This book is a primer to Understand the History and Development of Alankara Sastra. It will be an easy reading for Sanskrit and useful for students of other literature too! In Sanskrit there are several synonyms of ‘beauty’,—‘Saundarya’, ‘Caruta’, ‘Ramaniyata’,‘Saubhagya’, ‘Sobha’, ‘Lavanya’, ‘Kanti’, ‘Vicchitti’, and so forth. But the most frequently adopted key-term of aesthetics is Alankara. That is why Alankara-sastra should be translated as the science of beauty. Its widest meaning is adequately stressed by Vamana who aphoristically states — “Saundaryam alankarah.” Since ‘alankara’ can also mean a ‘means of beauty’, it can denote poetic and artistic devices also. In the Rgveda itself we have the use of the word aramkrti which is cognate with the later word alankara and which gives rise to the Indian name of aesthetics, namely, Alankarasastra. The Vedic term has a double connotation — one aesthetic and the other magical.

In Hindu India both orality and sonality have enjoyed great cultural significance since earliest times. They have a distinct influence on how people approach texts. The importance of sound and its perception has led to rites, models of cosmic order, and abstract formulas. Sound serves both to stimulate religious feelings and to give them a sensory form. Starting from the perception and interpretation of sound, the authors chart an unorthodox cultural history of India, turning their attention to an important, but often neglected aspect of daily religious life. They provide a stimulating contribution to the study of cultural systems of perception that also adds new aspects to the debate on orality and literality.

John Keats, 1795-1821, English poet.

What is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.

From the early years of the Common Era to 1700, Indian intellectuals explored with unparalleled subtlety the place of emotion in art. Their investigations led to the deconstruction of art's formal structures and broader inquiries into the pleasure of tragic tales. Rasa, or taste, was the word they chose to describe art's aesthetics, and their passionate effort to pin down these phenomena became its own remarkable act of creation. This book is the first in any language to follow the evolution of rasa from its origins in dramaturgical thought—a concept for the stage—to its flourishing in literary thought—a concept for the page. A Rasa Reader incorporates primary texts by every significant thinker on classical Indian aesthetics, many never translated before. The arrangement of the selections captures the intellectual dynamism that has powered this debate for centuries. Headnotes explain the meaning and significance of each text, a comprehensive introduction summarizes major threads in intellectual-historical terms, and critical endnotes and an extensive bibliography add further depth to the selections. The Sanskrit theory of emotion in art is one of the most sophisticated in the ancient world, a precursor of the work being done today by critics and philosophers of aesthetics. A Rasa Reader's conceptual detail, historical precision, and clarity will appeal to any scholar interested in a full portrait of global intellectual development. A Rasa Reader is the inaugural book in the Historical Sourcebooks in Classical Indian Thought series, edited by Sheldon Pollock. These text-based books guide readers through the most important forms of classical Indian thought, from epistemology, rhetoric, and hermeneutics to astral science, yoga, and medicine. Each volume provides fresh translations of key works, headnotes to contextualize selections, a comprehensive analysis of major lines of development within the discipline, and exegetical and text-critical endnotes, as well as a bibliography. Designed for comparativists and interested general readers, Historical Sourcebooks is also a great resource for advanced scholars seeking authoritative commentary on challenging works.

"Akashvani" (English ) is a programme journal of ALL INDIA RADIO ,it was formerly known as The Indian Listener.It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes, who writes them,take part in them and produce them along with photographs of performing artists.It also contains the information of major changes in the policy and service of the organisation. The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 december, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it used to published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" (English ) in January 5, 1958. It was made a fortnightly again on July 1,1983. NAME OF THE JOURNAL: Akashvani LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 22/03/1959 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 48 VOLUME NUMBER: Vol. XXIV, No. 12. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 2, 5-38, 45,46 ARTICLE: 1. India’s Population Policy 2. Calico Printing In Rajasthan 3. Microbes Welfare And Human 4. The I.G.Y. In Retrospect 5. E. M. Forster, The Writer 6. Window On Bengali Literature 7. During My Lifetime AUTHOR: 1. Dr. S. Chandrasekhar 2. C. L. Kapoor 3. Dr. Selmatn A 4. K. R. Ramanathan 5. Mulk Raj Anand 6. Sudhi Bhushan Bhattacharya 7. R. P. Masani KEYWORDS : The objective,growing population Actual process,simpler designs Two important groups,new processes,great potentialities,most important The ringmaster,high solar activity,Britain’s programme,a dozen participants Enormous influence,natural evolution,passage to India,against censorship Western ideals,Bankim other famous poets,Girish Chandra Ghosh Child life Document ID : APE-1958 (J-J) Vol-1-12 Prasar Bharati Archives has the copyright in all matter published in this and other AIR journals.For reproduction previous permission is essential.

This first book in the new Foundations in Global Studies series offers a fresh, comprehensive, multidisciplinary introduction to South Asia. The variations in social, cultural, economic, and political life in this diverse and complex region are explored within the context of the globalising forces affecting all regions of the world. In a simple strategy that all books in the series employ, the volume begins with foundational material (including chapters on history, language, and, in the case of South Asia, religion), moves to a discussion of globalisation, and then focuses the investigation more specifically through the use of case studies. The cases expose the student to various disciplinary lenses that are important in understanding the region and are meant to bring the region to life through subjects of high interest and significance to today's readers. Resource boxes, an important feature of the book, are included to maintain currency and add utility. They offer links that point readers to a rich archive of additional material, connections to timely data, reports on recent events, official sites, local and country-based media, visual material, and so forth. A website developed by Syracuse University's South Asia Center will feature additional graphic, narrative, and case study material to complement the book.