Madhushala...
Madhushala
Vartaman Paripreksya mein Eka Nutan Kavya by: Balram SinghOriginal price was: ₹295.00.₹266.00Current price is: ₹266.00.
ISBN: 9788124611135
Year Of Publication: 2023
Edition: 1st
Pages : 96
Language : Hindi
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Foreword By : Subhash Kak
Size: 22
Weight: 200
इस पुस्तक में हरिवंशराय बच्चन की मूल मधुशाला की प्रेरणा का पुनर्जागरण किया गया है, जिसमें प्रोफेसर बलराम सिंह ने अपनी वैज्ञानिक दृष्टि से सामाजिक बहुरसता को आधार मानकर उसकी गुत्थियों को हाला के माध्यम से सुलझाने का एक अप्रत्याशित प्रयास किया है। प्रो॰ सिंह की दूरदृष्टि में एक ओर भारतीय ग्रामीण अंचल और दूसरी ओर अमेरिका की आधुनिक ज्ञानधानी व सांस्कृतिक गढ़, बोस्टन, रहा है, जिसकी छाप मधुशाला छन्दों पर स्वाभाविक रूप से निखरती दिखती है। आपने कोरोना महामारी से लेकर जीवन-दर्शन तक को शिक्षा-दीक्षा, स्त्री-पुरुष, देश और सत्ता, ज्ञान-विज्ञान, व प्रकृति-दर्शन जैसे विषयों में पिरोते हुए एक आधुनिक छवि प्रस्तुत की है। ऐसे काल में ऐसी रचना की प्रासंगिकता निश्चित सिद्ध होगी।
शुभाशंसा
आमुख
अभिमत
दो शब्द
सम्बोधन
भूमिका
प्रस्तावना
1. हाला
2. महामारी
3. शिक्षा-दीक्षा
4. जीवन
5. स्त्री-पुरुष
6. मनःस्थिति
7. ज्ञान-विज्ञान
8. जीवन-दर्शन
9. प्रकृति-दर्शन
10. समाज
11. देश और सत्ता
12. कवि-भाव
13. मधुशाला प्रभावित उद्गार
“Madhushala”
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The Socio-Literary and Cultural Study of Indian Society from Ancient to Modern is a search for India’s heritage: Hindu, Sufi and about Nationalism and India’s freedom from her colonial past. It is analytical but not learnedness. The author believes as Iqbal, the famous Urdu poet, said: “Transcend your reason because though it is a glow, it is not your destination; it can only be the path to the destination show.” People, both Indian and foreign, who want to understand Indian heritage from Ancient to Modern in a simple, agreeable style and friendly manner, is the author’s destination. In this volume, he has tried to demolish many myths like dharma is religion, Vedas are Śruti though the Almighty ordered six ṛṣis to write them down. A Hindu is just not emotional in mind, he also believes in analytic discussion (tarka). Upaniṣads are not just created by ṛṣis but also by a revolution unfolded by the students by barraging questions after questions.By explaining about the vitality of India and many other subjects, the book elucidates many things about the idea of India in an authentic manner. The readers will find here many varieties of theological explication, ultimately leading to the celebration of life while searching for the divine and realizing the self.
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The Madhuravijayam (Sanskrit: मधुराविजयम्), meaning “The Victory of Madurai”, is a fourteenth-century CE Sanskrit poem written by the poet Gangadevi. It is also named the Vīra Kamparaya Caritam by the poet. Gangadevi, also known as Gangambika, was a poetess in the Vijayanagara Empire during the fourteenth century and chronicled the story of the victory of her husband, Kumara Kampana, son of Bukka Raya I, over the Muslims in Madurai, in the form of a poem. The poem celebrates the victory of the Vijayanagara Empire’s crown prince, Kamparaya, over Madurai. In addition to battle scenes a wash with blood, gore and plenty of poetic fantasy, the poetess describes how her husband Kampa passes the time between wars with his multitude of beautiful wives.
This edition is prepared to highlight that it is composed by a woman and it is the first woman writing in Sanskrit recognized by scholars and comprises of the original Sanskrit text with a new English translation. It forms the 4th volume under the series: Women Writings in Sanskrit Literature. The historical value of this work is discussed along with the introduction of this work. The authoress, instead of drawing the subject matter from the well-known Puranas (as is usual with the generality of Sanskrit poets), has chosen the biography of her royal consort as fit subject to exhibit her remarkable poetical talents.
The work is in the form of a classical kavya conforming to the rules laid down in the treatises on poetics and contains the usual lengthy description of the seasons, the twilight, the rising of the moon and other necessary topics. The authoress writes in the Vaidarbhi style.
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Does Indian civilization have the capacity to change or has it been static? The impression of this civilization as an unchanging one has been revised today. Conflict-tension processes in a complex heterogeneous civilization like that of India are equally important and require in-depth studies along with investigating the continuity of tradition. It is in this context that protest, dissent and reform movements have also played a critical role and facilitated adjustments to changing social realities over the centuries. From time to time alternate systems to the accepted ideological or normative patterns have been suggested. Apparently many of these movements were religious in nature, but the socio-economic context which remains in the background does require further detailed examination. The present volume reflects some aspects of these movements. It is one in the series undertaken as part of the group project A Sourcebook of Indian and Asian Civilizations at the Indian Institute of Advanced Study. The essays in this volume by such scholars as Arun Bali, Savitri Chandra, Narendra Mohan, M.G.S. Narayanan and Veluthat Kesavan; Y.M. Pathan, M.S.A. Rao, Sachchidananda, G.B. Sardar and Pushpa Suri will stimulate discussion and generate new perspectives towards understanding Indian civilization.
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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. - Sale!Varadambikaparinaya Campu of Tirumalamba Original price was: ₹800.00.₹720.00Current price is: ₹720.00.
Tirumalamba, a poetess of the Vijayanagara Empire, wrote the Varadambikaparinayam, the story of marriage of King Acyuta Deva Rāya, in Sanskrit which forms the 5th volume of the series: Women Writings in Sanskrit.
In the court of King Acyutaraya (1529-42 CE) of Vijayanagara there was a poetess of great merit and her name was Oduva Tirumalamba. She was employed as a reader in the royal court whose duty was perhaps the reading of poetical and other compositions to the ladies of the royal family as well as to the royal court. Tirumalamba was popularly known as Oduva (reader) Tirumalamba. Evidently she was a genius, since she was an excellent musician and grammarian, possessing in addition a good command of rhetoric and diction. She was a scholar of Hindu epics, poetry, drama and philosophy and had other accomplishments also; she was a linguist and could write in many scripts. In addition to all these excellent qualities she must have possessed great beauty, for King Acyutaraya became so enamoured of her that he elevated her to the position of his queen (Rajamahisi).
We learn most of these details from the epilogue to the Varadambika-parinaya-campu, celebrating the wedding of King Acyutaraya and his senior queen Varadambika. It is learnt from epigraphical and other sources that Varadambika was the principal queen (Pattamahisi) of King Acyutaraya. We also learn from the epilogue to the campu that she was a patroness of learned priests, scholars and poets and that she made liberal gifts and endowments to temples and religious institutions.
This poem also describes the birth of Prince Venkatadri, the first born of Varadambika. But it cannot be denied that the work shows that Tirumalamba was a highly educated woman, who wrote for the cultured.
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