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Journal articles on the topic 'Sanskrit Hindu literature'
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1
Putu Eka Sura Adnyana, I Nyoman Suarka, Relin D.E, and Ni Nyoman Suryani. "HINDU THEO-LINGUISTICS: SANSKRIT AS THE LANGUAGE OF HINDU THEOLOGY IN LONTAR BHUWANA SANGKSEPA." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 8, no. 1 (May 31, 2024): 77–87. http://dx.doi.org/10.25078/vidyottama.v8i1.2496.
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Sanskrit has its prestige for the narrators, thus encouraging the narrators to use Sanskrit terminology and Sanskrit vocabulary in the process of composing Kawi literature. One of the types of literature referred to and contains philosophical, religious, and life values is the Tutur text. Bhuwana Sangksepa is a speech text that uses two languages, namely Sanskrit and Old Javanese, in the content of the text. This paper uses the theory of Theo-linguistics which is an interdisciplinary theory, that etymologically comes from the words theology and linguistics. In addition, to support data acquisition in data collection, it is also combined with interview techniques. Interview techniques are often referred to as interviews. The method of analyzing language research data is the agih method (distributional method) and the translational pairing method. The analyzed data will then be presented using formal and informal methods. Lontar Bhuana Sangkṣepa is one of the important lontar that contains the teachings of Hinduism (Siwatattwa). The text of Lontar Bhuana Sangkṣepa contains a dialog between Bhaṭāra Śiwa and Bhaṭāri Uma accompanied by Bhaṭāra Kumara. Lontar Bhuana Sangkṣepa consists of 128 śloka of Sanskrit with Old Javanese. Lontar Bhuwana Sangkṣepa can be understood as one of the oldest lontars, but after lontar Bhuwana Kośa and Jñana Siddhanta. The texts included in this category are most likely the oldest because as a benchmark for the use of Sanskrit śloka contained in the text, they reflect the situation at a time when Sanskrit texts were still circulating in the archipelago and the language was still actively used and well understood by scholars. The implementation of Sanskrit in śloka through Old Javanese/Kawi language commentary that contains Hindu theological teachings, namely: Bhaṭāra Śiwa, Iṣṭa Dewatā, Sṛṣti Bhuwana Agung, Śūnya, Swara-Wyañjana, Smarana, Nirbāṇa/Nirvāṇa, and Pralaya.
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Agus Siswadi, Gede, I. Made Surada, and I. Made Wiguna Yasa. "STUDY OF SANSKRIT LEARNING AT DVĪPĀNTARA SAṀSKṚTAM FOUNDATION IN DENPASAR CITY." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 5, no. 2 (November 26, 2021): 230. http://dx.doi.org/10.25078/ijhsrs.v5i2.3044.
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<p>Sanskrit is the language used in the holy Vedic texts. To understand the contents of the Veda, it is very important to learn Sanskrit to know every meaning of the verse or mantra contained in the Veda scriptures. However, the existence of Sanskrit at this time has not been touched at all by Hindus and is very familiar with the use of Sanskrit. Sanskrit is only studied in institutions or colleges with Hindu nuances, so Hindus today have very little to know, let alone learn it. Besides that, Sanskrit is quite complex, there are many rules in learning it, so that Sanskrit is said to be a complex language and difficult to learn. The results of this study indicate the following points. First, the Sanskrit learning pattern at the Dvīpāntara Saṁskṛtam Foundation, starting in terms of tiered Sanskrit learning strategies, student center strategies, online Sanskrit learning strategies (patrālayadvārā Saṁskṛtam), learning methods using dialogue methods, storytelling methods as well as playing methods, learning media using image media and power point media, and using direct learning models Second, the problems faced in learning Sanskrit at the Dvīpāntara Saṁskṛtam Foundation in Denpasar City are caused by two factors, namely problems from internal factors which include perceptions, attitudes and motivation as well as from external factors such as educators, learning climate and infrastructure Third, the implications of learning Sanskrit at the Dvīpāntara Saṁskṛtam Foundation in Denpasar City include four aspects, namely: (1) cognitive domain, (2) affective domain, ( 3) psychomotor domain (4) literature and culture.</p>
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Akram, Dr Muhammad, and Dr Ayesha Qurrat ul Ain. "The Impact of the Partition of India on the Study of Hinduism in the Urdu Language." ĪQĀN 2, no. 04 (June 30, 2020): 69–86. http://dx.doi.org/10.36755/iqan.v2i04.147.
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Religion, language, and race have been among the most crucial factors behind the formation of various national and communal identities in modern South Asian history. Just like the political division of British India, the complex interplay of these factors also culminated in a bifurcation of linguistic boundaries along the religious lines according to which Urdu became associated with Islam and Muslims. In contrast, Hindi became increasingly connected to the Hindu culture. These historical developments also affected the extent and nature of the academic materials on Hinduism in the Urdu language, which the present paper examines. The paper takes stock of different relevant materials. Then, it discusses how the changed socio-political realities quantitatively and qualitatively affected the works on Hinduism in the Urdu language as the majority of the Hindu scholars lost enthusiasm to write on their religion in Urdu considering its increased perception of being a Muslim language. Muslims in Pakistan, on the other hand, lost opportunities of everyday interaction with Hindus and easy access to the original Hindi and Sanskrit sources resulting in a considerable decline in Hindu studies on their part. Thus, the overall production of literature on Hinduism in the Urdu language declined sharply. By implication, the paper hints at how decisively socio-political and historical contexts bear on the pursuit of the academic study of religion.
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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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Mishra, Satendra Kumar, and Srashti Srivastava. "Sanskrit: Loss of the Language of Love." International Journal of Linguistics, Literature and Culture 3, no. 2 (March 13, 2017): 79. http://dx.doi.org/10.21744/ijllc.v3i2.413.
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The appearance of modern Indian languages marks the transition from the ancient to the middle ages in Indian History. They became the media of literature and the instruments of medieval thought. It is true that Sanskrit continued to be cultivated but with the downfall of Hindu principalities and the drying up of the sources of patronage, its importance rapidly diminished. It now became the language of orthodox religious literature and of philosophy but the days of its glory seems to be over. The cultural waves which began to sweep the country from the 12th century onwards left the rivers of Sanskrit dry and flowed through new ways. In spite of all setbacks, Sanskrit still commands the homage of the people and exercised a deep influence over the growth of new languages and literature but for the expression of living experience and thought its usefulness had ceased. Its Apabrahmsha form took over the lead gradually.
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Akram, Dr Muhammad, and Dr Ayesha Qurrat Ul-Ain. "ہندو مت پر اردو میں علمی مواد: ایک موضوعاتی کتابیات." ĪQĀN 3, no. 01 (February 1, 2021): 123–74. http://dx.doi.org/10.36755/iqan.v3i01.240.
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Three types of academic sources are crucial for understanding the Hindu tradition in our times: a) scriptures and the classical texts that are available mostly in Sanskrit b) works in the English language produced by orientalists, religious studies scholars, and some modern Hindu religious leaders themselves, and c) writings of colonial/post-colonial Hindu and Muslim scholars on Hinduism in Hindi/Urdu language that is understood by a vast majority of the population in South Asia. Many Hindu authors used to write on their religion in Urdu using the Perso-Arabic script in colonial India. Similarly, some Muslim authors also produced scholarly works on Hinduism in Urdu, which could open up better Hindu-Muslim understanding. However, Urdu ceased to be the medium of such writings when religion and language surfaced as two vital factors in national identity constructions in the changing sociopolitical milieu, a process through which the Urdu language became associated with Muslim culture and religion. As a result, the number of Urdu works on Hinduism decreased sharply after British India's partition along religious lines. Nevertheless, this body of Urdu literature is an essential part of the history of modern Hinduism. Keeping this in view, we have produced a comprehensive thematic bibliography of Urdu works on Hinduism, including books, dissertations, and journal articles, which would help preserve the history of the indigenous study of Hinduism in modern times.
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Ha, Do Thu. "Localizing India’s Values of Ramayana in Southeast Asia- The Case of Hikayat Seri Rama." International Journal of Religion 5, no. 11 (June 14, 2024): 910–20. http://dx.doi.org/10.61707/4vqpgs68.
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Intercultural communication is the communication among different cultures, different communities with different lifestyles and worldviews, which is a dispensable and unavoidable trend. The Ramayana is one of the largest ancient epics in world literature and has had an important influence on later Sanskrit poetry and Hindu life and culture because it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman and Ravana are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia. There are many versions of the Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese and Malaysian versions of the tale. The paper analyzes the characteristics on receiving Indian culture in the case of Seri Rama - the Malay literary adaptation of the Hindu Ramayana epic in the form of a hikayat such as the receiving methods, principles in selecting, acquiring and localizing Indian cultural values.
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Kulkarni, Akshar Ashok, and Neha Dattatraya Gadgil. "Garbhopanishad an Optimal Doctrine over the Embryo: A Literature Research." Journal of Ayurvedic and Herbal Medicine 8, no. 2 (June 30, 2022): 88–93. http://dx.doi.org/10.31254/jahm.2022.8206.
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The Garbha Upanishad, commonly called as the Garbhopanishad as well as meaning "Esoteric Doctrine of the Embryo," is among the smaller Upanishads, accounting for 17 out of 108 Hindu Upanishad manuscripts in a modern collections. It is a Sanskrit Upanishad that some academics identify with the Krishna Yajurveda, while others associate it with the Atharvaveda. It is among the 35 Samanya Upanishads (generic Upanishads). The book is attributed to sage Pippalada in the Upanishad's last verse, although the text's chronology and author are unknown, as well as the surviving copies are damaged, inconsistent, as well as fragmentary. The Garbha Upanishad is a work that explains medical as well as anatomical issues, as well as the concept of the genesis or growth of the human fetus and body after birth. The Upanishad's concluding verse credits the text's authorship to sage Pippalada, but the text's chronology and authorship are unknown, and the existing copies are damaged, inconsistent, as well as fragmentary.
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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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Kundra, Sakul. "Narratives of French Travelers’ and Adventurer’s of Indian Education System." Artha - Journal of Social Sciences 12, no. 4 (October 18, 2013): 1. http://dx.doi.org/10.12724/ajss.27.1.
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The French travelers and adventurers in the seventeenth and eighteenth centuries stated that Hindu philosophy, meteorology, Sanskrit language, literature, history and culture were taught by the Brahmans in schools. Indian education system has been a fascinating domain for the French voyager‟s observation who make compare and contrast with standard, knowledge and rationality of the Orient with Occidental world. Most of the travelers showed in their observations, a kind of superiority in terms of rationality and scientific knowledge of the west in comparison to east. These travelers highlighted a demeaning picture of Indian education system which according to them was based on sluggish, monotonous and irrational basis. The objective of this paper is to narrate the observations made by the French voyagers regarding Indian education system and its implications. Many firsthand French adventurers‟ records have been used in this paper in order to make an assessment of Indian education system by analyzing their records.Keywords: Education system, Vedas and Sanskrit language, Benaras sanctuary, Brahman role, Occident vs. Orient, Orthodox religious implications, Corruptness, Sluggishness, Astrologers
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Thornton, Elizabeth. "“Go Home, Purūravas”: Heterodox Rhetoric of a Late Rigvedic Dialogue Hymn." Journal for the History of Rhetoric 22, no. 2 (May 2019): 208–22. http://dx.doi.org/10.5325/jhistrhetoric.22.2.0208.
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ABSTRACT This essay attempts to de-link the study of the Rigveda from both colonial philology and ongoing Hindu nationalist projects. It brings the rhetoric of form, especially as theorized by Kenneth Burke, to open up space for critics and commentators with a broader range of relationships to Brahmanical liturgy. To further the goal of delinking, it first narrows the scope of analysis to dialogue hymns, which are reminiscent of debates found within Buddhist conversion narratives rendered in versified Sanskrit. It then centers formal linguistic figures that these two layers of Sanskrit poetry have in common. Finally, conceptualizing these formal devices, it uses analytic categories from a South Asian critical tradition (alaṃkāraśāstra). Framed and constrained in this manner and applied to the (ex-)lovers’ quarrel of Purūravas and Urvaśī (in R.V. 10.95), a Burkean analysis reveals an exchange that both satisfies the “appetites” and allays the concerns of conservative audiences, who otherwise might fear that their wives could follow Urvaśī’s example and happily part with their wedded partners-in-sacrifice.
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Lutgendorf, Philip. "The View from the Ghats: Traditional Exegesis of a Hindu Epic." Journal of Asian Studies 48, no. 2 (May 1989): 272–88. http://dx.doi.org/10.2307/2057378.
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The most popular book in northern India is a Hindi retelling of the ancient tale of Prince Rām and his wife, Sītāa, composed in about A.D. 1574 by the poet-saint Tulsīdās of Banaras. Throughout a vast region with a population of more than three hundred million people, this epic of some fourteen-thousand lines has come to be regarded not only as a great masterpiece of literature but also as a religious work of the highest inspiration—a status recognized by nineteenth-century British scholars who labeled it "the Bible of North India." To its audience it is known by several names: simply the Rāmāyaṇ(borrowing the title of the Sanskrit archetype that, for Hindi speakers, it has largely supplanted); the Tulsī Rāmāyaṇ(invoking its author); and also the Mānas(The lake), which is a condensation of its true title, Rāmcaritmānas(The lake of the acts of Rām). Encountering the last name for the first time, a reader from another culture might be puzzled by its central metaphor: why should the image of a lake be so closely associated with this celebrated saga of virtue, heroism, and devotion?
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Lange, Gerrit. "Cobra Deities and Divine Cobras: The Ambiguous Animality of Nāgas." Religions 10, no. 8 (July 26, 2019): 454. http://dx.doi.org/10.3390/rel10080454.
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In South Asia, cobras are the animals most dangerous to humans—as humans are to cobras. Paradoxically, one threat to cobras is their worship by feeding them milk, which is harmful to them, but religiously prescribed as an act of love and tenderness towards a deity. Across cultural and religious contexts, the Nāgas, mostly cobra-shaped beings, are prominent among Hindu and Buddhist deities. Are they seen as animals? Doing ethnographic fieldwork on a Himalayan female Nāga Goddess, this question has long accompanied me during my participant observation and interviews, and I have found at least as many possible answers as I have had interview partners. In this article, I trace the ambiguous relationship between humans, serpents and serpent deities through the classical Sanskrit literature, Hindu and Buddhist iconographies and the retelling of myths in modern movies, short stories, and fantasy novels. In these narrations and portrayals, Nāgas are often “real” snakes, i.e., members of the animal kingdom—only bigger, shape-shifting or multi-headed and, curiously, thirsty for milk. The article focuses on those traits of Nāgas which set them apart from animals, and on those traits that characterize them as snakes.
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Gnyawali, Bishal. "Review of vedic Literature from the Perspective of Physical and Human Geography." Geographic Base 6 (October 27, 2019): 1–10. http://dx.doi.org/10.3126/tgb.v6i0.26162.
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Vedas are earliest collection of Hindu scripture. The word Veda was originated from Sanskrit verb ‘Vida’ inane meaning to “to know”. Vedas are collection of knowledge. Literatures, written on the basis of Vedas are called Vedic literature. Itihansas and puranas are also known as Vedic literature. Each and every dimension of geography is expressed in Vedic Literature very strongly. This paper simply tries to present the geographical issue expressed in different Vedic literature. Different research papers written about Vedic geography, books of Vedas and puranas are used as materials for the formation of this paper. Topographic explanation and their classification for regionalization is carefully presented in vedic literature such as Dwipas, Khandas and Barshas. River is praised as mother in Vedas and nature and behavior of river was known by Vedic people. Ricveda is full of praising river. Seasonality month and different weather is explained in different Vedas and vedic literatures. Six seasons and twelve months are explained in vedic literature. Fire, wind, water, earth are taken as different forms of god and praised as human environment interaction. People are discouraged for deforestation means not to destroy home of god. Quantitative and mathematical geography is another great feature of vedic literature. Measurement unit techniques of time and distance are very strong geographical representation of vedic literature. The measurement of time starts from ‘pramanu’ to ‘mahayuga’ and distance starts from ‘pramanu’ to ‘krosha’.
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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (May 2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.
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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.
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Pellò, Stefano. "The Black Stone and the City of Light: Devotional Cityscapes and the Poetics of “Idolatry” in Matan Lāl Āfarīn Persian Mas̱nawī on Vārāṇasī (1778–9)." Eurasian Studies 21, no. 1 (February 2, 2024): 31–55. http://dx.doi.org/10.1163/24685623-20230141.
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Abstract This paper explores a hitherto unstudied Persian masnawī in praise of the sacred city of Vāraṇāsī, the Kāšī-stut (a phonetically Persianized variant of kāśī stuti, “Hymn to Vārāṇasī”) composed in 1778–9 by a little known Kāyastha scribe from Allahabad, Matan Lāl Āfarīn. The text, is an original poetic transposition of the Hindu religious landscape of Vārāṇasī in Persian verse, conjuring classical and post-classical Persian poetic conventions on the non-Islamic sphere and Sanskrit models such as the Kāśīkhaṇḍa, the Kāśīrahasya or other māhātmyas, and containing an impressive amount of descriptions (sometimes very technical) of idols, temples, pilgrimages, devotees, ascetics, the Ganges and so on. In view of the extraordinary value of the document (from the historical as well as from the literary side) the main aim of the article is not only to discuss the complex socio-cultural entanglements of the treatment of “idolatry” by a late eighteenth-century Hindu poet of Persian, but also, at the same time, to present, as far as I know for the first time, an important Persian document on early modern Vārāṇasī hitherto completely ignored by scholars. The study of the text against the background of contemporary trends in Persian poetry, in South Asia as well as in Iran, will, moreover, provide us with a proper set of interpretative tools for reading what we should begin to call the Hindu Persian literature of the eighteenth century.
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Irfan Julianto, Anggun khoerun Nisa, Sinta Farikhah Febriyanti, and Zecky Ridwan. "Analysis of the History of the Islamization of Java." HISTORICAL: Journal of History and Social Sciences 1, no. 1 (November 6, 2022): 1–6. http://dx.doi.org/10.58355/historical.v1i1.1.
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The Javanese people or more precisely the Javanese people, in cultural anthropology, are people who in their simple lives use the Javanese language with various dialects for generations. The Javanese people are those who live in the areas of Central Java and East Java, and they come from both regions. This dynamism is the belief that what they have built is the result of adaptation to struggle with nature. This Javanese culture is continuously maintained by the nobility and the nobility or Javanese intellectuals. The two cultures have their own characteristics. The peasant culture living in the countryside is a small tradition that is still dominated by the oral tradition, while the aristocratic culture has developed a tradition of writing by utilizing Hindu Buddhist religious literature. Java is Sufi Islam, namely Islam which is easily accepted and absorbed into Javanese syncreticism. And of course To me, the Sufi Islam that Peacpck meant was none other than Islam spread by walisogo figures. Islam is the source and values of shari'a law. Prior to Hinduism and Buddhism, prehistoric Javanese society had embraced beliefs that matched animism and dynamism. People's view of life is directed towards the formation of a numinous unity between the real world, society and the supernatural realm which is considered sacred. Hindu-Buddhist influences in Javanese society are expansive. alone had an effect on the religious system. Scholars who understood Sanskrit were finally able to process Hindu-Buddhist letters to write Javanese.
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Chakravarti, Srinjay. "Hrishikesh: A Poem on Corrupted Landscape." eTropic: electronic journal of studies in the Tropics 21, no. 1 (March 30, 2022): 388–91. http://dx.doi.org/10.25120/etropic.21.1.2022.3845.
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This poem on the pilgrimage center of Hrishikesh set in a humid subtropical niche of the scenic Uttarakhand state, aims to capture the corruption of its cultural, religious and natural landscapes. Here, modernity — with its concomitant technologism — jostles for space with Hindu leitmotifs and traditions, causing pollution, ecological damage and environmental degradation. These are outcomes not just of distorted economic policies and skewed technological and developmental paradigms, but also the residuum of religious rituals, pollutants and garbage dumped into the holy Ganges. Named after a form of the Hindu deity Vishnu, Hrishikesh, in Sanskrit, means “Lord of the Senses”. Nowadays, the town is more popularly known as Rishikesh (which means “the hair of a sage or ascetic”). This name, though etymologically erroneous, is not grammatically incorrect; it is, however, yet another pointer to the degeneration of the region’s pristinity. Here, not only is the natural environment under threat, but the rich traditions of Hinduism, too, are under assault from popular culture and mass consumerism. Such corruption is partly caused by the global yoga movement and the draw of international tourists who smoke cannabis on sacred riverbanks.
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Adhikari, Anasuya, and Birbal Saha. "Shakuntala: As Authored by Kalidas and Painted by Raja Ravi Varma." Galore International Journal of Applied Sciences and Humanities 5, no. 4 (December 28, 2021): 45–53. http://dx.doi.org/10.52403/gijash.20211008.
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Mythology has always been an appealing area which has been engrossing readers and listeners since ages. Mythology plays distinctive roles and employs its sacred narratives, art and rituals to keep the values and morals of the society intact. This system of writing texts on mythology was common to the entire subcontinent and produced its own literature written in Sanskrit. One such magnum opus is Abhijnanashakuntalam authored by the great Sanskrit maestro, Kalidas. It is also important to note that mythology in the form of texts was accessible to a very limited class of people which included the elites, literates, scholars etc, and consequently a large section of the society remained unaware of these episodes and virtues. It is where, Raja Ravi Varma, ‘Father of Modern Indian Art’ is credited to bring these episodes in the form of both painting and printing to the commoners. This not only attracted a huge number of people towards mythology, Hindu culture and tradition but also urged to preserve values. The present paper is an attempt to study the contributions of the two maestros, Kalidas- as the author of Abhijnanashakuntalam and Raja Ravi Varma-as the painter of the Shakuntala Series, comparative studies of how both the maestros perceived the character of Shakuntala, portrayal of ‘beauty’, and how the play, painting and printing was appreciated, responses gathered and inspirations shared. Keywords: Kalidas, Raja Ravi Varma, Shakuntala, Mythology and Painting, Oleographs
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Jha, Gautam Kumar. "Indic Elements in Indonesian Arts and Literature: Shared Heritage Between India and Indonesia." Heritage of Nusantara: International Journal of Religious Literature and Heritage 11, no. 1 (June 28, 2022): 40–61. http://dx.doi.org/10.31291/hn.v11i1.632.
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Indic-Belt or the Greater India is the geographical region where Bharat’s knowledge tradition spread and influenced the local community in terms of language, culture, religions, practices and social values. Southeast Asia, especially Indonesia has been the region that received more Indic knowledge than any other parts of the world due to the easy accessibility to the land and sea routes. This Indic influence is visible in many art forms and folklore due to a long period of rules of Hindu-Buddhist kingdoms. This study aims at exploring the presence of Indic elements in Indonesian artworks, old buildings and folklore. This paper is based on a qualitative descriptive study in which the data was collected through literature study. The study found that Indian epics such as Ramayana and Mahabharata have greatly influenced the literary tradition in Indonesia, as it was present in the forms of puppets, woodcrafts, painting and batik. In addition, Indonesian-present vocabulary ‘Esa’ (singular) to describe the concept of oneness of God came from the Sanskrit word ‘ish’ which was carried out by the Indic permeate to Indonesia. The study suggests that with such influence of Indic culture and tradition to Indonesia, both Indonesia and India shared similar heritage and hence steps to strengthen the cultural bonds between the two nations need to be built and maintained.
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Etika, Tiwi. "Studi Komparasi Hari Raya Galungan di Bali dan Wijaya Dasami India." Dharma Duta 20, no. 1 (June 30, 2022): 19–31. http://dx.doi.org/10.33363/dd.v20i1.778.
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Galungan is a Balinese holiday, celebrating the victory of dharma (virtue) over adharma (evil). It is similar to Wijaya Dasami (Wijaya Dashami) and Durga Puja Nawaratri in India, celebrated by Hindus in other parts of the world. The word Dussehra is a variant of Dashahara which is a compound Sanskrit word meaning "ten days". Dus has the meaning "bad, evil, and sinful" and Hara means "removing, destroying", connoting "removing the bad, destroying the evil, sinful. In most of northern and western India, Dasha-Hara (literally, ten days) is celebrated in honor of Rama. Vijaya Dasami is observed after Navratri, on the tenth day, marked by a great procession where the clay statues are ceremoniously walked to a river or ocean coast for a solemn goodbye to Durga.
This type of research is qualitative with a comparative study method. Collecting data using literature study, expert interviews, and Focus Group Discussion (FGD). Data analysis using Ethnographic Content Analysis (ECA). This festival is an old tradition of Hindu Dharma, though it is unclear how and in which century the festival began. Surviving manuscripts from the 14th century provide guidelines for Durga puja, while historical records suggest royalty and wealthy families were sponsoring major Durga puja public festivities since at least the 16th century. This article discusses a comparative study of Galungan Day in Bali and Wijaya Dasami in India which has the same essence, namely celebrating the victory of Dharma against Adharma.
Keywords: Galungan, Wijaya Dasami, Hindu Festival
Galungan adalah hari libur Bali, merayakan kemenangan dharma (kebajikan) atas adharma (kejahatan). Mirip dengan Wijaya Dasami (Wijaya Dashami) dan Durga Puja Nawaratri di India, yang dirayakan oleh umat Hindu di belahan dunia lain. Kata Dussehra adalah varian dari Dashahara yang merupakan kata majemuk Sansekerta yang berarti sepuluh hari. Dus berarti buruk, jahat, dan berdosa dan Hara berarti menghapus, menghancurkan, yang berarti menghilangkan keburukan, menghancurkan yang jahat, berdosa. Di sebagian besar India utara dan barat, Dasha-Hara (secara harfiah, sepuluh hari) adalah dirayakan untuk menghormati Rama. Vijaya Dasami dirayakan setelah Navratri, pada hari kesepuluh, ditandai dengan prosesi besar di mana patung-patung tanah liat dengan upacara berjalan ke sungai atau pantai laut untuk mengucapkan selamat tinggal kepada Durga. Jenis penelitian ini adalah kualitatif dengan metode studi komparasi. Pengumpulan data menggunakan studi kepustakaan, wawancara ahli dan Focus Group Discussion (FGD). Analisis data menggunakan Ethnographic Content Analysis (ECA). Festival ini adalah tradisi lama Hindu Dharma, meskipun tidak jelas bagaimana dan di abad mana festival dimulai. Manuskrip yang bertahan dari abad ke-14 memberikan pedoman untuk puja Durga, sementara catatan sejarah menunjukkan bahwa bangsawan dan keluarga kaya mensponsori perayaan umum puja Durga sejak setidaknya abad ke-16. Artikel ini membahas studi komparasi Hari Raya Galungan di Bali dan Wijaya Dasami di India yang memiliki esensi yang sama yaitu merayakan kemenangan Dharma melawan Adharma.
Kata kunci : Galungan, Vijaya Dasami, Hari Raya Hindu
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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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Kumar, Salla Vijay. "Psycho-physical representations of Sari among indian women in 2022." Revista de Ensino em Artes, Moda e Design 7, no. 3 (September 6, 2023): 1–26. http://dx.doi.org/10.5965/25944630732023e2404.
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The history of the traditional uncut Indian garment, the Sari, can be traced back to the Indus Valley Civilization, which emerged during 2800-1800 BC in northwest India. Mention of the sari evolved from śāṭikā in Sanskrit, appearing in Hindu and Páli Buddhist literature during the 6th century BC as a female garment. The study relied on a random sample of 50 women, most of whom were working women, to assess their opinions on wearing a sari and to explore the various reasons that influence the purchase intention or frequency of use among Indian women. The study concluded that among women aged from less than 25 years old to 75 years old, most find pleasure in wearing the sari in various ways. The most important aspects are fabric purity and quality, while some women worried about movement/walking and repeated use. It is important to emphasize that the participants in this study appreciated the use of the sari and did not report significant problems regarding the way of wearing it in front of spectators. While 6% of women were unable to wear a sari, 96% said they would miss their sari if it went missing.
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H. B. Danuleksono, Samuel, and Rahadhian Prajudi Herwindo. "RELATION OF ANCIENT MATARAM TEMPLE BASED ON NORTH INDIA AND SOUTH INDIA’S CHARACTERISTICS: FROM THE FIGURE-TECTONICS, MASS-SPACE STUDY, AND ORNAMENTATION." Riset Arsitektur (RISA) 5, no. 04 (October 27, 2021): 334–47. http://dx.doi.org/10.26593/risa.v5i04.5298.334-347.
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Abstract- Hinduism is a religion that was born in India and has developed rapidly into the archipelago with evidence of Sanskrit inscriptions and Pallava. The religion had a significant influence on Java which changed the political, economic, social and cultural life which at that time was still a kingdom. The arrival of Indians to Indonesia affected by the reverse flow between Indonesia and India and India and Indonesia. This can be seen by the presence of Indonesian dormitories in Nalanda (North India) and Nagapattinam (South India). The influence of North and South India can be seen from the existence of Hindu-Buddhist temples in the Archipelago which was built in one of the Hindu kingdoms, namely the Kingdom of Ancient Mataram which had areas of authority from Central Java to East Java. The temples that were built are thought to have an identity with temples in North and South India in terms of figure, inner space tectonics, mass layout, spatial planning, and ornamentation. This identity is thought to be a close relationship between North India and South India with Indonesia, especially in the era of Ancient Mataram.
The purpose of this study is to find out the relationship or relationship of Ancient Mataram era temple architecture to North and South Indian temple architecture. The analysis method used is the comparative – qualitative method. Work plans, plans, pieces, site plans, and block plans of 28 Hindu-Buddha tower types in Central Java will be compared in terms of similarities and differences and then analyzed regarding the position of the laying, and elements of the temple so that the relationship between the two countries is found. Data obtained from literature studies and field surveys. The conclusion drawn from this study is that there is a closer relationship with South India than North India. The influence of North India and South India is only limited to the external appearance in the study of figure and ornamentation, while in the study of mass and spatial planning and inner space tectonics is more developed by the people of Ancient Mataram which is adjusted to traditional values and natural influences.
Key Words: figure, tectonics, mass layout, spatial planning, ornamentation, North and South India, Ancient Mataram
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Chaudhuri, Sukanta. "Shakespeare Comes to Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (November 23, 2023): 31–46. http://dx.doi.org/10.18778/2083-8530.27.03.
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India has the longest engagement with Shakespeare of any non-Western country. In the eastern Indian region of Bengal, contact with Shakespeare began in the eighteenth century. His plays were read and acted in newly established English schools, and performed professionally in new English theatres. A paradigm shift came with the foundation of the Hindu College in Calcutta in 1817. Shakespeare featured largely in this new ‘English education’, taught first by Englishmen and, from the start of the twentieth century, by a distinguished line of Indian scholars. Simultaneously, the Shakespearean model melded with traditional Bengali popular drama to create a new professional urban Bengali theatre. The close interaction between page and stage also evinced a certain tension. The highly indigenized theatre assimilated Shakespeare in a varied synthesis, while academic interest focused increasingly on Shakespeare’s own text.
Beyond the theatre and the classroom, Shakespeare reached out to a wider public, largely as a read rather than performed text. He was widely read in translation, most often in prose versions and loose adaptations. His readership extended to women, and to people outside the city who could not visit the theatre. Thus Shakespeare became part of the shared heritage of the entire educated middle class. Bengali literature since the late nineteenth century testifies strongly to this trend, often inducing a comparison with the Sanskrit dramatist Kalidasa. Most importantly, Shakespeare became part of the common currency of cultural and intellectual exchange.
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Kumar, Dr Yogendra. "Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)." Yog-garima 1, no. 1 (March 28, 2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.
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If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ramayana and is called Adikavi of Valmiki and Valmiki Ramayana is also known as Adi Ramayana.1 Throwing light on the importance of the epic, it has been told that the importance of Valmiki Ramayana is there even today and will remain so in the future. True literature has the ability to shape the future, it is in the Ramayana. Ramayana meets this criterion. He has the ability to show the way to the generations to come. In it, generosity, righteous meaning and work surrender and protection of the victim, superiority of human, friendship, obedience, fasting, sweet and plant speech etc. undoubtedly make Ramayana an immortal epic.2 Among the common people, the Ramkatha has come to be revered as the struggle of good against evil and the dignity and deep compassion of various human relationships. It is a kind of cultural document. It is a matter of pleasant surprise that even after so many years its attraction has not decreased at all. How deep is the attraction and impact of the original spirit of this epic, it can also be felt from the place Ramkatha has found in the folk tales, drama, dance, architecture, sculpture, etc. of many countries of Asia. Therefore, showing the description of importance, etc., in this research paper, astrologers will try to tell about the science of Muhurta in this epic.
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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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Kakkar, Shruti. "NATURE OF AESTHETIC CLASSICAL THINKING IN SECULAR SANSKRIT LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 268–73. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3751.
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English: The Ramayana and the Mahabharata are considered epics, which are two representative texts of the advanced tradition of Indian literature. Their study gives the knowledge of the state of art prevailing at that time. By the time of "Ramayana" and "Mahabharata", there had been substantial development of painting, sculpture and architecture.
Hindi: रामायण और महाभारत को महाकाव्य माना जाता है जो भारतीय साहित्य की उन्नत परम्परा के दो प्रतिनिधि ग्रन्थ हैं। इनके अध्ययन से उस समय प्रचलित कला की स्थिति का ज्ञान होता है। ''रामायण'' और ''महाभारत'' काल तक चित्रकला, मूर्तिकला व वास्तुकला का पर्याप्त विकास हो चुका था।
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Bhadwal, Neha, Prateek Agrawal, and Vishu Madaan. "A Machine Translation System from Hindi to Sanskrit Language using Rule based Approach." Scalable Computing: Practice and Experience 21, no. 3 (August 1, 2020): 543–54. http://dx.doi.org/10.12694/scpe.v21i3.1783.
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Machine Translation is an area of Natural Language Processing which can replace the laborious task of manual translation. Sanskrit language is among the ancient Indo-Aryan languages. There are numerous works of art and literature in Sanskrit. It has also been a medium for creating treatise of philosophical work as well as works on logic, astronomy and mathematics. On the other hand, Hindi is the most prominent language of India. Moreover,it is among the most widely spoken languages across the world. This paper is an effort to bridge the language barrier between Hindi and Sanskrit language such that any text in Hindi can be translated to Sanskrit. The technique used for achieving the aforesaid objective is rule-based machine translation. The salient linguistic features of the two languages are used to perform the translation. The results are produced in the form of two confusion matrices wherein a total of 50 random sentences and 100 tokens (Hindi words or phrases) were taken for system evaluation. The semantic evaluation of 100 tokens produce an accuracy of 94% while the pragmatic analysis of 50 sentences produce an accuracy of around 86%. Hence, the proposed system can be used to understand the whole translation process and can further be employed as a tool for learning as well as teaching. Further, this application can be embedded in local communication based assisting Internet of Things (IoT) devices like Alexa or Google Assistant.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Waston, Waston. "Building peace through mystic philosophy: study on the role of Sunan Kalijaga in Java." Indonesian Journal of Islam and Muslim Societies 8, no. 2 (December 2, 2018): 281. http://dx.doi.org/10.18326/ijims.v8i2.281-308.
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This paper aims to study the teachings of peace invented in the Javanese tradition particularly by Sunan Kalijaga. Sunan Kalijaga was a Muslim saint in the 15th century AD who taught mystical-philosophical teachings. His role permeates in the Javanese tradition so peaceful values that are embedded in its teachings still be traced and developed. We conducted a literature study on the role, influence and legacy of Sunan Kalijaga. We focused on his philosophical approach to religious thought as oppose to the mystical aspect. Our findings show that Sunan Kalijaga succeeded in using proper choice of words to combine Islamic values and predominant cultural elements (e.g., Hinduism, Buddhism). Therefore, instead of using the Arabic terms, Sunan Kalijaga used many old Javanese and Sanskrit terms commonly used in the 15th-16th century Javanese society. As an implication, Sunan Kalijaga created terms that are less Islamic but loaded with Islamic values. His examination is not only inherited into terms, but also practices, symbols and institutions. Among those Javanese traditions, some of them are critically important in supporting peace-building. This paper reaps the peaceful values of the Sunan teachings in the hope of countering the stream of extreme ideologies that have recently flooded the public. Paper ini bertujuan mengunduh ajaran damai yang ditanam dalam tradisi Jawaterutama yang disemai oleh Sunan Kalijaga. Sunan Kalijaga adalah seorang walipada abad ke 15 M yang memiliki ajaran bersifat mistis-filosofis. Hingga saat ini,pengaruh Sunan Kalijaga sangat terasa dalam tradisi Jawa sehingga nilai-nilaidamai yang ada dalam ajarannya masih dapat ditelusuri dan dikembangkan.Dengan menerapkan studi pustaka, data-data dalam riset ini dikumpulkan darisumber-sumber yang mengkaji Sunan Kalijaga, peran, pengaruh, dan warisanwarisannya.Oleh karena corak pemikiran keagamaan Sunan Kalijaga bersifatmistis-filosofis, maka aspek mistisisme dan pendekatan filsafat juga digunakandalam tulisan ini. Paper ini memaparkan temuan bahwa dalam pratiknya, SunanKalijaga melakukan permainan bahasa yang dengan cara tersebut ia berhasilmemadukan antara nilai-nila i keislaman dengan unsur buda y a dominanyang telah ada sebelumnya yaitu Hindu dan Buddha. Oleh karena itu, alihalihmenggunakan istilah Arab, Sunan Kalijaga justru banyak menggunakanistilah Jawa Kuna dan Sansekerta yang lazim digunakan dalam masyarakat Jawaabad 15-16. Hasil dari upaya tersebut, Sunan Kalijaga menghadirkan istilahistilahyang tampaknya kurang Islami namun sarat muatan nilai-nilai Islam.Ijtihad Sunan Kalijaga tidak hanya terwariskan menjadi istilah-istilah, namunjuga menjadi praktik, simbol bahkan melembaga. Dari beberapa bentuk tradisijawa yang diwariskan Sunan Kalijaga dapat diambil bebera p a nilai pentingyang mendukung iklim damai. Paper ini memetik nilai-nilai damai ajaran sangSunan tersebut dengan harapan dapat membendung arus ideologi ekstrim yangakhir-akhir ini semakin membanjiri ruang publik.
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Mishra, Shubhankar. "Sanskrit as Medium of Cinematic Expression." Journal of Management & Public Policy 15, no. 1 (September 30, 2023): 61–65. http://dx.doi.org/10.47914/jmpp.2023.v15i1.005.
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This article is based on excerpts from address by Dr Shubhankar Mishra on the eve of World Sanskrit Day organized by Mahatma Gandhi Institute, Mauritius in collaboration with High Commission of India in Mauritius on 1 September 2023. His Excellency Prithvirajsing Roopun, President of Mauritius, graced the occasion as Chief Guest while Mrs K Nandini Singla High Commissioner of India in Mauritius was the guest of honour. In his address, Dr Mishra emphasized the significance Sanskrit as medium of cinematic expression while critiquing the evolution of Sanskrit cinema in India. Dr Mishra represents India in Mauritius as Deputy Secretary General at World Hindi Secretariat. He used the occasion to bolster the legacy of Sanskrit and emphasize the utility of this classical language in the post-modern world. Views of Dr Mishra hold ground as he has done Masters in Sanskrit from Delhi University and has undertaken doctoral research on representation of Sanskrit in Mass Media. He is also author of several books on Indian culture, art, and literature.
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Pskhu, Ruzana V., and Andrei V. Paribok. "Sanskrit Philosophical Terminology (Karma, Sūkṣma, Sthūla) Translated into Arabic (Based on al-Bīrūnī’s “Kitāb bātanjala al-hindī”)." Voprosy Filosofii, no. 9 (2023): 181–90. http://dx.doi.org/10.21146/0042-8744-2023-9-181-190.
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The article raises an important but unpopular question of the possibility of translating Sanskrit philosophical terms and concepts into the Arabic language. In modern (and not only) Indological studies, the specifics of translating Sanskrit philosophical vocabulary into the language of the author of the study are somehow affected. A meaningful translation of philosophical texts from Sanskrit into Arabic is rather a rare phenomenon. In the medieval Arabic literature, two such translations made by al-Bīrūnī are known: a paraphrase of the Yoga Sūtras of Patañjali and the translation of the Sāṅkhya-kārikā, which is possibly not extant. We will consider a number of the most important philosophical terms in Sanskrit (generally significant for all areas of Indian philosophy) and their Arabic equivalents proposed by al-Bīrūnī. Among such terms, the most significant is the term karma (karman), known to the general public in its vulgar meaning as a kind of return of negativity to the one who was its source. Less well-known are such important pair-functioning ontological concepts as a subtle one (sūkṣma) and gross one (sthūla). The analysis of the Arabic equivalents of the corresponding Sanskrit words proposed by al-Bīrūnī demonstrates the limits of the possibilities of the Arabic philosophical language (we mean the translation precisely, not calcification, transliteration or transcription).
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Devi, Asha. "NATURE IN HINDI LITERATURE." International Journal of Research -GRANTHAALAYAH 3, no. 9SE (September 30, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i9se.2015.3264.
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The love of nature of Hindi writers is well known. Poetry has been composed on nature in all times during the ancient, medieval and modern times. The famous cinematic poet Jayashankar Prasadji writes-Let me forget my sailor slowly - where in the uninhabited deep-tinged love story in the ears of Sagar-Lahiri-Ambar - Avni of Taj BabelThe poet has here pointed out the peace of man. Humanity is not noisy, nor does he want such an earth. Nature has loved human as (wave of ocean) and (abar). This is what it is like, why is it, who is destroying the unbreakable relationship between human and nature. What are the conditions that are making the earth persist? A terrible environmental crisis is looming over us all. What should we do now .We all know that in Indian culture, nature is like a necklace in the bracelet, but when the great crisis is showing the destruction of this culture, then our values of life, which teach us to love nature, should be cherished in Vedic era It is happening in the verses of the Vedas that we see the feeling of gratitude towards fire, sun, moon, air, water, earth, sky and clouds. Sanskrit literature is full of beautiful scenes of nature. There nature is companion, friend and its all.
हिंदी साहित्यकारों का प्रकृति-प्रेम सर्वविदित है। आदिकाल , मध्यकाल और आधुनिककाल सभी कालों में प्रकृति पर काव्य-रचनाऐं होती रहीं । प्रसिद्ध छायावादी कवि जयशंकरप्रसादजी लिखते हैं-ले चल मुझे भुलावा देकर मेरे नाविक धीरे-धीरे-जहाँ निर्जन में सागर-लहरी-अंबर के कानों में गहरी-निच्छल प्रेमकथा कहती हो--तज कोलाहल की अवनि कवि ने यहाँ मानव की शांतिप्रियता को इंगित किया है ।मानव कोलाहलप्रिय नहीं है, और न ही वह ऐसी धरती चाहता है।( सागर की लहर) और (अबंर) के रूप में प्रकृति ने भी मानव से प्रेम ही किया है ।आज विचारणीय विषय यह है कि फिर ऐसा क्या है, क्यों है, कौन है जो मानव और प्रकृति के अटूट संबंधों को तहस-नहस कर रहा है । वे कौन सी परिस्थितियाँ लगातार बनती रही हैं जो धरती विदीर्ण कर रही हैं । एक भयावह पर्यावरणीय संकट हम सब पर मँडरा रहा है । अब हमें क्या करना चाहिए ।हम सभी जानते हैं कि भारतीय संस्कृति में प्रकृति कंगन में नग की भाँति जडी है पर जब बड़ा संकट इस संस्कृति के विनाश का दिखाई दे रहा है तो ऐंसे में वैदिककाल से सँजोए हमारे जीवन-मूल्य, जो हमें प्रकृति से प्रेम करना सिखाते हैं, समाप्त हो रहे हैं वेदों की ऋचाओं में हमें अग्नि,सूर्य, चंद्र, वायु, जल, पृथ्वी, आकाश और मेघों के प्रति कृतग्यता का भाव दिखाई देता है । संस्कृत-साहित्य तो प्रकृति के मनोहारी दृश्यों से भरा पड़ा है ।वहाँ प्रकृति मानव की सहचरी,सखी और उसका सर्वस्व है ।
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Mair, Victor H. "Buddhism and the Rise of the Written Vernacular in East Asia: The Making of National Languages." Journal of Asian Studies 53, no. 3 (August 1994): 707–51. http://dx.doi.org/10.2307/2059728.
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The vast majority of premodern chinese literature, certainly all of the most famous works of the classical tradition, were composed in one form or another of Literary Sinitic (hereafter LS,wen-yen[-wen], also often somewhat ambiguously called “Classical Chinese” or “Literary Chinese”). Beginning in the medieval period, however, an undercurrent of written Vernacular Sinitic (hereafter VS,pai-hua[-wen])started to develop. The written vernacular came to full maturity in China only with the May Fourth Movement of 1919, after the final collapse during the 1911 revolution of the dynastic, bureaucratic institutions that had governed China for more than two millennia. It must be pointed out that the difference betweenwen-yenandpai-huais at least as great as that between Latin and Italian or between Sanskrit and Hindi. In my estimation, a thorough linguistical analysis would show that unadulteratedwen-yenand purepai-huaare actually far more dissimilar than are Latin and Italian or Sanskrit and Hindi. In fact, I believe thatwen-yenandpai-huabelong to wholly different categories of language, the former being a sort of demicryptography largely divorced from speech and the latter sharing a close correspondence with spoken forms of living Sinitic.
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Rajpurohit, Dalpat Singh. "Defining a Tradition." Comparative Studies of South Asia, Africa and the Middle East 42, no. 2 (August 1, 2022): 381–87. http://dx.doi.org/10.1215/1089201x-9987866.
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Abstract Allison Busch's seminal work on the classical Hindi literature of Mughal India demonstrated how the composition of works of poetic theory (ritigranths) became a defining literary enterprise of vernacular court poets in the Mughal-Rajput milieu. Though firmly based in a Sanskrit worldview, Hindi intellectuals exhibited newness in their theorization of the art of poetic craft. Engaging with Busch's work on the ritigranth genre, this article demonstrates how the poet-scholars of Rajasthan who were experts in Brajbhasha and Marwari—or Hindi and Rajasthani, respectively, as they are largely understood today—theorized and created new knowledge systems to define their four-hundred-year-old Marwari literary culture. Keeping up with the theoreticians of Brajbhasha who blended Vaishnava bhakti (devotion) with poetic theory, the Rajasthani scholars placed their work in a multilingual literary culture that was increasingly expanding as India came under the knowledge regimes of colonialism.
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Saini, Naresh Singh. "Importance of the teachings of Shri Krishna in Bhishma Parva of Sanskrit literature Mahabharata." RESEARCH HUB International Multidisciplinary Research Journal 11, no. 2 (February 29, 2024): 36–39. http://dx.doi.org/10.53573/rhimrj.2024.v11n2.006.
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This study examines the significance of Shri Krishna's teachings in the Bhishma Parva of the Mahabharata within Sanskrit literature. It focuses on the Bhagavad Gita, where Krishna imparts essential spiritual and philosophical wisdom to Arjuna. These teachings, addressing concepts of duty, righteousness, and the nature of reality, are crucial for understanding the ethical and moral foundations of the epic. By analyzing Krishna's discourse, the research highlights how these lessons guide characters and readers towards self-realization and dharma. This study underscores the enduring relevance of Krishna's teachings in shaping the philosophical landscape of Sanskrit literature. Abstract in Hindi Language: यह अध्ययन संस्कृत साहित्य में महाभारत के भीष्म पर्व में श्री कृष्ण के उपदेशों के महत्व की जांच करता है। इसका मुख्य ध्यान भगवद गीता पर है, जहां कृष्ण अर्जुन को महत्वपूर्ण आध्यात्मिक और दार्शनिक ज्ञान प्रदान करते हैं। ये उपदेश कर्तव्य, धर्म और वास्तविकता की प्रकृति के अवधारणाओं को संबोधित करते हैं, जो महाकाव्य की नैतिक और नैतिक नींव को समझने के लिए महत्वपूर्ण हैं। कृष्ण के उपदेशों का विश्लेषण करके, यह शोध इस बात पर प्रकाश डालता है कि कैसे ये पाठ पात्रों और पाठकों को आत्म-साक्षात्कार और धर्म की ओर मार्गदर्शन करते हैं। यह अध्ययन संस्कृत साहित्य के दार्शनिक परिदृश्य को आकार देने में कृष्ण के उपदेशों की स्थायी प्रासंगिकता को रेखांकित करता है। Keywords: श्री कृष्ण के उपदेश, भीष्म पर्व, महाभारत, भगवद गीता
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Plau. "Jain Narrative Literature in Brajbhāṣā: Discussions from an Understudied Field." Religions 10, no. 4 (April 11, 2019): 262. http://dx.doi.org/10.3390/rel10040262.
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Jain narrative literature in Sanskrit, Prakrit, and Apabhraṃśa is rightly recognised as one of South Asia’s great cultural heritages and a vital source of material for insight into premodern Jain teachings, practices, and everyday life. However, Jain studies is yet to fully engage with the rich archive of Jain narrative literature in Brajbhāṣā, and a wealth of untapped manuscript material is waiting to be explored. In this article, I argue that by going beyond the too-broad moniker of “Jain Hindī literature” to recognise Jain narrative literature in Brajbhāṣā as a distinct category, we may better understand the Jains of early modern North India as partakers of a wider literary and religious culture. More particularly, by comparing the form and religious outlook of Rāmcand Bālak’s Sītācarit, a seventeenth-century Rāmāyaṇa treatment, with the works of the more well-known Banārsīdās, we see that even amongst the Jains who used Brajbhāṣā, considerable variety of outlooks and approaches existed.
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Saini, Naresh Singh. "Role of Hanuman Ji in the context of search for Sita in Sanskrit Literature." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 4 (April 15, 2024): 241–44. http://dx.doi.org/10.31305/rrijm.2024.v09.n04.028.
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This research explores the pivotal role of Hanuman Ji in the search for Sita as depicted in Sanskrit literature, particularly in the Ramayana. Analyzing key texts, the study examines Hanuman's characteristics, actions, and his significance in the narrative. Hanuman's journey, his encounters, and his devotion to Lord Rama are highlighted to understand his contribution to Sita's rescue. This research underscores Hanuman's embodiment of courage, loyalty, and intelligence, illustrating his integral role in the epic. Through a detailed textual analysis, the study reveals how Hanuman's search for Sita enriches the moral and spiritual dimensions of Sanskrit epic tradition. Abstract in Hindi Language: इस शोध में संस्कृत साहित्य, विशेष रूप से रामायण में सीता की खोज में हनुमान जी की महत्वपूर्ण भूमिका का अन्वेषण किया गया है। मुख्य ग्रंथों का विश्लेषण करते हुए, अध्ययन हनुमान के गुणों, कार्यों और कथा में उनके महत्व की जाँच करता है। हनुमान की यात्रा, उनके अनुभव और भगवान राम के प्रति उनकी भक्ति को उजागर किया गया है ताकि सीता की मुक्ति में उनके योगदान को समझा जा सके। यह शोध हनुमान के साहस, वफादारी और बुद्धिमत्ता के प्रतीक को रेखांकित करता है, जो महाकाव्य में उनकी महत्वपूर्ण भूमिका को दर्शाता है। विस्तृत पाठ्य विश्लेषण के माध्यम से, अध्ययन यह प्रकट करता है कि सीता की खोज में हनुमान का योगदान संस्कृत महाकाव्य परंपरा के नैतिक और आध्यात्मिक आयामों को कैसे समृद्ध करता है। Keywords: हनुमान जी, सीता, संस्कृत साहित्य
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Aggarwal, Neil Krishan. "The Sikh Foundations of Ayurveda." Asian Medicine 4, no. 2 (2008): 263–79. http://dx.doi.org/10.1163/157342009x12526658783457.
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AbstractThis paper explores how Sikh scriptures establish a unique claim to Ayurvedic knowledge. After considering Ayurvedic creation myths in the classical Sanskrit canon, passages from Sikh liturgical texts are presented to show how Ayurveda is refashioned to meet the exigencies of Sikh theology. The Sikh texts are then analysed through their relationship with general Puranic literatures and the historical context of Hindu-Sikh relations. Finally, the Indian government’s current propagation of Ayurveda is scrutinised to demonstrate its affiliation with one particular religion to the possible exclusion of others. The Sikh example provides a glimpse into local cultures of Ayurveda before the professionalisation and standardisation of Ayurvedic practice in India’s post-independence period and may serve as a model for understanding other traditions.
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Sawhney, Simona. "Boatmen, Wastrels, and Demons: Figures of Literature." CounterText 4, no. 1 (April 2018): 30–56. http://dx.doi.org/10.3366/count.2018.0115.
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Engaging some of the questions opened by Ranjan Ghosh's and J. Hillis Miller's book Thinking Literature Across Continents (2016), this essay begins by returning to Aijaz Ahmad's earlier invocation of World Literature as a project that, like the proletariat itself, must stand in an antithetical relation to the capitalism that produced it. It asks: is there an essential link between a certain idea of literature and a figure of the world? If we try to broach this link through Derrida's enigmatic and repeated reflections on the secret – a secret ‘shared’ by both literature and democracy – how would we grasp Derrida's insistence on the ‘Latinity’ of literature? The groundlessness of reading that we confront most vividly in our encounter with fictional texts is both intensified, and in a way, clarified, by new readings and questions posed by the emergence of new reading publics. The essay contends that rather than being taught as representatives of national literatures, literary texts in ‘World Literature’ courses should be read as sites where serious historical and political debates are staged – debates which, while being local, are the bearers of universal significance. Such readings can only take place if World Literature strengthens its connections with the disciplines Miller calls, in the book, Social Studies. Paying particular attention to the Hindi writer Premchand's last story ‘Kafan’, and a brief section from the Sanskrit text the Natyashastra, it argues that struggles over representation, over the staging of minoritised figures, are integral to fiction and precede the thinking of modern democracy.
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Saini, Naresh Singh. "Role of Shakuntala in Abhijnan Shakuntalam written by great poet Kalidas in Sanskrit literature." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 5 (May 15, 2024): 301–5. http://dx.doi.org/10.31305/rrijm.2024.v09.n05.036.
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This gradual development of Shakuntala's character as a heroine is very natural. At the end of the play, the sacrifice of life was completed with the union of co-wife, good husband and good man. This is the ultimate ideal of human life. At the center of achieving this ultimate ideal, the character of ideal heroine Shakuntala is present everywhere. All the events have happened around this. In fact, the portrayal of Shakuntala is a picture of extremely joyful sweetness. Shakuntala's simplicity is mature, serious and permanent in crime, sorrow, knowledge, patience and forgiveness. We get a glimpse of her motherhood in the ashram of sage Marich. Where the entire love of her heart overflows for her son, thus Kalidas has given a bright and unique character to the world literature by portraying Shakuntala as the living embodiment of affection, cordiality, modesty, femininity, decency, compassion and motherhood. Shakuntala has been described in this world famous drama Abhigyan Shakuntalam by the great poet Kalidas. Abstract in Hindi Language: नायिका के रूप में शकुंतला के चरित्र का यह क्रमिक विकास परम स्वाभाविक है। नाटक के अंत में सपत्नी, सदपत्य तथा सत्पुमान् तीनों के सम्मिलन से जीवन यज्ञ पूर्ण हो गया। यही मानवजीवन का चरम आदर्श है। इस चरम आदर्श की प्राप्ति के केंद्र में आदर्श नायिका शकुंतला का ही चरित्र सर्वत्र विद्यमान है। इसी के इर्द-गिर्द सारी घटनाये घटी हैं। वस्तुतः शकुंतला का चित्रण अत्यंत हर्षित करने वाली मधुरिमा का चित्र है। शकुंतला की सरलता अपराध में, दुःख में, अभिज्ञता में, धैर्य में और क्षमा में परिपक्व है, गंभीर है और स्थायी है। मारीच ऋषि के आश्रम में हमें उसके मातृत्व की झलक मिलती है। जहां उस के हृदय का समग्र प्रेम पुत्र के लिए उमड़ पड़ता है इस प्रकार कालिदास ने शकुंतला को स्नेह, सौहार्द, लज्जा, नारीत्व, शालीनता और करूणा तथा मातृत्व की साक्षात् प्रतिमा के रूप में अंकित करके विश्व- साहित्य को एक पवन, समुज्ज्वल और अनुपम चरित्ररत्न प्रदान किया है। यह नाटक अभिज्ञान शाकुंतलम में महाकवि कालिदास के द्वारा यह विश्व प्रसिद्ध नाटक में शकुंतला का वर्णन किया गया है। Keywords: मानवजीवन, चरित्र, स्नेह, सौहार्द
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Ramdayal Jatav. "Traditional and Ethno-botanical study of Tinospora cardifolia with references to Guna district (M.P.)." International Journal of Science and Research Archive 8, no. 1 (January 30, 2023): 210–13. http://dx.doi.org/10.30574/ijsra.2023.8.1.0027.
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Tinospora cordifolia is a very popular shrub of India. Its whole parts like root, stem and leaves are used in Ayurvedic medicine. It belongs to the family menispermaceae. It has known as heart leaved moon seed plant in English, Guduchi in Sanskrit and Giloy in hindi. It is known for its immense application in the treatment of various diseases in the traditional Ayurvedic literature. Tinospora cordifolia is widely used shrub in folk and Ayurvedic systems of medicine for anti-diabetes, anti-periodic, anti-spasmodic, anti-inflammatory, anti-oxidant, anti-allergic, anti-laprotic, anti-neoplastic activities, anti-stress, anti-malerial high cholesterol, allergic rhinitis, upset stomach, gout, lymphoma and other cancers, rheumatoid arthritis, hepatitis, peptic ulcer disease , fever, gonorrhea, syphilis and have power to boost the immune system maximum.
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Sharma, Sumit, and Subhash Chandra. "Development of Participle Analyst and Sasutrarupsiddhi System." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 11 (November 12, 2021): 36–46. http://dx.doi.org/10.31305/rrijm.2021.v06.i11.007.
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The literature of Sanskrit language is very rich. All the traditions of ancient Indian knowledge and science are available in this language only. Therefore, to understand the advanced science, technology and other traditions of ancient India, it is necessary to have proper knowledge of Sanskrit language. To understand any language, it is necessary to have proper knowledge of grammar. Ashtadhyayi written by Panini is the main grammar of Sanskrit. Written in less than 4000 formulas, the structure of this grammar is similar to that of a modern computer programming language. There are two types of words (words) in Sanskrit, Kriyapad and Namapad. The noun phrase consists of compound, tadhit, feminine words and participles, etc. These participles are used extensively in Sanskrit literature. In this era of information technology and the increasing use of smart phones and computer devices, the medium of exchange of knowledge tradition has changed. Massive books have been replaced by e-books and online materials. Although online material is available for all subjects but it is very lacking for Sanskrit language. In this episode, this is an effort to bring Sanskrit on the online platform. The main objective of the present paper is to present a developed online platform for the complete process of analysis of Sanskrit participles and their creation on the basis of Panini sutras. To develop this system, the analysis of participles with the help of various databases of Panini grammar formulas, suffixes and metals has been done. At the same time, on the basis of this analysis, this system also provides Rupasiddhi. This system is available on the website of Department of Sanskrit, University of Delhi http://cl.sanskrit.du.ac.in. This system can play a very important role in the field of teaching and research through online medium in an effective manner. Along with this, along with proper guidance to future researchers, it also provides motivation to do interdisciplinary research work.
Abstract in Hindi Language:
संस्कृत भाषा का साहित्य बहुत ही समृद्ध है । प्राचीन भारतीय ज्ञान-विज्ञान की सभी परम्पराएं इस भाषा में ही उपलब्ध हैं । अतः प्राचीन भारत के प्रगत विज्ञान, तकनीक एवं अन्य परम्पराओं को समझने के लिये संस्कृत भाषा का सम्यक ज्ञान होना अत्यावश्यक है । किसी भी भाषा को समझने के लिए व्याकरण का समुचित ज्ञान होना अत्यावश्यक होता है । पाणिनि द्वारा लिखित अष्टाध्यायी संस्कृत का प्रमुख व्याकरण है । लगभग 4000 से भी कम सूत्रों में लिखे गए इस व्याकरण की संरचना एक आधुनिक कम्प्यूटर प्रोग्रामिंग भाषा के ही समान है । संस्कृत में पद (शब्द) दो प्रकार के होने हैं क्रियापद एवं नामपद । नामपद में समास, तद्धित, स्त्रीप्रत्ययान्त शब्द एवं कृदन्त आदि शामिल होते हैं । संस्कृत साहित्य में इन कृदन्तों का प्रयोग प्रचुर मात्रा में होता है । सूचना प्रौद्योगिकी के इस युग में एवं स्मार्ट फ़ोन तथा कम्प्यूटर डिवाइसेज़ के बढ़ते प्रयोग से ज्ञान परम्परा के आदान प्रदान के माध्यमों में परिवर्तन आया है । भारी भरकम पुस्तकों का स्थान ई-पुस्तकों एवं ऑनलाइन सामग्रियों ने ले लिया है । यद्यपि सभी विषयों के लिए ऑनलाइन सामग्री उपलब्ध हैं परन्तु संस्कृत भाषा के लिये इसकी बहुत कमी है । इसी कड़ी में संस्कृत को ऑनलाइन प्लेटफॉर्म पर लाने के लिए यह एक प्रयास है । प्रस्तुत शोधपत्र का प्रमुख उद्देश्य संस्कृत कृदन्तपदों (participles) के विश्लेषण एवं पाणिनि सूत्रों के आधार पर उनके निर्माण की सम्पूर्ण प्रक्रिया के लिए एक विकसित ऑनलाइन प्लेटफॉर्म को प्रस्तुत करना है । इस सिस्टम को विकसित करने के लिए पाणिनीय व्याकरण के सूत्रों, प्रत्ययों तथा धातुओं के विभिन्न डेटाबेस की सहायता से कृदन्तपदों के विश्लेषण किया गया है । साथ ही साथ इसी विश्लेषण के आधार पर यह सिस्टम रुपसिद्धि भी प्रदान करता है । यह सिस्टम दिल्ली विश्वविद्यालय के संस्कृत विभाग की वेबसाईट http://cl.sanskrit.du.ac.in पर उपलब्ध है । यह सिस्टम प्रभावी तरीके से ऑनलाइन माध्यम द्वारा शिक्षण और शोध के क्षेत्र में अत्यधिक महत्वपूर्ण भूमिका निभा सकता है । साथ ही यह भावी शोधार्थियों को उचित मार्गदर्शन के साथ ही साथ अन्तर्विषयक शोधकार्य करने की प्रेरणा भी प्रदान करता है ।
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Jangid, Preeti, and Ashok Kumar Gupta. "Investigation of women's plight in Madhu Kankariya's novel 'Sej Per Sanskrit'." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 1 (January 16, 2024): 65–69. http://dx.doi.org/10.31305/rrijm.2024.v09.n01.008.
Full textAbstract:
Women have such a close relationship with literature, art and philosophy that it is not possible to imagine civilization in its absence. In the Puranas and Sanskrit epics, women have been portrayed in a very dignified manner. In ancient Indian texts, woman has got a very proud place and she has been given the status of a goddess. Later, with the change in circumstances, the society's attitude towards women also changed. While in the Vedic era, women had a very honorable place, after that the dignity of women continued to be devalued. The woman who was a goddess now became a human being. Gradually the male-dominated society started forgetting its ancient ideals. Now woman has become a mere victim for man. The man continued to enjoy his freedom and the woman remained confined to the confines of taboos.
Abstract in Hindi Language: साहित्य, कला और दर्शन से स्त्री का इतना घनिष्ठ सम्बन्ध रहा है कि उसके अभाव में सभ्यता की कल्पना संभव नहीं है। पुराणों और संस्कृत महाकाव्यों में स्त्री अत्यन्त गरिमामयी रुप में चित्रित हुई है। प्राचीन भारतीय ग्रन्थों में स्त्री को अत्यन्त गौरवपूर्ण स्थान प्राप्त हुआ है तथा उसे देवी के समान स्थान दिया गया है। आगे चलकर परिस्थितियों में परिवर्तन के साथ स्त्री के प्रति समाज के दृष्टिकोण में भी परिवर्तन आता गया। जहाँ वैदिक युग में स्त्री को अत्यन्त गौरवपूर्ण स्थान मिला था, वहीं उसके बाद स्त्री के गौरव का निरन्तर अवमूल्यन होता रहा। जो स्त्री देवी थी अब वह मानवी बनकर रह गई। धीरे-धीरे पुरुष-प्रधान समाज अपने प्राचीन आदर्शों को भूलने लगा। अब पुरुष के लिए स्त्री मात्र भोग्या रह गई। पुरुष अपनी स्वच्छन्दता का उपभोग करता रहा तथा स्त्री वर्जनाओं की परिधि में क़ैद रही।
Keywords: अस्मिता, पितृसत्तात्मक समाज, उदारीकरण, सांस्कृतिकि बोध, नियन्ता, आर्थिक नियति।
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Adhikari, Tara Prasad. "Mahakavi Devkota: a Myth-taker & a Myth-maker." Journal of English Language and Literature 13, no. 3 (June 30, 2020): 1226–28. http://dx.doi.org/10.17722/jell.v13i3.430.
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Laxmi Prasad Devkota is simply hailed as the Mahakavi in Nepal that means he is the greatest poet of Nepal. He had a romantic inclination that a reader may easily notice while going through his writings. Of course, he had an immense knowledge of the romantic tradition of the West but at the same time he was a great scholar of English, Hindi, Sanskrit, and Nepali literature. Due to his vast range of knowledge, he has been able to draw numerous mythologies from various places and use them in his writings. But he is not just a taker of foreign myths because he even twisted them at many places. He was very playful of his subject matters and styles. Another interesting thing about Devkota is that his writings do not just take and break foreign myths; he also makes new myths in his own way. This is why this paper argues that Devkota is a taker, breaker, and a maker of myths.
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Tayaba Waliyat Khan and Dr. Rukhsana Bibi. "The Common Heritage of the Eighteenth Century." Tasdiqتصدیق۔ 4, no. 01 (June 30, 2022): 13–22. http://dx.doi.org/10.56276/tasdiq.v4i01.98.
Full textAbstract:
Urdu is an ancient Aryan language associated with Sanskrit. Its history in India dates back to about 1500 years ago. The form came into being which met the standard of literature. This is how the evolutionary journey of Urdu began early specimens of Urdu are found in northern India Amir Khosrow has tried his hand at all genres of prose. Urdu language words are often found together. That is why all Urdu and Hindi people recognize him as their poet. He used common sense language in his speech which was very clear language. Therefore it is appropriate that Amir Khosrow has accepted the influence of Punjabi, a Steep, dialect. The great heritage of Urdu is also found in Deccan who worked for the promotion & publication of this language. Therefore, the early impressions of Urdu are ancient. Among the earliest works of prose are Khawaja Ashraf Jahangir's Magazine and Khawaja Banda Nawaz Gesu Daraz's Miraj-e-Aashiqeen. The most important work of the century is Sub Ras. Another name of this book is Qissa Husan-o-Adal. The Urdu language is slowly developing.
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Zakaria, Muhammad. "Evidence of a contact-induced change." Asian Languages and Linguistics 5, no. 1 (July 5, 2024): 132–77. http://dx.doi.org/10.1075/alal.00020.zak.
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Abstract South Central Tibeto-Burman (also known as Kuki-Chin) forms a group of fifty languages spoken in the border area of Bangladesh, India and Burma. Due to their geographic distribution, speakers of South Central (SC) languages are in close contact with the superstrate languages, Bangla, Hindi and Burmese. The inevitable consequence of this longstanding contact on lesser-known languages of this region is understudied, especially structural diffusions. This paper presents a detailed discussion on relative-correlative (RC-CRC) construction in Hyow, a Southeastern SC language spoken by approximately four thousand people in the Chittagong Hill Tracts of Bangladesh, where they are in close contact with Bangla and Marma (a dialect of Burmese). This empirical study demonstrates how RC-CRC construction in Hyow is structurally and distributionally similar to those in IA languages, taking a critical look at the existing literature on IA languages and using data therein for a comparative study. In doing so, this paper provides examples from Bangla, Hindi and Sanskrit, and refutes some of the observations made in previous scholarly works. This paper also explores how they might have developed in Hyow, which otherwise uses a nominalization as native strategy for forming relative clauses. Even though most part of this paper discusses the RC-CRC constructions in Hyow as a consequence of language contact, this paper presents new insights on RC-CRC constructions in Bangla as well comparing to other IA languages.
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Muñoz Valdivieso, Sofía. ""Mine ear is much enamour'd of thy note": Shakespeare’s Intercultural Dream in the Indian Subcontinent." Sederi, no. 19 (2009): 101–21. http://dx.doi.org/10.34136/sederi.2009.5.
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Tim Supple’s 2006 production of A Midsummer Night’s Dream has been hailed by some critics as the successor of Peter Brook’s revolutionary 1970 version, a vision that changed perceptions of the play and became a classic in the history of its performance. Supple’s Midsummer uses about half of Shakespeare’s English text, with the rest translated into Hindi, Bengali, Marathi, Malayalam, Tamil, Sanskrit and Sinhala. It maintains the plot and characters intact, although it includes elements of local theatrical traditions in music, dance, martial arts and acrobatics. The production defies attempts at classification, since it presents features of “foreign” Shakespeare plays yet it braids the Indian-language dialogues into Shakespeare’s original English and extends the alienation effect of a foreign language production to audiences throughout the world. The international success of this production since it premiered in Britain as part of the 2006-07 Royal Shakespeare Company’s Complete Works Festival at Stratford is meaningful beyond considerations of aesthetic and theatrical value. The present paper discusses Tim Supple’s A Midsummer Night’s Dream within the contexts of foreign Shakespearean performance and intercultural theatre, and it analyses the contribution of the production to current debates about the importance of Shakespeare as international cultural capital.
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Эралиева, Ы. "ИНДИЙСКАЯ ЛИТЕРАТУРА В РУССКИХ И КЫРГЫЗСКИХ ТРАНСФОРМАЦИЯХ." Vestnik Bishkek Humanities University, no. 50 (January 15, 2020): 88–91. http://dx.doi.org/10.35254/bhu.2019.50.52.
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Аннотация: В данной статье прослеживается эволюция переводов индийской литературы на русский язык, осуществленные в ХХ веке с санскрита, с урду, с хинди, с гуджарати, с ория, с маратхи, с бенгальского, а также с английских переводов. На кыргызский язык произведения индийской литературы были переведены с русских трансформаций во второй половине ХХ века. В статье анализируется эквивалентность оригиналов и переложений на русский и кыргызский языки, дана оценка значимости и художественной ценности переложений. Также оценивается интеллектуальный труд русских и кыргызских переводчиков, открывших для современных читателей богатый мир индийского художественного слова. Ключевые слова: перевод, литература, индийский рассказ, труд, значимость, переводчик, автор, поэзия, популярность, традиция, герой, культура, достояние. Аннотация: Бул макалада ХХ кылымда санскриттен, урду, хинди, гуджарати, ория, маратхи, бенгал жана англис тилдеринен индия адабиятынын орус тилине котормолорунун эволюциясына байкоо салынат. Индия адабиятынын чыгармалары кыргыз тилине ХХ кылымдын экинчи жарымында орус котормолорунан которулган. Макалада оригинал менен орус, кыргыз тилдерине котормолорунун экви- валенттүүлүгү талданат, котормолордун адабий баалуулуктарына баа берилет.Ошондой эле индия көркөм сөзүнүн бай дүйнөсүн азыркы окурмандарга ачып берген орус жана кыргыз котормочуларынын интеллектуалдык эмгегине баа берилет. Түйүндүү сөздөр: котормо, адабият, индия ангемеси, эмгек, маанилуулук, котормочу, автор, поэзия, популярдуулук, салт, каарман, маданият, баалуулук. Annotation: This article traces the evolution of translations of Indian literature into Russian, carried out in the twentieth century from Sanskrit, from Urdu, from Hindi, from Gujarati, from Oriya, from Marathi, from Bengali, as well as from English translations. The works of Indian literature were translated into Kyrgyz from Russian transformations in the second half of the 20th century. The article analyzes the equivalence of originals and transcriptions into Russian and Kyrgyz languages, assesses the significance and artistic value of transcriptions. The intellectual work of Russian and Kyrgyz translators, who have opened up the rich world of Indian art words to modern readers, is also evaluated. Keywords: translation, literature, Indian story, work, significance, translator, author, poetry, popularity, tradition, hero, culture, wealth.