Relevant bibliographies by topics / Sculpture, Indic, in literature

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

Academic literature on the topic 'Sculpture, Indic, in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Sculpture, Indic, in literature"

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Mukherjee, Sayan. "Dark Portrayal of Gender: A Post-colonial Feminist Reflection of Bapsi Sidhwa’s The Pakistani Bride and The Ice-candy Man." History Research Journal 5, no. 5 (September 26, 2019): 81–88. http://dx.doi.org/10.26643/hrj.v5i5.7919.

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The portrayals of women by fiction writers of Indian sub-continent can be seen in the context of postcolonial feminism. Sidhwa’s novels may be a part of postcolonial fiction, which is fiction produced mostly in the former British colonies. As Bill Ashcroft suggests in The Empire Writes Back, the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the colonizers. About the role of postcolonial literature with respect to feminism, Ashcroft writes, “Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writings and through other arts such as paintings sculpture, music, and dance that today realities experienced by the colonized peoples have been most powerfully encoded and so profoundly influential.” Indian sub-continent fiction is the continuation and extension of the fiction produced under the colonial rulers in undivided India. As such it has inherited all the pros and cons of the fiction in India before the end of colonial rule in Indo-Pak. Feminism has been one part of this larger body of literature. Sidhwa has portrayed the lives of Pakistani women in dark shades under the imposing role of religious, social, and economic parameters. These roles presented in The Pakistani Bride and The Ice-Candy Man are partly traditional and partly modern – the realities women face.
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Das, Rahul. "THE ROLE OF HINDUISM AND BUDDHISM IN PROMOTING INDIANNESS OUTSIDE INDIA: SCENARIOS OF SOUTHEAST ASIA." International Journal of Research -GRANTHAALAYAH 8, no. 5 (June 4, 2020): 179–86. http://dx.doi.org/10.29121/granthaalayah.v8.i5.2020.147.

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Hinduism or Sanatana Dharma is considered to be the oldest religion in the world (Fowler 1997, p1). This religion originated in India. Similarly, India is also the birthplace of Buddhism. Apart from trade, religion was one of the means of inter-state communication and proximity in ancient times. It is through religion, ancient Indian civilization developed good relations and closeness with different parts of the world, one of which was Southeast Asia. Though Marx opined “Die Religion……ist das opium des volkes” or “religion…..is the opium of people”, but the positive role of religion cannot be denied in this case. Hinduism and Buddhism were the main driving force behind the Indianization or Sanskritization of Southeast Asian States. Buddhism and Hinduism are still among the most prevalent religions in this region, despite the subsequent large-scale conversion to Christianity and Islam. The influence of Indianness is evident in all the areas of this region, including ancient architecture, sculpture, art, painting, literature, language, script, lifestyle etc. These religions have never been limited to personal sphere of inhabitants of this region but have also flourished in the political and social spheres. These religions have sometimes been instrumental in unravelling colonial chains and sometimes in nation-building efforts. At present, the Government of India is very keen on finding the roots of ancient historical ties in establishing close bilateral relations with various countries, from that point of view, this following article will be considered very relevant.
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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Aeschliman, Michael. "Cultural tourism as pilgrimage." Semiotica 2018, no. 225 (November 6, 2018): 245–52. http://dx.doi.org/10.1515/sem-2016-0230.

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AbstractIn this recent address to a UNESCO doctoral summer school in northern Italy, the author argues that all cultural tourism has underlying and implicit philosophical-religious dimensions that are particularly important in the era of “late capitalism,” in which “the idiosyncratic has triumphed over the normative” and there is a deeply nihilistic drive and trajectory to the ascendant culture. After drawing on the sociologist Daniel Bell’s analysis of “the cultural contradictions of capitalism,” the author argues that there is an irreducible sacred dimension to the human person (res sacra homo) and his or her life always has the character of a pilgrimage, cognitively comprised of a quest for significance beyond the separate meanings of the normal occupational and utilitarian life. Master-works of urbanism, architecture, sculpture, painting, music, and literature offset the nihilistic dynamic of “late modernity,” and the author draws particular attention to literary works of cross-cultural understanding such as the trilogy of historical novels about India by L. H. Myers, The Root and the Flower and the novels of the great modern Japanese writer Shusaku Endo. As works of fundamental importance for orienting his analysis he adduces C. S. Lewis’s The Abolition of Man and Viktor Frankl’s Man’s Search for Meaning.
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Slaczka, Anna, Sara Creange, and Joosje Van Bennekom. "Nataraja Informed through Text and Technique." Rijksmuseum Bulletin 67, no. 1 (March 15, 2019): 5–29. http://dx.doi.org/10.52476/trb.9714.

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The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time flesh out what is known about the fabrication and provenance of the Nataraja in the Rijksmuseum. The Nataraja was cast by the lost-wax method; x-ray images confirm that the Shiva is solid-cast together with the halo. X-ray fluorescence reveals an alloy consistent with other Chola-period bronzes but not necessarily a pañcaloha alloy (five metals), which seems to be a modern tradition; the front hands were apparently cast on separately as a repair, probably during casting or not long after. Further evidence gathered from the sculpture and its soil encrustations (ICP-MS lead and neodymium isotope ratios, SEM-EDX and XRD) is briefly presented, and supports earlier assumptions about the Nataraja. It appears to date from the twelfth century and was under worship for a relatively short time before it was buried at an unknown location in India. The presence of Indian earth and corrosion products typical of burial imply that it did not re-enter a temple context for worship and was not subject to major restoration before entering the art market in the early twentieth century.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 1 (2008): 134–220. http://dx.doi.org/10.1163/22134379-90003683.

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Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southeast Asian responses to globalization; Restructuring governance and deepening democracy (Alexander Claver) I Wayan Arka; Balinese morpho-syntax: a lexical-functional approach (Adrian Clynes) Zaharani Ahmad; The phonology-morphology interface in Malay; An optimality theoretic account (Abigail C. Cohn) Michael C. Ewing; Grammar and inference in conversation; Identifying clause structure in spoken Javanese (Aone van Engelenhoven) Helen Creese; Women of the kakawin world; Marriage and sexuality in the Indic courts of Java and Bali (Amrit Gomperts) Ming Govaars; Dutch colonial education; The Chinese experience in Indonesia, 1900-1942 (Kees Groeneboer) Ernst van Veen, Leonard Blussé (eds); Rivalry and conflict; European traders and Asian trading networks in the 16th and 17th centuries (Hans Hägerdal) Holger Jebens; Pathways to heaven; Contesting mainline and fundamentalist Christianity in Papua New Guinea (Menno Hekker) Ota Atsushi; Changes of regime and social dynamics in West Java; Society, state and the outer world of Banten, 1750-1830 (Mason C. Hoadley) Richard McMillan; The British occupation of Indonesia 1945-1946; Britain, the Netherlands and the Indonesian Revolution (Russell Jones) H.Th. Bussemaker; Bersiap! Opstand in het paradijs; De Bersiapperiode op Java en Sumatra 1945-1946 (Russell Jones) Michael Heppell; Limbang anak Melaka and Enyan anak Usen, Iban art; Sexual selection and severed heads: weaving, sculpture, tattooing and other arts of the Iban of Borneo (Viktor T. King) John Roosa; Pretext for mass murder; The September 30th Movement and Suharto’s coup d’état in Indonesia (Gerry van Klinken) Vladimir Braginsky; The heritage of traditional Malay literature; A historical survey of genres, writings and literary views (Dick van der Meij) Joel Robbins, Holly Wardlow (eds); The making of global and local modernities in Melanesia; Humiliation, transformation and the nature of cultural change (Toon van Meijl) Kwee Hui Kian; The political economy of Java’s northeast coast c. 1740-1800; Elite synergy (Luc Nagtegaal) Charles A. Coppel (ed.); Violent conflicts in Indonesia; Analysis, representation, resolution (Gerben Nooteboom) Tom Therik; Wehali: the female land; Traditions of a Timorese ritual centre (Dianne van Oosterhout) Patricio N. Abinales, Donna J. Amoroso; State and society in the Philippines (Portia L. Reyes) Han ten Brummelhuis; King of the waters; Homan van der Heide and the origin of modern irrigation in Siam (Jeroen Rikkerink) Hotze Lont; Juggling money; Financial self-help organizations and social security in Yogyakarta (Dirk Steinwand) Henk Maier; We are playing relatives; A survey of Malay writing (Maya Sutedja-Liem) Hjorleifur Jonsson; Mien relations; Mountain people and state control in Thailand (Nicholas Tapp) Lee Hock Guan (ed.); Civil society in Southeast Asia (Bryan S. Turner) Jan Mrázek; Phenomenology of a puppet theatre; Contemplations on the art of Javanese wayang kulit (Sarah Weiss) Janet Steele; Wars within; The story of Tempo, an independent magazine in Soeharto’s Indonesia (Robert Wessing) REVIEW ESSAY Sean Turnell; Burma today Kyaw Yin Hlaing, Robert Taylor, Tin Maung Maung Than (eds); Myanmar; Beyond politics to societal imperatives Monique Skidmore (ed.); Burma at the turn of the 21st century Mya Than; Myanmar in ASEAN In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007) no: 1, Leiden
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Diao, Runqing. "Sculpture." Anthropology and Humanism 38, no. 2 (December 2013): 204. http://dx.doi.org/10.1111/anhu.12021.

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Silk, Jonathan A. "A Brief Introduction to Recent Chinese Studies on Sanskrit and Khotanese (Chiefly Buddhist) Literature." Indo-Iranian Journal 64, no. 1 (March 29, 2021): 51–64. http://dx.doi.org/10.1163/15728536-06401002.

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Abstract The past decade has seen the appearance of a number of Chinese publications relevant to the readership of the Indo-Iranian Journal. This article briefly introduces some of those publications, dealing mostly with Buddhist sources, primarily in Sanskrit, Khotanese and Middle Indic.
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Judge. "The Invisible Hand of the Indic." Cultural Critique 110 (2021): 75. http://dx.doi.org/10.5749/culturalcritique.110.2021.0075.

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Hannoosh, Michele. "Delacroix and Sculpture." Nineteenth Century French Studies 35, no. 1 (2006): 95–109. http://dx.doi.org/10.1353/ncf.2006.0046.

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Dissertations / Theses on the topic "Sculpture, Indic, in literature"

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Ramaswami, Siri. "Dance sculpture as a visual motif of the sacred and the secular: a comparative study of the BelurCennakesava and the Halebidu Hoysalesvara temples." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240926.

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Wattenbarger, Melanie. "Reading Postcolonialism and Postmodernism in Contemporary Indian Literature." Ohio Dominican University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=odu1351102017.

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Balasubramanian, Ranganathan. "The Tirukkaḷiṟṟuppaṭiyār : transition from Bhakti to Caiva Cittāntam philosophy." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99574.

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This thesis is a Tamil to English translation of Tirukkaḷirruppaṭiyar (TKP), composed by Uyyavanta Tevanayanar toward the end of the twelfth century C.E. The work contains one hundred quatrains of Tamil poetry composed in veṇpa meter. It is a poetic expansion of Tiruvuntiyar (TU), an earlier composition likely by the author's teacher's teacher. The TKP is a transitional text between the devotional religious bhakti(patti -Tamil) hymns of the nayanmar, who lived between the sixth century and the twelfth, and the Saiva-Siddhanta (Caiva Cittantam-Tamil) Theo-philosophical system, which developed between the thirteenth and the fourteenth centuries. TKP is the second work in the canon of fourteen texts called the Meykaṇṭa Sastra (Meykaṇṭa Cattiraṅkaḷ -Tamil), TU being the first. The introduction in the thesis discusses the date of the author, his position in the lineage of teachers, major themes found in the work such as the importance of a teacher, types of worship, miracles of the Saiva saints and final release from the cycle of births and deaths. TKP's similarities and differences with the TU, and how the TKP provides a foundation for later Saiva Siddhanta thought are addressed. Besides translation, each verse has a gloss and there are several appendices, tables and charts with additional information.
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Thapa, Anirudra. "The Indic Orient, nation, and transnationalism exploring the imperial outposts of nineteenth-century U.S. literary culture, 1840-1900 /." [Fort Worth, Tex.] : Texas Christian University, 2008. http://etd.tcu.edu/etdfiles/available/etd-12052008-162349/unrestricted/Thapa.pdf.

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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.

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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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Chaudhuri, Rosinka. "Orientalist themes and English verse in nineteenth-century India." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:737ba2e1-99f4-4abb-ac87-4e344be4d15c.

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This thesis demonstrates how a specific tradition of English poetry written by Indians in the nineteenth-century borrowed its subject matter from Orientalist research into Indian antiquity, and its style and forms from the English poetic tradition. After an examination of the political, historical and social motivations that resulted in the birth of colonial poetry in India, the poets dealt with comprise Henry Louis Vivian Derozio (1809-31), the first Indian poet writing in English ; Kasiprasad Ghosh (1809-73), the first Bengali Hindu to write English verse; and Michael Madhusudan Dutt (1824-73), who converted to Christianity in the hope of reaching England and becoming a great 'English' poet. A subsequent chapter examines the Dutt Family Album (London, 1870) in the changing political context of the latter half of the century. In the Conclusion it is shown how the advent of Modernism in England, and the birth of an active nationalism in India, finally brought about the end of all aspects of what is here called 'Orientalist' verse. This area has not been dealt with comprehensively by critics; only one book, Lotika Basu's Indian Writers of English Verse (1933), exists on this subject to date. This thesis, besides filling the gaps that exist in the knowledge available in this area, also brings an additional insight to bear on the current debate on colonialism and literature. After Said's Orientalism (1978), a spate of theoretical work has been published on literary studies and colonial power in British India. Without restricting the argument to the constraints of the Saidian model, this study addresses the issues raised by these works, showing that a subtler reading is possible, through the medium of this poetry, of the interaction that took place in India between the production of literature and colonialism. In particular, this thesis demonstrates that although Orientalist poetry was in many ways derivative, it also evinces an active and developing response to the imposition of British culture upon India.
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Reid, Joshua S. "Art Appreciation Lecture and Sculpture Walk Tour." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3167.

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Chanda, Geetanjali. "Indian women in the house of fiction : place, gender, and identity in post-independence Indo-English novels by women /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19736617.

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Hollis, Victoria Caroline Bolton Jonathan W. "Ambassadors of community the history and complicity of the family community in Midnight's Children and the God of Small Things /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1668.

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Ross, Oliver Paul. "Same-sex desire and syncretism : 'homosexualities' in Indian literature and film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.

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Books on the topic "Sculpture, Indic, in literature"

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Begde, Prabhakar V. Living sculpture: Classical Indian culture as depicted in sculpture and literature. New Delhi: Sagar Publications, 1996.

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Portrayal of the woman in the art and literature of the ancient Deccan. Jaipur: Publication Scheme, 2004.

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Kapūra, Śyāmanārāyaṇa. Prācīna Bhārata meṃ vijñāna aura śilpa. Kānapura: Sāhitya Niketana, 1998.

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Saṃskr̥ta vāṅmaya meṃ śilpakalāem̐. Dillī: Īsṭarna Buka Liṅkarsa, 2004.

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Bhāratīya sāhitya tathā śilpa meṃ Viśvakarmā. Dillī: Pratibhā Prakāśana, 2002.

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Akṣaramēru's Kaliyuga viparītan: Earliest tripadi poetry in Indian literature, c. 740 A.D. Bangalore: Ruvari, 2011.

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Dutta, Monoranjan. Sculpture of Assam. Delhi: Agam Kala Prakashan, 1990.

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Narrative art of South Indian temples: Srisailam. Delhi: Bharatiya Kala Prakashan, 2004.

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N, Dube D., ed. Indian sculpture. Varanasi, India: Lustre Press, 1985.

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Berkson, Carmel. The life of form in Indian sculpture. New Delhi: Abhinav Publications, 2000.

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Book chapters on the topic "Sculpture, Indic, in literature"

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Lozier, Claire. "Samuel Beckett’s Funerary Sculpture." In Questions of Influence in Modern French Literature, 99–110. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137309143_8.

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Murphy, Paula. "Sculpture in the Irish Landscape." In Irish Contemporary Landscapes in Literature and the Arts, 263–70. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230360297_21.

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Pathak, Varsha M., and Manish R. Joshi. "Natural Language Query Refinement Scheme for Indic Literature Information System on Mobiles." In Advances in Intelligent Systems and Computing, 145–56. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-13731-5_17.

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Pecora, Vincent P. "A Different Passage to India." In Land and Literature in a Cosmopolitan Age, 107–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852148.003.0004.

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Ashis Nandy, an Indian psychologist and cultural critic of the post-1945 era, has spent his career largely re-imagining “Indic civilization” as a Gandhi-inspired rejection of Western civilization and especially Western modernity. Very much like Brunner in his rewriting of German civilization, Nandy returns us to pre-nation-state Indian literary and religious texts, the interpretation of which he reconstructs in order to rescue the texts from modern revisionism that has been shaped by the “muscular Christianity” of the Raj. Further, Nandy understands Indic culture, reaching from Afghanistan to Vietnam, as a diversified yet unified entity, comprising a host of territories within one, supra-national civilization. In this sense, Nandy’s work echoes that of Brunner on the authentic, pre-nation-state German Reich, complete with its array of Volksgemeinschaften. But Nandy’s thinking is also reflected in the modern Hindutva movement of present-day India.
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"Sculpture and Literature in Nineteenth-Century France." In From Rodin to Giacometti, 37–48. BRILL, 2000. http://dx.doi.org/10.1163/9789004484078_005.

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"What Information can be Gleaned from Cambodian Inscriptions about Practices Relating to the Transmission of Sanskrit Literature?" In Indic Manuscript Cultures through the Ages, 131–60. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110543100-005.

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Pulham, Patricia. "Statuephilia and the Love of the Impossible." In The Sculptural Body in Victorian Literature, 147–82. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0004.

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This chapter considers how sculpture channels Edmund Gosse’s homoerotic desire for the sculptor Hamo Thornycroft, enabling the memorialisation of their relationship in his poetry and prose. It then proceeds to explore how sculpture facilitates complex vortices of libidinal energies in poems by Oscar Wilde and Olive Custance. It argues that Wilde’s ‘Charmides’ (1881) enables a phantasmatic congress between Wilde and his dead ‘beloved’, the poet John Keats, and that a similar process is at work in Olive Custance’s statue poems, which are in dialogue with Wilde’s own life and poetry. Drawing on the work of French and English Parnassian poets, Custance’s poems additionally develop a sculptural aesthetic that expresses a complicated negotiation of her ambiguous sexuality.
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Pulham, Patricia. "Artworks in Marble: Capturing Venus in Durable Form." In The Sculptural Body in Victorian Literature, 65–103. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0002.

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This chapter begins by emphasising the role played by Venus Aphrodite in the animation of Galatea. It considers the prevalence of Venus sculptures in Arthur O’Shaughnessy’s ‘Thoughts in Marble’ series, which appear in Songs of a Worker (1881), and in Thomas Hardy’s The Well-Beloved (1897). It examines these writers’ conflation of creativity, aesthetics and eroticism through metaphors of moulding and sculpting, before focusing on the role played by sculpture in the memorialisation of the dead in their texts.
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Pulham, Patricia. "Introduction." In The Sculptural Body in Victorian Literature, 1–28. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0100.

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The association between sex and statues has an established cultural history. In The Power of Images: Studies in the History and Theory of Response, David Freedberg shows how people have always been ‘sexually aroused’ by sculptures (1989: 1) and examines the slippage between the desire to possess the subject depicted in art, and desire for the representation itself. He argues that sculpture features prominently in historical examples, citing instances of statue love that range across cultural, temporal and geographical borders, including tales from ancient Iran and Greece, the Byzantine lives of saints, as well as numerous versions of the ‘Venus and the Ring’ and Pygmalion myths that span several centuries (1989: 323–42). In his analysis Freedberg suggests that in charting arousal by image, such examples offer us a means by which we might ‘examine the issue of repression most clearly’ and contends that in fearing ‘the body in the image, we refuse to acknowledge our engagement with it’, denying recognition of ‘those aspects of our own sexuality that it may seem to threaten or reveal’ (1989: 12)....
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10

Brereton, Joel P. "Pāṣaṇḍa." In Gṛhastha, 20–42. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190696153.003.0002.

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This chapter studies the term pāṣaṇḍa and its Middle Indic equivalents in literature from the last centuries BCE through the first centuries of the Common Era. In later Brahminical and non-Brahminical traditions, it is a term that characterizes “heretical” teachings and communities. This chapter shows that in earlier texts, however, pāṣaṇḍa is normally a neutral term for a religious community characterized by a dharma. It then attempts to define the nature of such religious communities in the Aśokan inscriptions. In particular, it addresses the question of whether Aśoka includes “householders” as members of such religious communities or not.
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