By Diana Dimitrova
This e-book explores the illustration of Hinduism via delusion and discourse in city Hindi theatre within the interval 1880-1960. It discusses consultant works of 7 influential playwrights and appears into the methods they've got imagined and re-imagined Hindu traditions. Diana Dimitrova examines the intersections of Hinduism and Hindi theatre, emphasizing the $64000 function that either fable and discourse play within the illustration of Hindu traditions within the works of Bharatendu Harishcandra, Jayshankar Prasad, Lakshminarayan Mishra, Jagdishcandra Mathur, Bhuvaneshvar, Upendranath Ashk, and Mohan Rakesh. Dimitrova’a research indicates both a traditionalist or a extra modernist stance towards spiritual matters. She emphasizes the absence of Hindi-speaking authors who take care of concerns implicit to the Muslim or Sikh or Jain, and so forth. traditions. This activates her to signify that Hindi theatre of the interval 1880-1960, as represented within the works of the seven dramatists mentioned, may be obvious as really ‘Hindu-Hindi’ theatre.
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Extra resources for Hinduism and Hindi Theater
The brave Hindu Chandragupta, who is aided by the wise purohit (Hindu priest), saves her and her honour. Ideologically, Prasad’s plays convey his admiration for Hinduism and Brahmanism. In order to communicate his ideas, Prasad refers to Indian history and all the characters are moulded in conformity with the author’s views. Dramaturgically, Prasad’s plays follow in the aesthetic of classical Sanskrit drama. Similarly, in his plays he keeps the tradition of the dāsīs (female slaves) or the main protagonists’ companions preceding them on stage and thus introducing their appearance or describing the setting.
22. See P. L. Handa, A History of Hindi Language and Literature. 23. See D. G. Joshi, Myth in Indian Drama; R. P. , Classics of Modern South Asian Literature, see especially William Radice’s essay on “Xenophilia and Xenophobia; Michael Madhusudan Datta’s Meghnadbad Kāvya”; S. Kumar, The New Story; Vasudha Dalmia’s essay “Television and Tradition: Some Observations on the Serialization of the Rāmāyaṇa” in M. Thiel-Hortsmann, ed. Rāmāyaṇa and Rāmāyaṇas; V. Dalmia and T. , Narrative Strategies, see especially Brigitte Schulze’s essay on “The First Cinematic Paurāṇikkathānak”; Angelika Malinar’s article “The Bhagavadgītā in the Mahābhārata TV Serial: Domestic Drama and Dharmic Solutions” in V.
The scope of this study does not allow me to discuss this issue in detail. For an initial exploration of the systems of sāṃkhya-yoga, see K. Klostermaier, A Survey of Hinduism (Albany, NY: State University of New York Press, 1994), 397–407 and G. Flood, An Introduction to Hinduism (Cambridge: Cambridge University Press, 1996), 232–236. On the concepts of varṇa, jāti, dharma and on purity and pollution, see K. : State University of New York Press, 1994) and G. Flood, An Introduction to Hinduism (Cambridge: Cambridge University Press, 1996).