DSpace

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Aanchalik upnyas aur dalit vimarsha

(2012) Sen, R.K.

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Aand Ton Brehmand : Guru Nanak Bani Darshan

(Guru Nanak Studies, GNDU, Amritsar, 2013) Kaur, Ramanpreet

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Abhijnanshakuntalam in the light of Karuna Rasa

(The Creative Launcher, 2018) Mishra, Ram Ji; Kaur, Zameerpal

The theory of Rasa has been mentioned in the sixth chapter of ancient Sanskrit text in Natyashastra. There are eight kinds of Rasas and these are produced with the combination of Vibhava, Anubhava and Vyabhicharibhava. It is a combination of word and its sense which blesses the reader with an emotional effect. It classifies the dramatic content on the basis of emotions. These emotions are a sophisticated concept of the response to the art. In production of a play, Rasa is created by the actor, is enjoyed by the spectator. This theory is mostly applicable to dance-drama. Kalidasa was a great poet of Sanskrilt language in India. His works mainly based on Mahabharata and Puranas. Abhinjnanshakuntalam, a play by Mahakavi Kalidasa, tells the story of king Dusyanta who meets Shakuntala while on a hunting trip

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Ahindi Pradeshon me in rachit Hindi Sahitye Punjab ke vishesh sandarbh me

(Deepak Publishers, Mai Heeran Gate Jalandhar, 2012) Sen, R. K.

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The Alienated Self: Ashima in Jhumpa Lahiri’s The Namesake

(2014) Kaur, S; Sen, R.K.; Pahuja P.

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The Alienation and Manipulation of Geisha in Cultural Structures of Japan with Special Reference to Arthur Golden's Memoirs of a Geisha

(The Criterion: An International Journal in English, 2017) Thakur, Smiriti; Saini, Alpna

Arthur Golden's Memoirs of a Geisha is an account of Geisha's life; a life of struggle, and surrounded by various artistic practices where Geisha have no time for themselves. Their life seems glamorous and exciting to the outside world, however, in reality, it is pathetic and an isolated one. The aim of this paper is to focus on the origin of Geisha tradition, which is considered as a cultural heritage of Japan. Simultaneously, the paper throws light on various issues such as the role of tradition, culture, history, economy, and prostitution which contribute to the marginalisation of Geisha in personal as well as social arenas. The paper also deals with the reasons which blur the distinction between Geisha tradition and prostitution. To facilitate the interpretation of Geisha tradition, cultural construction of gender roles has been taken into account