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Books on the topic 'Theory of rasa'

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Published: 24 April 2022

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1

Acoustical perspective on raga-rasa theory. New Delhi: Munshiram Manoharlal Publishers, 2000.

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2

Rasa in aesthetics: An application of rasa theory to modern western literature. New Delhi: D.K. Printworld, 1997.

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3

Prasad, Gupteshwar. I.A. Richards and Indian theory of Rasa. New Delhi: Sarup & Sons, 1994.

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4

Some unexplored aspects of the Rasa theory. Delhi: Vidyanidhi Prakashan, 1996.

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5

"Rasa" Seminar (1982 Pātan, India). Some aspects of the Rasa theory: A collection of papers read at the "Rasa" Seminar. Delhi: B.L. Institute of Indology, 1986.

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6

El-ʻAshiy, Abdurrahman. Makrifat Jawa untuk semua: Menjelajah ruang rasa dan mengembangkan kecerdasan batin bersama Ki Ageng Suryomentaram. Jakarta: Serambi Ilmu Semesta, 2011.

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7

Āśraya rāgamr̥ta -: Aashraya ragamrit. Kathmandu]: Saṅgītāmr̥ta Prakāśana Samiti, 2011.

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8

Harīśa, Tivārī. Hindustānī saṅgīta meṃ Pūrvī-Thāṭa ke rāga. Naī Dillī: Rāja Pablikeśansa, 2010.

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9

Sandhi prakāśa rāga. Naī Dillī: Sañjaya Prakāśana, 2004.

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10

Harīśa, Tivārī. Hindustānī saṅgīta meṃ Pūrvī-Thāṭa ke rāga. Naī Dillī: Rāja Pablikeśansa, 2010.

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11

Moutal, Patrick. A comparative study of selected Hindustānī rāga-s: Based on contemporary practice. New Delhi: Munshiram Manoharlal Publishers, 1991.

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12

Carnatic music. Wayanad: Suvarnaraagam, 2007.

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13

Śarmā, Vandanā. Rāga Mālakauṃsa kā vr̥hat prayoga evaṃ prabhāva: Eka viśleshaṇātmaka adhyayana. Nivāī: Navajīvana Pablikeśana, 2012.

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14

V, Subba Rao T. Ragas of the Sangita saramrta by King Tulaja of Tanjore. Madras: Music Academy, 1993.

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15

Nyāsa in rāga: The pleasant pause in Hindustani music. New Delhi: Kanishka Publishers, Distributors, 2008.

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16

Indian music and sañcārā-s in rāagā-s. Delhi: Sanjay Prakashan, 2001.

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17

Batish, Shiv Dayal. Chalan notations: Written in staff and sargam, includes preliminary Indian music theory and rāga details. Santa Cruz, CA: Batish Publications, 1993.

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18

The rāgas of early Indian music: Modes, melodies, and musical notations from the Gupta period to c. 1250. Oxford: Clarendon Press, 1995.

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19

Śāhajī. Rāgalakṣaṇamu Śāhamahārāja =: Rāga lakṣaṇamu of Śāha Mahārāja. Madras: Bṛhaddhvani, 1990.

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20

Maitra, Binata. A new approach to the analysis and teaching methodology of Indian classical music. Calcutta: Jnan Annesan, 1993.

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21

The scales of Indian music: A cognitive approach to thāṭ/melakartā. New Delhi: Indira Gandhi National Centre for the Arts, 2004.

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22

Nigama, Saritā. Hindustānī saṅgīta meṃ rāga vargīkaraṇa. Naī Dillī: Kanishka Pabliśarsa, Ḍisṭrībyūṭarsa, 2012.

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23

Malik, Rashīd. Faqīrullāh Saif K̲h̲ān kī Rāg darpan kā tanqīdī jāʼizah. Lāhaur: Majlis-i Taraqqī-yi Adab, 1998.

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24

Faqīrullāh. Tarjamah-ʼi Mān katūhal: Va, Risalah-ʼi Rāg Darpan = Tarjuma-e-Mānakutūhala ; va, Risāla-e-Rāgadarpaṇa = Tarjuma-i-Mānakutūhala ; & Risāla-i-Rāgadarpaṇa. New Delhi: Indira Gandhi National Centre for the Arts and Motilal Banarsidass Publishers, 1996.

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25

Śāhajī. Rāgalakṣaṇamu Śāhamahārāja =: Rāga lakṣaṇamu of Śāha Mahārāja. Madras: Bṛhaddhvani, 1990.

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26

Sahāya, Rīnā. Paṃ. Locana kr̥ta Rāgataraṅgiṇī: Rāgoṃ evaṃ rasoṃ kā ālocanātmaka adhyayana. Vārāṇasī: Pilgrimsa Pabliśiṅga, 2009.

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27

Hindustani ragas: The concept of time and season. Delhi: B.R. Rhythms, 2009.

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28

Krishnan, G. Chords & raaga. Chennai: Srikis Publications, 2004.

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29

Rāga Saṅgeet: Understanding Hindustani classical vocal music. New York, NY: Chhandayan, 2013.

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30

Clayton, Martin. Time in Indian music: Rhythm, metre, and form in North Indian rāg performance. New York: Oxford University Press, 2008.

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31

Get'man, Viktor, Ol'ga Rozhnova, Svetlana Grishkina, Vera Sidneva, Mihail Litvinenko, Roza Kaspina, Mariya Vahrushina, et al. International Financial Reporting Standards. ru: INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1147319.

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The textbook analyzes the system of international financial reporting Standards (IFRS): its principles, formation, advantages and feasibility of implementation. All IFRS are considered: presentation of financial statements; inventories; statement of cash flows; accounting policies, changes in accounting estimates and errors; contracts, etc. The financial lease is also reflected in the lessee's statements under RAS and IFRS, etc. Meets the requirements of the federal state educational standards of higher education of the latest generation. For students studying in the areas of "Economics" and "Management", as well as for everyone who wants to improve their level in the field of preparing consolidated financial statements.
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32

Sharma, Rama Kant. Hardy and The Rasa Theory. Sarup & Sons, 2003.

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33

Koshy, Swapna. Rasa Theory in Shakespearian Tragedies. Taylor & Francis Group, 2020.

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34

Koshy, Swapna. Rasa Theory in Shakespearian Tragedies. Taylor & Francis Group, 2020.

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35

Rasa Theory in Shakespearian Tragedies. Taylor & Francis Group, 2020.

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36

Koshy, Swapna. Rasa Theory in Shakespearian Tragedies. Taylor & Francis Group, 2020.

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37

Minu, Kashyap. Coleridge and the Indian Theory of Rasa. Anmol Publications Pvt Ltd, 2004.

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38

Lutjeharms, Rembert. On Rasa. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827108.003.0004.

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A key concept in the Caitanya Vaiṣṇava theology of devotion is rasa. Chapter 3 explores Kavikarṇapūra’s understanding of rasa. The concept is first articulated by Bharata in the Nāṭya‐śāstra, the most influential treatise on dramaturgy. The earliest authors on rasa saw it as a heightened form of the main emotion of a literary work’s characters, but from the tenth century it is also used to explain the audience’s response to a work. Kavikarṇapūra draws on these concepts of rasa, and formulates a rasa theory that reinterprets the earlier authors (particularly Bhoja) through the ideas of the later authors (particularly Viśvanātha Kavirāja) and attempts to allow both views of rasa to function independently of each other, in the same poetics. This chapter also traces the origins of Kavikarṇapūra’s views on devotional rasa (bhakti‐rasa), through the works of Vopadeva, Hemādri, and his own guru Śrīnātha, and explores the way his theology influenced his views on rasa.
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39

Hiltebeitel, Alf. World of Wonders. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197538227.001.0001.

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This is the first book in over a thousand years to approach the Mahābhārata and the Harivaṃśa via rasa theory. It argues that both texts put adbhutarasa, the “mood of wonder,” to work as their dominant rasa, in a way that takes readers from their heroes’ rollicking adventures to the text’s profoundest moments. Two Kashmiris, Ānandavardhana (ninth century) and Abhinavagupta (tenth century), launched such inquiry, claiming that the Mahābhārata’s dominant rasa was śāntarasa, the “mood of peace.” Both worked the Harivaṃśa as a related text into their argument, which emphasized peace along with dispassion and the quest for liberation. Their argument has remained the only serious contestant for rasic interpretation. This book disputes their claim. Some may cite the two Kashmiris’ view that adbhuta cannot sustain a major work. This book contests that by putting “the work of adbhutarasa” into its title and arguing for the hard work it does. Some may also be uncomfortable with a temporal incongruity the book poses in that the Mahābhārata and Harivaṃśa are probably four or five centuries earlier than the first text to explore rasas, the Nāṭyaśātra. Śāntarasa faced the same problem, but Ānandavardhana and Abhinavagupta, lacking a modern sense of the relative dates, overlooked it. The answer here goes to the heart of this book’s argument: our texts deploy the “proper terms” adbhuta, “wonder,” and vismaya, “surprise,” to work adbhutarasa through rich and contrasting textual strategies. They must have worked out their program with these terms before the śāstra.
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40

Bhushan, Nalini, and Jay L. Garfield. The Question of Subjectivity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190457594.003.0012.

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This chapter examines the role of art, art criticism and aesthetic theory in philosophy, culture, and the nationalist movement. It devotes particular attention to the modernization of classical rasa theory and its deployment in art criticism, and to debates about that in which “authentic” Indian art consists. It considers the art of Ravi Varma, Abanindranath Tagore, and Amrita Sher-Gil and the aesthetic theory of A. K. Coomaraswamy, K. C. Bhattacharyya, M. Hiriyanna, and Mulk Raj Anand.
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41

Chakravorty, Pallabi. Flexing and Remixing Bodies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.003.0004.

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This chapter combines the theory of ‘embodiment and experience’ with ethnographic fieldwork to examine how the dominant aesthetic emotion (‘rasa’) once associated with the song and dance sequences in Bombay films is transformed through technological and aesthetic innovations on screen and the actual training of the body in dance halls, film studios, and dance classes in Mumbai and Kolkata. The embodiment of ‘remix’ describes the interconnections between new training techniques, film editing, and choreography of Indian dances.
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42

Lutjeharms, Rembert. A Vaisnava Poet in Early Modern Bengal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827108.001.0001.

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This book examines the practice of poetry in the devotional Vaiṣṇava tradition inspired by Śrī Kṛṣṇa Caitanya (1486–1533), through a detailed study of the Sanskrit poetic works of Kavikarṇapūra, one of the most significant sixteenth‐century Caitanya Vaiṣṇava poets and theologians. It places his ideas in the context both of Sanskrit literary theory (by exploring his use of earlier works of Sanskrit criticism) and of Vaiṣṇava theology (by tracing the origins of his theological ideas to earlier Vaiṣṇava teachers, especially his guru Śrīnātha). Both Kavikarṇapūra’s poetics as well as the style of his poetry is in many ways at odds with those of his time, particularly with respect to the place of phonetic ornamentation and rasa. Like later early modern theorists, Kavikarṇapūra reaches back to the earliest Sanskrit poeticians whom he attempts to harmonize with the theories current in his time, to develop a new poetics that values both literary ornamentation and the suggestion of emotion through rasa. This book argues that reasons of and purposes for Kavikarṇapūra’s literary innovations are firmly rooted in his unique Vaiṣṇava theology, and exemplifies this through a careful reading of select passages from the Ānanda‐vṛndāvana, his poetic retelling of Kṛṣṇa’s play in Vṛndāvana.
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43

(Editor), E. Clements, and K. B. Deval (Editor), eds. Encyclopaedia of Indian Music With Special Reference to the Ragas/3 Vols Bound in 1. Orient Book Distributors, 1986.

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44

Encyclopaedia of Indian music, with special reference to the ragas. 2nd ed. Delhi, India: Sri Satguru Publications, 1986.

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45

Lutjeharms, Rembert. On the Rasa of Love. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827108.003.0008.

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The development of rasa in the Ānanda‐vṛndāvana is the topic of Chapter 7. As this chapter demonstrates, Kavikarṇapūra’s ‘narratology’ is based not on action, but on the emotional being of the protagonist. The chapter therefore articulates Kavikarṇapūra’s argument that Kṛṣṇa is the chief protagonists, and it looks at his defence of Kṛṣṇa’s extra‐marital relations with the gopīs. This prepares an examnation of one narrative section of the Ānanda‐vṛndāvana, Kavikarṇapūra’s retelling of Kṛṣṇa’s disappearance from the gopīs just prior to their celebrated circular (rāsa) dance. The focus of this chapter is the development of rasa, and particularly the rasa of Love (prema‐rasa), a concept that is central and unique to the theology of Kavikarṇapūra and Śrīnātha.
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46

McDaniel, June. Hinduism. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0004.

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Emotion is viewed in both positive and negative ways in the Hindu religious and philosophical traditions. In those traditions that are more ascetic and emphasize mental control, emotions are distractions which need to be stilled. In those traditions that emphasize love of a deity, emotions are valuable—but they must be directed and transformed. However, in order to study emotion in the Hindu tradition, we must first look at the meaning of the term “Hinduism.” There are at least six major types of Hinduism: Hindu folk religion, Vedic religion, Vedantic Hinduism, yogic Hinduism, dharmic Hinduism, and bhakti or devotional Hinduism. All of these involve emotion in various ways, but two traditions—those of Bengali Vaishnavism and raja yoga—have written about emotion in greatest depth. This article examines what the term “emotion” means in India, and then describes the beliefs about emotion in Vaishnavism and Yoga in greater detail. In discussing the nature of emotion, it considers bhava and rasa. Finally, the article discusses the literature on emotion in Hindu tradition, focusing on religious poetry.
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47

Quelch, John A., and Margaret L. Rodriguez. Rana Plaza. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780190235123.003.0019.

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Several forces are increasing the voices of individuals in shaping health care policy. Smart phones enable multiple health care apps, hopefully increasing consumer responsibility for their own health. Workplace safety issues in developing economies are motivating the buyers of products made in unsafe factories to press the brand-owners to take action. And individual consumer interest in drug innovation and availability is even affecting public policy thinking about drug company mergers and acquisitions.
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48

Quelch, John A., and Margaret L. Rodriguez. Rana Plaza. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780190235123.003.0020.

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Several forces are increasing the voices of individuals in shaping health care policy. Smart phones enable multiple health care apps, hopefully increasing consumer responsibility for their own health. Workplace safety issues in developing economies are motivating the buyers of products made in unsafe factories to press the brand-owners to take action. And individual consumer interest in drug innovation and availability is even affecting public policy thinking about drug company mergers and acquisitions.
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49

Slobodan, Drobnjaković, and Republički zavod za tržište rada (Serbia), eds. Strategija i politika tržišta rada i zapošljavanja u Republici Srbiji: Prilozi iz studija naučno-istraživačkih institucija realizovanih za potrebe Republičkog zavoda za tržište rada. Beograd: Republički zavod za tržište rada, 2000.

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50

A Modern Introduction to Indian Aesthetic Theory. DK Print World, 2007.

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