Autor: Miążek, Teresa - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Terminy nīras, nirastā w opowiadaniach Agjeja. Ślady sanskryckiej teorii estetyki rasa we współczesnej literaturze hindi
The Terms nīras, nirastā in Ajñeya’s Short-Stories: Tracing the rasa Theory of Aesthetics in Contemporary Hindi Literature
Autorzy:: Miążek, Teresa
Powiązania:: https://bibliotekanauki.pl/articles/504758.pdf
Data publikacji:: 2014
Wydawca:: Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:: Hindi literature
Hindi short-stories
Ajñeya
Sanskrit aesthetics
rasa theory
Nātyaśāstra
Opis:: The main focus of this paper is to admit a possibility of interpreting some ideas present in modern Hindi literature in terms of the Sanskrit theory of aesthetics, originally conceived for stage performing arts. The author is aiming at presenting a symbolic context of rasa and its validity for usage in literature. Examples from Ajñeya’s short-stories point towards the possible connotations of the term nīras with the terminology of Sanskrit aesthetics rasa. The contribution of Saccidānand Hīrānand Vātsyayān known as Ajñeya in Hindi literature is presented in short. Some meanings of rasa known from Nāṭyaśāstra, especially the symbolic meaning of colors, are depicted as employed in modern literary criticism. Hindi terms: nīras “without sap,” “without taste” and nirastā – “dullness,” “emptiness” are discussed in relation to the Sanskrit term rasa “juice,” “taste,” “aesthetic experience,” “aesthetic category” and to its symbolic colors. The results of this discussion could serve as proof for an unbroken flow of Indian literary tradition since 500 BC till nowadays. Moreover, they acknowledge Ajñeya’s affirmative attitude towards the Sanskrit tradition.
Źródło:: Academic Journal of Modern Philology; 2014, 3; 43-54
2299-7164
2353-3218
Pojawia się w:: Academic Journal of Modern Philology
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 2.

Tytuł:: The Legend of Ashoka’s Hell and References to the Torture Chamber of the Mauryan Emperor in Ajñeya’s Play Uttar Priyadarśī
Autorzy:: Miążek, Teresa
Powiązania:: https://bibliotekanauki.pl/articles/2013202.pdf
Data publikacji:: 2021
Wydawca:: Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:: Ashoka
Ashoka’s hell
Ajñeya/Agyeya
Hindi drama
kāvya-nāyak
Opis:: This paper discusses the legend of Ashoka’s hell relating to the ancient Indian emperor of Maurya dynasty and his conversion to Buddhism as depicted by the Hindi writer Ajñeya1 (1911–1987) in his play Uttar Priyadarśī of 1967 as well as references made by him to a torture chamber in the imperial palace in Pataliputra. The thesis proposed here is that Ajñeya, while re-telling the old Buddhist legend and referring it to the emperor’s material prison, seeks to renew how it is perceived and prove its underlying concept. While looking for overlaps between history and legend and focusing on Ashoka’s prison-hell, he aims to present the truth about the reason and manner of the emperor’s conversion. References to the Buddhist story in Indian and Chinese versions and history of Ashoka are studied to reveal their mutual role in the play. His version of the tale is compared to the relevant part of the Aśokāvadāna, regarded as the most reliable source on the legend of Ashoka. It is illustrated by passages from Ajñeya’s play translated for the first time in this paper and the available English translations of the Aśokāvadāna with some references to its text in Sanskrit. The analysis presented here proves that the playwright emphasises descriptions of torture and terror that correspond to the state of Ashoka’s mind, which is tormented by the phantoms of war against the state of Kalinga. Thus, he provides psychological insight into the main protagonist’s Self. Ajñeya transforms the legend by making the emperor’s regret the main reason for his renunciation of war and conversion to Buddhism. He also changes its ending so that it suits the final message of his play. Priyadarshi’s salvation from hell has to be read as liberation from one’s exaggerated Self, the reason for his suffering, which is only possible once it is renounced. The analysis proves Ajñeya’s skills in evoking an ancient dramatic style, and language while presenting Ashoka’s dilemma as a modern conflict. In the end, the motif of “entering hell” is referred to as one of the oldest known topoi in world literature.
Źródło:: Academic Journal of Modern Philology; 2021, 14; 257-274
2299-7164
2353-3218
Pojawia się w:: Academic Journal of Modern Philology
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 3.

Tytuł:: Złożenie sukh-duḥkh w utworach Agjeja – zastosowanie terminu we współczesnej literaturze hindi i w staroindyjskim traktacie Nāṭyaśāstra
The term sukh-duḥkh in the works by Ajñeya – its usage in modern Hindi literature and in the old-Indian treatise Nāṭyaśāstra
Autorzy:: Miążek, Teresa
Powiązania:: https://bibliotekanauki.pl/articles/52929794.pdf
Data publikacji:: 2021-09-02
Wydawca:: Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
Tematy:: Ajñeya
Nāṭyaśāstra
hindi literature
old-Indian aesthetic
theory of rasa
literatura hindi
estetyka staroindyjska
teoria rasa
Opis:: The analysis of passages selected from Ajñeya’s works in Hindi: poems, short stories, and a drama, aims to show the context, in which the writer uses the sukh-duḥkh compound, known from the Natyashastra (Nāṭyaśāstra, 5 B. C. – 5 A. D.), an old-Indian compendium on dance and theatre written in Sanskrit, where it occurs in the meaning of “the nature of the world”. Therefore the contexts in which this very compound has been used in the Natyashastra have been analyzed. The most important one refers to the nature and process of an aesthetic experience rasa. It also occurs in passages providing characteristics of persons recollecting past events or in the state of numbness. The results of the analysis of selected Ajñeya’s works prove that he uses the sukh-duḥkh compound in convergent contexts in his works as in the Natyashastra, what has been illustrated by the quoted passages. The writer seems to be an advocate of preserving and modifying the achievements of Sanskrit poetics, including the idea of rasa, to which the term sukh-duḥkh refers as “happiness and unhappiness”, being the nature of the world, subjected to the proces of universalization in theater and in a literary work.
Źródło:: Orbis Linguarum; 2021, 55; 51-73
1426-7241
2657-4845
Pojawia się w:: Orbis Linguarum
Dostawca treści:: Biblioteka Nauki