School Of Languages, Literature And Culture
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Item Romeo and Juliet in the light of the Theory of Rasa(IJELLH, 2018) Mishra, Ram Ji; Kaur, ZameerpalIndian poetics is nothing but a focus of Sanskrit and Tamil critical concerns. Among which the theory of Rasa is an ancient antiquity. The theory of Rasa is an earnest attempt to indicate the character of the emotional effect of the drama or it successfully explains the rise and nature of realisation of the aesthetic pleasure that a responsive audience experiences while witnessing the skillful enactment of a play. There are many thinkers who have propagated the theory like Abhinavgupta, Bhoja, Sri Sankuka, Bhattnayaka, Bhattlolata and Jagannatha. Romeo and Juliet is a tragic love story drama, in which the theory of Rasa has been applied on the basis of emotions, like love, mirth, pathos, zeal, anger, fear, disgust and wonders, enacted by the character and felt by the audience.Item Abhijnanshakuntalam in the light of Karuna Rasa(The Creative Launcher, 2018) Mishra, Ram Ji; Kaur, ZameerpalThe 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 tripItem Comparative study of Shiv Kumar's birha tu sultan and Jaishankar Prasad's kamayani the perspectives of the theory of alamkara(Central University of Punjab, 2014) Kaur, Rajandeep; Kaur, ZameerpalUnlike western critical theories, Indian Poetics focus more upon aesthetic aspects rather than didactic approach to literature. Among the most discussed critical theories of Indian Poetics Alamkara has a unique and extraordinary place . The word Alamkara consists of two words 'alam' and 'kar' which means the elements that add grace or aesthetic sense to the poetry. A number of scholars contribute in the development of this theory. Bhamha (6 th century A.D.) is considered as father of Alamkara theory, who explained Alamkaras in detail in his treatise Kavyalamkara. Alamkaras are not only used in modern literature, but their presence can be seen in Vedas , and Yaska's Nirukat and Mimansa . The focus of present study is to do the comparative analysis of Punjabi and Hindi poetry with reference to Shiv Kumar's Birha Tu Sultan and Jaishankar Prasad's Kamayani in context with the theory of Alamkara to extract different types of Alamkaras used in them. Alamkaras have been used very abundantly in the poetry of both Shiv and Prasad. It is the use of Alamkara which gives a literary touch to their poetry and makes it interesting for readers. They have mastery over the use of Alamkara . The writings of Shiv and Prasad mainly focus on the theme of love and separation, pain and agony of lovers, description of nature, beauty and sufferings of female, theme of lust, theology, patriotism etc. They use historical and mythological events in their writings.