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Journal articles on the topic 'Rāvaṇa'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Feller, Danielle. "Puṣpaka in the Vālmīki-Rāmāyaṇa". Asiatische Studien - Études Asiatiques 74, № 2 (2020): 325–48. http://dx.doi.org/10.1515/asia-2019-0043.

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Abstract The story of the divine flying chariot or palace (vimāna) called Puṣpaka, “little flower”, is well-known from the Vālmīki-Rāmāyaṇa. Created by Brahmā for the god of riches Kubera, the wonderful vimāna is then taken by force by the demon Rāvaṇa. Subsequently, it becomes the property of Rāma, who has defeated Rāvaṇa in the war and who uses the chariot to fly back within a day from Laṅkā to Ayodhyā. Puṣpaka has three main functions in the text: narrative – it allows the poet to wind up his story and achieve a quick change of scene, once the war description is over; psychological – Puṣpak

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2

Zvelebil, K. V. "Rāvaṇa the Great in modern Tamil fiction". Journal of the Royal Asiatic Society of Great Britain & Ireland 120, № 1 (1988): 126–34. http://dx.doi.org/10.1017/s0035869x00164184.

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The title of this brief essay is an echo of the title of a book once famous, nowadays almost forgotten: M. S. Purnalingam Pillai, Ravana the Great: King of Lanka (Munnirpallam, 1928). The same author, in his better-known Tamil Literature (1929) wrote: “The ten-faced and twenty-armed Ravana was apparently a very intelligent and valiant hero, a cultured and highly civilized ruler, knew the Vedas and was an expert musician. He took away Sita according to the Tamilian mode of warface, had her in the Asoka woods companioned by his own niece, and would not touch her unless she consented.” With this

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3

Woojo Kim. "Images of Rāvaṇa in Vālmīki’s Rāmāyaṇa and Svayambhū’s Paumcariu". Journal of South Asian Studies 15, № 3 (2010): 113–37. http://dx.doi.org/10.21587/jsas.2010.15.3.004.

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4

Peterson, Indira Viswanathan, та Kamil V. Zvelebil. "Two Tamil Folktales: The Story of King Mataṉakāma, the Story of the Peacock Rāvaṇa". Asian Folklore Studies 49, № 2 (1990): 359. http://dx.doi.org/10.2307/1178061.

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5

Richman, Paula, та Kamil V. Zvelebil. "Two Tamil Folktales: The Story of King Mataṉakāma and the Story of Peacock Rāvaṇa". Journal of the American Oriental Society 111, № 4 (1991): 846. http://dx.doi.org/10.2307/603450.

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6

Clines, Gregory M. "Taming the tamed elephant: Rāvaṇa, aesthetics, and the generation of humor in Raviṣeṇa’s Padmapurāṇa". South Asian History and Culture 10, № 3 (2019): 309–23. http://dx.doi.org/10.1080/19472498.2019.1649943.

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7

Goldman, Sally J. Sutherland. "Against their Will: Sexual Assault and the Uttarakāṇḍa". Studies in History 34, № 2 (2018): 164–81. http://dx.doi.org/10.1177/0257643018772405.

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A close reading of the Uttarakāṇḍa of Vālmīki’s Rāmāyaṇa demonstrates that its author has composed a carefully and logically structured work, one that is haunted by themes of sexual transgression. Not only is the first half of the kāṇḍa occupied with the history and genealogy of Rāvaṇa, who is no less than the sexual predator par excellence, but its latter half tells of Rāma’s seemingly heart-wrenching decision to banish Sītā based on rumours of her own supposed infidelity. Similar themes are reflected in a number of the kāṇḍa’s sub-stories—both those that are understood to be part of the main

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8

Gillet, Valérie. "Entre démon et dévot : la figure de Rāvaņa dans les représentations pallava." Arts asiatiques 62, no. 1 (2007): 29–45. http://dx.doi.org/10.3406/arasi.2007.1672.

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9

Marrison, G. E. "Reamker (Rāmakerti), the Cambodian version of the Rāmāyaṇa. a review article". Journal of the Royal Asiatic Society of Great Britain & Ireland 121, № 1 (1989): 122–29. http://dx.doi.org/10.1017/s0035869x00167917.

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Mrs. Jacob has provided us with a translation, for the first time in English, of the most important text in classical Cambodian literature, with an introduction and critical notes and lists, which will be of great help to anyone studying the Cambodian text. The Cambodian Rāmāyaṇa was composed anonymously by at least three authors over three centuries, and is divided into two parts. The earliest writer, of the sixteenth century, accounts for about a fifth of the first part, covering the main events of the Bālakāṇḍa and Ayodhyakāṇḍa. It was continued in the seventeenth century with the story up

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10

Shen, Hsueh-Man. "Entering the Seemingly Unattainable Citadel of Laṅkā". Archives of Asian Art 74, № 1 (2024): 37–63. http://dx.doi.org/10.1215/00666637-11169073.

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Abstract Among extant sites of stone sutras in China, Mount Gang stands out because of the visuality it creates and the experience it affords. This paper explores how the carving and subsequent placement of an interpolated prologue of the Laṅkāvatāra Sutra across many rocks on the mountain conduce to a multi-sensorial, immersive experience for visitors to contemplate the sutra doctrine of Consciousness Only. It shows that tactics applied to the stone inscriptions induce an onward and upward journey over Mount Gang. Moreover, they conjure Laṅkā while simultaneously negating its existence, as th

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11

Krieviņa, Karīna. "Personvārdi Nīcas pagasta Verbeļu kapu piemiņas zīmju uzrakstos." Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, no. 25 (November 23, 2021): 71–82. http://dx.doi.org/10.37384/vtpa.2021.25.071.

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The linguistic landscape of Verbeļi Cemetery in Nīca municipality was researched, analyzing the use of personal names in memorial inscriptions. As the oldest inscriptions of the memorial were from 1874, the possible time of the cemetery’s establishment is the end of the 19th century. The cemetery belongs to an open type, which means that burials are still carried out there. The research material covers the period from 1874 to 2020. 133 cemetery burials were recorded; 124 of them are identifiable memorial signs. The study analyzes various trends in the use of personal names and peculiarities of

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12

Figueroa, Óscar. "La locura de Rāma Traducción de Rāmāyaṇa 3.57-61". Estudios de Asia y África, 8 грудня 2016, 141. http://dx.doi.org/10.24201/eaa.v0i0.2220.

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El presente trabajo consiste en una traducción de los cantos 57-61 en el tercer libro de la gran epopeya sánscrita el Rāmāyaṇa, cuya largo proceso de composición va aproximadamente de los siglos IV-III a. C. a los siglos III-IV d. C. Hasta donde sé, la sección aquí traducida es la primera al español directamente a partir del original sánscrito. Dentro de la trama completa de la obra, esta sección es célebre por su gran intensidad literaria al describir el ataque de locura que experimenta el protagonista, el héroe Rāma, al perder a su esposa, la princesa Sītā, raptada por el demonio Rāvaṇa. Ade

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13

Aaron, Michael Ullrey. "Uḍḍīśatantra". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12574064.

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A widely published Sanskrit tantra on magic. It can be grouped in the Uḍḍ corpus, a hybrid group of magical texts sharing the Uḍḍ-prefix in their titles, such as the Uḍḍāmeśvaratantra or Uḍḍāmaratantra. Its title means the tantra of the leaping or bellowing lord. Topics include sorcery, fantastic feats, enchanted objects, and conjuring, mostly of female creatures. The ṣaṭkarmani include the following: 1. śānti-puṣṭi (tranquilizing-increase) 2. vaśīkaraṇa (subjugating) 3. stambhana (immobilizing) 4. mohana (bewildering) 5. vidveṣana (dissent) 6. uccāṭana (eradicating) 7. ākarṣaṇa (attracting) 8

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14

Giri-Loussier, Hemlata. "Et si les vaincus avaient leur mot à dire… Écritures alternatives des mythes indiens." L'Uchronie, no. 11 (April 6, 2022). http://dx.doi.org/10.54563/gfhla.335.

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As in other cultures, contemporary writers in India are retelling ancient myths from a new perspective. Chitra Banerjee Divakaruni’s The Palace of Illusions (2008) and Pratibha Ray’s Yajnaseni: The Story of Draupadi (1995) thus relay one of the major works of Hindu culture, the Mahābhārata, through the eyes of Draupadi, wife to the five Pandava brothers, while in Asura: Tale of the Vanquished (2015), Anand Neelakantan reworks another major myth, the Rāmāyana, to give voice to an even more marginalized cast-out, the demon Rāvana, as does Arun Kukreja in his play Dashaanan (2004). The idealized

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15

Reinvang, Rasmus. "Rāma: Helt, gud og politisk symbol." Religionsvidenskabeligt Tidsskrift, no. 37 (August 1, 2000). http://dx.doi.org/10.7146/rt.v0i37.2593.

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The article “Rāma: Hero, God and Political Symbol” outlines three different ways in which the Rāma-figure has been used in Indian history. As a basis, hermeneutical problems related to the critical interpretation of the Rāmāyana are briefly discussed, and the main story of the epic is outlined.In the core parts of the Rāmāyana epic, Rāma can still be recognised as representing the ethos of the warrior-class (ksatrīya-varna). The Rāma of this historical phase, approximately covering the era between 400 B.C. and the Gupta era (320-500 A.D.), incarnates the dharma of the ksatrīya; which implies p

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