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The Kumarasambhava of Kalidasa probably composed about A.D. 400, is the greatest long poem in classical sanskrit. It is the love story of Siva and Parvati the God and the Goddess, who are viewed as lovers and as cosmic principles. The poem of their love is a paradigm of the inevitable union between male and female played out on the immense scale of supreme divinity. Beginning with a description of Himalaya and the birth of his daughter Parvati the poem proceeds in perfectly pitched sensuous detail through a presentation of the broader setting for the divine relationship ( a warrior child is needed to lead the army of the gods), the uneasy course of events between Siva and Parvati.
Kumarasambhavam celebrates the love story of Siva and Parvati, whose passionate union results in the birth of their son, the young god Kumara. Beginning with a luminous description of the birth of Parvati, the poem proceeds in perfectly pitched sensuous detail through her courtship with Siva until the night of their wedding. It plays out their tale on the immense scale of supreme divinity, wherein the gods are viewed both as lovers and as cosmic principles. Composed in eight scintillating cantos, Kumarasambhavam continues to enchant readers centuries after it was first written. Hank Heifetz's sparkling translation brings to life the heady eroticism and sumptuous imagery of the original.
Nilsson's seminal work on Minoan-Myceanaean religion had its second edition in 1950 prior to the decipherment of Linear B; yet he found much in the archaeological record of the Bronze Age which he associated with later Greek religion. In that respect his insights were vindicated by the reading of those tablets which bore the names of classical Greek divinities, though at tme time new conclusions were needed about Indo-European arrival in Greek lands. Dietrich, with Nilsson very much in mind, starts from the premises that beliefs and their associated rites are inherently conservative; that, even where populations change, they tend to do so gradually, creating fusions rather than wholesale disruptions in ritual practice. An understanding of classical Greek religion thus, necessarily, depends on appreciation of its forerunners in the Bronze Age; and they, in turn, on evidence from the better documented religions of the Middle East. Dietrich's four main chapters deal first with those eastern links; then with the old traditions of Minoan Crete; next with the interplay of pre-Greek Minoan and Greek Mycenaean cultures; and finally he attempts to bridge the commonly assumed divide between bronze age and archaic Greece. Appendixes deal with Minoan peak-sanctuaries, with Apollo at Delphi, and (sympathetically) with Nilsson's pervasive view that Greek mythology was first formulated in the Mycenaean age. In these areas a great deal more work has been done since 1974. Dietrich's thoroughly researched work was at once trend-setting and provocative. It is here made available for the first time in paperback; for it still contains much of importance for the student of Greek religion.
Explore the feelings of men toward other men without the pigeonholing found in terms like “gay” and “straight”!Male to Male: Sexual Feeling Across the Boundaries of Identity starts with the evidence that most studies on male sexuality have ignored--the same-sex feelings of men whose identities are heterosexual. Of the more than fifty men in this book, almost half were aware of some degree of same-sex feeling. But beyond percentages, the primary focus of Male to Male is the exploration--through their own words--of how these men experienced same-sex feelings, what these feelings meant to them, the fears surrounding them, and the consequences of the collision between their heterosexual identities and their same-sex feelings.In addition to comparative data on women's same-sex feelings, as well as on what men say in regard to their feelings about women, Male to Male includes material from two in-depth case studies. The first is on Clark, an African-American man who moved into sex with men in prison. His story shows that the need to see gay men as feminine is really a cultural defense against the powerful pull toward the male-to-male bond, and points to the movement to fulfill that bond when this defense is dropped. The second is on Zack, a gay police officer. His story explores the different dimensions and meanings of the male-to-male bond as these unfolded in his own life, while telling about the heterosexually identified men who “came out” to him about their own same-sex feelings. Male to Male will help you explore: same-sex feelings in heterosexual men and women same-sex feelings in the military prison culture and the “heterosexual role” the fear of domination the aesthetics of fear and power the dynamics of rape compassionate relationships between heterosexual-identified men . . . and much more! Male to Male provides evidence showing that the identity that really counts--constituting the deepest source from which men's sexual feelings for each other spring--is not specifically a gay or heterosexual identity. That source is, rather, a male identity, and--beyond that--a human identity.
In a remote village in the foothills of the Himalayas, a gifted but unknown poet named Kalidas nurtures an unconventional romance with his youthful muse, Mallika. When the royal palace at Ujjayini offers him the position of court poet, Kalidas hesitates, but Mallika persuades him to leave for the distant city so that his talent may find recognition. Convinced that he will send for her, she waits. He returns years later, a broken man trying to reconnect with his past, only to discover that time has passed him by. // A classic of postcolonial theatre, Mohan Rakesh’s Hindi play is both an unforgettable love story and a modernist reimagining of the life of India’s greatest classical poet. It comes alive again in Aparna and Vinay Dharwadker’s new English translation, authorized by the author’s estate. This literary rendering is designed for performance on the contemporary cosmopolitan stage, and it is enriched by extensive commentary on the play’s contexts, legacy, themes and dramaturgy.
This introduction brings to life the main themes in Indian philosophy of language by using an accessible translation of an Indian classical text to provide an entry into the world of Indian linguistic theories. Malcolm Keating draws on Mukula's Fundamentals of the Communicative Function to show the ability of language to convey a wide range of meanings and introduce ideas about testimony, pragmatics, and religious implications. Along with a complete translation of this foundational text, Keating also provides: - Clear explanations of themes such as reference, figuration and sentence meaning - Commentary illuminating connections between Mukula and contemporary philosophy - Romanized text of the Sanskrit - A glossary of terms and annotated bibliography - A chronology of important figures and dates By complementing a historically-informed introduction with a focused study of an influential primary text, Keating responds to the need for a reliable guide to better understand theories of language and related issues in Indian philosophy.
The urban theatre which emerged under Anglo-European and local influences in colonial metropolises such as Calcutta and Bombay around the mid-nineteenth century marked the beginning of the ‘modern period’ in Indian theatre, distinct from classical, postclassical, and more proximate precolonial traditions. A Poetics of Modernity offers a unique selection of original, theoretically significant writings on theatre by playwrights, directors, actors, designers, activists, and policy–makers, to explore the full range of discursive positions that make these urban practitioners ‘modern’. The source-texts represent nine languages, including English, and about one-third of them have been translated into English for the first time; the volume thus retrieves a multilingual archive that so far had remained scattered in print and manuscript sources around the country. A comprehensive introduction by Dharwadker argues for historically precise definitions of theatrical modernity, outlines some of its constitutive features, and connects it to the foundational theoretical principles of urban theatre practice in modern India.
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