when they affected the lives of the male heroes, their roles ultimately subservient to those of their fathers or husbands, brothers or sons. Relevant to today’s war-torn world, The Palace of Illusions takes us back to a time that is half history, half myth, and wholly Magical. Narrated by Panchaali, the wife of the legendary Pandava brothers in the Mahabharat, the novel gives us a new interpretation of this ancient tale.

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Sinha, Dr M. K., and Dr Anjana Srivastava. "Human Rights Are Eternal In Indian Values." History Research Journal 5, no. 4 (August 15, 2019): 76–83. http://dx.doi.org/10.26643/hrj.v5i4.7125.

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The history of human rights in Indian culture and values are eternal to its civilization as it has evolved. The “Rigveda”, which is regarded as the oldest epic in the world, proclaims that all human beings are equal and they are all brothers. According to “Atherveda”, all human beings have equal right over food and natural resources. The “Vedas” including “Upnishads”(Shruti) are the basic source of “Dharma”, (an umbrella like term for all human rights and duties), the observance of which was regarded as essential for securing peace and happiness to individuals as well as to the society. The "Smritis” and “Puranas” are the collection of the rules of “Dharma” (which includes civil rights and liability towards society i.eVyavhara Dharma) and “Raja Dharma’ (Constitutional Law) which were developed on the basis of fundamental ideals incorporated in the ‘Vedas”. There were also several other authoritative works on “Raja Dharma”, the most important of them were the Kamandaks and Kautilya's Arthashastra, all of them have vouched for ensuring happiness to the society and the subjects.

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Pinault, Georges-Jean. "Oberlies, Thomas, A Grammar of Epic Sanskrit. [Indian Philology and South Asian Studies 5]." Indo-Iranian Journal 51, no. 1 (2008): 47–50. http://dx.doi.org/10.1163/000000008790085931.

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Pinault, Georges-Jean. "Oberlies, Thomas, A Grammar of Epic Sanskrit. [Indian Philology and South Asian Studies 5]." Indo-Iranian Journal 51, no. 1 (March 2008): 47–50. http://dx.doi.org/10.1007/s10783-008-9086-x.

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Mohapatra, Ranjan Kumar, and Amit Gupta. "India inspires: incarnations of a leader (lessons from Indian epic Gita Govinda)." International Journal of Indian Culture and Business Management 22, no. 2 (2021): 233. http://dx.doi.org/10.1504/ijicbm.2021.113000.

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Pal, Bhaswati. "The saga of women’s status in ancient Indian civilization." Miscellanea Geographica 23, no. 3 (July 31, 2019): 180–84. http://dx.doi.org/10.2478/mgrsd-2019-0012.

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Abstract Foundation of human civilization and endorsement of its potency are the consequences of prolonged women endeavor, which through its history of superiority and confinement, convey the picturesque of civilization. Since ages, the Indian societal structure has played an active role in stimulating the trends of change in women’s status, which with time also proved to be hindrance to the progress of this country. In this context, the study has attempted to emphasize the women’s status in ancient Indian civilization based on the ancient scripts and texts. The ancient era has been categorized into four distinct periods viz. the Vedic period, the Epic period, the period of Jainism and Buddhism and the age of Dharmaśāstras, Mánusmṛiti onward. The study has portrayed the relegation of the women’s dignified role and position entirely to a subservient one from Vedic period to the period of Dharmaśāstras, Mánusmṛiti onward.

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Prabhakar, R. "GANDHI’S IDEOLOGY-RAJA RAO-MOORTHY IN KANTHAPURA." International Journal of Research -GRANTHAALAYAH 4, no. 2 (February 29, 2016): 87–94. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2816.

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Kanthapura is considered the magnum opus of Raja Rao which portrays the considerable influence of Gandhi’s ideology on the sleepy and remote village. Raja Rao is very successful in carving out the real picture of Indian village in pre-independence era. Kanthapura is the microcosm of the Indian traditional society and what happened in Kanthapura was also happened in India during 1919-1930. It is not only a political novel, but also a novel which concerns with socio-religious and economic transformation during the struggle for independence. Though his novels stray far afield, his heart is clanged to his sublime ancient Hindu tradition. The novel can be considered Gandhi-epic. It depicts impact of Gandhi’s Ideology on the paralytic Indian masses. Gandhi’s influential personality and his ideology is felt everywhere in the novel. Indeed, Gandhi doesn’t appear in this novel personally, but the plot of the novels revolves around his ideology. This research article, ‘Gandhi’s Ideology-Raja Rao-Moorthy in Kanthapura,’ aims at how the Gandhi’s ideology influenced Raja Rao which resulted in the creation of the character of Moorthy. It also focuses on how Moorthy, under the influence Gandhi, tries to inspire the people towards the Freedom Struggle. Gandhi is the way, the truth, life to Raja Rao. Similarly, Gandhi’s ideology is the way, the truth, and the life to Moorthy in the novel Kanthapura.

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af Edholm, Kristoffer. "Royal Splendour in the Waters." Indo-Iranian Journal 60, no. 1 (2017): 17–73. http://dx.doi.org/10.1163/15728536-06001002.

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The article explores, from an Indo-Iranian comparative perspective, the concept of ‘royal splendour’ and its role in myth, ritual and political discourse, in ancient Indian and Iranian texts. It argues that there are similarities both on the level of details (terminology, imagery, motifs) and on a broader level (ruler ideology), some of which likely go back to Proto-Indo-Iranian culture. The article relates the Avestan xvarənah- to the Vedic śrī́- and várcas-, as well as their Avestan counterparts srī- and varǝcah-. It looks at how the Vedic/Avestan epithet apā́ṃ nápāt-/apąm napāt- is connected to the motif of aquatic and royal splendour. The Avestan concept of royal splendour, it is argued, also shares key characteristics with the late Vedic and early epic goddess Śrī. As the fickle and mobile consort of successive kings, whom she approaches or abandons depending on their virtues, the epic Śrī is reminiscent of xvarənah-.

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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.

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Karp, Artur. "A War of Times in the Mahabharata?" Polish Journal of the Arts and Culture New Series, no. 13 (1/2021) (2021): 67–85. http://dx.doi.org/10.4467/24506249pj.21.004.13731.

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Scientific articles often start with the phrase: “The purpose of this article is to examine facts related to…” The content of this paper does not stem from an attempt to render afresh freely available, irrefutable data. Its purpose is to present a new interpretation of specific motifs present in the Indian epic tradition – based mainly on data obtained from reconstructions or facts in potentia. The following paragraphs delineate the unfolding of work undertaken long ago, started but not yet finished.

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Beck, Brenda E. F. "What The Sister Knew: A South Indian Folk Epic from the Sister’s Point of View." Religious Studies and Theology 33, no. 1 (June 17, 2014): 65–92. http://dx.doi.org/10.1558/rsth.v33i1.65.

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Flueckiger, Joyce Burkhalter. ""He Should Have Worn a Sari": A "Failed" Performance of a Central Indian Oral Epic." TDR (1988-) 32, no. 1 (1988): 159. http://dx.doi.org/10.2307/1145877.

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Johansen, Bruce E. "The Earth Is Weeping: The Epic Story of the Indian Wars for the American West." Journal of American History 104, no. 3 (December 1, 2017): 774–75. http://dx.doi.org/10.1093/jahist/jax357.

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Korom, Frank J. "Raja Nal and the Goddess; The North Indian Epic Dhola in Performance ? Susan Snow Wadley." Religious Studies Review 32, no. 3 (July 2006): 208–9. http://dx.doi.org/10.1111/j.1748-0922.2006.00099_7.x.

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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 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 1 to 118 are told about art. In this book, nine chapters from 35 to 43 are of Chitrasutra. It is very popular and most notable and well-known. In which detailed information related to the painting is given, which is not found in any other book before it.In the same way, in the epic, Ramayana, Mahabharata, there is a description of paintings on chitrashalas, palaces, chariots and the great dramatist Bhasa has described the paintings in his three plays Swapnavasavadattam, Pratigya Yogandharayana and Dutavakya. Apart from this, painting has also been mentioned in texts like Abhilachirtartha Chintamani, Mansar, Samranga Sutradhar.It is only through these ancient Indian texts that the painter has been able to study the artifacts microscopically. That is, following the rules related to the picture in these texts can be seen in miniature paintings of Ajanta, Mughal, Rajasthan. By following these rules, painters have been able to express their artistry by imbibing expressions like harmony, balance and cooperation, effectiveness in their artworks. The example of which can be seen in the artwork made by Bengal school and artists of Calcutta. Hindi : प्राचीन भारतीय ग्रन्थों में चित्रकला से सम्बन्धित नियमों का उल्लेख विस्तृत रूप से मिलता है जिसमें काव्य, नाटक, महाकाव्य, पुराण, उपनिषद्‌ व विभिन्न विषयों के ग्रन्थों द्वारा भारतीय चित्र लेखन की प्राचीन परम्परा व सांस्कृतिक विधियों एवं जनमानस में उनकी लोकप्रियता का वर्णन मिलता है। इसके अतिरिक्त कुछ ऐसे ग्रन्थ भी हैं, जिनमें स्वतन्त्र व व्यापक रूप से चित्रकला की व्याख्या विस्तार रूप से की गयी है। उदाहरण स्वरूप विष्णुधर्मोत्तर पुराण मार्कण्डेय द्वारा रचित इस ग्रन्थ में 269 अध्याय हैं। जिसके अन्तर्गत तीसरे खण्ड में संस्कृत विषयों में विशेषकर ललित कलाओं के लिये सर्वाधिक महत्वपूर्ण हैं। जिसमें अध्याय 1 से लेकर 118 तक कला के बारे में बताया गया है। इसी ग्रन्थ में 35 से 43 तक नौ अध्याय चित्रसूत्र के हैं। यह बहुत चर्चित व सर्वाधिक उल्लेखनीय एवं बहुचर्चित हैं। जिसमें चित्रकला से सम्बन्धित विस्तृत जानकारी दी गयी है, जो इससे पहले अन्य किसी ग्रन्थ में नहीं मिलती। इसी तरह से महाकाव्य, रामायण, महाभारत में चित्रशालाओं, महलों, रथों पर चित्रकारी का वर्णन मिलता है व महान नाटकार भास ने अपने तीन नाटकों स्वप्नवासवदत्तम्‌, प्रतिज्ञा योगंधरायण तथा दूतवाक्य में चित्रों के बारे में बताया है। इसके अलावा अभिलषितार्थ चिन्तामणि, मानसार, समरांगण सूत्रधार जैसे ग्रन्थों में भी चित्रकला का उल्लेख किया गया है। इन प्राचीन भारतीय ग्रन्थों के माध्यम से ही आज चित्रकार कलाकृतियों का अध्ययन सूक्ष्मरूप से करने में सक्षम हो सका है। अर्थात्‌ इन ग्रन्थों में चित्र से सम्बन्धित नियमों का पालन अजन्ता, मुगल, राजस्थान के लघु चित्रों में देखा जा सकता है। इन नियमों का पालन करते हुये ही चित्रकार अपनी कलाकृतियों में सामंजस्य, सन्तुलन व सहयोग, प्रभाविता जैसे भावों को आत्मसात करते हुये अपनी कलाकृति को अभिव्यक्त कर पाने में समर्थ हो सके हैं। जिसका उदाहरण बंगाल स्कूल व कलकत्ता के कलाकारों द्वारा बनायी कलाकृतियों में देखा जा सकता है।

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Shanmugam, Ms Sudha Devi, and Dr Kannadhasan Manimurasu. "Representation of Illegitimate Affairs: A Study of Chaman Nahal’s The Gandhi Quartet." Journal of University of Shanghai for Science and Technology 24, no. 1 (January 27, 2022): 409–17. http://dx.doi.org/10.51201/jusst/22/0142.

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In Chaman Nahal’s The Gandhi Quartet. illegal relationships assume a crucial part in the fictionalization of numerous authentic and political occasions of Indian history from 1915 to 1952.They are utilized predominantly to fill in as an artistic method to lessen the characters to simple humans by depicting them as being not able to oppose the enticements of their lustful cravings, along these lines keeping them from being romanticized and causing them to show up as standard individuals, not as demi-divine beings. Yet, for their unlawful relationships, every one of the noticeable characters, particularly Gandhi’s adherents, specifically Sunil, Kusum, Raja Vishal Chand, Vikram and Rahena would have showed up so great. Another reason that illegal issues serve in the epic novel is the impression of socially inadmissible types of man-lady relationship like elopement, free love, inbreeding and live-in winning both in Indian culture just as in British society during the hour of Indian opportunity development.

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Smith, Frederick M. "Narrativity and Empiricism in Classical Indian Accounts of Birth and Death: The Mahābhārata and the Saṃhitās of Caraka and Suśruta." Asian Medicine 3, no. 1 (October 16, 2007): 85–102. http://dx.doi.org/10.1163/157342107x207227.

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This paper will address the relationship between the Mahābhārata's representation of the physical processes of birth and death and similar material found in the classical ayurvedic texts of Caraka and Suśruta, which are roughly contemporaneous with the Sanskrit epic (second century BCE–second century CE). My primary source in the Mahābhārata (MBh) is the Anugītā, the second, and lesser known, dialogue between kṛṣṇa and Arjuna. This 'subsidiary Gītā is situated in the fourteenth book (parvan) of the epic, the Āśvamedhika parvan, which ostensibly deals with the horse sacrifice (aśvamedha) performed by the victorious king Yudhiṣṭhira after the conclusion of the great war. The relevant chapters of the Anugītā (MBh 14.17–18) contain fascinating and practically unknown material on the physical processes of birth and death, on embryology, and on physical dissolution. I will explicate this material, and then compare it with selected passages from the Caraka-Saṃhitā and the Suśruta-Saṃhitā. I shall then ask why, given considerable evidence for intertextuality between the MBh and the āyurvedic compendia, the classical medical texts did not include this interesting material and why the Mahābhārata did. In exploring this question, I must inquire into the scientific, or at least empirical, principles utilised in the medical texts that would force their authors to exclude the MBh material they probably knew well, in order to frame a particular kind of discourse.

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Kumar, Manish. "Historicity of Padmavat." International Journal of Research -GRANTHAALAYAH 6, no. 3 (March 31, 2018): 308–14. http://dx.doi.org/10.29121/granthaalayah.v6.i3.2018.1532.

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In Hindi literature, 'Padmavat' is Daidipyaman Nakshatra. Jayasi created this epic in the 16th century in the typical Awadhi language. The sweetness, emotional beauty, Sufi spirituality and historicity of its language is not seen. The poet has created this epic with the sum of folk, imagination and history. Jayasi has created the 'Padmavat' by combining the legend of Jauhar of Padmini, the queen of Choudaur, in the legend of the popular queen and Sugge of Awadh province. This epic is a mirror of medieval India. It shows the social, cultural, political and historical splendor of erstwhile Indian society. Various scholars of Hindi literature have examined the historicity of 'Padmavat' in their own way. It is possible to test its historicity with important historical sources such as archaeological remains, inscriptions, contemporary literary texts and history books. Before examining the historicity of this work, it is mandatory to get information about the history of its creator. हिन्दी साहित्याकाश में ‘पद्मावत’ दैदिप्यमान् नक्षत्र है। जायसी ने 16 वीं सदी में ठेठ अवधी भाषा में इस महाकाव्य का सृजन किया था। इसकी भाषा की मिठास, भाव सौंदर्य, सूफी अध्यात्म और ऐतिहासिकता देखते नहीं बन पड़ती है। कवि ने इस महाकाव्य का सृजन लोक, कल्पना और इतिहास के योग से की है। जायसी ने अवध प्रांत की लोकप्रचलित रानी और सुग्गे की कथा में चिŸाौड़ की रानी पद्मिनी के जौहर की कथा का सम्मिश्रण कर, ‘पद्मावत’ का सृजन किया है। यह महाकाव्य मध्यकालीन भारतवर्ष का दर्पण है। इसमें तत्कालीन भारतीय समाज की सामाजिक, सांस्कृतिक, राजनीतिक और ऐतिहासिक वैभव दिखाई देता है। हिन्दी साहित्य के विभिन्न विद्वानों ने ‘पद्मावत’ की ऐतिहासिकता की परीक्षा अपने-अपने ढंग से की है। महत्वपूर्ण ऐतिहासिक स्त्रोत जैसे- पुरातात्विक अवशेष, शिलालेख, समकालीन साहित्यक ग्रंथ एवं इतिहास की पुस्तकों से इसकी ऐतिहासिकता की परीक्षा संभव है। इस रचना की ऐतिहासिकता की परीक्षा से पूर्व इसके रचनाकार के इतिहास के विषय में जानकारी प्राप्त करना अनिवार्य है।

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Psimopoulos, Angelos Per. "The Argonautic Expedition: The First Worldwide Naval Epic." International Journal of Literature Studies 1, no. 1 (December 29, 2021): 95–109. http://dx.doi.org/10.32996/ijts.2021.1.1.13.

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The Greek mythology is widely acclaimed as one of the richest treasures of universal epics; the myth of the Argonautic Expedition is one of the most interesting Greek myths. Some scientific authorities hold the opinion that the story of the Argonauts was no more than an inspiring fairy-tale, while others insist, it was a real historical event. They believe that it took place in 1225 BC, and Colchis was a country located in the Caucasus Mountains, near today’s country of Georgia. After a life-long study of more than thirty years using ancient texts and information coming from nautical maps and geography, oceanography and other fields of science, we propose that the real events were quite different from the currently proposed location. The Argonauts, and ancient Greeks at large, wanted to find a sea route to transport silk textiles and new species from the Far East countries to Greece or at least to open the Overland Route leading from the Black Sea to the Far East. In addition, they wanted to transport to Greece silkworm eggs to cultivate silkworms in Greece and produce silk. They started their journey from Iolcus and travelled around the Globe; they reached Colchis, Aeëtes' land that was actually China. They took from China eggs of the wild Silkworm instead of the real one and, sailing through the Indian Ocean, reached Suez, where they were forced to pull their ship across the land to reach Tritonis Lake. From there, they exited into the Mediterranean and arrived at Iolcus, the city from which they started their journey. That journey was made by the Argonauts around 1510 BC. Presently, giving a plethora of bibliographic references, we shall carefully attempt to expose the real events that happened during those ancient times under the mission code name "transporting the Golden Fleece to Greece". We shall say, who did this perilous feat, when and where it happened, what was the real purpose of the Argonauts’ journey, which were the correct routes followed carefully by the Argonauts, what were the countries they crossed or visited and finally what the Argonauts accomplished with that journey.

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Journal articles on the topic 'Indian epic'

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