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This book serves as the corridor to one’s ‘self’. It began as a humble attempt to interrogate the performance history of Swadeshi Bengal. The burgeoning public space and audibility of voices hitherto unheard presented a two-way problem, for the colonisers, as well as for the colonised. The thinking mind that hid behind a facade of obedience suddenly appeared before all. The transparent veil separating the hidden from the manifest was torn apart. In the context of swadeshi and boycott agitation, performative spaces like theatre, jatra, and songs did not just serve as a forum for disseminating the notions of nationhood put forward by the intellectuals. The ideas gained a life of their own once they were placed in the performative space. Encompassing both the performer and the audience/recipient of the ideas, the notion underwent a change at various planes of consciousness. The notion of nation, as disseminated by the performances, acquired a different meaning at the level of enactment, and attained an entirely new substance when received by the audience. None of these exchanges occurred in complete passivity of any one party present in the performative space. Consequently, the emergent emotion of nationhood developed as a nuanced image of ‘self’. This book has tried to locate the beginning of that emotion of national ‘self’.
Classical text, with interpretive study, on Sanskrit poetics.
On Sanskrit poetics.
Collection of stories from Jaina canonical literature.
"This book explores a number of themes in connection with the concept of Emptiness, a highly technical but very central notion in Indo-Tibetan Buddhism. It examines the critique by the leading Nyingma school philosopher Mipham (1846-1912), one of Tibet's brightest and most versatile minds, formulated in his diverse writings. The book focuses on related issues such as what is negated by the doctrine of Emptiness, the nature of ultimate reality and the difference between 'extrinsic' and 'intrinsic' emptiness. For the first time, a major understanding of Emptiness, variant to the Gelukpa interpretation that has become dominant in both Tibet and the West, is revealed." --Book Jacket.
A Major Activity Of The Sahitya Akademi Is The Preparation Of An Encyclopaedia Of Indian Literature. The Venture, Covering Twenty-Two Languages Of India, Is The First Of Its Kind. Written In English, The Encyclopaedia Gives A Comprehensive Idea Of The Growth And Development Of Indian Literature. The Entries On Authors, Books And General Topics Have Been Tabulated By The Concerned Advisory Boards And Finalised By A Steering Committee. Hundreds Of Writers All Over The Country Contributed Articles On Various Topics. The Encyclopaedia, Planned As A Six-Volume Project, Has Been Brought Out. The Sahitya Akademi Embarked Upon This Project In Right Earnest In 1984. The Efforts Of The Highly Skilled And Professional Editorial Staff Started Showing Results And The First Volume Was Brought Out In 1987. The Second Volume Was Brought Out In 1988, The Third In 1989, The Fourth In 1991, The Fifth In 1992, And The Sixth Volume In 1994. All The Six Volumes Together Include Approximately 7500 Entries On Various Topics, Literary Trends And Movements, Eminent Authors And Significant Works. The First Three Volume Were Edited By Prof. Amaresh Datta, Fourth And Fifth Volume By Mohan Lal And Sixth Volume By Shri K.C.Dutt.
Study on the various forms of the story in the theoretical works of Sanskrit literature.