Relevant bibliographies by topics / Sanskrit poetry – History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sanskrit poetry – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 23 February 2023

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Journal articles on the topic "Sanskrit poetry – History and criticism"

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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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Truschke, Audrey. "Contested History: Brahmanical Memories of Relations with the Mughals." Journal of the Economic and Social History of the Orient 58, no. 4 (July 9, 2015): 419–52. http://dx.doi.org/10.1163/15685209-12341379.

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Brahman Sanskrit intellectuals enjoyed a century of relations with the Mughal elite. Nonetheless, such cross-cultural connections feature only sporadically in Persian chronicles, and Brahmans rarely elaborated on their imperial links in Sanskrit texts. In this essay I analyze a major exception to the Brahmanical silence on their Mughal connections, theKavīndracandrodaya(“Moonrise of Kavīndra”). More than seventy Brahmans penned the poetry and prose of this Sanskrit work that celebrates Kavīndrācārya’s successful attempt to persuade Emperor Shah Jahan to rescind taxes on Hindu pilgrims to Benares and Prayag (Allahabad). I argue that theKavīndracandrodayaconstituted an act of selective remembrance in the Sanskrit tradition of cross-cultural encounters in Mughal India. This enshrined memory was, however, hardly a uniform vision. The work’s many authors demonstrate the limits and points of contestation among early moderns regarding how to formulate social and historical commentaries in Sanskrit on imperial relations.
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Norman, K. R. "A History of Classical Poetry: Sanskrit - Pali - Prakrit. Siegfried Lienhard." Buddhist Studies Review 4, no. 1 (March 14, 1987): 84–88. http://dx.doi.org/10.1558/bsrv.v4i1.16030.

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SAWHNEY, SIMONA. "Who is Kalidasa? Sanskrit poetry in modern India." Postcolonial Studies 7, no. 3 (November 2004): 295–312. http://dx.doi.org/10.1080/1368879042000311098.

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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.

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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Pigoniowa, Mariola. "Some Lamentation Passages in Sanskrit Poetry (Especially in Kālidāsa’s Mahākāvyas)." Archiv orientální 89, no. 1 (June 25, 2021): 123–53. http://dx.doi.org/10.47979/aror.j.89.1.123-153.

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The paper gives a detailed comparison of the two Sanskrit lamentation passages, the laments of Aja (Ragh. 8. 37–69) and Rati (Kum. 4.1–38); it is conducted against the background of some other texts with similar content. The laments share a number of similar motifs. When examining the structure of these passages (as well as that of other related texts, not only those written in Sanskrit), the following elements may be discerned: the speakers’ stupor or loss of consciousness; their attempts at self-destruction; an address to the dead in which personal experiences are recalled. The lamenting persons are shown as coming to cry over themselves, thereby embracing some personal memories and finding comfort or protection. Apart from offering words of comfort, the consolatory speeches addressed to them also give an explanation of the causes of their loss (the death of Indumatī or the incineration of Kāma).
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.

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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
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Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics." Comparative Critical Studies 17, no. 2 (June 2020): 205–24. http://dx.doi.org/10.3366/ccs.2020.0359.

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This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?
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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.

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Dissertations / Theses on the topic "Sanskrit poetry – History and criticism"

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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.

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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.

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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Mona, Godfrey Vulindlela. "Ideology, hegemony, and Xhosa written poetry, 1948-1990." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002172.

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This interdisciplinary study locates Xhosa written poetry (1948-1990) within the framework of the socio-politico-economic scenario in South Africa. It sets out to examine the impact of the above stated factors on literature, by supporting the hypothesis that Xhosa written poetry of the Apartheid epoch is a terrain of the struggle for hegemony between the dominant ideology and the alternative ideologies.
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Ming, Yau-yau, and 明柔佑. "Qing poetry on Ming." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44204723.

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Ellis, Toshiko 1956. "The modernist dilemma in Japanese poetry." Monash University, School of Asian Languages and Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8720.

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Kaze, Douglas Eric. "The environmental imagination in Arthur Nortje’s poetry." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/58024.

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This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.
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Travis, Isabelle. "The poetry of pain : trauma, madness and suffering in post-World War II American poetry." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553108.

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Stenke, Katarina Maria. "Parts and wholes in long non-narrative poems of the eighteenth century." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610756.

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Books on the topic "Sanskrit poetry – History and criticism"

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Sanskrit criticism. Honolulu: University of Hawaii Press, 1990.

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Adkoli, Mahesh. Saṁskṛta kāvya: Sanskrit poetry. Bangalore: Bhavan's Gandhi Centre of Science and Human Values, 2007.

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Studies in Sanskrit literary criticism. Visakhapatnam: Andhra University, 2004.

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Academy, Osmania University Sanskrit, ed. Introduction to Sanskrit literary criticism. Hyderabad: Sanskrit Academy, Osmania University, 2010.

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Paṇḍā, Ravīndra Kumāra. Essays on modern Sanskrit poetry. Delhi: Bharatiya Kala Prakashan, 2009.

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Paṇḍā, Ravīndra Kumāra. Essays on modern Sanskrit poetry. Delhi: Bharatiya Kala Prakashan, 2009.

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1963-, Paṇḍā Ravīndra Kumāra, ed. Essays on modern Sanskrit poetry. Delhi: Bharatiya Kala Prakashan, 2009.

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Paṇḍā, Ravīndra Kumāra. Essays on modern Sanskrit poetry. Delhi: Bharatiya Kala Prakashan, 2009.

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Sanskrit shiʻriyāt. ʻAlīgaṛh: Milne ke pate, Ejūkeshnal Buk Hāʼūs, 1999.

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Glimpses of Sanskrit poetics and poetry. Allahabad: Raka Prakashan, 2007.

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Book chapters on the topic "Sanskrit poetry – History and criticism"

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Zhao, Yiheng. "Pure Poetry, Impure Criticism, and the Power of Academia: Some Paradoxes Concerning the History of New-Wave Poetry." In The River Fans Out, 191–200. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_12.

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"Modernism and criticism." In A Linguistic History of English Poetry, 169–214. Routledge, 2005. http://dx.doi.org/10.4324/9780203978702-14.

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Kerkering, John D. "Theories of poetry." In The Cambridge History of Literary Criticism, 524–38. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781139018456.035.

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Ferrari, G. R. F. "Plato and poetry." In The Cambridge History of Literary Criticism, 92–148. Cambridge University Press, 1990. http://dx.doi.org/10.1017/chol9780521300063.004.

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Sambrook, James. "Poetry, 1660-1740." In The Cambridge History of Literary Criticism, 73–116. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.004.

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Keach, William. "Poetry, after 1740." In The Cambridge History of Literary Criticism, 117–66. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.005.

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Wimsatt, William K., and Cleanth Brooks. "Aristotle’s Answer: Poetry as Structure." In Literary Criticism: A Short History, 21–34. Routledge, 2021. http://dx.doi.org/10.4324/9781003140917-3.

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Moss, Ann. "Theories of poetry: Latin writers." In The Cambridge History of Literary Criticism, 98–106. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.010.

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Murphy, J. J. "The arts of poetry and prose." In The Cambridge History of Literary Criticism, 42–67. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521300070.004.

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Trimpi, Wesley. "Sir Philip Sidney'sAn apology for poetry." In The Cambridge History of Literary Criticism, 187–98. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.020.

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Conference papers on the topic "Sanskrit poetry – History and criticism"

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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