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The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics.
Srihar~a is recognised as one of the greatest exponents of what is generally known as the Sarpkara school of Advaita Vedanta. The Advaita Vedanta of Sarpkara has been commented upon, explained, expounded and developed in its various ramifications by several generations of scholars, commentators and original thinkers for over a thousand years. Even today it is claimed to be one of the two traditional schools of Indian Philosophy which have survived and have modern adherents while most other schools have died of old age on Indian soil. The only other school that has survived is the Nyaya-Vaise~ika or what is now called the Navya-nyaya. Both Advaita Vedanta and Navya-nyaya have attracted the attention of modern scholars and philosophers (of both India and abroad), who are acquainted with Western philosophy and whose interest in the study of Indian philosophy has not simply been limited to the history of Indian thought or Indology. Modern exponents of Advaita Vedanta are numerous. With a few notable exceptions, however, most modern authors of Vedanta try to expound and modernise the Advaita system from either a speculative and personal point of view or from a superficial viewpoint of Kantian philosophy or Hegelian Absolutism. Such a method has seldom achieved the sophistication and respectability that is normally expected in the context of modern (chiefly western) philosophic activity.
South Asia is home to a large number of languages and dialects. Although linguists working on this region have made significant contributions to our understanding of language, society, and language in society on a global scale, there is as yet no recognized international forum for the exchange of ideas amongst linguists working on South Asia. The Annual Review of South Asian Languages and Linguistics is designed to be just that forum. It brings together empirical and theoretical research and serves as a testing ground for the articulation of new ideas and approaches which may be grounded in a study of South Asian languages but which have universal applicability. Each volume will have three major sections: I. Invited contributions consisting of state-of-the-art essays on research in South Asian languages. II. Refereed open submissions focusing on relevant issues and providing various viewpoints. III. Reports from around the world, book reviews and abstracts of doctoral theses.
This book is a primer to Understand the History and Development of Alankara Sastra. It will be an easy reading for Sanskrit and useful for students of other literature too! In Sanskrit there are several synonyms of ‘beauty’,—‘Saundarya’, ‘Caruta’, ‘Ramaniyata’,‘Saubhagya’, ‘Sobha’, ‘Lavanya’, ‘Kanti’, ‘Vicchitti’, and so forth. But the most frequently adopted key-term of aesthetics is Alankara. That is why Alankara-sastra should be translated as the science of beauty. Its widest meaning is adequately stressed by Vamana who aphoristically states — “Saundaryam alankarah.” Since ‘alankara’ can also mean a ‘means of beauty’, it can denote poetic and artistic devices also. In the Rgveda itself we have the use of the word aramkrti which is cognate with the later word alankara and which gives rise to the Indian name of aesthetics, namely, Alankarasastra. The Vedic term has a double connotation — one aesthetic and the other magical.
Any discourse on Indian philosophy has to be taken out of the box in which it was confined for ages using obsolete methods for evaluating thinking patterns. In the traditional way of analysing Indian philosophy there was an inimical approach to each other between the philosophers and the philologists, and between the Sanskrit tradition-oriented philosophers and modern English/vernacular-based philosophers. This friction is evident in the hesitation of the traditionalists in giving philosophers like Daya Krishna and K.C. Bhattacharyya their due share. The twelve essays in this volume address many a question about the characteristics of Indian philosophical traditions and Indian-ness. Indian philosophy is essentially not Sanskrit based alone, there is a significant contribution to it from the South Asian languages and English, and the cultures of the subcontinent. It attempts to provide provocative insights in sharing the author’s penetrative acumen both in his traditional and modern approaches to South Asian intellectual systems. It therefore addresses the prejudice between the East and the West, and traditional and modern, and the concerns of South Asian diaspora in the Western countries. As far as this anthology is concerned, the icing on the cake is the Foreword by Dr Mrinal Kaul, who critically analyses the major developments taken place in the realm of Indian philosophy in the last few decades, critically appreciating the contents.