Literature and history are inseparable as the influence of the one on the other is perennial. His... more Literature and history are inseparable as the influence of the one on the other is perennial. History of the past shapes the present Literature and it runs into the making of the future history in turn. The literary artist also either deliberately or inadvertently responds to the contemporaneous events of significance and also to the ideas prevalent in his or her society. Hence, theorizing the literature of all ages from historic view becomes a prudent choice. Drama, being the genre of humanity, records the socioeconomic political changes that changed the thematic convergence of modern literature. By realistically depicting the whole gamut of life, it stirred up the emergence of several theories such as feminism, eco-feminism, gender-criticism, humanism, etc. This article focuses on studying the evolution of the theory of Indian feminism in the backdrop of new-historicism. And, it also illustrates how this approach helps in the comprehensive understanding of the status of women as p...
Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, styl... more Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, stylistic and artistic divergence has become a productive form of literature as it allows national literatures to gain worldwide recognition. The researcher in Comparative Literature could be restrained solely by the texts in translation. Because, claiming originality to the texts in translation is impossible as they bear the dominance of the translator and the limitations of both the Source Language (SL) and Translated Language (TL) to some extent. But the translation done in accordance with translatology assures that the adopted script bears all the key concepts of original text. Moreover, the classics of all literatures have come down to the readers only through translation. Hence, depending on the translated texts becomes a prudent choice. In this article, the researcher comparatively discusses the Indian and Western views or theories on Dramatics – Bharata’s Natyasastra (Sanskrit) and A...
Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, styl... more Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, stylistic and artistic divergence has become a productive form of literature as it allows national literatures to gain worldwide recognition. The researcher in Comparative Literature could be restrained solely by the texts in translation. Because, claiming originality to the texts in translation is impossible as they bear the dominance of the translator and the limitations of both the Source Language (SL) and Translated Language (TL) to some extent. But the translation done in accordance with translatology assures that the adopted script bears all the key concepts of original text. Moreover, the classics of all literatures have come down to the readers only through translation. Hence, depending on the translated texts becomes a prudent choice. In this article, the researcher comparatively discusses the Indian and Western views or theories on Dramatics – Bharata's Natyasastra (Sanskrit) and Aristotle's Poetics (Greek) – in English translation; and proposes the comparative scrutiny of the plays of some notable dramatists to justify their unique way of propagating humane values and how they are reformative in nature. The medieval critics presume from the revaluation of the ancient literature that both classics share common elements – visual, aural and spatial, and features: techniques – multi-channeled discourses, dance and music. Their sole aim had been the transformation of reality not the depiction of it, arousal of deep emotional impact and consequently giving psychological relief to the spectators. They propose teaching of humanistic philosophy and values. Thus, they together have been the inspiration for the modern theatrics and dramatics. Hence, the researcher evaluates and suggests the importance of these two manuscripts and select plays that are composed in accordance with these two treatises in humanizing mankind from a modern critical perspective; and emphasizes on the need to look upon ancient theories for the composition of drama script at present in the modern world where the humaneness is missing. These classical manuals of India and West are semiotic in structure, heiropraxis (religious or ritual) in practice, and uphold a few metaphysical and epistemological concepts in common. The overall examination of classical Indian and Greek drama reveals that the personas, costumes, masks, settings, music, dance, chorus, monologue, dialogue, soliloquy and action etc are of primary significance. It may also be noted that in their magnitude and content Peri Poietikes and Natyasastra are different structurally, thematically and aesthetically. To be precise, Indians popularised comedy and the Greeks, tragedy. The difference between these two traditions has been so great that the two artistic expressions could not but be different. In the west 'evil' has been a positive force whereas in India 'evil' is evil itself or just absence of good. As Sri Aurobindo argues, " In Hindu drama, it would have seemed a savage and inhuman spirit that could take any aesthetic pleasure in the sufferings of an Oedipus or a Duchess of Malfi in the tragedy of Macbeth
Literature and history are inseparable as the influence of the one on the other is perennial. His... more Literature and history are inseparable as the influence of the one on the other is perennial. History of the past shapes the present Literature and it runs into the making of the future history in turn. The literary artist also either deliberately or inadvertently responds to the contemporaneous events of significance and also to the ideas prevalent in his or her society. Hence, theorizing the literature of all ages from historic view becomes a prudent choice. Drama, being the genre of humanity, records the socioeconomic political changes that changed the thematic convergence of modern literature. By realistically depicting the whole gamut of life, it stirred up the emergence of several theories such as feminism, eco-feminism, gender-criticism, humanism, etc. This article focuses on studying the evolution of the theory of Indian feminism in the backdrop of new-historicism. And, it also illustrates how this approach helps in the comprehensive understanding of the status of women as p...
Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, styl... more Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, stylistic and artistic divergence has become a productive form of literature as it allows national literatures to gain worldwide recognition. The researcher in Comparative Literature could be restrained solely by the texts in translation. Because, claiming originality to the texts in translation is impossible as they bear the dominance of the translator and the limitations of both the Source Language (SL) and Translated Language (TL) to some extent. But the translation done in accordance with translatology assures that the adopted script bears all the key concepts of original text. Moreover, the classics of all literatures have come down to the readers only through translation. Hence, depending on the translated texts becomes a prudent choice. In this article, the researcher comparatively discusses the Indian and Western views or theories on Dramatics – Bharata’s Natyasastra (Sanskrit) and A...
Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, styl... more Comparative criticism of texts irrespective of their socio-cultural, linguistic, idealistic, stylistic and artistic divergence has become a productive form of literature as it allows national literatures to gain worldwide recognition. The researcher in Comparative Literature could be restrained solely by the texts in translation. Because, claiming originality to the texts in translation is impossible as they bear the dominance of the translator and the limitations of both the Source Language (SL) and Translated Language (TL) to some extent. But the translation done in accordance with translatology assures that the adopted script bears all the key concepts of original text. Moreover, the classics of all literatures have come down to the readers only through translation. Hence, depending on the translated texts becomes a prudent choice. In this article, the researcher comparatively discusses the Indian and Western views or theories on Dramatics – Bharata's Natyasastra (Sanskrit) and Aristotle's Poetics (Greek) – in English translation; and proposes the comparative scrutiny of the plays of some notable dramatists to justify their unique way of propagating humane values and how they are reformative in nature. The medieval critics presume from the revaluation of the ancient literature that both classics share common elements – visual, aural and spatial, and features: techniques – multi-channeled discourses, dance and music. Their sole aim had been the transformation of reality not the depiction of it, arousal of deep emotional impact and consequently giving psychological relief to the spectators. They propose teaching of humanistic philosophy and values. Thus, they together have been the inspiration for the modern theatrics and dramatics. Hence, the researcher evaluates and suggests the importance of these two manuscripts and select plays that are composed in accordance with these two treatises in humanizing mankind from a modern critical perspective; and emphasizes on the need to look upon ancient theories for the composition of drama script at present in the modern world where the humaneness is missing. These classical manuals of India and West are semiotic in structure, heiropraxis (religious or ritual) in practice, and uphold a few metaphysical and epistemological concepts in common. The overall examination of classical Indian and Greek drama reveals that the personas, costumes, masks, settings, music, dance, chorus, monologue, dialogue, soliloquy and action etc are of primary significance. It may also be noted that in their magnitude and content Peri Poietikes and Natyasastra are different structurally, thematically and aesthetically. To be precise, Indians popularised comedy and the Greeks, tragedy. The difference between these two traditions has been so great that the two artistic expressions could not but be different. In the west 'evil' has been a positive force whereas in India 'evil' is evil itself or just absence of good. As Sri Aurobindo argues, " In Hindu drama, it would have seemed a savage and inhuman spirit that could take any aesthetic pleasure in the sufferings of an Oedipus or a Duchess of Malfi in the tragedy of Macbeth
Uploads
Papers by A. Rajina Banu