A REPORT ON THE FATE OF TRADITION – INDIAN CULTURE By P.SANDEEP ID.NO.2005S5P4483 A report submitted in partial fulfillment of the requirements of TAGC 312: Technical Report Writing 12 March 2007 a ACKNOWLEDGEMENTS I am grateful to Dr.CHAGLA‚ my instructor for the course TECHNICAL REPORT WRITNG‚ for many valuable ideas and suggestions he gave for the
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As part of my Theology course (South Asian religions and cultures)‚ I got an opportunity to watch a film called “Water’ in the class. I was my first experience to watch a movie in the classroom. The story of the film is based on the life of widows in the colonial period. During the colonial period‚ there were child marriages prevailed in India‚ and the widows were seen as untouchables in the society. Widows in that period was send to a rescue home‚ where they had to lead a life by worshipping God
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Performing Arts Performing arts are art forms in which artists use their body or voice to convey artistic expression—as opposed to plastic arts‚ in which artists use clay‚ metal‚ paint‚ and other materials to create physical art objects. The first recorded use of the term performing arts was in 1711. OVERVIEW OF THE TOPICS: 1 Types of performing arts • 1.1 Theatre • 1.2 Dance • 1.3 Music 2 History of Western performing arts • 2.1 Renaissance • 2.2 Modern era
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of the Guptas was Sanskrit. • A renowned Physician of the Gupta period was Vagbhatta. • Nalanda and Taxila were two universities during this period. • Pala dynasty was founded by Gopala. Its king Dharmapala founded Vikramashila University. • Kalidasa the court poet of Chandragupta II‚ wrote Abhinjanashakuntala‚ Malavikagnimitra‚ Vikramorvasiam‚
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Kalidasa’s Sakuntala is the best-known Sanskrit drama‚ and widely considered a masterpiece. It is based on an episode from the Mahabharata (book 1‚ ch. 62-69)‚ though Kalidasa takes significant liberties in his version. Widely translated -- there were "no fewer than forty-six translations in twelve different languages" in the century after Sir William Jones’ groundbreaking first translation (1789) alone‚ Dorothy Matilda Figueira notes in Translating the Orient -- new editions continue to appear regularly
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Instructor In-charge: Dr. Neelankantan G. Introduction: Abhijñānaśākuntalam is a well known Sanskrit play written by Kalidasa. It means “token-recognised- Śakuntalā” ("Śakuntalā recognized by a token"). It is an elaboration upon an episode mentioned in the Mahabharata‚ protagonist of which is Śakuntalā‚ the daughter of Vishwamitra and Menaka . Its date is uncertain‚ but Kalidasa is often placed in the period between the 1st century BC and 4th century AD. In this paper the thematic‚ structural and
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travesty to suggest that one can detect in his writing a clipped‚ quasi-military diction as it would be to think of Kālidāsa as an untutored child of nature simply because he shows himself less steeped than Bhavabhūti in philosophical erudition. But it is fair to say that Vishakhadatta’s prose passages in particular often have a certain stiffness compared to the supple idiom of both Kālidāsa and Bhavabhūti. In relative‚ rather than absolute‚ terms his style includes
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colonial performances in the very early days of the Raj to dominating the Parsi stage early in the nineteenth century to becoming the ensign for mandatory English education after 1835‚ I thought the Indian Shakespeare might as well be Shakespeare. “Kalidasa‚” he said. Since I had demonstrated a profound incompetency in English literature‚ I think it unlikely that my bus-mate was merely trying to supply a common frame of reference on the way to a new topic of conversation. “Who is the Indian Shakespeare
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Shakuntala : The Mahabharata Story The monarch was young‚ handsome and brave. The hunting expedition had lasted for days now. He was tired‚ thirsty and hungry. All but a couple of his associates were long left behind. Though without fear‚ he stood with a sense of reverence before the sacred grounds of Rishi Kanva’s hermitage. It was inviolable. He dismissed even the reduced retinue at the entrance‚ before stepping in. The quiet was conspicuous but soothing. The abode yonder seemed unoccupied. He
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back home‚ but at the end Chuyia adapts pretty well to her new life style as a widow. In the ashram she meets other widows that have been imprisoned there for the rest of their lives. Chuyia meets two widows that are going to be her best friends. Shakuntala the older widow is the most enigmatic‚ quiet and preserved of the widows. She is very devoted to the Hindu religion and seeks counselling of the priest‚ where she learns about the law that allows widows to re-marry. The widow Kalyani is a beautiful
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