Relevant bibliographies by topics / Valmiki. Ramayana

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Academic literature on the topic 'Valmiki. Ramayana'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Valmiki. Ramayana"

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Kumar, Dr Yogendra. "Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)." Yog-garima 1, no. 1 (March 28, 2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.

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If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ramayana and is called Adikavi of Valmiki and Valmiki Ramayana is also known as Adi Ramayana.1 Throwing light on the importance of the epic, it has been told that the importance of Valmiki Ramayana is there even today and will remain so in the future. True literature has the ability to shape the future, it is in the Ramayana. Ramayana meets this criterion. He has the ability to show the way to the generations to come. In it, generosity, righteous meaning and work surrender and protection of the victim, superiority of human, friendship, obedience, fasting, sweet and plant speech etc. undoubtedly make Ramayana an immortal epic.2 Among the common people, the Ramkatha has come to be revered as the struggle of good against evil and the dignity and deep compassion of various human relationships. It is a kind of cultural document. It is a matter of pleasant surprise that even after so many years its attraction has not decreased at all. How deep is the attraction and impact of the original spirit of this epic, it can also be felt from the place Ramkatha has found in the folk tales, drama, dance, architecture, sculpture, etc. of many countries of Asia. Therefore, showing the description of importance, etc., in this research paper, astrologers will try to tell about the science of Muhurta in this epic.
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Vishwakarma, Alka. "Translating Ramayana." Exchanges: The Interdisciplinary Research Journal 11, no. 2 (April 26, 2024): 133–60. http://dx.doi.org/10.31273/eirj.v11i2.1144.

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Embedded contexts and improvisations in bhasha Ramayanas with its nuances of plurality attribute to its influences of respective linguistic and culture of multinational and multicultural countries: Ram-story of Ramayana, considered primarily a work of smriti , has travelled a long journey in the land of multilingual and heterogeneous cultural spheres. Indian bhashas – Assamese, Thamizh, Malayalam, Oriya, Bengali, and so on – have rendered Rama-katha within the very Indian society under different paradigms which have overshadowed the original, i.e. Valmiki’s Ramayana in Sanskrit. In lieu of assimilation of original text in another language that relevant translation promotes, bhasha Ramayanas presents different renderings or retellings , instead of variants or versions of Valmiki, colored with heterogeneous cultural ethos. Discussing three bhasha Ramayana(s) – 12th century Kampar’s Ramavataram in Thamizh , 15th century Krttivasi Ramayana or Sriram Pacali in Bengali, and 16th century Tulsidas’s Ramcharitmanas in Awadhi – this essay explores social and literary function of translation strategies in its poly-lingual and multinational world. Questioning the idea of original and relevant Ramayana, it also reflects on how bhasha Ramayanas co-exist in multilingual and multicultural society with its distinguished autonomy and differences. The tripartite comparative project of this article critically investigates their structures, sequential arrangements, bhasha cultural color, and story overlaps. It also calls attention to coalescence of Rama-story through plurilingual renderings with respect to its pluricultural valences in South Asia. Focusing on the polyvalences, it also argues that such retellings problematize the relevance of a genuine translation by questioning translational canonical principles for bhasha texts.
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K.S, Sini. "Guiding the Possibility of Conduct: A Reading of ‘Rama-Katha’." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 11. http://dx.doi.org/10.24113/ijellh.v7i11.10117.

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Ramayana is not a solo entity. The number of Ramayanas and the range of their influence in South and Southeast Asia over the past twenty-five hundred years or more are astonishing. Different versions of Rama story are available. We can trace the story line in Burma, Thailand, Japan, Oman etc. But from 20th century, from the time modern thought of learning came into practice, Valmiki Ramayana and Ramcharitmanas started gaining unprecedented importance.
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Chatterji, Roma. "Myths, Similes and Memory Traces: Images of Abduction in the Ramayana Universe." Society and Culture in South Asia 7, no. 2 (June 23, 2021): 232–69. http://dx.doi.org/10.1177/23938617211014664.

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In this essay, the Ramayana is conceptualised not merely as a text but as a narrative universe constituted by the multiplicity of its telling. Each telling is unique and involves combining fragments or narrative elements in particular ways. This universe occupies not merely a geographical but also a kind of virtual topological space made up of the relation between narrative elements. The argument is exemplified at two levels, first through an abstraction of one theme—abduction—from the text of the Valmiki Ramayana, which is then mined for significant poetic elements. Second, the article takes up the Ramayani gathas (ballads) of the Pardhan Gonds of Madhya Pradesh and describes some stories also based on the theme of abduction. A comparison of the fragments from the two types of texts reveals comparable elements such that poetic elements, like similes and metaphors, used to describe Sita’s abduction and Rama’s grief undergo structural transformation and are expanded into metonymic configurations, that is, plot elements in the Pardhan Gond gathas. Thus, the Valmiki Ramayana and the Gondi Ramayani seem to have a metonymic connection with each other. The second part of the article then shows how transformations occur within the narrative universe of the Gondi Ramayani itself as the storyable themes move from the aural medium to that of painting, as contemporary Pardhan Gond artists use themes and poetic imagery inspired by the gathas for their compositions.
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Regier, Willis G., and Robert P. Goldman. "The Ramayana of Valmiki, Vol. 1: Balakanda." MLN 100, no. 5 (December 1985): 1151. http://dx.doi.org/10.2307/2905459.

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Regier, Willis G. "The Ramayana of Valmiki. Volume 4. Kiskindhakanda." MLN 112, no. 5 (1997): 994–98. http://dx.doi.org/10.1353/mln.1997.0070.

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S, Jeyashree. "Rama Ravana Battle Scenes in Tamil Temple Sculptures." International Research Journal of Tamil 4, SPL 2 (February 28, 2022): 349–56. http://dx.doi.org/10.34256/irjt22s253.

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The Ramayana and the Mahabharata are immortal epics that are the treasury of Indian culture. Both epics convey the values and ideals that people need. The Ramayana written in the Northern language by Valmiki is in some way the source for other Indian language Ramayanas. Kambana in Tamil and Konaputharetti in Telugu have composed Kambaramayana and Iranganatha Ramayana respectively. Sculptures can be found in the temples of Tamil Nadu including these three language Ramayanas. Thus, it is possible to realize that literature and art are interrelated. Many of the Alvars in the Vaishnava literary four-thousandth Prabhupada exemplify the message of Ramavatara. Among the Alvars, Kulasekara gives the Ramavatara reference. References to the Ramayana are also baked into vegetarian literature. The Ashoka Pillar of the Mauryan period is the beginning of the stone sculpture. Horoscope Ramayana messages in India are inscribed on Buddhist monuments. Although Rama, Krishna and Narasimhan are notable among the three incarnations of the Vaishnava deity Thirumal in Tamil Nadu, the influence on the Ramayana is due to the large number of sculptures about Rama. The Vedic Cholas in Tamil Nadu have created Vaishnava Ramayana sculptures in their temples. The influence of Vaishnavism was greatest during the Vijayanagara Nayak period following the Chola period. The Vijayanagara Nayaks built roundabouts, planes, towers, etc., along with the foundations of the temple. Of these, sculptures were placed on stones and sutas. Ravanavatha is featured in the war to fulfill the purpose of Ramavatar. The battle of Rama Ravana and Ravanavatha can be seen in the temples of Tamil Nadu as sculptures of this event.
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Vanina, E. Yu. "Modernization of the sacred: two Ramayana novels (a historian’s view)." Orientalistica 5, no. 2 (June 29, 2022): 243–64. http://dx.doi.org/10.31696/2618-7043-2022-5-2-243-264.

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Ramayana, the ancient Indian epic, has been for many centuries a source of religious, social, ethical and aesthetical values for many Indians, primarily Hindus. Apart from the classical Sanskrit version attributed to Valmiki, there have been hundreds of literary, folkloric, visual, dramatic (later on film, animation and TV) variants. Their creators reworked and reconstructed the story, sometimes changing it beyond recognition, up to the emergence of ‘anti-Ramayanas’, thus answering the questions from and catering for the needs of various regional, religious, socio-cultural and political groups. Thus, they adjusted the sacred story to the perceptions of the changing times, trying to make the storyline and personages deeds more adequate to the values of a given epoch. This process has been continuing up to nowadays; the article discussing it, using as a case study two modern Ramayana novels, one in Hindi and one in English.
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Vallabh Dubey, Jayendra, and Dr Yogendra Kumar. "Effect of Saturn in the events of Ramayana." Yog-Garima 1, no. 2 (September 28, 2023): 14–18. http://dx.doi.org/10.52984/yogarima1202.

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In this research paper, the effect of the position of Saturn on the events related to Ramayana written in Adikavya Ramayana written by the ancient poet Valmiki, Ramcharit Manas written by Tulsidas, Padma Purana etc., Shani Dev's dialogue with the characters present in the Ramayana period, etc. have been studied. According to traditional belief and Puranas, the Ramayana period is considered to be 8,80,111 years old and from the point of view of modern science, it is considered to be around 7000 years old. In this research paper, the events occurring due to the position of Saturn in the horoscope so many years ago also are discussed. Awareness among the general public about its effects, fear due to Saturn's condition etc. have been studied. Word Hint – Ramayana, Ram, Shani, Astrology, Tretayuga
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Neha Singh , Dr. Priya Raghav, Dr Hanan Khalid Khan. "Narrative Techniques and Symbolism in the Ramayana: A Literary Analysis." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (October 28, 2023): 2604–9. http://dx.doi.org/10.52783/tjjpt.v44.i4.1325.

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For ages, academics have been fascinated by the epic poem known as the Ramayana, which is considered to be one of the most respected works of Indian literature. This study will conduct an extensive literary examination of the Ramayana, with a special emphasis on the Ramayana's storytelling strategies and symbolism. This research aims to discover the deeper levels of significance that are buried in the epic's verses by conducting an investigation of the complex narrative techniques that are used throughout the text. It explores the use of allegory, metaphor, and allegorical storytelling that the sage Valmiki, the epic's original author, and successive retellers utilised in their narratives. The look at the ubiquitous symbolism in the Ramayana and analyses how it functions as a potent vehicle for transmitting important philosophical, ethical, and cultural ideas. This research aims to shed light on the enduring literary significance of the Ramayana and its capacity to resonate with readers across a wide variety of cultural and temporal contexts by dissecting the text on both a structural and thematic level. The research was carried out in order to achieve this goal. As a result of this, it provides new insights into the ageless allure and everlasting significance of this ancient epic.
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Dissertations / Theses on the topic "Valmiki. Ramayana"

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Vencatesan, Vidya. "Le theme du compagnonnage guerrier dans le cycle de guillaume d'orange et le ramayana de valmiki : recherches comparatives." Paris 3, 1997. http://www.theses.fr/1997PA030154.

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Cette etude qui se veut comparatiste, se propose de mettre en lumiere les differents echos et correspondances qui existent entre le ramayana de valmiki et le cycle de guillaume d'orange dans le traitement du compagnonnage guerrier. Elle est composee de 4 parties successives : compagnon de guerre, ami, lignage et femme. Sur le champ de bataille le heros a interet a ne pas se retrouver seul. Ses adversaires s'acharnent contre lui et la mort le guette. Il choisit un allie militaire qui le pourvoit en armes, en montures et lutte a ses cotes. Guillaume et gui se battent de concert tout comme rama et sugriva pour vaincre la mort. Parfois il se ligue avec l'ennemi de son ennemi, lui promet des benefices politiques, militaires et sociaux. Rainouart et vibhishana trahissent les leurs pour assurer la victoire de guillaume et rama. Le compagnon de guerre comble la solitude physique du heros mais il continuerait a sombrer dans la solitude affective et morale s'il n'y avait pas a ses cotes son ami, cet alter ego qui le suit, fidele comme une ombre. Vivien et guillaume au meme titre que lakshmana et rama constituent un personnage collectif car chacun represente un des aspects de l'ideal heroique. Etre d'exception, le heros epique suscite de grands devouements a cote de l'amitie mutuelle. Girart et bertrand vouent un culte a vivien qu'ils adorent; hanuman et guha venerent en rama leur maitre. Souvent la parente fournit le cadre propice a l'eclosion de l'amitie. Le lignage est une unite de defense invincible et le heros et ses freres et neveux presentent un des plus saisissants exemples d'unanimisme. Les aymerides et les ikshvakus incarnent l'esprit de clan. Dans cet univers resolument male, les heroines epiques indiennes et leurs consoeurs francaises font piece a la personnalite ecrasante du heros. Ces nouvelles eves s'arrogent des fonctions plus visibles et s'adaptent aux circonstances ou elles se trouvent placees. Cela dit, la misogynie epique reste sous-jacente
This thesis is a comparative study of the theme of male solidarity and cooperation in the valmiki ramayana and the cycle de guillaume d'orange. It is divided into 4 chapters which study the role played by the military ally, the alter ego, the family and the women in the life of an epic hero. On the battle field the hero recognises that he is not in a position to win the battle all by himself. The enemy forces far outnumber his and he would do well to take on a military ally who will supply him with men and arms and also fight faithfully by his side. Guillaume choses gui and rama finds such an ally in sugriva. This ally may also be his enemy's enemy as is the case of rainouart or vibhishana, both of whom betray their own kith and kin in exchange for a kingdom and social recognition. However the ally remains a political contact who meets certain material needs, but it is only the friend who fulfills the emotional void within. Guillaume and vivien like rama and lakshmana together form the composite hero. The charismatic persona of the hero often attracts great devotion from secondary characters who worship him selflessly. Such is the love of hanuman and guha for rama, girart and bertrand revere vivien likewise. The family provides a favourable milieu for the flowering of such friendships ; vivien is guillaume's nephew, and lakshmana is rama's half brother. The aymerides like the ikshvakus provide each other with unconditional material and moral support. The uncle nephew bond rivals with the fraternal, paternal and filial bonds. In this very androcentric world, women characters of both the french and indian poems, namely sita, kausalya etc like guibourc, hermenjart and others play a very visible and public role as wives, mothers and daughters. They represent the voice of chivalric honour, provide wise political counsel and even battle with the hero. Yet the latent misogynistic attitudes never let these women characters disturb the conservative patriarchal set-up
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Nunan, Thomas Ahlers. "Renegotiating a Beheading: Literary Opposition to Varna Hierarchy in Shambuka's Story." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1368363299.

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Bhat, Radhakrishna N. "A critical study of three major commentaries on Valmiki Ramayana- Tilaka, bhusana and ramayana siromani tika." Thesis, 1986. http://hdl.handle.net/2009/2628.

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Singh, Akesh. "Ramayana as a basis for moral transformation in society." Thesis, 2005. http://hdl.handle.net/10413/2909.

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Books on the topic "Valmiki. Ramayana"

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Aiyer, N. Chandrasekhara. Valmiki Ramayana. Chennai: The C.P. Ramaswami Aiyer Foundation, 2012.

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Basu, Rajshekhar. Valmiki Ramayana. Calcutta: M.C. Sarkar, 1989.

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Ayyangar, C. R. Sreenivasa. The Ramayana of Valmiki. Madras: Little Flower Co., 1991.

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Vālmīki. Sundarakandam of Srimad Valmiki Ramayana. Madras: Sri Ramakrishna Math, 1995.

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Vālmīki. Valmiki Ramayana with selected commentaries: Balakanda. Edited by Nāẏaka Pabitra Mohana and Geervani P. (Pasala) 1936-. Tirupati: Rashtriya Sanskrit Vidyapeetha, 2010.

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Rama. The Valmiki Ramayana: Retold in verse. Honesdale, Pa: Himalayan International Institute of Yoga Science and Philosophy of the U.S.A., 1993.

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Ekāḍemī, Oḍiśā Sāhitya, ed. The Ramayana of Valmiki: A reading. Bhubaneswar: Orissa Sahitya Akademi, 1999.

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Monika, Thiel-Horstmann, and Conference on Contemporary Rāmāyaṇa Traditions (1987 : Sankt Augustin, Germany), eds. Rāmāyaṇa and Rāmāyaṇas. Wiesbaden: Harrassowitz, 1991.

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author, Ojha Sumedha Verma, and Vālmīki, eds. Ramayana. New Delhi, India: Lustre Press, Roli Books, 2016.

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Vālmīki. The Ramayana of Valmiki: An epic of ancient India. Princeton, N.J: Princeton University Press, 1990.

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Book chapters on the topic "Valmiki. Ramayana"

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Pollock, Sheldon I. "4. The Rāmāyaṇa Text and the Critical Edition." In The Ramayana of Valmiki: An Epic of Ancient India, Volume I, edited by Robert P. Goldman, 82–93. Princeton: Princeton University Press, 1985. http://dx.doi.org/10.1515/9781400884551-007.

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Nathan, Leonard E. "5. Translating the Rāmāyaṇa." In The Ramayana of Valmiki: An Epic of Ancient India, Volume I, edited by Robert P. Goldman, 94–95. Princeton: Princeton University Press, 1985. http://dx.doi.org/10.1515/9781400884551-008.

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Valmiki, Omprakash, and Aaron Sherraden. "Shambuk’s Severed Head." In Performing the Ramayana Tradition, 63–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.003.0004.

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This poem by leading Dalit poet Omprakash Valmiki focuses on the symbolic figure of Shambuk from the Ramayana narrative, whose head is severed by Sri Ram for his alleged transgression in practicing asceticism. It serves as an introduction to the following chapter on three anti-caste Hindi dramas in which Shambuk figures as a Dalit icon within the larger framework of education and social emancipation.
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Knott, Kim. "4. Divine heroes: the epic tradition." In Hinduism: A Very Short Introduction, 38–47. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198745549.003.0004.

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The story of Rama (or Ramayana) exists in thousands of written and oral versions. The most well known is the one attributed to Valmiki that was passed down to him by the sage Narada. ‘Divine heroes: the epic tradition’ summarizes the principle events of the account of the story of Rama as attributed to Valmiki. It is a study of kingship, but also of human roles and relationships. Do the many different versions and genres through which the story of Rama is communicated point to a more profound diversity—of Hindu traditions, communities, and practices, indeed of ‘hinduisms’, related loosely to one another by a narrative thread?
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"List of Abbreviations." In The Ramayana of Valmiki: An Epic of Ancient India, Volume II, edited by Robert P. Goldman and Sheldon I. Pollock, ix—xiv. Princeton: Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400883103-002.

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"Preface." In The Ramayana of Valmiki: An Epic of Ancient India, Volume II, edited by Robert P. Goldman and Sheldon I. Pollock, xv—xvi. Princeton: Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400883103-003.

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"Guide to Sanskrit Pronunciation." In The Ramayana of Valmiki: An Epic of Ancient India, Volume II, edited by Robert P. Goldman and Sheldon I. Pollock, xvii—xviii. Princeton: Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400883103-004.

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"1. Prelude to the Ayodhyākāṇḍa." In The Ramayana of Valmiki: An Epic of Ancient India, Volume II, edited by Robert P. Goldman and Sheldon I. Pollock, 3–5. Princeton: Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400883103-005.

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"2. Synopsis of the Ayodhyākāṇḍa." In The Ramayana of Valmiki: An Epic of Ancient India, Volume II, edited by Robert P. Goldman and Sheldon I. Pollock, 6–8. Princeton: Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400883103-006.

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"3. The Central Issues." In The Ramayana of Valmiki: An Epic of Ancient India, Volume II, edited by Robert P. Goldman and Sheldon I. Pollock, 9–24. Princeton: Princeton University Press, 1986. http://dx.doi.org/10.1515/9781400883103-007.

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