Relevant bibliographies by topics / Śakuntalā (Hindu mythology) in literature

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Academic literature on the topic 'Śakuntalā (Hindu mythology) in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Śakuntalā (Hindu mythology) in literature"

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Swinden, Patrick. "Hindu Mythology in R.K. Narayan's The Guide." Journal of Commonwealth Literature 34, no. 1 (March 1999): 65–83. http://dx.doi.org/10.1177/002198949903400105.

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Preston, Nathaniel H. "Whitman's "Shadowy Dwarf": A Source in Hindu Mythology." Walt Whitman Quarterly Review 15, no. 4 (April 1, 1998): 185–86. http://dx.doi.org/10.13008/2153-3695.1560.

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S. V, Abisha, and Dr Cynthia Catherine Michael. "The Palace of Illusions-Voice of a Disillusioned Woman." SMART MOVES JOURNAL IJELLH 8, no. 12 (December 31, 2020): 77–84. http://dx.doi.org/10.24113/ijellh.v8i12.10861.

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Diaspora writing is a recent trend in literature. Many writers especially women writers excel in this field. These diasporic writers though they live in a foreign land always hold their love in their writings. India is a land of myth and legends and hence many Indian writers borrow their plot from Hindu mythology which is used as a literary device. Many writers of the independence and post-independence era used mythology to spread nationalism and to guide humanity in the right path. Chitra Banerjee Divakaruni is a diasporic writer who always holds a piece of her love for motherland in her writings. She extensively uses Hindu mythology in her works. She uses these myths to instill courage in her woman protagonists. She tries to prove how myths guide the immigrant women to overcome their conflicts in life. Her novels explain how myths instruct the humanity to lead a righteous life.
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Varughese, E. Dawson. "Post-millennial “Indian Fantasy” fiction in English and the question of mythology: Writing beyond the “usual suspects”." Journal of Commonwealth Literature 54, no. 3 (December 7, 2017): 460–74. http://dx.doi.org/10.1177/0021989417738282.

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Focusing on two novels published in 2016, one by HarperCollins India and the other by Hachette India, this paper argues that Savage Blue by Balagopal and Dark Things by Venkatraghavan carve out a new space in post-millennial Indian speculative fiction in English, namely one that does not privilege ‘Hindu Indian mythology’ tropes. Such tropes have been espoused by a growing number of authors whose novels are anchored in Hindu Indian mythology and narratives of itihasa since the early 2000s. Banker, Tripathi, and Sanghi are generally recognized as the authors who first published in this post-millennial genre of Indian fiction in English. This discussion of the novels by Balagopal and Venkatraghavan, alongside ideas of how ‘fantasy’ as a genre has been, and continues to be defined, raises questions about how we might think about ‘Indian fantasy’ as a genre term within the domestic Indian book market and how it intersects with post-millennial Indian living, Indianness, and the popular imaginary.
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Hanikmah, Luluk. "THE BLUE ALIEN IN KOI MIL GAYA FILM: POPULAR LITERATURE." English Teaching Journal : A Journal of English Literature, Language and Education 4, no. 1 (May 24, 2019): 10. http://dx.doi.org/10.25273/etj.v4i1.4356.

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<p>The purpose of this research is to<strong> </strong>describe<strong> </strong>the blue alien as the phenomenon Alien’s representation in science fiction of Bollywood and Bollywood’s action in bringing outer space alien to Indian culture that is represented in<em> Koi Mil Gaya </em>film. This research uses qualitative research. The researcher needs popular literature by Ida Rochani Adi to get what the author is willing to share her readers. It is also a way to the researcher to investigate why the author choose alien as the new character, and is there popular culture inside the character evidences the effects and goals of the author in creating a story. The analysis reveals that the alien’s representation of Bollywood’s science fiction, and Bollywood’s action in bringing outer space alien to India culture. The conclusion shows there are similar formula in each Bollywood science fiction in alien’s representation and Bollywood action in bringing outer space alien to India culture is influenced by 3 factors, there are: Hollywood influence, Ancient India influence, and popular news in India. The researcher uses the symbol to analyze the blue alien as the representation of Lord Krishna. It is Hindu mythology. Hindu mythology is popular culture in India belief. It is appropriate with the researcher’s assumption that the blue alien has correlation with India culture. In conclusion, the alien which has blue skin is the appearance of Lord Krishna.</p>
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Prasanna Kumar, S., A. Ravikumar, L. Somu, P. Vijaya Prabhu, and Rajavel Mundakannan Subbaiya Periyasamy Subbaraj. "Tracheostomal Myiasis: A Case Report and Review of the Literature." Case Reports in Otolaryngology 2011 (2011): 1–3. http://dx.doi.org/10.1155/2011/303510.

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“Myiasis” is considered in Hindu mythology as “God's punishment for sinners.” It is known to infest live human or animal tissue. Literature abounds with reports of myiasis affecting the nasal cavity, ear, nonhealing ulcers, exophytic malignant growth, and cutaneous tissue. But report of myiasis of the tracheal stoma is rare. Only a few cases of tracheal myiasis have been reported in literature. We report a case of tracheostomal myiasis in an elderly male. The species which had infested the stoma was identified asChrysomya bezziana, an obligate parasite. This is to our knowledge the first case report of an obligate parasite (Chrysomya bezziana) infestation of the tracheostoma from India.
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RAY, SOHINI. "Boundaries Blurred? Folklore, Mythology, History and the Quest for an Alternative Genealogy in North-east India." Journal of the Royal Asiatic Society of Great Britain & Ireland 25, no. 2 (October 23, 2014): 247–67. http://dx.doi.org/10.1017/s1356186314000510.

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AbstractThis paper analyses the use of religious folklore among the Meitei people of Manipur in northeastern India in the creation of a racial identity. After the Meiteis, who are ethnically Southeast Asian, were forced to convert to Hinduism in the early eighteenth century by the Manipuri king Garibniwaz, they were provided with a number of folklores regarding their origin that combined Hindu and indigenous Meitei deities and myths. Recently, the rise of anti-Hindu sentiment in Manipur—spurred by a movement to revive the indigenous Meitei religion and a strained political relationship with India—has led to the questioning of the validity of these stories by Meitei academics. As a result a new cannon of literature is being developed by scholars that link the origin of the community to its Southeast Asian roots. Discovering the racial identity of the Meitei people has motived this movement. This paper analyzes the multiple meanings that mythologies concerning origin hold in contemporary Meitei society and challenges the modern notion that historical consciousness is absolute truth.
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Lothspeich, Pamela. "The Mahābhārata as national history and allegory in modern tales of Abhimanyu." Bulletin of the School of Oriental and African Studies 71, no. 2 (June 2008): 279–96. http://dx.doi.org/10.1017/s0041977x08000542.

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AbstractDuring a renaissance of Hindu mythology in the late colonial period, the Mahābhārata in particular was embraced as the essential account of the nation's ancient past. In the many literary retellings of the period, epic history is often recast as national history, even as the epic narratives themselves are inscribed with allegorical significance. Such is the case in the many poems and plays on the subject of Abhimanyu and his nemesis Jayadrath, including the most famous example in Hindi, Maithilisharan Gupta's narrative poem, Jayadrath-vadh (The slaying of Jayadrath, 1910). In this essay I situate Gupta's poem within the genre of paurāṇik or mythological literature and read the poem against the Abhimanyu-Jayadrath episode as found in the critical edition of the Sanskrit Mahābhārata to illustrate how Gupta both modernizes the poem and imbues it with nationalist ideology. I ultimately argue that Gupta's Abhimanyu is like a freedom fighter battling an imperial goliath, and his wife, Subhadra, a model for women dedicated to the cause. I also discuss some of the subsequent literature on Abhimanyu which was inspired by Gupta's classic work, and which also re-envisions the story in terms of contemporary political circumstances.
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Banerji, Chitrita. "The Propitiatory Meal." Gastronomica 3, no. 1 (2003): 82–89. http://dx.doi.org/10.1525/gfc.2003.3.1.82.

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This article is an analysis of the varied ways in which the meal has been used as a tool for appeasement and propitiation in Bengali Hindu society from ancient times. Bengal is a region that is naturally fertile and yet is often subjected to the fearsome destruction of floods and cyclones. The uncertainty of life has always been palpable here. The numerous rivers that make the region a delta also made Bengal the last hinterland of Aryan exploration and settlement in ancient times. Pre-Aryan inhabitants, whom historians describe as proto-Australoid, subscribed to animistic beliefs, which blurred the line between this world and the next. Their funerary practices involved serving food to supernatural creatures who inhabited the earth. In such a region, the imposition of the Hindu caste system, which attributed preeminence to the Brahmins and the males, further increased the sense of vulnerability on the part of a large section of the population'women and members of the lower castes. Mythic notions of food as something with which to appease a dangerous creature eventually translated into the social custom of serving carefully prepared meals to gods, Brahmins, males and other beings with power and superiority. The article presents examples from mythology, religious texts, literature and even film, to illustrate this custom. Widows were particularly vulnerable in Bengali Hindu society. They were not allowed to remarry and also blamed for the death of their husbands. The rituals and deprivations of a widow's life provide the most poignant instances of appeasement through food. One of the best-known rituals of propitiation is the Bengali feast of Jamaishashthi, when the son-in-law is invited by his wife's family and served an elaborate multi-course meal. He is also given expensive gifts. The purpose of the ritual was to ensure that he treats his wife well and protects her from being treated too abusively by his mother and sisters. The practice has survived in modern times even though it has lost much of its potent significance.
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Cuevas, Bryan Jaré. "Predecessors and Prototypes: Towards a Conceptual History of the Buddhist Antarābhava." Numen 43, no. 3 (1996): 263–302. http://dx.doi.org/10.1163/1568527962598917.

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AbstractThe Buddhist Sanskrit term antarābhava refers quite literally to existence (bhava) in an interval (antarā) and designates the temporal space between death and subsequent rebirth. It is apparent that, among the early schools of Buddhism in India, the status of this intermediate existence inspired considerable controversy. However, in spite of its controversial beginnings, the concept of the antarābhava continued to flourish and to exert a significant force upon the theories and practices of the later Northern Buddhist traditions. Questions concerning the conceptual origins of this notion and its theoretical connections with earlier Indian systems of thought have received little scholarly attention, despite a growing popularity of literature on the subject of death in Buddhist traditions. In this essay the possible links between the early conceptual systems of Hinduism (the Vedic and Upaniṣadic traditions) and Buddhism are examined to determine whether certain theoretical developments in Hinduism may have contributed to the emergence of the Buddhist notion of a postmortem intermediate period. The conclusion is drawn that the early Buddhists, in formulating a concept of the antarābhava, borrowed and reinterpreted elements from Hindu cosmography and mythology surrounding the issue of postmortem transition.
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Dissertations / Theses on the topic "Śakuntalā (Hindu mythology) in literature"

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Soneji, Davesh. "Performing Satyabhāmā : text, context, memory and mimesis in Telugu-speaking South India." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85029.

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Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time.
My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama.
The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").
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Adarkar, Aditya. "Karṇa in the Mahābhārata /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3019886.

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Bordeaux, Joel. "The Mythic King: Raja Krishnacandra and Early Modern Bengal." Thesis, 2015. https://doi.org/10.7916/D8736PS3.

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Raja Krishnacandra Ray (1710-1782) was a relatively high-ranking aristocrat in eastern India who emerged as a local culture hero during the nineteenth century. He became renowned as Bengal's preeminent patron of Sanskrit and as an ardent champion of goddess worship who established the region's famous puja festivals, patronized major innovations in vernacular literature, and revived archaic Vedic sacrifices while pursuing an archconservative agenda as leader of Hindu society in the area. He is even alleged in certain circles to have orchestrated a conspiracy that birthed British colonialism in South Asia, and humorous tales starring his court jester are ubiquitous wherever Bengali is spoken. This dissertation explores the process of myth-making as it coalesced around Krishncandra in the early modern period, emphasizing the roles played by classical ideals of Hindu kingship and print culture as well as both colonial and nationalist historiography.
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Books on the topic "Śakuntalā (Hindu mythology) in literature"

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J, Johnson W., and Kālidāsa, eds. The recognition of Śakuntalā: A play in seven acts ; Śakuntalā in the Mahābhārata / c Kālidāsa ; translated with an introduction and notes by W.J. Johnson. Oxford: Oxford University Press, 2001.

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Kālidāsa, ed. Śakuntalā: Texts, readings, histories. London: Anthem Press, 2002.

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Thapar, Romila. Śakuntalā: Texts, readings, histories. New Delhi: Kali for Women, 1999.

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Sakuntala: Texts, readings, histories. New York: Columbia University Press, 2010.

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1951-, Johnson W. J., ed. The recognition of Śakuntalā: A play in seven acts. Oxford: Oxford University Press, 2008.

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Kālidāsa. Shakutala. Allahabad: Sahitya Bhandar, 1989.

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Kālidāsa. Sacontala or the Fatal Ring: An Indian Drama. Whitefish, Montana: Kessinger Publishing, 2005.

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Kālidāsa. Curamarī Śēṣagirirāyara Śākuntalā. 5th ed. Beṅgaḷūru: Karnāṭaka Nātaka Akāḍemi, 1989.

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Kālidāsa. Sakuntala or The Fatal Ring: A Drama. Whitefish, Montana: Kessinger Publishing, LLC, 2007.

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Kālidāsa. Abhijñānaśākuntalam: Nīlakaṇṭhīyavyākhyāsahitam. Dillī, Bhārata: Bhāratīya Buka Kāraporeśan, 1996.

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Book chapters on the topic "Śakuntalā (Hindu mythology) in literature"

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"Hindu Classical Dictonary." In A Classical Dictionary of Hindu Mythology and Religion, Geography, History and Literature, 23–406. Routledge, 2013. http://dx.doi.org/10.4324/9781315012278-6.

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