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Relevant bibliographies by topics / Sanskrit drama

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Academic literature on the topic 'Sanskrit drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Sanskrit drama"

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Meenatchisundram, Letchumi. "Drama traditions of the Sanskrit." Journal of Indian Studies 5, no. 1 (June 1, 1993): 30–42. http://dx.doi.org/10.22452/jis.vol5no1.4.

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Figueira, Dorothy. "Fear in Greek and Sanskrit Drama." Rocznik Komparatystyczny 8 (2017): 191–202. http://dx.doi.org/10.18276/rk.2017.8-09.

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Yuditskaya, Ekaterina A. "Somniloquy and Daydreaming in Classical Sanskrit Drama." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2021): 216. http://dx.doi.org/10.31857/s086919080015159-1.

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Raghavan, Sujatha. "ALANKARAS IN RATNAVALI." International Journal of Research -GRANTHAALAYAH 4, no. 10 (October 31, 2016): 126–31. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2501.

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RATNAVALI Drama was written by SRI HARSHA a famous poet in Sanskrit. It contains four acts. Udayana is the courages Hero and Rarnavali is heroine in this drama. The main sentiment in this drama is SRINGARA, and main Virtham is KOWSIKI. Here the author describes the love between Udayana and Ratnavali in heart touching and beautiful manner. Many types of Alankaras used for this purpose which was taken from Kuvalayananda.

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Dr. Mahavir Prasad Sahu and Dr. Kalpana Shringi. "Real disclosure of contemporary politics - "Vikramacharit Aakhyan"." Knowledgeable Research: A Multidisciplinary Journal 2, no. 10 (May 28, 2024): 106–11. http://dx.doi.org/10.57067/1ahy8q92.

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Prof. born in Rajgarh district of Madhya Pradesh. Radhavallabh Tripathi is the outgoing Chancellor of the Rashtriya Sanskrit Sansthan (New Delhi). The works written by him include Adi Kavi Valmiki: (1976), Lokdharmi Tradition of Sanskrit Poetry (1976, 1999), Poetics and Poetry (1987), Lectures on Drama (1992), Drama and World Theatre (1988), Drama Encyclopedia (Chaturshu Khandeshu, 1999), etc., critical and poetic works. The text is important. In the field of literature, his major works are Rotikalahari (poetry), Abhinavasuk Saptati (collection of stories), Prekshanam Saptakam (street plays), Karuna (short novels), Anyachya (novel), Vikramcharitam (narratives). Due to your vast work of excellence, you have been honoured with many famous awards. Your composition 'Vikramcharitam' is a narrative divided into nine chapters, which, though written in mythological style, is a depiction of the political issues of the modern era through its subject matter. And it appears to express social problems.

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Bindu, Karin. "Miḻāvu – göttliches Perkussionsinstrument im südindischen Sanskrit-Drama Kūṭiyāṭṭam." Anthropos 111, no. 2 (2016): 395–414. http://dx.doi.org/10.5771/0257-9774-2016-2-395.

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Madaan, Vishu, and Prateek Agrawal. "Anuvaad." International Journal of Social Ecology and Sustainable Development 13, no. 1 (January 2022): 1–14. http://dx.doi.org/10.4018/ijsesd.295088.

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Machine Translation is best alternative to traditional manual translation. The corpus of Sanskrit literature includes a rich tradition of philosophical and religious texts as well as poetry, music, drama, scientific, technical and other texts. Due to the modernization of tradition and languages, Sanskrit is not on everyone's lips. Translation makes it convenient for users to understand the unknown text. This paper presents a language Machine Translation System from Hindi to Sanskrit and Sanskrit to Hindi using a rule-based technique. We developed a machine translation tool 'anuvaad' which translates Sanskrit prose text into Hindi & vice versa. We also developed bi-lingual corpora to deal with Sanskrit and Hindi grammar rules and text applied rule based method to perform the translation. The experimental results on different 110 examples show that the proposed anuvaad tool achieves overall 93% accuracy for both types of translations. The objective of our work is to ensure confidentiality and multilingual support, which can be tedious and time consuming in case of manual translation.

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Lidova, Natalia R. "Genre Typology of Drama in European and Sanskrit Literature." Studia Litterarum 9, no. 1 (2024): 10–29. http://dx.doi.org/10.22455/2500-4247-2024-9-1-10-29.

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The article examines the notion of drama as a genre category in European and ancient Indian theatrical theory. The analysis of ancient texts, foremost the treatise of the Nāṭyaśāstra, which can be considered the most authoritative primary source for the study of classical Indian poetics, forms the basis of the research. This paper identifies Sanskrit analogues of such fundamental concepts of Western literary theory as “drama,” “genre,” “performance,” “scenicism,” “literariness,” etc. The closest analogical to European definitions of drama and genre Sanskrit notions are investigated in depth. They are primarely nāṭya and prayoga — two terms used to define various performative aspects of the play. Another notion studied in the paper is rūpa, which originally stood for “scenario” and, later on, for textual and literary format of the staged play. Due to its universality, the same term functioned as the general definition of ten “exemplary” spectacular forms. Finally, the category of vṛtti is discussed, employed in the Nāṭyaśāstra for the characterization of stylistic features of early mysterial performances and, later on, of classical Sanskrit plays. The scope of the paper does not limit itself to bringing to light and discussing these various notions. The ultimate goal is to highlight the differences between Eastern and Western poetological systems and to point out fundamental issues arising from the non-critical use of European terminology when interpreting and investigating ancient Indian aesthetics.

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Gerow, Edwin, and B. K. Thakkar. "On the Structuring of Sanskrit Drama: Structure of Drama in Bharata and Aristotle." Journal of the American Oriental Society 106, no. 4 (October 1986): 880. http://dx.doi.org/10.2307/603609.

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Baishy, Lalta Prasad. "Współczesna sytuacja sanskrytu." Gdańskie Studia Azji Wschodniej, no. 24 (December 2023): 277–82. http://dx.doi.org/10.4467/23538724gs.23.035.19031.

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The contemporary situation of Sanskrit This article presents the current situation of Sanskrit and the importance of Sanskrit in India. How is Sanskrit used in daily life in India and what is its role in the sub-continent’s religions? There are some television channels in Sanskrit and in schools Sanskrit is a mandatory subject. It is one of the twenty-three official languages in India. Sanskrit is not a dead language because there are some villages where people use it in daily life, for example in school, university, worship, and especially on traditional occasions. It has a role like Greek or Latin have in European society. India has a special day celebrating Sanskrit, and a special week for Sanskrit. People have started to learn Sanskrit in German schools and in US schools. NASA also uses Sanskrit. It is possible in the future that computers will work in Sanskrit. Sanskrit is the language in which the Vedas, Upanishads, Puranas, and texts on ethics are written. It has been a language used in India for a very long time. Sanskrit is a classical and historical language of India. The corpus of Sanskrit literature encompasses a rich tradition of poetry and drama as well as scientific, technical, philosophical, and Hindu religious texts. The importance of Sanskrit is quite evident from its all-India scope. It goes without saying that it is the basis of most of the modern Indian languages. I give several opinions of Sanskrit of some of the greatest orientalists that the world has ever produced; I show the consensus of the opinions of men like Professor Max Müller, Veer Savarkar, Rajendra Prasad, and Mahatma Gandhi. These opinions show the cultural importance of Sanskrit in the life of India as the only language that can culturally integrate the entire country and the entire Hindu society.

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Dissertations / Theses on the topic "Sanskrit drama"

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Goldstein, Elon. "Ethics and Religion in a Classic of Sanskrit Drama: Harṣa's Nāgānanda." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11099.

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KARCZ, MUSIAL MARTA MONIKA. "Vijayāṅkā, Vikaṭanitambā, Avantisundarī – modern Sanskrit dramas of V. Raghavan in the context of contemporary Sanskrit literature." Doctoral thesis, Università degli Studi di Cagliari, 2022. http://hdl.handle.net/11584/340766.

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Vijayāṅkā, Vikaṭanitambā, Avantisundarī, collectively known as Prekṣaṇakatrayī, are three short Sanskrit plays written in the 20th century in Sanskrit by Venkataraman Raghavan – a distinguished Sanskrit scholar. Until now, there were no research projects or translations of any of these plays. The subject of Prekṣaṇakatrayī is the author’s portrayal of the imagined lives of three Sanskrit poetesses from the past. One of the most important issues of these plays is Sanskrit poetics, which was also a major area of scholarly interests of Dr. Raghavan. Therefore, in order to investigate these dramas properly, they have been studied within a broader context encompassing V. Raghavan’s academic achievements as well as the history of Sanskrit theory of literature. An outline of the dramatic output of Dr. Raghavan is also provided, which portrays him as a modern Sanskrit dramatist. The dissertation also tackles a problem of contemporary Sanskrit literature, which is a field somewhat neglected by scholars. Sanskrit has a very peculiar status. Although it is not commonly used as a spoken language, people still choose it as a medium of their literary creativity. The dissertation is also an attempt to take a stance in the discussion, whether Sanskrit can be considered a dead language, or whether there is still life in it.

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Culp, Amanda Louise. "Searching for Shakuntala: Sanskrit drama and theatrical modernity in Europe and India, 1789-Present." Thesis, 2018. https://doi.org/10.7916/D83N3KPN.

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Since the end of the eighteenth century, the Sanskrit drama known as Shakuntala (Abhijñānaśakuntala) by Kalidasa has held a place of prominence as a classic of world literature. First translated into English by Sir William Jones in 1789, in the intervening centuries Shakuntala has been extolled and memorialized by the likes of Johann Wolfgang von Goethe, Friedrich and August Wilhelm Schlegel, Theophile Gautier, and Rabindranath Tagore. Though often included in anthologies of world literature, however, the history of the play in performance during this same period of time has gone both undocumented and unstudied. In an endeavor to fill this significant void in scholarship, “Searching for Shakuntala” is the first comprehensive study of the performance history of Kalidasa’s Abhijñānaśakuntala in Europe and India. It argues that Shakuntala has been a critical interlocutor for the emergence of modern theater practice, having been regularly featured on both European and Indian stages throughout the nineteenth and twentieth centuries. Moreover, it asserts that to appreciate the contributions that the play has made to modern theater history requires thinking through and against the biases and expectations of cultural authenticity that have burdened the play in both performance and reception. Perceived as a portrait of a particular moment in ancient Indian history, Shakuntala has long been encumbered by the obligation to portray either the authentic Other for an eager and curious foreign audience or the authentic Self for a native Indian audience reclaiming a national heritage. Such expectations, this project contends, overlook the play’s long history in between the diametric poles of East and West, obscuring the far more complicated, and more interesting facets of its lives onstage. As a performance history, “Searching for Shakuntala” endeavors to reconstruct historical productions by assembling reviews, photographs, programs, set drawings, costume materials, video recordings (when available), and other theatrical ephemera. Rather than beginning from the point of view of the text, each chapter is framed around a central production and asks how the cultural, historical, artistic, and political forces of the period in question can be discerned in this particular manifestation of Kalidasa’s play. Chapter 1 begins with William Poel and the Elizabethan Stage Society’s original practice Shakuntala from fin-de-siècle London; Chapter 2 heads across the channel to Paris and the symbolist Théâtre de L’Œuvre of Lugné-Poe and his experimentation with Sanskrit drama; Chapter 3 considers the representation of Shakuntala by a group known as the Brahmana Sabha at India’s First National Drama Festival in 1954; and Chapter 4 begins with an adaptation called Chhaya Shakuntala, or Shades of Shakuntala, as a way into thinking through the play on contemporary Indian stages. Taken together, the productions discussed in this dissertation make clear that the history of Shakuntala in performance is more than just documentation of the occasional production of an obscure work of ancient dramatic literature. It is also a study in the hegemony of intercultural exchange, the interplay between theatrical performance and identity formation, and the interwoven formal theatrical experimentation that took place through the performance of an Indian text during a period of theater history traditionally dominated by the West.

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Ahlborn, Matthias. "Pratijnayaugandharayana - Digitalisierte Textkonstitution, Übersetzung und Annotierung." Doctoral thesis, 2007. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-24082.

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Diese Dissertation enthält eine Edition und eine annotierte Übersetzung des dem Bhasa zugeschriebenen Sanskrit-Schauspiels "Pratijnayaugandharayana". Die Edition beruht auf zehn Manuskripten, von denen bisherige Ausgaben nur drei verwendet hatten. Um Zusammenhänge zwischen den Manuskripten sichtbar zu machen, und so deren jeweiligen Wert besser beurteilen zu können, werden quantitative Methoden verwendet. In diesem Zusammenhang wird die effektive Verwendung von EDV für die Veröffentlichung von Sanskrit-Schauspielen reflektiert. Die vorgestellte Herangehensweise ermöglichte auch die automatische Erstellung des als Anhang enthaltenen Index aller in dem Schauspiel vorkommenden Sanskrit- und Prakrit-Wortformen
This dissertation contains an edition and an annotated German translation of the Sanskrit play "Pratijnayaugandharayana". The edition is based on ten manuscripts, of which only three have been used so far in other editions. To make relations between the manuscripts visible, and therefore to be in a better position to evaluate their usefullness, a quantitative approach is adopted. In this connexion, the reasonable application of computing for publishing Sanskrit plays is discussed. The presented approach also provided also the possibility to generate an index of all Sanskrit and Prakrit word forms of the play

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Panday, Shobhana Devi. "A critical appraisal of Kalidasa's Abhijnanasakuntalam in the light of the rasa theory." Thesis, 1996. http://hdl.handle.net/10413/8678.

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Σεφεριάδη, Γεσθημανή. "Η Ποιητική του Αριστοτέλη και η Natyasastra του Bharata Muni." Thesis, 2014. http://hdl.handle.net/10889/7655.

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Σκοπός της παρούσας εργασίας είναι να συναναγνώσει δύο κείμενα της αρχαιότητας, την Ποιητική του Αριστοτέλη και τη Nāṭyaśāstra του Bharata Muni, δύο κείμενα με αποκλίνοντα χρονικά και γεωγραφικά όρια, με διαφορετικό θεματικό ορίζοντα και διαφορετική σκοποθεσία, τα οποία εντούτοις μοιράζονται το εξής: πρόκειται για τις δύο αρχαιότερες σωζόμενες πραγματείες για την τέχνη του θεάτρου, η πρώτη από τη σκοπιά της Δύσης και η δεύτερη από αυτή της Ανατολής.
The purpose of this master thesis is to study comparatively two texts of antiquity, the Poetics of Aristotle and the Nāṭyaśāstra of Bharata Muni, two treatises with divergent time and geographical limits, with different thematic horizon and different target, which though share the following: these are the two oldest surviving documents on the art of theatre, the first coming from the West, the second from the East.

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Books on the topic "Sanskrit drama"

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Vijayakrishnan, K. Pūrṇapuruṣarthacandrodayam: Sanskrit allegorical drama. Kochi: Sukr̥tīndra Oriental Research Institute, 2015.

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Biswas, Bhagirathi. Sociology of Sanskrit drama. Delhi: Indian Publishers' distributors, 1999.

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Anant, Pai, ed. Stories from Sanskrit drama. Mumbai: India Book House, 1998.

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Ranganath, S. Post independence Sanskrit drama. Bangalore: H. Venkataramaiah, 1994.

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Lockwood, Michael. Metatheater and Sanskrit Drama. Madras: Tambaram Research Associates, 1994.

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Pati, Madhusūdana. Sanskrit drama, essays in revaluation. Delhi: Amar Prakashan, 1991.

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E, Goodwin Robert. The playworld of Sanskrit drama. Delhi: Motilal Banarsidass Publishers, 1998.

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Sinha, Biswajit. Sanskrit theatre. New Delhi: Raj Publications, 2005.

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Dange, Sadashiv Ambadas. Critiques on Sanskrit dramas. 2nd ed. New Delhi, India: Aryan Books International, 1994.

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Tripathi, Radhavallabh. A new bibliography of Sanskrit drama. Delhi: Pratibha Prakashan, 1998.

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Book chapters on the topic "Sanskrit drama"

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Dimitrova, Diana. "The “Indian” Character of Modern Hindi Drama: Neo-Sanskritic, Pro-Western Naturalistic, or Nativistic Dramas?" In Theology and Literature, 173–83. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403982995_11.

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Link, Hilde. "Zur Schreibweise der Tamil- und Sanskrit-Begriffe." In Indisches Drama, 16. Dietrich Reimer Verlag, 2020. http://dx.doi.org/10.5771/9783496030362-16.

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"Jīvānandanam—A Medico-Literary Drama." In Sanskrit and World Culture, 667–70. De Gruyter, 1986. http://dx.doi.org/10.1515/9783112320945-107.

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"On losing and finding love: Conflict, obstacle and drama." In Classical Sanskrit Tragedy. I.B. Tauris, 2021. http://dx.doi.org/10.5040/9780755617883.ch-003.

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Dimitrova, Diana. "Hindi Drama." In Cultural Identity in Hindi Plays, 53—C3.N24. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869067.003.0003.

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Abstract Chapter 3 inquires into the history of Hindi drama and discusses major tendencies and schools. It also looks at the plurality of cultural traditions, identities, and influences that have shaped the playwrights’ worldviews throughout the centuries. Thus, we can identify influences from Western dramaturgy, from classical Urdu drama, from the Parsi theatre, from indigenous sources, such as the nauṭaṅkī-play, as well as classical Sanskrit drama. While the diversity and plurality of the dramatic and theatrical traditions should not be overlooked, Hindi theatre has come to be seen as a sort of a national theatre because of the status of Hindi as the national language of India, as most plays written in regional languages are staged in Hindi before they are staged in the original language. Therefore, in this chapter, Hindi theatre has been discussed as representative of developments in Indian theatre..

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"Indian Religious Culture and Sanskrit Drama Arts." In Series on China’s Belt and Road Initiative, 639–82. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813202962_0011.

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"Incorporating ‘Love’: From Sanskrit Kavya to Marathi Drama." In World Literature and the Question of Genre in Colonial India. Bloomsbury India, 2022. http://dx.doi.org/10.5040/9789354356834.ch-004.

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"Glossary of Hindi and Sanskrit Words and Hindu Terms." In Gender, Religion, and Modern Hindi Drama, 103–7. McGill-Queen's University Press, 2008. http://dx.doi.org/10.1515/9780773574625-009.

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Austin, Christopher R. "A kāvya Casting for Pradyumna." In Pradyumna, 173–204. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190054113.003.0008.

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The Pradyumnābhyudaya—a thirteenth-century Sanskrit play by King Ravivarman—is the focus of Chapter 7. This work, based directly on the Prabhāvatī episode of the late Harivaṃśa, appears to be the first Brahminical kāvya or courtly belles-lettristic work to make Pradyumna its protagonist. Of central importance is Ravivarman’s molding of the story into conformity with common standards and expectations for poetic expression in courtly writing. In particular it is argued that two conventions of the Sanskrit drama, the garbhāṅka or nested play, and the śleṣa or double-meaning verse form, become the means for an underscoring and sharpening the signature double love-and-war geste of Kṛṣṇa’s son. As such, the chapter argues that the recasting of the Prabhāvatī romance into belles-lettristic form, far from hijacking the figure of Pradyumna for new purposes, in fact powerfully restates the persisting appeal of the masculine sex-and-violence triumphalism fundamental to his mythic persona.

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Cavaliere, Stefania. "Religious Syncretism and Literary Innovation." In Text and Tradition in Early Modern North India, 174–95. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0009.

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Stefania Cavaliere shows that the Vijñānagītā of Keshavdas is much more than a translation of an allegorical Sanskrit drama, the Prabodhacandrodaya of Krishnamishra. The allegorical battle between aspects of the mind in Krishnamishra’s text becomes in Keshavdas’s hands a platform for a much broader discussion of metaphysics, theology and religious aesthetics, incorporating such diverse influences as the Yogavāsiṣṭha, the Purāṇas, the Dharmaśāstras, and the Bhagavad Gītā. In this way the Vijñānagītā reads more like a scientific treatise (śāstra) than a work of allegorical poetry, and reflects Keshavdas’s erudition and innovation in weaving together strands of bhakti, Advaita Vedānta and rasa aesthetic theory.

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