This book focuses on the cohering elements across various texts and traditions of India. It engages with several significant works from the Sanskrit tradition and emphasizes the need to move beyond colonial and postcolonial engagements with the enduring cultural pasts of India. The chapters are grouped in three main parts: accented rhythms, dispersed mnemoscapes and inventive iterations. It addresses questions such as: what enabled cultural communication across very divergent geographical, temporal, locational contexts and among different cultural formations of India over millennia? What is this shareable impulse that pulsates across the domains of dance, sculpture, painting, poetry, dharma, music, medicine, the lore of rivers and the epics? It explains how modern Indian languages and especially their creative and reflective nodes are unthinkable without the intricately woven textures of these interfaces and their responsive receptions. This book is of interest to philosophers, humanities students, researchers and professors as well as people interested in exploring alternatives to European traditions of thought without an alibi.

This volume critically engages with the question of cultural difference and the idea of living with diversity in the context of India and Europe. It looks at certain essential European categories of learning such as art, nature, the human, literature, relation, philosophy, and the humanities and analyses texts from Sanskrit language (through Telugu resources) to argue that categories like prakriti, loka, jati, dharma, karma, sahitya, kala,etc. cannot be conflated with conceptual formations such as nature, world, caste, religion, (sanctioned) action, literature and art respectively. The book questions and unravels the efficacy of European concepts, theories and interpretive frames in understanding Indian reflective traditions and cultural forms. It also lays the groundwork for reorienting teaching and research in universities in the humanities on the basis of key cultural differences. By focusing on major themes in the humanities discourse and their limitations, the work engages with the writings of Heidegger, Derrida and Agamben, among others, from radically new vantage points of Sanskrit-Indian reflective traditions, and challenges prevailing ideas about Indian art, literature and culture. Part of the Critical Humanities Across Cultures series, this book will be an essential read for scholars and researchers of Indian languages and literature, comparative literature, art and aesthetics, postcolonial studies, cultural and heritage studies, philosophy, political philosophy, comparative philosophy, Sanskrit studies, India studies, South Asian studies, Global South studies, and for those working on education in the humanities/human sciences.

With more than 300 entries, these two volumes provide a one-stop source for a comprehensive overview of communication theory, offering current descriptions of theories as well as the background issues and concepts that comprise these theories. This is the first resource to summarize, in one place, the diversity of theory in the communication field. Key Themes Applications and Contexts Critical Orientations Cultural Orientations Cybernetic and Systems Orientations Feminist Orientations Group and Organizational Concepts Information, Media, and Communication Technology International and Global Concepts Interpersonal Concepts Non-Western Orientations Paradigms, Traditions, and Schools Philosophical Orientations Psycho-Cognitive Orientations Rhetorical Orientations Semiotic, Linguistic, and Discursive Orientations Social/Interactional Orientations Theory, Metatheory, Methodology, and Inquiry

In this book, Erika Fischer-Lichte traces the emergence of performance as 'an art event' in its own right. In setting performance art on an equal footing with the traditional art object, she heralds a new aesthetics. The peculiar mode of experience that a performance provokes - blurring distinctions between artist and audience, body and mind, art and life - is here framed as the breeding ground for a new way of understanding performing arts, and through them even wider social and cultural processes. With an introduction by Marvin Carlson, this translation of the original sthetik des Performativen addresses key issues in performance art, experimental theatre and cultural performances to lay the ground for a new appreciation of the artistic event.

Culture of Memory in South Asia reconfigures European representations of India as a paradigmatic extension of a classical reading, which posits the relation between text and context in a determined way. It explores the South Asian cultural response to European “textual” inheritances. The main argument of this work is that the reflective and generative nodes of Indian cultural formations are located in the configurations of memory, the body and idiom (verbal and visual), where the body or the body complex becomes the performative effect and medium of articulated memories. This work advances its arguments by engaging with mnemocultures-cultures of memory that survive and proliferate in speech and gesture. Drawing on Sanskrit and Telugu reflective sources, this work emphasizes the need to engage with cultural memory and the compositional modes of Indian reflective traditions. This important and original work focuses on the ruptured and stigmatised resources of heterogeneous Indian traditions and calls for critical humanities that move beyond the colonially configured received traditions. Cultures of Memory suggests the possibilities of transcultural critical humanities research and teaching initiatives from the Indian context in today’s academy.

Performative Politics and the Cultures of Hinduismfocuses on one of the major festivals of western India, the Ganapati Utsava, dedicated to the elephant-headed god. Raminder Kaur uses this occasion as the central anthropological and historiographical site within which to examine the dynamic relationship between spectacle, religion and nationalist politics. In contemporary India, this kaleidoscopic event is of interest to various bodies, including political parties such as the Shiv Sena, the BJP and the Congress, media conglomerates which sponsor competitions associated with religious rituals and the police and regulating organizations of the state which strive to keep religious festivity 'clean' of criminality and excessive political manipulation. At the level of community life and everyday bhakti (religious devotion), Kaur shows that the audiovisual aspects of the festival are today crucial to its enduring appeal among large sectors of urban India's populace. Deploying a single major cultural and religious event to study the variety and cultures of contemporary Hinduism and their complex histories, this book is an outstanding work that will interest every serious student of Indian politics, cultural history and anthropology.