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Collins, Michael. "Rabindranath Tagore and the west, 1912-1941." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496433.
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Banerjee-Dalgalian, Gita. "Le "Laurier-sang" de Rabindranath Tagore problématique d'une traduction théâtrale /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37602573f.
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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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Khanum, Suraiya. "Gender and the colonial short story: Rudyard Kipling and Rabindranath Tagore." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282819.
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Gender is given a new definition that differs from the feminist conceptualization of the issue in this study of selected short stories by Rudyard Kipling (1865-1936) and Rabindranath Tagore (1865-1941). In the colonial ordering or pervasive power mechanism, gender regulates all men and all women. Gender is just as manifest in race, class, rank, manners, and beliefs as it is in sexual ordering. My new coinage of the term "genderization" is defined as an enforcement of power relationships and indicates either a negative or positive effect on society within colonial practices. Literature seen as an avenue of creative genderization leads to a fresh assessment of Kipling and Tagore. Despite a history of divisive practical conditions and a negative discursive heritage, a creative and conciliatory transformation of gender is contained within the short fiction of Kipling and Tagore. Indispensable in understanding postcolonialism, yet not credited for it, Kipling spoke from the forum of the ruling Anglo administration and indirectly undermined the rigid race policy. This author deserves more recognition for the cross cultural healing gestures within his Indian short stories. Tagore, the first non-European Nobel Prize winner and the father of Indian modernism, spoke in a muted manner to appease the persistent censorship and the hostilities of the orthodox Hindus against his desired modernist reforms. Well known in the West for his lyrical poetry, easily accredited as the spiritual mentor of Gandhi, Tagore is much less understood as a writer who used short story as a positive vehicle of reform. The idea of "structuration" proposed by Anthony Giddens, defines society in three distinct yet interactive structures that cover the practical world (political, economic, bureaucratic, and military), the discursive tradition (religion, literature, media, and education), and the unconscious (myth, music, cultural beliefs). Giddens' kinetic, inclusive, and flexible model helps to elucidate these cryptic short stories written during a transitional period of high imperialism. Biographical and sociopolitical data are intertextually brought together to reveal the subtexts of the short stories. These two dissimilar authors, responding to the great paradigm shift of modernism, nonetheless project an ideal world of rational and material progress in an international global union.
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Houghteling, James L. "Rabindranath Tagore, John Dewey, and the Unity of Mind and Culture." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/905.
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What role does education play in a democratic society? How can the right sort of education help foster a free, responsible, and caring citizenry? How can education begin to reconcile and incorporate intellectually complicated and seemingly opposite ideas and theories, such as idealism and pragmatism, localism and globalism, thought and action? In my thesis, I aim to reveal, and perhaps begin to answer, these larger ideas pertaining to the role of education in society. Moreover, I address these questions through the lens of Rabindranath Tagore and John Dewey, two thinkers and practitioners at the turn of the twentieth century who sought to use education to find solutions to problems facing their respective local communities, but also the global community.
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Marsh, Christine Elizabeth. "Towards one world : a journey through the English essays of Rabindranath Tagore." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/11121.
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Tagore is viewed through the medium of five books of essays which he wrote in English. Most of the essays are the texts of lectures Tagore delivered to audiences in England and America. They are important because they constitute what Tagore actually communicated to audiences and readers in the West during his tours outside India. The five books are taken chronologically in the chapters of this thesis, each one being a stage on Tagore’s journey. They are read in conjunction with information about his activities in India prior to each particular tour, his encounters during the trip, and any relevant correspondence, in order better to understand the ideas he expresses. A key finding from close study of the essays is the extent to which Tagore draws on his understanding of the evolution and special capabilities of the human species. This philosophical anthropology, or ‘deep anthropology’, is used to describe what mankind ought to be, as well as what we are. Tagore was critical of what he considered the dehumanising economic systems of the West, which were supported by educational methods that focussed narrowly on training people to participate in such systems. The ideal behind the design of Tagore’s own practical projects was a modernised and less restrictive form of traditional society, comprising networks of self sustaining villages or small communities, where children and young people are encouraged to develop their natural curiosity and creativity, and to express themselves freely with body and mind. Tagore’s approach to education and rural reconstruction, if implemented widely as he intended, could lead to a radical redesign of society, a turning of the world upside down. The aim of my dissertation is to help encourage a wider appreciation of Tagore’s pioneering work in this field.
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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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Jelnikar, Ana. "Towards universalism : Rabindranath Tagore and Srecko Kosovel : a joint perspective in a disjointed world." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/29544/.
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This thesis is the first in-depth exploration of the connection between the Indian poet Rabindranath Tagore (1861-1941) and the Slovene poet Srecko Kosovel (1904- 1926). It proceeds from a key observation that, in spite of their differences, they share a worldview that derives from a structurally similar positioning within their respective historical situations. Both wrote from the 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. While seeking to establish the reasons, relevance, and manner in which Tagore inspired Kosovel, the thesis also traces broader parallels and shared concerns between the two poets, situating their "universalisms" in their respective culture-historical contexts. The introduction and chapter one lay out the comparative and theoretical framework, exploring "universalism" in its embattled relationship with "nationalism" in the context of anti-imperialist/colonial struggles to arrive at a workable definition with which to approach the two poets. Part II looks at the personal and historical factors shaping Tagore's theory and practice of liberation, as he came to reject nationalism and deconstruct the binary logic of colonial modernity so as to reposition India and the individual in a global framework. The importance of his post-Nobel Prize travels for his world vision is explored in conjunction with Tagore's reputation in the West, particularly in Europe's Central and Eastern peripheries, such as Slovenia. Part III introduces Kosovel and establishes the framework conjoining the two poets across the vastly different culturo-geographic space. Kosovel's reading of Tagore is framed through the paradigms of (cross-colonial) situational identifications and global modernity. It proposes a new reading of Kosovel's poetry, analyzing Kosovel's shift from a romantic to modernist sensibility in the light of his endorsement of Tagore's universalist idea(l)s.
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Morales, Puga Agus. "Luz y materia. La poesía última y la pintura de Rabindranath Tagore como embriones de la modernidad india." Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/96702.
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La obra del poeta indio Rabindranath Tagore (1861-1941) ha recibido notable atención académica pero su recepción en Occidente se ha visto dificultada por problemas de traducción y por una interpretación esencialista de la etapa Gitanjali u Ofrenda lírica, que precedió a la concesión del Premio Nobel de Literatura al escritor bengalí en 1913. La penetración de su vasta obra en Occidente y en particular en el mundo hispano es desigual e ignora tanto su obra última como sus incursiones en otros ámbitos como la pintura, la filosofía o la narrativa.
Esta tesis hace dialogar la lírica última (1937-1941) y la pintura de Tagore (1924-1941). El estudio se centra en libros de poesía prácticamente desconocidos para el lector occidental: Prantik, Senjuti, Akashpradip, Nabajatak, Rogsayay, Arogya, Janmadine y Sesh Lekha; y en las aproximadamente 2.300 obras pictóricas de Rabindranath, que incluyen dibujos y pinturas.
De los poemas postreros, la tesis destaca su “giro lingüístico oriental”, es decir, la intensa conciencia lingüística del escritor bengalí en sus últimos años, que le hace plantearse cuestiones fundamentales de la filosofía del siglo XX como la cortedad del decir y el poder del lenguaje. Es necesario el adjetivo “oriental” porque sus versos conservan el sentido de la inmanencia y un panteísmo poético construido a partir de la innovación métrica. Sus poemas, que décadas atrás eran largos y densos, tienden hacia el epigrama y la meditación.
Luz y materia propone una mirada fresca a los “papeles” de Tagore, llamados así porque el escritor bengalí dibujó y pintó casi siempre sobre esta superficie. La tesis huye de los planteamientos que someten su pintura a su ingente obra escrita y da plena autonomía al medio artístico. En concreto, sitúa al legado pictórico de Tagore como uno de los tres vértices de la modernidad artística india, junto a las obras de Jamini Roy y Amrita Sher-Gil. El embrión de su tardía obra plástica es el manuscrito del libro de poemas Purabi (1925). Sus primeras creaciones fantásticas, que nacen de la letra bengalí, van independizándose con los años y destacan por usar un vocabulario indio en la órbita del expresionismo y el primitivismo.
Este trabajo comparativo señala a la poesía última y la pintura de Tagore como un corpus fundamental para la construcción del lenguaje moderno poético y pictórico de la India. Establece que el diálogo entre los dos ámbitos fue imprescindible para espolear la exploración de los límites expresivos de ambos. Es un diálogo transformador que parte de una reflexión sobre el lenguaje poético y pictórico y que convierte este legado en un embrión de la modernidad india.
Una de las aportaciones más originales de la tesis es la propuesta de dos marcos teóricos para el estudio de la cultura india. La modernidad literaria india (1800-1941) se caracteriza por la lenta desaparición de la poesía oral, el cambio de paradigma lingüístico propiciado por la introducción del inglés como nueva lengua de prestigio y la revisión crítica de la civilización india. La modernidad artística (1850-1941) tiene como ejes la aparición fugaz del realismo victoriano, la respuesta orientalista y la superación de ambos horizontes. En cuanto a Tagore, la tesis arroja luz sobre una región pálida de su poesía y descubre su pintura como un pico oculto del arte universal. En el texto se incluyen por primera vez poemas del escritor indio traducidos directamente del bengalí al español.
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Mohite, Ragini Indrajit. "Constructing the modernist self : nationhood and domesticity in the writings of Rabindranath Tagore and W.B. Yeats." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13287/.
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This thesis addresses W.B. Yeats’s and Rabindranath Tagore’s engagements with identity in Ireland and India respectively. It focuses on the authors’ concerns with nationalism and the domestic literary and cultural traditions of their nations as combined in their constructions of identity in their poetry and fiction. It is predominantly concerned with their work from the beginning of the twentieth century, a point at which they come to address nationalism and nationalist responses to texts with some trepidation and critique. My first chapter deals with both authors’ interrogation of nationalist responses to creative production; and the second with the creative process. I argue that the nationalist mind-set is bound up with their collaboration—the English translation of Gitanjali—and it is this which establishes their entry into transnationality. Despite their determined transnationalism, however, I contend that neither author is free of the nationalism that was a significant part of their contemporary period and their personal histories. The next three chapters examine this concern with production of art and identity through a fraught nationalist approach as it manifests in the primary social unit — the family. Examining the female voice, the male construction of home and the child, I argue that Yeats and Tagore are invested with reconstructing social systems and in making the poet-hero preeminent in their new literary models. Their concern with identity and creativity manifests itself in the form of lineage and inheritance. Finally, I argue that Tagore imagines an articulate poet child as his successor while Yeats establishes creative productions themselves as his inheritors. Ultimately, these inheritances sustain the complex and sometimes contradictory political and creative engagements through which they are formed. I demonstrate that reading Yeats and Tagore comparatively allows one to make transnational and critical the hitherto nationalised valences of identity and selfhood.
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Clark, Melanie R. "Design without Borders: Universalism in the Architecture of Rabindranath Tagore’s “World Nest” at Santiniketan." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8485.
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Rabindranath Tagore, Nobel Prize winning Bengali poet and polymath, is an eminent figure in the history and culture of modern India. As the Indian Independence Movement grew in the early twentieth century, Tagore used his renown to establish a university in the rural community of Santiniketan: Visva-Bharati, “where the world meets in a single nest.” All of Tagore’s efforts — artistic, educational, and social — were informed by a universalist philosophy that he developed based on the Upanishads. Tagore’s philosophy facilitated unity between all creation, including harmony between the peoples of humanity and between humanity and the natural world. The architecture of Santiniketan is a tangible manifestation of Tagore’s philosophy. Designed under his direction by his associates Nandalal Bose, Rathindranath Tagore, and Surendranath Kar, Tagore’s residences at Santiniketan, in particular the houses Udayan and Shyamali, illustrate Tagore’s universalism in two primary ways. The designs unify a diverse set of traditions within a Modernist framework, and provide for maximum interaction between indoor and outdoor spaces. Udayan is a synthesis of Indian, Japanese, Javanese, and European designs, finding commonalities in the traditions through abstraction and modern materials. Shyamali also draws from a variety of influences and, in service to a connection between man and nature, the design blurs the boundaries between indoors and outdoors by using the natural material of mud. The architecture of Santiniketan, because it is a product of Tagore’s unique values, does not fit easily within the major trends of Modernist architecture in India or beyond. It is best evaluated as a single thread in the contrapuntal nature of Modernism.
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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
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Neima, Charlotte Anna. "Dartington Hall and social reform in interwar Britain." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289723.
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In the wake of the First World War, reformers across the Western world questioned laissez-faire liberalism, the self-oriented and market-driven ruling doctrine of the nineteenth century. This philosophy was blamed, variously, for the war, for industrialisation and for urbanisation; for a way of life shorn of any meaning beyond getting and keeping; for the too great faith in materialism and in science; and for the loss of a higher, transcendent meaning that gave a unifying altruistic or spiritual purpose to individual existence and to society as a whole. For many, the cure to these ills lay in reforming the liberal social framework in ways that made it more fulfilling to the whole person and that strengthened ties between individuals. Dartington Hall was an outstanding practical example of this impulse to promote holistic, integrated living. It was a well-financed, internationally-minded social and cultural experiment set up on an estate in South Devon in 1925 by American heiress Dorothy Elmhirst (née Whitney) and her second husband, Leonard, son of a Yorkshire squire-parson. The Elmhirsts' project for redressing the effects of laissez-faire liberalism had two components. Instead of being treated as atomised individuals in the capitalist market, participants at Dartington were to achieve full self-realisation through a 'life in its completeness' that incorporated the arts, education and spirituality. In addition, through their active participation in running the community, they were to demonstrate how integrated democracy could bring about the perfection of individuals and the progress of society as a whole. The Elmhirsts hoped that Dartington would provide a globally applicable model for a better way of life. This thesis is a close study of Dartington's interlinked constellation of experiments in education, the arts, agriculture and social organisation - experiments that can only be understood by tracing them back to their shared roots in the idea of 'life in its completeness'. At the same time, it explores how Dartington's philosophy and trajectory illuminate the wider reform landscape. The Elmhirsts' community echoed and cross-pollinated with other schemes for social improvement in Britain, Europe, America and India, as well as feeding into the broad social democratic project in Britain. Dartington's evolution from an independent, elite-led reform project to one split between state-led and communitarian reform matched the trajectory of other such enterprises begun in interwar Britain, making it a bellwether of changes in reformist thinking across the century.
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Žielytė, Jūratė. "Indų mitologijos motyvai Vytauto P. Bložės, Donaldo Kajoko ir Rabindranato Tagorės poezijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100617_112913-52106.
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Vytautas P. Bložė, Donaldas Kajokas ir Rabindranathas Tagorė yra gerai susipažinę su indų Vedų vaišnavizmo mitologija, todėl savo eilėraščiuose įdomiai ir gražiai ją taiko, atskleisdami įvairių reiškinių prasmes ir praturtindami lietuvišką poeziją. Daugiausiai dėmesio poetai skiria mėnuliui, sielos ir Supersielos ryšiui ir Dievo Krišnos archetipui, mažiau – šventam medžiui ir gėlei. Kajokas daugiau dėmesio skiria mėnuliui. Bložės mėnulis skatina dvasinį augimą ir neleidžia pasiduoti materialiai tamsai, taip pat dieviškas asmuo su begaliniu pasauliu, Kajokui jis – ne tik šviesa, lemtis bet ir pats Dievo Asmuo (su mėnulio veidu ir akimis), grojantis fleita, taip pat moters ir vaiko įvaizdis, kas atitinka indų mitologiją, o Tagorei mėnulį atstoja Pats Dievas Krišna, turintis mėnulio veidą. Jų mėnulis yra nuolatos veikianti dieviška asmenybė, kas būdinga indų mitologijai.
Poetams labai svarbus sielos ir Supersielos santykio motyvas. Visi trys remiasi Vedų šventraščių alegorija ir šį įvaizdį pateikia kaip du paukštelius. Paukštelis Supersiela nuolatos pataria, ką daryti, kad jos antrininkė išsivaduotų nuo žemų įgeidžių ir pasiektų aukščiausią tobulumą, atgaivindama dievišką draugystę. Tagorės paukštis yra be galo laimingas, būdamas kartu su Viešpačiu, Bložė stebi šiuos paukštelius, o Kajoko paukštis nelaimingas, nes neįsiklauso į Supersielą. Kajoko ir Tagorės Supersiela ir siela dar lyginamos su saule ir jos šviesa, Supersielos nebuvimą sielos gyvenime – su... [toliau žr. visą tekstą]<br>Vytautas P. Bložė, Donaldas Kajokas and Rabindranath Tagore are well acquainted with indian Vedic mythology, therefore in their poetry they adjust it interestingly and beautifully, by revealing the meanings of different phenomenons, and in this way enriching lithuanian poetry. Most of the attention the poets allot to the moon trop, the relationship between the soul and the Supersoul and the archetype of God Krishna, less attention – to the sacred tree and flower. Kajokas attaches great importance to the moon. Bložė's moon induces spiritual growth and does not allow to yield to material darkness, it is also divine person with limitless world. To Kajokas it is not only the light, destiny, but also God (with moonlike face), who plays the flute, it is the trope of a woman and a child too. And for Tagore the place of the moon takes God Krishna Himself with His moonlike face. Their moon is always acting divine person, what is the characteristic of indian mythology.
The motive of the relation between the soul and the Supersoul is very significant to the poets. All three of them lean on the allegory of Vedic scriptures and present this trop as two birds. The bird Supersoul always advises what to do for Her minor to make itself free from low whims, by reviving divine friendship. Tagore's bird is endlessly happy being together with the Lord, Bložė observes these birds and Kajokas' bird is unhappy, because it doesn't heed to the Supersoul. Kajokas' and Tagore's Supersoul and... [to full text]
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Rosén, Felix. "Kabīrs många ansikten : En analys av Bhisham Sahnis dramatext Kabirā khaḍā bazār meṃ". Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414360.
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Kabīr stands as one of the most, if not the most, influential nirguṇbhakti poet of the so-called Sant movement in northern India during the 15th century. Even though his fame is far and widely spread, there is no extensive historical evidence regarding his own life. The understanding one might have surrounding Kabīr is mostly inspired by his poems, or following the information which is available through the rich traditions regarding Kabīr, mostly authored by his followers in the Kabīr Panth. His critical view on high caste society, and rough rhetoric regarding the institutionalized religious traditions of his era, made him a victim of hate and violence during his lifetime. After his death, this rough rhetoric and critical view, ignited a full on dispute between Hindus and Muslims on the subject of which group he belonged to. The teachings of Kabīr has not only sparked an interest in the field of academia but also in movies, literature and theater alike. The latter is the main subject of interest for this paper. The renowned Indian writer Bhisham Sahni has during his life been recognized as one of the most influential writers in the so-called Nayī Kahānī movement, which sprung from a new found vision of the future after Indian independence 1947. Sahnis is mostly famous for his novels and short stories, with such titles as Tamas and Amṛtsar ā gayā hai. But in this paper we shall instead take a closer look into his play Kabirā khaḍā bazār meṃ and how Kabīr is portrayed and understood by Sahni, as well as, if and how Sahni’s Kabīr can be understood within a comparative analysis with how he is portrayed in the introduction to Rabindranath Tagore’s One hundred poems of Kabir by Evelyn Underhill and in Linda Hess’s The Bījak of Kabīr.
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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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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.
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Kamal, Sabrina Sharmin. ""Come on powerful, come on my fresh green" : representations of the child and constructions of childhood in Rabindranath Tagore's writings for children." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267967.
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The present study investigates Asia’s first Nobel Laureate Rabindranath Tagore’s (1861-1941) writings for children, situating his work in the tumultuous time of colonial India marching towards independence. The study makes an original contribution to Tagore scholarship and the field of children’s literature arguing that Tagore’s designated protagonist, the Bengali child, subverts social and political structures of power and authority, and is a vehicle for the author’s hopes for future. The discourse of Tagore’s literature for children posits, hopes for, and construes an implied child reader - the imagined nation’s future citizens. His constructions of childhood, the study claims, are symbolic, oscillating between the reflective and the transformative and synthesising the author’s intentions, fears, desires, values and attitudes towards childhood. In order to reach its overarching conclusions, the present study has considered the political and social contexts of the original production of the texts which is reflected in the study’s theoretical assumption - the historicist reading of childhood informed by postcolonial and power-oriented theories of children’s literature. Close reading of a selection of Tagore’s writings for children suggest that Tagore’s own ideologies about childhood were decisively shaped by the colonial time and the colonised place in which he lived, and his images of childhood concentrate on physical landscapes of the indigenous Bengal in order to construct an imagined decolonised landscape, and form consciousness of national identity. The present study has also argued that Tagore’s fictional world(s) of children are a result of restorative re-imagining and re-inventing, not just manifestation of his personal grief and experiences. Additionally, Tagore has employed fictive children for a variety of conflicting and complementary uses: mighty and empowered children in fantasy critique fascist regimentation, but their images are juxtaposed elsewhere with realistic portrayals of helpless and disempowered children who are unable to seek agency against societal oppression. Tagore’s persistent but persuasive portrayals of uninspired children in mechanised colonial education and of coercive teachers and teaching methods illuminate his educational ideologies and confirm a prescriptive authorial presence in the narrative. Yet, the present study has contended that Tagore’s imagined childhood is an empowered time and space in which fictive children are able to acquire agency and self-awareness through a variety of pleasurable and unpleasurable experiences, functioning as a democratic channel where child-adult power relations are constantly being negotiated.
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Sengupta, Mahasweta. "Colonial poetics: Rabindranath Tagore in two worlds." 1990. https://scholarworks.umass.edu/dissertations/AAI9110213.
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The Nobel Prizewinner Rabindranath Tagore (1861-1941) wrote in Bengali and translated his own poems into English. Rabindranath's work in Bengali revolutionized the indigenous literary tradition, but little or none of his Bengali style is visible in the translations he produced for an English audience. He addressed a different reader when writing for the English, and an audience that he understood in a specific way because of the Anglo-Indian colonial context and the image that it presented of English language and its culture. Rabindranath had two distinct aesthetic and cultural ideologies, and he was aware of the radical split in this understanding of the Other, or of the British colonial presence in India. The present study examines the way that this ambivalence in comprehending the motivations of the colonizers was created and manipulated by colonial policies. Like many others of his generation, Rabindranath Tagore believed in the "ideal" presence of the English as it was represented in English literature. This faith generated a perception of two distinct kinds of English: the "petty" and the "great." While translating, he had in mind the constituency of the "great" English who formed an ideal world of culture. Towards the end of his life, he became disillusioned with the deceptive cultural transactions implied in colonial poetics.
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Harrison, Luvada Anthonette Fisher Douglas. "Liriche vocale da salotto di Franco Alfano Lyric vocal songs for the salon of Franco Alfano /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-01172007-233226/.
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Treatise (D.M.A.) Florida State University, 2006.<br>Advisor: Douglas L. Fisher, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-22-2007). Document formatted into pages; contains 65 pages. Includes biographical sketch. Includes bibliographical references.
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Huang, Wei-Lin, and 黃威霖. "Civilization Differences and Modernity——Rabindranath Tagore’s Political Ideals and His Perspective on Chinese Civilization." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/29810016113343159036.
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碩士<br>國立臺灣大學<br>政治學研究所<br>98<br>For most of the contemporary Chinese scholars, the tempestuous debates among Chinese intellectual community induced by Rabindranath Tagore’s visit to China in1922 is no less a misunderstanding of Tagore’s words than a burst of blind hostility against Tagore. However, beyond the ‘misunderstanding’, it remains a difficult problem to locate Tagore’s thoughts in any intellectual or political position; hence numerous researchers take “ambivalence” as the character of Tagore’s thought.
Tagore and his Chinese criticizers shared a common problem besides the pressure of the invasion of Western civilization: to compete with the West in the name of “modernity” without losing their civilization particularity, identities and dignities. However, the perspectives on civilizations Tagore and his Chinese criticizers share were not in agreement, inconsonance was obvious among them since their visions of “modernity” were divergent.
To understand Tagore’s ideals developed from his perspective on civilizations, this thesis will first analyze how Tagore had been influenced by India’s colonial circumstances and the circulation of Orientalism knowledge. Secondly, it will elucidate how Tagore integrated his universal ideals, particularity of Indian civilization and the picture of world-politics together, and then developed his civilization perspective and political ideal of “Pan-Asianism.” Finally, through analyzing how 1920s Chinese intellectuals understand Tagore, I will argue that the debates aroused by Tagore’s visit represented different expectations of “modernity” among Tagore and his criticizers.