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This work, in simple language, is meant for non-Christians, particularly Hindus, who may be interested in knowing about Christianity, professed by about a third of the world’s population what it teaches, how do Christian doctrines compare with Hindu dictums, what are the various denominations, etc.
Christianity is the worlds largest religion today: about 33.6 per cent of the worlds population has Christianity as their religion. It is also a religion that struck roots early in India as early as middle of the first century ce. The book is an account on Christianity that blends aspects of Christian belief and worship with matters like its significance and the urgent need for interfaith understanding in the globalised and pluralistic societies of today. It is meant for non-Christians, particularly Hindus, who are keen to understand the essential aspects of the religion.
In simple language, the work reveals the essence of the Christian beliefs, its spread over history and its prevalence now, and its importance as a world religion. It examines doctrines of the Church, significance of Jesus Christ, and historical forms of Christianity like Roman Catholicism, Eastern Orthodoxy and Protestantism. It examines the history of Christianity in India. The interesting work refers to a number of religious works on Christianity and writings of men who commented on Christianity and personified its values like love, compassion and sacrifice. It also deals with some controversial features of the religion like its need to proselytise.
Cinema Through Rasa discusses the important works of the world cinema in the light of Rasa Siddhānta of the Indian classical aesthetics. Rasa Siddhānta was first mentioned in Bharata Muni’s Nāṭyaśāstra – the ancient treatise on dramaturgy. This book catalogues the major cinematic works in the light of Abhinavabhāratī – a tenth-century commentary on the Nāṭyaśāstra by the great Kashmiri Śaivite philosopher Abhinavagupta. Further, it outlines the links between puruṣārtha, the cultural value system of life pursuits in Indian tradition, and aesthetics while citing examples from the works of major directors such as Orson Welles, Luis Buñuel, Ingmar Bergman, Akira Kurosawa, Andrei Tarkovsky, Alfred Hitchcock, Carl Dreyer, Charlie Chaplin, Sergei Eisenstein, Robert Bresson and Satyajit Ray.
Using contemporary scholars’ interpretation of non-dualistic Kashmir Śaivism tradition, Cinema Through Rasa aims to serve as a tribute to Abhinavagupta’s genius, a commentary on important ideas such as rasa, nature of emotions, cinema and beauty along with a tryst with the masterpieces of the world cinema. The meaning of this book is summarized by this verse – na hi rasād r̥te kaścid arthaḥ pravartate – the medium of cinema, though modern, should be seen as resting in the power of rasa without which nothing makes any sense.
This book is a translation of the original Hindi book Abhinava Cinema, which was first published in 2016. Abhinava Cinema was lauded as innovative, path-breaking and a must-read for students of literature and cinema studies by scholars and critics.
Cinema Through Rasa discusses the important works of the world cinema in the light of Rasa Siddhānta of the Indian classical aesthetics. Rasa Siddhānta was first mentioned in Bharata Muni’s Nāṭyaśāstra – the ancient treatise on dramaturgy. This book catalogues the major cinematic works in the light of Abhinavabhāratī – a tenth-century commentary on the Nāṭyaśāstra by the great Kashmiri Śaivite philosopher Abhinavagupta. Further, it outlines the links between puruṣārtha, the cultural value system of life pursuits in Indian tradition, and aesthetics while citing examples from the works of major directors such as Orson Welles, Luis Buñuel, Ingmar Bergman, Akira Kurosawa, Andrei Tarkovsky, Alfred Hitchcock, Carl Dreyer, Charlie Chaplin, Sergei Eisenstein, Robert Bresson and Satyajit Ray.
Using contemporary scholars’ interpretation of non-dualistic Kashmir Śaivism tradition, Cinema Through Rasa aims to serve as a tribute to Abhinavagupta’s genius, a commentary on important ideas such as rasa, nature of emotions, cinema and beauty along with a tryst with the masterpieces of the world cinema. The meaning of this book is summarized by this verse – na hi rasād r̥te kaścid arthaḥ pravartate – the medium of cinema, though modern, should be seen as resting in the power of rasa without which nothing makes any sense.
This book is a translation of the original Hindi book Abhinava Cinema, which was first published in 2016. Abhinava Cinema was lauded as innovative, path-breaking and a must-read for students of literature and cinema studies by scholars and critics.
This book stresses the persistence of cultural diversity despite the homogenizing pressure of globalization, but argue that this diversity need not lead to conflict and may be our greatest resource. It contains essays on the idea of India and the American dream, as well as discussing broader questions raised by the meeting of different ways of knowing and being in an enigmatic world.
Our planet seems to be getting smaller and smaller. We now interact all the time with our once-distant neighbours around the globe. Yet our cultures remain almost as different as ever. Civilizations are the largest widely recognized units of this diversity. Over the centuries, each has evolved its own distinctive contributions to human life. But differences can be a source of conflict as well as mutual enrichment. Since the end of the Cold War, and even more in the aftermath of the events of September 11, 2001, the scenario of a clash of civilizations has struck many people as plausible.
Proposing the alternative scenario of a clasp of civilizations, these essays stress the persistence of cultural diversity despite the homogenizing pressure of globalization, but argue that this diversity need not lead to conflict and may be our greatest resource. Given the centrality of religion to many cultures, much depends on the replacement of outdated attitudes of religious exclusivism by a pluralism that embraces the other. A historical landmark in the emergence of religious pluralism was the Parliament of Religions that opened in Chicago on 11 September 1893. This book brings out its significance as a global cultural event, too far ahead of its time to be fully understood by its contemporaries.
The Parliament brought several notable exponents of Asian spirituality to America, including the charismatic Swami Vivekananda from India. Thus began the contact between these two countries which continues to deepen to this day. Written by an American living in India, the book contains essays on the idea of India and the American dream, as well as discussing broader questions raised by the meeting of different ways of knowing and being in an enigmatic world.
The book, a Festschrift volume in honour of Prof. Trichur S. Rukmani, focuses on diverse themes: Patanjali’s Yogasutras, Advaita Vedanta, Gaudiya Vaishnavism, Shaivism, grammar and epic literature. It also addresses issues of contemporary relevance relating broadly to non-violence, environment, gender and syncretism.
This book is a Festschrift volume in honour of Prof. Trichur S. Rukmani that reflects the plethora of issues which she studied in her scholastic life. It includes twenty-four essays by distinguished scholars on various classical and contemporary issues pertaining to Indian studies. While the volume discusses current research in the field of Yoga Prof. Rukmani’s primary research field it also invites further reflection on other areas of Indian thought which have attracted her attention in the course of her long and fruitful academic career.
The volume is divided thematically into six sections. The first two sections deal with the interpretation of the Yoga, Vedanta and Gaudiya-Vaishnava traditions, exploring issues of hermeneutics, methodology and philosophical analysis. The third section addresses issues of continuity within the Indian tradition and includes essays on tantric Shaivism, Mimamsa and the Bhagavad-Gita. The next two sections feature essays on the Sanskrit philosophical discourse, grammar, epic literature and renunciation in the Indian tradition. The last section of the volume takes up issues of contemporary relevance such as the insights from the Hindu tradition towards environmental ethics, the Svadhyaya movement and its dharmic ecology, non-violence, gender, cultural identity as well as syncretism.
The volume, including essays as diverse as Prof. Trichur S. Rukmani’s own scholarly interests, will certainly benefit all scholars and students of Indology, especially those concerned with the religious and philosophical traditions of India.
The Classical Dictionary encompassing the vast Hindu pantheon presents episodes, legends, literary works and geographical locales associated with Hindu religious beliefs. It is now offered in a fresh, state-of-the-art typeset incorporating standard diacritical marks.
Professor Dowsons Classical Dictionary of Hindu Mythology and Religion is now offered not only in a fresh format, but in a fresh, state-of-the-art typeset as well. Incorporated here, in addition, are standard, meticulously worked-out diacritical marks as rather mechanical aids in comprehending the transliteration of Indic sounds, more specially of the Sanskrit alphabet, into English. In its alphabetically arranged articles of varying lengths, the Dictionary tries to encompass the vast Hindu pantheon, in all its complexity and symbolic/metaphorical representations. Covering, thus, a whole mix of mythological characters: gods and demons, prajapatis and raksasas, it also presents explanatory accounts of important events/episodes, legends, literary works, and even geographical locales, associated with Hindu myths and religious beliefs. Acclaimed worldwide ever since its first appearance, the Dictionary sustains its essentially undiminishing appeal to the scholars and general readers seeking to discover for themselves the awesome world of Hindu mythology and the grand cosmogonic design it unveils.
The work, now in a fresh format, is a storehouse of knowledge on Indian Mythology/antiquities Hindu deities and concepts, Buddhist theological terms, etc. It refers to authentic writings and their vast sources.
With lucidly-written accounts, of varying lengths, this Dictionary attempts to unfold all that anyone would want to know about Vedic/post-Vedic/classical India: its religions, mythology, pantheonic/legendary personages, schools of philosophy, sacred and secular texts, arts, antiquities, sciences, geography, rituals, customs, and the like; and, these besides, English equivalents/definitions of myriad Indic, largely Sanskrit, terms. For its sheer authenticity, the late John Garrett had drawn on a whole line-up of eminent Orientalists: from Max Muller to Monier Williams, form H.H. Wilson to John Muir. No wonder, the author, himself a celebrated scholar, invested over two-decade-long effort to compile this reliable, neatly exhaustive Classical Dictionary. For well over a hundred years, Garretts work has been recognized as a classic in its own right. Now reaching it out afresh to the present-day international scholarship, this edition has been recomposed in its entirely. And its lay-out as well has been improved in certain user-friendly ways. Also intoduced here, for the first time, are standard diacritical marks to help readers comprehend the transliteration of Indic sounds. As ever, it remains an unfailing companion of researchers, scholars and general readers, involved with Indological studies.
The book vividly presents, analyses and critiques the varied facets of Indian aesthetics, especially the theory and technique of classical Indian dance, while doing a penetrating study of interrelationship that dancing has with literature, sculpture and music. In doing so, the book surveys and analyses the contribution of all great Sanskrit authors, theoreticians, playwrights of ancient and classical India along with the works many Bhāṣā scholars of arts, aesthetics and literature.
This volume is the result of many years of painstaking research in a field, which had been neglected by art historians, and thus presenting an idealistic view of the whole tradition of Indian art and aesthetics. This definitive work on the inherent interrelationship of the Indian arts is a path-breaking endeavour, treading into a domain which no one had explored. For that to happen, the author has delved deep into enormous mass of literature on the subject and has also surveyed the portrayal of dance figures in ancient temples. With Dr Kapila Vatsyayan’s profound knowledge of various dance forms as a performing artist of her own standing and having studied the sculptures and artefacts minutely, the book emerges so scholarly emanating the wisdom and know-how of a persona, endowed with the unique combination of a researcher, an art historian and an aesthetician par excellence.
The book vividly presents, analyses and critiques the varied facets of Indian aesthetics, especially the theory and technique of classical Indian dance, while doing a penetrating study of interrelationship that dancing has with literature, sculpture and music. In doing so, it surveys and analyses the contribution of great Sanskrit authors, theoreticians, playwrights of ancient and classical India such as Bharata, Bhāsa, Kālidāsa, Śūdraka, Bhavabhūti, Abhinavagupta, Jayadeva and many more along with numerous Bhāṣā scholars of arts, aesthetics and literature, covering each and every nook and corner of the Indian subcontinent.
This highly scholarly work should invoke keen enthusiasm among Sanskritists, art historians, dancers and students of varied art forms alike, and should pave the way for ongoing researches on all the topics covered within its scope.
This book brings into focus the problems associated with conveying the central concepts and categories relating to some key areas of Indian classical thought through the well-established lexicons available in English, the language of power. It covers thus Epistemology, Ontology, Aesthetics, Moral Philosophy, Philosophy of Language, Religion and Logic, Political Theory, History, and Culture Theory from India and abroad.
This book is based on the proceedings of a Workshop held in 2011 on Rendering of the Categories of Classical Indian Thought in the English Language: Perspectives and Problems.
Although scientific texts appear to have successfully solved the problem by standardizing technical terms for all languages of instruction and communication, the problem of translation becomes acute when dealing with vocabularies of long standing belonging to ancient cultures, as is the case in India.
More urgently, we know that the thought worlds of ancient and medieval India are still very much alive and with us. Thus to even begin to understand contemporary India and its dilemmas, it is essential to come to grips with the foundational concerns, wisdom and follies of a civilization that has refused to die. What we find, however, is that when it comes to the understanding of our own thought traditions, their rendering into the English language in the colonial (and post-colonial) period, has only served to obscure the great cultural divide between the history of Western thought and our own.
The workshop thus aimed at bringing into focus the problems associated with conveying the central concepts and categories relating to some key areas of Indian classical thought through the well-established lexicons available in English, the language of power.
The multidisciplinary gathering included not only philosophers from the fields of Epistemology, Ontology, Aesthetics, Moral Philosophy, Philosophy of Language, Religion and Logic, but also specialists in the fields of Political Theory, History, and Culture Theory from India and abroad.
Two centuries of British rule gave English educated Indians a peculiar mindset that tended to undervalue their native ethos and moorings, and make English culture more attractive. This tendency is called colonial syndrome. This book attempts to define and elucidate this syndrome and its ill effects, and suggests means to contain and overcome it.
Two centuries of British rule crystallized in the minds of English educated Indians a peculiar mindset that tended to undervalue their native ethos and moorings, and make English culture more attractive. This tendency is called the colonial syndrome. This syndrome has infected the modern Indian elite, who abandon their cultural roots and imitating the Western ways. This situation has drained them off their intrinsic creative capabilities and rendered them less likely to make any significant original contributions to nation building.
This book, an outcome of Prof. K. Ramakrishna Raos work as a National Fellow of Indian Council of Social Science Research (ICSSR), attempts to define and elucidate this syndrome and its ill effects on the modern Indian mindset, and suggests means to contain and overcome it. It alerts people and the leadership about the negative and cascading effects of colonial syndrome, and pleads for Indianization of education, philosophy and psychology, among others in the country. Mahatma Gandhis concept of svadeÁ is the driving force here. It has no negative attributes, only positive self-assertion for common good.
Colonial Syndrome goes on to analyses Gandhis concept of svadeÁ, and attempts to make clear the difference between education in India and Indian education, Indian philosophy and philosophy in India, and psychology in India and Indian psychology and emphasizes that India had its own unique standing on education, philosophy and psychology which needs to be revived and nurtured for fast social and economic development.
This work highlights the Dharmashastra essentials by listing the major authors with their biographies, titles and their dates of composition, published editions and commentaries. It shows how Dharmashastra works have influenced the Indian way of life.
Dharmashastra is not just a corpus of scriptural texts. It is rather a genre, in its own right, of writings comprising prescriptive codes of righteous conduct in different spheres: whether familial, societal, ritualistic, legal, or even political. For the first time, this book offers a quintessential view of the Dharmashastra (Smriti) literature. Which today, along with its digests and commentaries, looks like a vast reservoir of literary works that have been accumulating over the centuries since their legendary beginnings with Manu. Designed primarily for reference, this Companion is styled and structured to bring forth the Dharmashastra-essentials in the quickest time. Listed here, alphabetically, are the major authors with their biographical sketches. And, these besides, the titles, together with descriptive details of their thematic content, dates/probable dates of their composition, published editions and commentaries their upon. Also included here are as many as 12 appendices which, in their totality, embody Dharmashastra-based information on geography, flora and fauna, mixed castes/tribes, neo-Smriti schools, and the kind of relation Smriti literature has with the Mahabharata, Puranas, and Tantra, among other aspects. Professor Banerjis book not only tries to show how Dharmashastra works are representative of the ancient/medieval political, social and cultural milieus, but is also a painstaking attempt to gauge their influence in conditioning the Indian way of life and psyche. Supported by an extensive glossarial index of Smriti literature, it is indisputably a valued companion to the Dharmashastra-specialists, Indologists and the scholars of ancient/medieval Indian sociology.
This book delves deep into the growth of poetics, theory of literature, literary artefacts, aesthetics of literature as an art form, and dramaturgy and philosophy of literature. Cultures have given forms as their typical expressions for India great epics, for Greece tragedies, and for England lyrics.
“Two cultures of the world — Greek and Indian — have nourished literature. While the contemporary Western thinking is rooted in Greek thought, especially of Socrates, Plato and Aristotle, and percolated down to the modern European languages with the advent of Christian thought, the multilingual Indian literary tradition has its base from the classical Tamil, Pali, Prakrt and Sanskrit.
Though cultural specificity marks these two traditions off from each other, the universal human condition that finds expression in all literatures binds them together. This book delves deep into the growth of poetics, theory of literature, literary artefacts, aesthetics of literature as an art form, and dramaturgy and philosophy of literature.
Cultures have given forms as their typical expressions — for India great epics, for Greece tragedies, and for England lyrics. Similarly, different ages of a culture find expression in different forms — Elizabethan age of England in lyrics, sixteenth-seventeenth centuries in drama, eighteenth century in prose, and nineteenth century in novel. India’s genius is in epics and its expression unfolds in sravya-preksa compositions, being singable poetry as its preferred form.
This book must serve pretty useful for students and teachers of literature. Also, an invaluable collection for researchers in literature.”
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