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Abhinavagupta was a Kashmiri practitioner of the Sanskrit tradition, well-known to those very few researchers who follow theories on Indian aesthetics. His contribution to the tradition of aesthetic theories is extensive; he established a university to educate 10,000 students in aesthetics, tantra vigyan and traditional Sanskrit theories, and he authored 47 books, out of which 23 are still in existence. Students, researchers and faculties from Sanskrit departments, as well as Sanskrit practitioners, should be exposed to the illuminating practices available in Indian traditions and the theories originating in Kashmir. In this book, a detailed analysis is carried out on Abhinavagupta’s two splendid commentaries, Locana on Dhvanyāloka and Abhinavabhāratī on Nātyaśāstra. Abhinavagupta presented the views of Lollata, Saankuka and Bhattanayaka, with each view followed by relevant criticism. He also set forth his own views in great detail and these are widely discussed in this text. The book will be of interest to scholars from the fields of Indian aesthetics, Natyashastra, principles of meaning, literary criticism, Indology, Sanskrit texts and linguistics.
"Abhinavagupta was a Kashmiri practitioner of the Sanskrit tradition, well-known to those very few researchers who follow theories on Indian aesthetics. His contribution to the tradition of aesthetic theories is extensive; he established a university to educate 10,000 students in aesthetics, tantra vigyan and traditional Sanskrit theories, and he authored 47 books, out of which 23 are still in existence. Students, researchers and faculties from Sanskrit departments, as well as Sanskrit practitioners, should be exposed to the illuminating practices available in Indian traditions and the theories originating in Kashmir.In this book, a detailed analysis is carried out on Abhinavagupta's two splendid commentaries, Locana on Dhvany�loka and Abhinavabh�ratī on N�tya�>�stra. Abhinavagupta presented the views of Lollata, Saankuka and Bhattanayaka, with each view followed by relevant criticism. He also set forth his own views in great detail and these are widely discussed in this text. The book will be of interest to scholars from the fields of Indian aesthetics, Natyashastra, principles of meaning, literary criticism, Indology, Sanskrit texts and linguistics.
Indian poetics and aesthetics; comprises the part of his Abhinavabhāratī which comments on the sutra 'Vibhāvānubhāvavyabhicārisaṃyogādrasaniṣpattiḥ' from the larger work entitled Nāṭya Śāstra by Bharata; Sanskrit text in roman script with English translation.
Study of the aesthetic theories of Rājānaka Abhinavagupta as propounded in his Abhinavabhāratī and Dhvanyālokalocana.
The Routledge Handbook of Religion and the Body is the first comprehensive volume to feature multireligious cross-cultural perspectives on the body and embodiment. Featuring multidisciplinary approaches and methodologies from the humanities and the social sciences, it addresses the body and embodied religiosity in theological, ethical, and cultural contexts. Comprised of 30 chapters by a team of international contributors, the handbook is divided into four parts: Theology and Embodied Religiosity Gender, Sexuality, and Body Regulations Ritual and Performance Religion, Healing, and the Future of the Body Each part examines central issues, debates, and problems in relation to global belief systems, including embodiments of love, transfiguration, the secular body, disability, body language, maternal bodies, embodied emotions, celibacy, ecology and the body, reshaping the corporal body, initiation rites, physiology, Tantra, Reiki practice, religious experience, technological body modifications, and ethics and the body. Providing a breadth of rich and innovative research, it is a must-read for students and scholars in religious studies, theology, philosophy, sociology, anthropology, psychology, history, and cultural and gender studies. Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
For nearly a thousand years the brilliant analysis of aesthetic experience set forth in the Locana of Abhinavagupta, India's founding literary critic, has dominated traditional Indian theory on poetics and aesthetics. The Locana, presented here in English translation for the first time, is a commentary on the ninth-century Dhvanyaloka of Anandavardhana, which is itself the pivotal work in the history of Indian poetics. The Dhvanyaloka revolutionized Sanskrit literary theory by proposing that the main goal of good poetry is the evocation of a mood or "flavor" (rasa) and that this process can be explained only by recognizing a semantic power beyond denotation and metaphor, namely, the power of suggestion. On the basis of this analysis the Locana develops a theory of the psychology of aesthetic response. This edition is the first to make the two most influential works of traditional Sanskrit literary and aesthetic theory fully accessible to readers who want to know more about Sanskrit literature. The editorial annotations furnish the most complete exposition available of the history and content of these works. In addition, the verses presented as examples by both authors (offered here in verse translation) form an anthology of some of the finest Sanskrit and Prakrit poetry.
This book foregrounds that English monolingualism reduces both our linguistic and conceptual resources, presenting concepts from the cultures of 4 continents and 26 languages. Concepts seem to work best when created in the interspace between theory and praxis, and between philosophy, art, and science. Deleuze himself had generated many concepts in this encounter between philosophy and non-philosophy, including his ideas of affects and percepts, of becoming, the stutter, the rhizome, movement-image and time-image, the rhizome. What happens, if instead of "other disciplines," we take other cultures, other languages, other philosophies? Does not the focus on English as a hegemonic language of academic discourse deny us a plethora of possibilities, of possible Denkfiguren, of possible concepts? Each contributor explores ideas that are key to thinking in their language – about sound and silence, voice and image, living and thinking, the self and the world - while simultaneously addressing the issue of translation. Each chapter demonstrates that translation itself is a way of invention, rather than just a rendering of concepts from one system in terms of another. This collection acts as a travelogue. The journey does not follow a particular trajectory-some countries are not on the map; some are visited twice. So, there is no claim to completeness involved here-it is rather an invitation to answer to the call.
'Prepare to laugh, sob and dance: this lively history of Indian cinema is imprinted with the memories of a life-long cinephile.' The Telegraph 'A gem of a book and a must for film lovers everywhere' Abir Mukherjee 'My biggest recommendation of the year. Sunny Singh's honouring of story and history shine through powerfully - an exquisitely enjoyable read' Nikita Gill Like all Indians, Sunny Singh was born and brought up in a country of film fanatics. She and her friends waited impatiently for the latest releases, listened to the songs on radio and wore clothes inspired by those seen on screen. They learned about India and the world, determined their enemies and friends, and chose their moralities thanks to films. A Bollywood State of Mind is a personal, intellectual and emotional journey which crosses five continents and 50 years of modern Indian history and cinema and explores why Bollywood means so much to so many across the globe. Sunny describes how this exceptional cinema retains its hold on the national imagination, how Bollywood has enhanced India's global standing in the 21st century, and how its characteristics endure despite the social and political changes. Ranging over history, aesthetic theory and politics, A Bollywood State of Mind explores encounters with Bollywood in the market places of Dakar and Marrakesh, in the nightclubs of New York, Barcelona and Mexico City, and in the ruins of Egypt's Valley of the Kings, Petra and beyond. It shows how the pioneers and heroes of Bollywood cut across national, linguistic and cultural lines not only in India but in far reaches of Somalia, Peru, Malaysia and Russia.
What is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.