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This book, published on the auspicious occasion of the rising of Atthi Varadar, contains a concise account of the Sthala-Puranam, the role of many Srivaishnava Acharyas. architecture, sculptures, inscriptions paintings, music, prasadam and festivals of the ancient and sacred temple of Varadaraja Perumal in Kanchipuram.
Chinese philosophy is highly unique in its profound sense of moral thinking. The fundamental thesis of Chinese thinking is interdependence and mutual relationships between entities, human and natural. For great thinkers like Confucius and Lao zi a human being is a relatively constituted and situated self. What is important in social living is correlative thinking and resonance, complementary approach to differences, action guiding nature of judgment and the effective appropriation of naturalness and spontaneity in the interrelations between individuals, human beings and nature. The book is a prelude to study the significance of personal excellence and social harmony embedded in Chinese philosophical tradition.
This book analyses Chomsky’s philosophy of language in the context of its difference from Wittgenstein’s account of language, and also other views of language which are in line with Wittgenstein explanation. And it aligns with the philosophy of Wittgenstein and his colleagues.
This volume endeavours to get at Chomsky’s philosophy of language in the context of its difference from Wittgenstein’s account of language, and also other views of language which are in line with Wittgenstein explanation. Since Chomsky’s preference is grammatical or structural approach to language, which is innate, he interprets knowledge of language as knowledge of rule-governing sentence formation. Obviously, Chomsky approves of Private Language with no concern for the theory of communication which is rooted in the use of language. In other words, Chomsky is not interested in successful communication which takes place only in social practices. But, according to what we have discussed in this book, successful communication or speech act is possible by what people normally do according to social convention.
In short, since Chomsky depends upon the structure or innateness of internalist approach to language, he cannot be accounted for social interpretation of language, which is needed for successful communication. As in this book, we are committed to public or socially approved language of Wittgenstein and his colleagues which is essential for communication, we walk away from Chomsky’s structural or mentalistic or innatist interpretation of language.
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.
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.
Jain, Bauddha and Ajivaka belong to Sramanic tradition. Ajivakas were firm believers of determinism (Niyativada). Determinism, in philosophy, implies that all events, including moral choices, are completely determined by previously existing causes. But when we talk about niyati as per Jain perspectives, there is a doctrine of karma. According to karma theory, an individual’s present condition is determined not by any absolute principle but by his own actions performed either in his past lives or in this life. By freely choosing the right course and following it faithfully, he could improve his destiny and ultimately win salvation.
But Jainism does not totally reject the doctrine of Niyativada. It talks of five co-factors (panca-samavaya), i.e. kala, svabhava, niyati, purvakrta and purusa. The first cause of the universe is false when each of the five factors is taken singly but true when they are considered jointly. Buddhist text Digha Nikaya talks of two types: (1) Theistic determinism (2) Karmic determinism. However, Buddha does not teach that we have complete freedom or that we are determined, but that our will is conditioned or limited to a greater or lesser extent.
This volume contains ten selected papers that present the philosophical discussion on determinism in Srmananic traditions, particularly in Jainism.
This work focuses on the various facets of queer activism, using different art forms like cinema, photography and literature to lay bare the queer and spatial politics of contemporary India. The key issues that have been explored through this book are necropolitics, issues surrounding sex-reassignment surgery (SRS), trans-feminism, trans-misogyny, translation of the queer geographies including deathscapes, AIDs citizenship and queer flânerie.
Representation of non-normative sexualities is still a tantalizing dream in India, even within the oblique and supposedly more liberal platforms like art and literature. Catering to this need, this study focuses on the exploration of the deviant sexualities in cinema, photography and literature, specially in the Indian context. Unfortunately, even within the queer artistic explorations, hijras have not been much represented and therefore the first part of the book aims to excavate the multiplicity of the transgender lives by analysing various art forms, having transgender cinema and hijra photographic series as the major thrust areas. These tales of plain subjugation hide convoluted issues like necropolitics, overlap among sports, gender identity and nationalism, crazy-queen syndrome, pansexuality, transfeminism and transmisogyny.
The second part of this book deals with the contemporary gay and lesbian literature and how a specific kind of spatial appropriation is visible there. Through these artistic works, there is an attempt to excavate the specific Indian queer spatial experiences which are quite different from the visibility-centric coming out narratives of the West. As opposed to perceiving invisibility only as a monolithic technique of erasure, these works demonstrate that secrecy and camouflage are also strategies to combat the insidious effects of homophobia. And since Indian spatial configuration produces many homosocial spaces, the unique coexistence of homo and hetero desires is a specific feature of Indian ethos. Thus, the mutually symbiotic relationship between art and emancipatory politics is quite evident from the detailed discussion on various art forms that depict queer lives. The key issues that have been explored through this book are necropolitics, issues surrounding sex-reassignment surgery (SRS), transfeminism, exploration of queer geographies including death scapes, AIDs citizenship and queer flânerie. It indubitably legitimizes somewhat the role of art in queer politics at a fundamental level.
This book is an anthology of seventeen cerebral articles from well-known Buddhist scholars associated with major universities across the globe deliberating many a topic associated with Buddhist religion and its philosophies as part of our constant striving to understand the fundamental nature of what the Buddha wanted us to realize.
There have been serious attempts to understand the Buddha and his teachings since the inception of Buddhism some 2,600 years ago. All through the history of Buddhism, scholars were constantly striving to understand the fundamental nature of what the Buddha wanted us to realize. This book is an anthology of seventeen cerebral articles from well-known Buddhist scholars associated with major universities across the globe. In four parts – Meditation; Personality and Position; Dharmakirti and Persons; and Principles, History and Grammar – it highlights some pertinent topics associated with Buddhism and its legacy.
Part I discusses the diverse dimensions of meditation, dedicating itself to the kiriya (action) aspects of Buddhism. Part II is an attempt to delineate and study the major branches of Buddhism. Part III deliberates on the contributions of Dharmakirti and Rahula Sankrtyayana to the Buddhist philosophy along with the concept manusa-panatipata and how the revelation of reality of human experience by analysis helps a person to achieve wisdom in the light of Majjhima Nikaya Anathapindikovadasutta. Part IV has papers on different philosophical and applied concepts of Buddhism.
This volume thus should benefit one in understanding many an aspect of Buddhism vis-à-vis its enormous corpus of literature and teachings. It should highly benefit the students of Buddhism and for those who are keen to fathom deep into the myriad topics of Buddhist philosophy and teachings.
ध्यान-योग ध्यान के सैद्धान्तिक, व्यावहारिक व वैज्ञानिक पहलुओं को प्रकाशित करने वाली एक अद्भुत व अनमोल पुस्तक है। ध्यान की अवधारणा, योग शास्त्रें में ध्यान का स्वरूप, ध्यान का आध्यात्मिक महत्त्व, ध्यान की तैयारी एवं ध्यान द्वारा शरीर व मन पर पड़ने वाले प्रभाव का वैज्ञानिक विवेचन-विश्लेषण आदि बिन्दुओं को इस पुस्तक में बहुत ही सहजता, सरलता व सुन्दरता के साथ प्रस्तुत किया गया है। नियमित रूप से ध्यान करने हेतु विविध प्रकार की ध्यान की विधियाँ व अभ्यास एवं ध्यान की वैज्ञानिकता इस पुस्तक कोे ध्यान पर लिखी गई अन्य पुस्तकों से न सिर्फ अलग करती है बल्कि इसकी गुणवत्ता में अभिवृद्धि करने के साथ-साथ इसकी सुन्दरता में चार चाँद भी लगाती है। आज भौतिकवादी और भोगवादी जीवन-दृष्टि, भौतिकता की अन्धी दौड़ व चकाचौंध ने मनुष्य के स्वास्थ्य, सुख-चैन व शान्ति को छीन लिया है। आज सम्पूर्ण मानव समाज को यौगिक जीवन-दृष्टि, आध्यात्मिक जीवन-दृष्टि की परम आवश्यकता है। इस दृष्टि से यह पुस्तक और भी अधिक उपयोगी, महत्त्वपूर्ण एवं प्रासंगिक है। विकृत जीवन-शैली के कारण नानाविध शारीरिक, मानसिक व मनोकायिक रोगों से पीड़ित, परेशान लोगों के लिए तो यह पुस्तक एक अमृत-रसायन व संजीवनी है। क्योंकि यह पुस्तक स्वस्थ जीवन-शैली, आध्यात्मिक जीवन-दृष्टि एवं नियमित रूप से ध्यान के अभ्यास द्वारा स्वस्थ, सुन्दर व सुखी जीवन जीने की राह दिखाती है। निराशा, अवसाद, तनाव, कुण्ठा, चिन्ता, उद्विग्नता आदि मानसिक समस्याओं के समाधान हेतु यह एक रामबाण औषधि है। जहाँ यह पुस्तक एक ओर योग-साधकों, अध्यात्म-प्रेमियों, आत्मानुभूति, ब्रह्मानुभूति व मोक्ष के इच्छुक मुमुक्षुओं, व जिज्ञासुओं के लिए मार्गदर्शिका और पथ-प्रदर्शिका है तो वहीं दूसरी ओर शैक्षणिक जगत् से जुड़े विद्यार्थियों, शोधार्थियों व प्राध्यापकों के लिए एक प्रामाणिक टेक्स्ट बुक भी है, ग्रन्थ भी है। जो इस पुस्तक को पढ़कर अपने जीवन में नित्य ध्यान का अभ्यास करेंगे उनका चित् अपूर्व आनन्द, उल्लास और उमंग से भर जाएगा। वे एक नूतन जीवन-दृष्टि, आध्यात्मिक जीवन-दृष्टि पाकर परम आनन्द और परम सौन्दर्य के एक अज्ञात आयाम में उड़ान भरने लगेंगे।
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