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Cilappatikāram
Cilappatikāram, the epic of the anklet is the first known epic of the Tamils, and the first of the five great epics is the quintessential work of the Tamil mind and culture representing the final phase of the classical age in Tamil poetry. Whereas Tolkāppiyam does not mention Kāppiyam, Taṇṭiyalaṅkāram is based on the Sanskrit Kavya tradition and even though T.P. Meenakshisundaran has called it the epic of the common man, he also tries to relate Cilappatikāram to the theory of Taṇṭiyalaṅkāram particularly the four Purushartas of the Kāvya tradition. We can see the marvel of the story of the common people becoming an epic only in Tamil. Eminent Jains and others have said tha...
Literature Within
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Cilappatikāram
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Poetic Petals in the Interior Landscape
Critical study of UttanĐtĐanø kovai, a verse work in Tamil; includes original text.
Kurinji
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Viṭutalaic ciṭṭum Puraṭcik kuyilum
Critical study of Pāratiyār, 1882-1921, and Pāratitācan̲, 1891-1964, Tamil poets, social reformers, and political activists, by a professor of English.
Rasa Theory in Shakespearian Tragedies
This book adds a unique eastern perspective to the ever growing corpus of Shakespeare criticism. The ancient Sanskrit theory of Rasa – the aesthete’s emotional response to performing arts – is explicated in detail and applied to Shakespeare’s tragic masterpieces. Bharata, who wrote about Rasa in the Natyasastra, developed detailed guidelines for the communication of emotion from author to actor and then to the audience culminating in a sublime aesthetic experience. Though chronologically Bharata is as ancient as Aristotle, thematically, his ideas are as relevant today as Aristotle’s is and often echo those of the Greek master. This cross–cultural study on the communication of emotions in art establishes that emotions are universal and their communication follows similar patterns in all climes. The Rasa theory is today applied to modern media like film and has found a place among audience centric communication theories. This volume extends the East-West dialogue in aesthetic theory by identifying parallels and points of deviation and delights both aesthete and critic alike.
