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Journal articles on the topic "Tagore,Rabindranath,1861-1941 - Influência"
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Sen, Amartya. "The Contemporary Relevance of Buddha." Ethics & International Affairs 28, no. 1 (2014): 15–27. http://dx.doi.org/10.1017/s0892679414000033.
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The great poet and novelist Rabindranath Tagore (1861–1941) once remarked that he was extremely sad that he was not alive when Gautama Buddha was still around. Tagore very much wished he could have had conversations with Buddha. I share that sentiment, but, like Rabindranath, I am also immensely grateful that, even now, we can enjoy—and learn from—the ideas and arguments that Buddha gave us twenty-five hundred years ago. Our world may be very different from what Buddha faced in the sixth century bce, but we can still benefit greatly from the reasoned approach to ethics, politics, and social relations that Gautama Buddha brought to the world of human understanding.
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Jelnikar, Ana. "Srečko Kosovel and Rabindranath Tagore: Points of Departure and Identification." Asian Studies, no. 1 (December 1, 2010): 79–95. http://dx.doi.org/10.4312/as.2010.-14.1.79-95.
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In this paper I explore some of the connections the Slovene poet Srečko Kosovel (1904–1926) surmised between himself and the Indian poet Rabindranath Tagore (1861–1941). I argue that what linked the two poets into a joint framework across the vastly different cultural and politico-geographic space was not just the fact that Kosovel read Tagore and took inspiration from the Bengali poet at the height of Tagore’s reputation in continental Europe, but that they shared a number of preoccupations, informed by their respective historical positioning. Both wrote from a profound awareness of their region’s subjugated status and endorsed an anti-imperialist stance that rejected nationalism as a viable means of liberation, embracing instead a creative universalist ideal.
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Chakraborty, Arijit. "Love and Spirituality in Anita Desai’s ‘Cry, the Peacock’ and Rabindranath Tagore’s ‘Breezy April’." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 12. http://dx.doi.org/10.24113/ijellh.v8i2.10408.
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Rabindranath Tagore (1861-1941) was the first non-European and the first Indian to win the Nobel Prize for Literature in 1913. He was awarded the prize for Gitanjali. Tagore was a multi-faceted personality who not only composed poems, verses, short stories, novels etc but also sketched and painted with equal brilliance. As a flag-bearer, he presented the best of India to the West and vice-versa. In Breezy April, Tagore combines romanticism with spiritualism. On the other hand, Anita Desai (born-1937) is the youngest among the women novelists of eminence in India. The spiritual aspect of human life is at the centre of attention in her works. Women protagonists of fragile exterior and strong interior take the lead in Anita Desai’s works of fiction. Spirituality is an integral part of most of her works. In her first novel Cry, the Peacock (1963), Desai minutely depicts both love as well as deep spiritual intricacies.
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Dan, Manolescu. "Book Review: Bhattacharyya, M. (2020). Rabindranath Tagore’s Śāntiniketan Essays: Religion, Spirituality and Philosophy. London & New York: Routledge." Journal of Practical Studies in Education 2, no. 3 (2021): 12–15. http://dx.doi.org/10.46809/jpse.v2i3.25.
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Rabindranath Tagore (7 May 1861 – 7 August 1941) was the first non-European poet and lyricist who received the most coveted of international awards, the Nobel Prize for Literature in 1913, “because of his profound sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.” (www.nobelprize.org ) His most notable work highly praised and duly appreciated by The Swedish Academy was Gitanjali: Song Offerings (1912), a collection of poetry, but Tagore is also famous for having written a variety of genres, including drama, essay, novel, novella, short-story, dance-drama, and song.
 While Tagore is recognized today mostly for his poetry, his short stories also proved to be extremely popular in what is called the Bengali-language version of the genre, and his essays reveal another facet of his personality, and that is his philosophical thought in which he distinguished himself as a language innovator. Rabindranath Tagore’s Śāntiniketan Essays were translated and published by Medha Bhattacharyya in 2020 in a book celebrating Tagore’s “fundamental meditations on life, nature, religion, philosophy, and the world at large.” (Flyer, Bhattacharyya, 2020)
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Ivbulis, Viktors. "Only Western influence? The birth of literary Romantic aesthetics in Bengal." Acta Orientalia Vilnensia 9, no. 2 (2008): 145–57. http://dx.doi.org/10.15388/aov.2008.2.3703.
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University of LatviaMuch has been said about how fruitfully European aesthetics worked on the minds of Indian writers in the 19th century. For this reason Rabindranath Tagore (1861–1941), even before he turned twenty, in the eyes of some of his compatriots was already a Romanticist—‘the Shelley of Bengal’. Of course, he could not be Shelley because of the very different historical circumstances of India and England (in India at that time historically could not be born aesthetic rebels like Shelley). But what was implied in this assertion remains: in Bengali writing about Tagore and his embarkation upon new aesthetic approaches, almost always the view is expressed that this happened only because of foreign influences. The task of this paper is to show very summarily that such a conclusion may not be correct.
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Novillo-Corvalán, Patricia. "Global South Modernism: Tagore, Victoria Ocampo, and the Geopolitics of Horizontal Relations." Modernist Cultures 16, no. 2 (2021): 164–90. http://dx.doi.org/10.3366/mod.2021.0327.
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This article explores cultural dialogues between countries located in the (so-called) global South, focusing on India and Argentina through the nexus between the Bengali author, artist, and educationalist Rabindranath Tagore (1861–1941) and the Argentine writer, publisher, and feminist Victoria Ocampo (1890–1979). The article examines the dialectical tensions that arose out of their encounter in Buenos Aires in 1924 which, while forging productive cultural networks through the globalist paradigms proposed by Ocampo's modernist review SUR and Tagore's Bengal-inflected notion of visva-sahitya – as well as the latter's significant contribution to the Argentine cultural scene – it also brought to the fore the geopolitics of empire by foregrounding India's and Argentina's fraught colonial relations with imperial Britain. 1
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CHAKRABARTY, DIPESH. "Friendships in the Shadow of Empire: Tagore's Reception in Chicago,circa1913–1932." Modern Asian Studies 48, no. 5 (2014): 1161–87. http://dx.doi.org/10.1017/s0026749x13000413.
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AbstractThis paper supplies the historical context to the Indian poet Rabindranath Tagore's (1861–1941) first visit to the city of Chicago in January 1913 when he spoke at the University of Chicago and established life-long friendships with some of the literary personalities of the city. By focusing on how Tagore came to be received by the University authorities and on his friendship with Harriet Vaughan Moody (1857–1932), the widow of the American writer William Vaughn Moody, it also seeks to trace the role that the themes of ‘empire’ and ‘civilization’ played in determining how the poet was received, understood, and admired by his foreign friends.
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Das Gupta, Uma. "Using a Poet’s Archive to Write the History of a University: Rabindranath Tagore and Visva-Bharati." Asian Studies, no. 1 (December 1, 2010): 9–16. http://dx.doi.org/10.4312/as.2010.-14.1.9-16.
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The poet Rabindranath Tagore (1861–1941) was the founder of an institution that we know today as Visva-Bharati University at Santiniketan in rural southern Bengal. The making of this institution was central to his concerns to the end of his life. He offered it as an alternative to the colonial system of education then prevailing in India. Starting it as an experimental school in 1901 he added an international university and an institute of rural reconstruction in 1921–1922. It was an education to bring city and village together by combining traditional knowledge with scientific experimentation. This endeavour is a relatively unexplored dimension of Tagore’s biography. In this presentation I shall examine how the making of this institution was a source of dialectical tension in Tagore’s life, and how he engaged with this tension in thought and action.
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KONAR, RAJDEEP. "Staging Tagore Beyond the Spectres of Authority: Suman Mukhopadhyay's Falguni: Suchana (2001)." Theatre Research International 45, no. 3 (2020): 281–96. http://dx.doi.org/10.1017/s0307883320000279.
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This article intends to critique the spectres of authority which haunt theatrical interpretations of Rabindranath Tagore's (1861–1941) plays. As Tagore is a cultural icon, since even before his demise his plays have been made sites for exercising cultural and institutional authority. A consequent uneasy anticipation of denunciation or censorship has essentially deterred theatre directors from creatively interpreting and staging his plays. In terms of discourse also, there has been a spiral of silence regarding the presence of such authority. It is only since the beginning of the twenty-first century, after the termination of the copyright to Tagore's works, that the situation has lightened considerably. This article deals with the above phenomenon in two segments. While the second segment provides a close analysis of one of the first productions to radically subvert the status quo regarding the creative staging of Tagore's plays, the first provides a contextual, historical build-up to that moment. The article argues that in dramatic theatre authority is often validated on the basis of an ‘archival logic’ of thinking which requires systematic dismantling.
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Sumaryana Putra, I. Komang, and Dian Rahmani Putri. "COMPARATIVE ANALYSIS OF TRANSLATION BETWEEN THE SOURCE LANGUAGE (SL) AND THE TARGET LANGUAGE (TL) IN TAGORE’S POETRY: GITANJALI, SONGS OF OFFERINGS." Lingual: Journal of Language and Culture 4, no. 2 (2017): 22. http://dx.doi.org/10.24843/ljlc.2017.v04.i02.p04.
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The long lyrical poem entitled Gitanjali, Songs of Offerings written by Rabindranath Tagore (1861 – 1941) is very interesting and has a deep philosophical thought. In this occasion, Part LVII is selected to be analysed. This poetry was translated into Indonesian by Amal Hamzah in 1952, which is used as the target language (TL). The approach us ed is from literary criticism (intrinsic and extrinsic) and from perspective of translation theories. Based on the analysis, obviously, we can see that a single word may have various senses and those are signalled by the context. Especially in poetry, it is enriched by figurative senses. The process of translating poetry absolutely cannot ignore the message of the source language (SL); however, reminding that there is no 100% synonymy between words in every language, the translating process must notice the intrinsic sight of the poem. We cannot judge whether a translation is bad, better or good, especially translation in poetry, particularly the lyrical poem. In this case, some strategies can be conducted such as: translation shifts, lexical translation, idiomatic translation, borrowing, etc., which can be used to naturalize the poetry translation and to achieve the best readability of the TL text.Keywords: Gitanjali, Lyrical Poem, Source Language, Target Language
Dissertations / Theses on the topic "Tagore,Rabindranath,1861-1941 - Influência"
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Bezerra, Emília Passos de Oliveira. "A liberdade nomeada: leituras de Cecília Meireles para Cânticos." http://www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/2909.
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BEZERRA, Emília Passos de Oliveira. A liberdade nomeada: leituras de Cecília Meireles para Cânticos. 2007. 136 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2007.<br>Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T11:59:05Z
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Previous issue date: 2007<br>The dissertation examines the work Songs, Cecilia Meireles, highlighting the historical context-cultural, ideological and artistic of the twentieth century, from the close relationship of literature produced by the poet with the mysticism of the philosophies of the East, in particular, Buddhism, with the mystical poetry of the Indian poet Rabindranath Tagore and the speeches of peace Mahatma Gandhi and Vinoba Bhave. The work of the poetic corpus, still uses to support the writer Complete Poetry, the critical study conducted by Amy Zagury, "Cecília Meireles: news biographical, critical study, anthology, literature, discography, the score," and in the testimony of letters, interviews, books and chronic prefaciados as princiapal refuge. Using the methods descriptive, analytical, interpretive-comparison, the search is divided into five stages, where: "Initial considerations", "The twentieth century", "Songs - named Freedom," "The Bilbioteca way" and, finally, as a conclusion, "The uniqueness of mystical corner."<br>A dissertação analisa a obra Cânticos, de Cecilia Meireles, destacando o contexto histórico-cultural, ideológico e artístico do século XX, a partir do estreito relacionamento da literatura produzida pelo poeta com o misticismo das filosofias do Oriente, em específico, o Budismo, com a poesia mística do poeta indiano Rabindranath Tagore e os discursos pacifistas de Mahatma Gandhi e Vinoba Bhave. O trabalho parte do corpus poético, utiliza ainda como apoio a Poesia Completa da escritora, o estudo crítico realizado por Eliane Zagury, em "Cecília Meireles: notícia biográfica, estudo crítico, antologia, bibliografia, discografia, partitura", e os depoimentos constantes de cartas, entrevistas, livros prefaciados e crônicas como amparo princiapal. Utilizando os métodos descritivo, analítico, interpretativo-comparativo, a pesquisa divide-se em cinco momentos, sendo: "Considerações iniciais", "O século XX", "Cânticos - A Liberdade nomeada", " A Bilbioteca via" e, finalmente, como conclusão, "A singularidade do canto místico".
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Banerjee-Dalgalian, Gita. ""Le Laurier-sang" de Rabindranath Tagore : problématique d'une traduction théâtrale." Paris 4, 1987. http://www.theses.fr/1987PA040049.
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Le sujet de cette thèse est le traitement des problèmes de traduction du bengali en français d'une œuvre dramatique de Tagore, et de sa réception en pays européen. Ce traitement tient compte de la distance des civilisations et des différences linguistiques qui peuvent séparer une œuvre littéraire bengalie d'un public français. Il s'oriente, en outre, sur les exigences scéniques de l'œuvre ainsi que d'après les traits pertinents de de la pensée de Tagore. La première partie de ce travail apporte des solutions concrètes aux problèmes de traduction rencontres dans "Le Laurier-sang" (Roktokorobi) la deuxième partie situe Tagore dans la continuité du théâtre indien et fait l'étude de la composition du "Laurier-sang" en relation avec les traditions théâtrales, classiques et populaires. La symbolique de la pièce est élucidée notamment à la lumière de deux courts textes de l'auteur, traduits également dans la première partie. Enfin elle fait l'exégèse des chants de la pièce définissant leur rôle et leur sens symbolique. La troisième partie fait l'analyse et le commentaire d'une sélection représentative des problèmes résolus dans la première partie selon la classification suivante : problèmes relatifs aux faits de civilisation, problèmes à dominante linguistique, problèmes relatifs à une intention particulière de l'auteur. Dans la conclusion sont apportés des éléments de réflexion sur l'actualité de cette pièce écrite en 1923 à la suite d'un voyage de l'auteur en Europe et sur les champs de bataille de la Première guerre, ainsi qu'aux Etats-Unis des années vingt. Ce fait est décisif pour interpretation du "Laurier-sang"<br>The present thesis treats the problems of translation from Bengali into French with reference to the translation of a Tagore play and its reception in European countries. This treatment takes into account the cultural distance and the linguistic differences separating a Bengali literary work from the French public. It is also directed by the criteria of scenic necessities as well as by some fundamental currents of Tagore’s thought and poetry. "Le laurier-sang", French translation of the play "Roktokorobi" is the first part in which the problems have found real solutions. The second part situates Tagore in the continuity of the Indian theatrical traditions, classical as well as popular. The symbolic dimension of this play is elucidated mainly in the light of two short texts of the author, also translated in the first part. The second part contains also an interpretation of the seven songs of the play, defining their role and their symbolic significance. The third part analyses and comments a representative selection of translation-problems resolved in the first part. This analysis is accompanied by the following classification: problems related to cultural facts and phenomena, problems of mainly linguistic character, problems related to a particular intention of the author. The conclusion brings some elements of reflexion on the visionary character of this play written in 1923 following Tagore’s visit to European countries, to the battlefields of the first war and to the United States in 1920-21. His impressions of this voyage played a decisive role in the conception of this play and are of importance in its interpretation
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Dhar, Suranjita Nina. "Rabindranath Tagore's thoughts on education from a socio-political perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ37300.pdf.
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Chartier, Fabien. "Réception britannique et française du poète indo-anglais Rabindranath Tagore (1912 -1930) : utilisation d'un symbole et genèse d'un mythe." Rennes 2, 2004. http://www.theses.fr/2004REN20051.
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Le destin de Tagore est scellé en 1913 lorsqu'il remporte le Prix Nobel de Littérature pour un recueil de poésies trans-créées du bengali en anglais et révisées par Yeats. En Grande-Bretagne et en France, où il se rend à plusieurs reprises, rencontrant d'illustres confrères et enchaînant les conférences, il acquiert une solide réputation. Son œuvre suscite une réaction ambivalente de fascination et de répulsion, qui, après une couverture médiatique sans précédent pour un auteur asiatique, se confirme à l'extérieur des cercles élitistes. La division entre les partisans du poète et ses opposants participe à un clivage plus général dont les thèmes sont l'Orient mystérieux, mystique et spirituel, qui intrigue alors les intellectuels, la synthèse Est-Ouest promue précisément par Tagore et la colonisation qui subit les remous consécutifs au sursaut des nationalistes indiens. Les sentiments contrastés que Tagore éveille relèvent moins de la littérature que de l'idéologie et de la politique en cette période complexe où l'humanité va s'engager dans deux guerres mondiales et se soumettre aux dictatures, et où l'Inde, emmenée par Gandhi, recherche son indépendance. De 1912 à 1930, Tagore, écrivain, éducateur et artiste, devient un homme public dont on déforme volontiers les propos, que l'on tente de manipuler à des fins militantes et qui peut ainsi paraître contradictoire. Entre le symbole et le mythe, le rationalisme et le mysticisme, son aura a pénétré la mémoire collective avec plus ou moins de bonheur : encore vivace au Bengale, elle a cessé de charmer une France qui s'est donné peu de moyens de la raviver<br>Tagore's destiny was settled in 1913, when he won the Nobel Prize for Literature for a book of poems transposed from Bengali into English and edited by Yeats. In Britain and in France, which he visited several times, meeting famous writers and giving lectures, he built up a solid reputation. His work aroused an ambivalent reaction of fascination and repulsion, which, after coverage in the media unprecedented for an Asian writer, spread outside elite circles. The division between supporters of Tagore and his opponents arose within a wider ideological rift in which the points at issue were the mysterious, mystical and spiritual East, that was then puzzling many intellectuals; a synthesis of East and West for which Tagore was specifically calling; and colonisation, which was then threatened by Indian nationalists. The opposing reactions that Tagore provoked were less a matter of literature than of ideology and politics, at a peculiar time when mankind was about to become immersed in two world wars and subjected to dictatorships, and when India, led by Gandhi, was fighting for its freedom. From 1912 until 1930, Tagore, the writer, artist and educator, had become a public figure whose words were often distorted, whom people tried to manipulate for political reasons and who might therefore appear inconsistent. Between the symbol and the myth, rationalism and mysticism, the aura of Tagore has to a large extent remained as part of the world's collective memory: still very lively in Bengal, it has ceased to bewitch France, where little effort has been made to revive it
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Grimes, Linda S. "William Butler Yeats' transformations of eastern religious concepts." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530371.
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This study addresses the issue of William Butler Yeats' use of Upanishad philosophy in his poetry. Although many analyses of Yeats' art vis-a-vis Eastern religion exist, none offer the thesis that the poet transformed certain religious concepts for his own purpose, thereby removing those concepts from the purview of Eastern religion. Quite the contrary, many of the analyses argue a parallel between Yeats' poetry and the religious concepts.In Chapter 1 this study gives a brief overview of the problem and proposes the thesis that instead of paralleling Eastern religious concepts, Yeats transformed those concepts; such transformations result in ideas which run counter to the yogic goal as expounded in the Upanishads.Chapter 2 summarizes yogic sources which help elucidate the concepts of Upanishad thought. Also Chapter 2 introduces various the critical analyses which present inaccurate conclusions regarding Yeats' use of Eastern religion.Chapter 3 explains certain Eastern religious concepts such concepts as karma and reincarnation and asserts that the goal of the discipline of yoga is self-realization.Chapter 4 discusses the poems of Yeats' canon which have been analyzed critically in terms of Eastern religious concepts and have erroneously been considered to parallel certain Eastern concepts. This chapter argues that Yeats' transformations resulted in an art which is chiefly based on the physical level of being, whereas the goal of yogic discipline places its chief emphasis on the spiritual level of being. Also it is argued that Yeats cultivated imagination, whereas the Eastern religious devotee cultivates intuition.Chapter 5 details the critical analyses which have erroneously argued the Yeatsian parallel to Eastern religion, showing how these critics have sometimes failed to understand concepts adequately and thus have misapplied them to Yeats' art.Chapter 6 contrasts Yeats' poetry with that of Rabindranath Tagore. Yeats failed to realize Tagore's motivation when Tagore referred to God. Yeats claimed that all reference to Cod was vague and that he disliked Tagore's mysticism. This lack of understanding on Yeats' part, I suggest, further supports the thesis that Yeats' use of Eastern religion constitutes transformations which do not reflect Upanishad philosophy but instead reflect a Yeatsian version of those concepts--a version which many critics have not clearly elucidated.<br>Department of English
Books on the topic "Tagore,Rabindranath,1861-1941 - Influência"
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Dutta, Krishna, and Andrew Robinson. Rabindranath Tagore: An anthology. St. Martin's Press, 1997.
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Tagore, Rabindranath. Rabindranath Tagore, selected writings for children. Edited by Chaudhuri Sukanta 1950- and Ghosha Śaṅkha. Oxford University Press, 2002.
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Tagore, Rabindranath. Selected letters of Rabindranath Tagore. Cambridge University Press, 1997.
Find full textBook chapters on the topic "Tagore,Rabindranath,1861-1941 - Influência"
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Sharma, Arvind. "Universal Religion in the Life and Thought of Rabindranath Tagore (1861–1941)." In The Concept of Universal Religion in Modern Hindu Thought. Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378919_8.
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Raina, M. K. "Rabindranath Tagore 1861–1941." In Encyclopedia of Creativity. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00214-4.
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Gupta, Kalyan Sen. "Rabindranath Tagore 1861–1941." In Key Thinkers on The Environment. Routledge, 2017. http://dx.doi.org/10.4324/9781315543659-26.
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DUTTA, KRISHNA, and ANDREW ROBINSON. "RABINDRANATH TAGORE 1861–1941." In Fifty Major Thinkers on Education. Routledge, 2002. http://dx.doi.org/10.4324/9780203467121-40.
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"Rabindranath Tagore (1861-1941)." In Voces de la mística I. Herder, 2011. http://dx.doi.org/10.2307/j.ctvt9k0wh.28.
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"Introduction: The Drama of Rabindranath Tagore (1861–1941)." In The Politics and Reception of Rabindranath Tagore's Drama. Routledge, 2014. http://dx.doi.org/10.4324/9781315752860-5.
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Dasgupta, Subrata. "I Compute, Therefore I Am." In It Began with Babbage. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199309412.003.0015.
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The 1940s witnessed the appearance of a handful of scientists who, defying the specialism characteristic of most of 20th-century science, strode easily across borders erected to protect disciplinary territories. They were people who, had they been familiar with the poetry of the Nobel laureate Indian poet–philosopher Rabindranath Tagore (1861– 1941), would have shared his vision of a “heaven of freedom”: . . .Where the world has not been broken up into fragments by narrow domestic walls. . . . Norbert Wiener (1894–1964), logician, mathematician, and prodigy, who was awarded a PhD by Harvard at age 17, certainly yearned for this heaven of freedom in the realm of science as the war-weary first half of the 20th century came to an end. He would write that he and his fellow scientist and collaborator Arturo Rosenbluth (1900–1970) had long shared a belief that, although during the past two centuries scientific investigations became increasingly specialized, the most “fruitful” arenas lay in the “no-man’s land” between the established fields of science. There were scientific fields, Wiener remarked, that had been studied from different sides, each bestowing its own name to the field, each ignorant of what others had discovered, thus creating work that was “triplicated or quadruplicated” because of mutual ignorance or incomprehension. Wiener, no respecter of “narrow domestic walls” would inhabit such “boundary regions” between mathematics, engineering, biology, and sociology, and create cybernetics, a science devoted to the study of feedback systems common to living organisms, machines, and social systems. Here was a science that straddled the no-man’s land between the traditionally separate domains of the natural and the artificial. Wiener’s invention of cybernetics after the end of World War II was a marker of a certain spirit of the times when, in the manner in which Wiener expressed his yearning, scientists began to create serious links between nature and artifact. It is inevitable that this no-man’s land between the natural and the artificial should be part of this story.