This book is an attempt at a reconstruction of the YOgacara subjective idealism and an exhaustive criticism of it by different schools of Indian realism. The exposition of the doctrine is based on the works of Santaraksita and Kamalasila and the critics of Vijnanavada. Generally the exposition and criticism of the doctrine by every eminent thinker have been given separately. Most of the critics give a fair and impartial account of Vijnanavada and contribute to the clarification of the idealist position. The author has dealt with the controversy between subjective idealism and realism in Indian thought and tried to give a fairly full account of the arguments by which Indian realists seek to establish the reality of the external world. Incidentally the Yogacara subjective idealism has been compared with the idealism of Berkeley and the sensationalism of Hume and the resemblances and differences between them have been briefly noted. A striking feature of the book is that the parallel arguments of many contemporary realists have been quoted simply to indicate that the philosophical genius of a particular type is apt to move in the same groove, irrespective of the soil it thrives in.

First published in 1938, Indian Realism is a reconstruction of the Yogacara Vijnanavada (Subjective Idealism) and an exhaustive criticism of it by the different schools of Indian realism. The exposition of the doctrine is based on the works of Santaraksita and Kamalasila and the critics of Vijnanavada. Generally each thinker's exposition and criticism have been given separately. Profound thinkers like Kumarila, Jayanta Bhatta, Vacaspatimisra, Sridhara and Sankara have been included. There is a criticism of Vedanta by the Buddhist realists and the different schools of the Vedanta. Incidentally, the Yogacara subjectivism has been compared with the idealism of Berkeley and the sensationism of Hume. Parallel arguments of many contemporary realists, too, have been quoted to show that philosophical genius of a particular type is apt to move in the same groove, irrespective of its location. This book will be of interest to students of philosophy, religion and South Asian studies.

Early twentieth-century Indian novels often depict the harsh material conditions of life under British colonial rule. Even so, these 'realist' novels are profoundly imaginative. In this study, Ulka Anjaria challenges the distinction between early twentieth-century social realism and modern-day magical realism, arguing that realism in the colony functioned as a mode of experimentation and aesthetic innovation – not merely as mimesis of the 'real world'. By examining novels from the 1930s across several Indian languages, Anjaria reveals how Indian authors used realist techniques to imagine alternate worlds, to invent new subjectivities and relationships with the Indian nation and to question some of the most entrenched values of modernity. Addressing issues of colonialism, Indian nationalism, the rise of Gandhi, religion and politics, and the role of literature in society, Anjaria's careful analysis will complement graduate study and research in English literature, South Asian studies and postcolonial studies.

Our knowledge of the most ancient times in India rests mainly on tradition. The Puranas, the Mahabharata, and in a minor degree of Ramayana profess to give accounts from tradition about the earliest occurrences. The Rgveda contains historical allusions, of which some record contemporary persons and events, but more refer to bygone times and persons and are obviously based on tradition. Almost all the information, therefore, comes from tradition. The results obtained from an examination of Puranic and epic tradition as well as of the Rgveda and Vedic literature are set forth in the present book, which happens to be a pioneering work in the area by an important orientalist of the nineteenth century.

Based on original translations of passages from the works of three major thinkers of the classical Indian school of Advaita (Sankara, Vacaspati and Sri Harsa), but addressing issues found in Descartes, Berkeley, Hume, Kant, Wittgenstein and contemporary analytic philosophers, this book argues for a philosophical position it calls 'non-realism'. This is the view that an independent, external world must be assumed if the features of cognition are to be explained, but that it cannot be proved that there is such a world, independently of an appeal to cognition itself. This position is constructed against idealist denials of externality, realist arguments for an independent world and the sceptical denial of the coherence of cognition.

This study argues that realism in twentieth-century Indian literature functioned as a mode of experimentation and aesthetic innovation - not merely as mimesis of the "real world." Addressing issues of colonialism, Indian nationalism, the rise of Gandhi, religion and politics, and the role of literature in society, Anjaria's analysis will complement graduate study and research in English literature, South Asian studies, and postcolonial studies.

This study aims at delineating the cultural work of magical realism as a dominant narrative mode in postcolonial British fiction through a detailed analysis of four magical realist novels: Salman Rushdie's Midnight's Children (1981), Shashi Tharoor's The Great Indian Novel (1989), Ben Okri's The Famished Road (1991), and Syl Cheney-Coker's The Last Harmattan of Alusine Dunbar (1990). The main focus of attention lies on the ways in which the novelists in question have exploited the potentials of magical realism to represent their hybrid cultural and national identities. To provide the necessary historical context for the discussion, the author first traces the development of magical realism from its origins in European Painting to its appropriation into literature by European and Latin American writers and explores the contested definitions of magical realism and the critical questions surrounding them. He then proceeds to analyze the relationship between the paradigmatic turn that took place in postcolonial literatures in the 1980s and the concomitant rise of magical realism as the literary expression of Third World countries.