Climate change intersecting with complex socio-economic and political processes has produced distinctive patterns of crisis migration. However there exists a significant gap in understanding and theorizing these forms of migration creating significant policy challenges. Using a case study of an interstate migrant settlement in Bengaluru, India this article unpacks migration as an adaptation strategy through the lens of emotions. The article offers significant insights into how emotions affect the choice of migration as an adaptation strategy and shapes the differential experiences (...) of risks and vulnerability for different groups of people. Emphasizing such relational aspects of migration, the article calls for more research that develops a nuanced understanding of the emotional landscapes of migrants across migration pathways. (shrink)

This book turns critical feminist scrutiny on national climate policies in India and examines what transition might really mean for marginalized groups in the country. -/- A vision of “just transitions” is increasingly being used by activists and groups to ensure that pathways towards sustainable futures are equitable and inclusive. Exploring this concept, this volume provides a feminist study of what it would take to ensure just transitions in India where gender, in relation to its interesting dimensions of power, is (...) at the centre of analysis. With case studies on climate mitigation and adaptation from different parts of India, the book brings together academics, practitioners and policymakers who provide commentary on sectors including agriculture, forestry and renewables. Overall, the book has relevance far beyond India’s borders, as India’s attempt to deal with its diverse population makes it a key litmus test for countries seeking to transition against a backdrop of inequality both in the Global North and South. -/- This volume will be of great interest to students and scholars of climate policy, gender studies, sustainable development and development studies more broadly. (shrink)

Localized mRNA translation is a biological process that allows mRNA to be translated on‐site, which is proposed to provide fine control in protein regulation, both spatially and temporally within a cell. We recently reported that Vasa, an RNA‐helicase, is a promising factor that appears to regulate this process on the spindle during the embryonic development of the sea urchin, yet the detailed roles and functional mechanisms of Vasa in this process are still largely unknown. In this review article, to elucidate (...) these remaining questions, we first summarize the prior knowledge and our recent findings in the area of Vasa research and further discuss how Vasa may function in localized mRNA translation, contributing to efficient protein regulation during rapid embryogenesis and cancer cell regulation. (shrink)

Around the second century of our era, kāvya steps out from the shadows. What was kāvya at this early moment? What ties together the kāvya produced within the Kuṣāṇa empire in North India, in Sanskrit, with that produced within the Sātavāhana empire of the South, in Prakrit? What ties the Buddhist kāvya of Mātṛceṭa, Aśvaghoṣa, and Kumāralāta to the Jain kāvya of Pālitta and the secular kāvya found in the Seven Centuries? One answer involves (...) the idea of ornamentation : the features that, when worked into a text, transform it into an aesthetic object, not simply the “figures” of sound and sense with which this word would later be associated. In the Prakrit texts associated with the Sātavāhana court, ornamentation is essential—the Seven Centuries proclaims that all of its verses have it—but it was just as essential for it to be inconspicuous. The paradox of “artless artifice” was central to the aesthetic of these texts. In the Sanskrit texts of the North, the reverse was the case: massive effort was expended in making the artless appear artful, in casting the teachings and stories of Buddhism as kāvya. I will offer a few speculations about why the North and South took these different “paths,” and conclude by connecting them with the later discussion in Sanskrit poetics about the two “paths” of kāvya. (shrink)

The primary function of Sanskrit kāvya was always to please the readers. Literary theoreticians like Abhinavagupta often considered esthetic experience as a supramundane (alaukika) experience where the readers transcend their mundane attachments. Viśvanatha compared it to the experience of knowing brahman, the ultimate truth. But this does not mean that Sanskrit kāvya was devoid of any pragmatic concerns and was exclusively concerned with esthetic bliss. This paper examines how the purvamīmāmsā theory of bhāvanā was effectively employed by Sanskrit (...) literary theoreticians in Early India to make the readers of Sanskrit kāvya self-fashion themselves according to the existing notions about the practice of puruṣārtha-s. This mechanism, which literary critics from Kuntaka onwards explicitly mentioned, capacitated kāvya with a symbolic power to influence the worldview of readers and to make them conform to the existing dharmavidhi (legal injunction with respect to the four aims of human life). How did the idea of bhāvanā function in the composition of Sanskrit kāvya to self-fashion the readers? And how did the writers of kāvya precondition their texts so that readers should self-fashion themselves? The present paper explores these two crucial questions which shed light on the pragmatic use of Sanskrit kāvya. (shrink)

This volume critically explores the cultural significance and fate of 'the literary' in the European and Indian traditions as it traces the history of the reception of works that have a deep hold on the lives and sensibilities of people across time and culture. The book grapples with three major concepts in the humanities-the literary, the philosophical/theological, and the historical. It looks at Homer's reception by Plato; Virgil's reception by Christianity; the many responses that The Mahabharata has received over centuries (...) and across cultures in India; and the reception of Kumaravyasa's Kumaravyasabharata, among other works, and analyses the understanding of truth, time, and history that influence the reading of these works in different times and cultural contexts. Part of the Critical Humanities across Cultures series, this book will be useful for scholars and researchers of philosophy, literature, history, comparative literature, cultural studies and post-colonial studies. (shrink)

pt. 1. Collection of Sastri's writings and a kavya on him -- pt. 2. Select research papers presented at the birth centenary seminars.

This paper brings kāmaśāstra into conversation with poetics (alaṅkāraśāstra) and modes of literary criticism associated with Sanskrit literature (kāvya). It shows how historical intersections between kāvya, kāmaśāstra, and alaṅkāraśāstra have produced insightful cross-domain typologies to understand the nature and value of canonical works of Sanskrit literature. In addition to exploring kāmaśāstra typologies broadly as conceptual models and analytical categories useful in literary-critical contexts, this paper takes up a specific formulation from the kāmaśāstra (the padminī-citriṇī-śaṅkhinī-hastinī type-casting of females) used (...) by a twentieth century literary critic to frame the relationships between canonical poets of Sanskrit literature. (shrink)

Pursuing Death is takes forward the central theme of Inviting Death and is a result of further exploration in the field. The author was able to address the issues related to the theory and practice of the voluntary termination of life by using a new methodology and instances were drawn from the Kavya Literature.

Both of Aśvaghoṣa’s poetical works conclude with somewhat apologetic statements regarding his use of kāvya to deliver the Buddha’s words. Previous studies of his work have often read these statements as empty rhetoric, designed to assuage the typically suspicious attitude of the Buddhist canon toward kāvya, which consists in language beatified through ornamentation for the sole purpose of pleasure. This paper suggests that we should take Aśvaghoṣa’s statements seriously, and that indeed his poetry can be understood as conducive (...) for liberation. Focusing on the Buddhacarita, the paper provides a close reading of a selection of passages from the work, and draws from literary analysis to examine the way in which Aśvaghoṣa uses the narrative voice to provide a multi-perspectival account of experience. What defines these opposing perspectives for Aśvaghoṣa, it is argued, is primarily the way in which they stand in relation to the world of poetry and to the aesthetic values of kāvya, and in this respect Aśvaghoṣa should be understood as offering a highly reflexive account of his own choice of medium. (shrink)

The influence of Aśvaghoṣa on the later tradition of kāvya was largely passed over in the South Asian tradition, even though the debt to his influence is clear in processional scenes developed by Kālidāsa and the attempted seduction of Arjuna developed by Bhāravi in his Kirātārjunīyam. We know from the testimony of the Chinese pilgrim Yijing that the Buddhacarita was a revered object of study in the Sumatran capital Śrībhoga near the close of the seventh century CE. It thus (...) perhaps comes as no surprise that three tropes or themes developed by Aśvaghoṣa were developed by several important composers of kakawin, the Old Javanese literary genre comparable to the kāvya of South Asia. This paper looks at the development of the themes of processions, divine battles and attempted seductions in a long history beginning with Aśvaghoṣa and closing with the work of the Javanese author Mpu Tantular, who completed the Buddhist kakawin Sutasoma c. 1365–1389 CE. This paper is partly based on a revised perspective on the history of the Shailendra and Sañjaya dynasties of central Java developed by examining the role of the “Shailendra royal preceptors” in bringing Sanskrit learning to Central Java in the period 778–847 CE. (shrink)

In this essay, I trace the enabling conditions for the major statement of the subversive subtext in Bilhaṇa’s Vikramāṅkadevacarita (VDC) by unpacking the operation of the work’s patent, eulogistic text. In particular, I will explore the place given to the depiction of male intimacy as a poetic substitute or simulacrum for the political alliances central to Vikramāditya’s coming to the throne, as described in the mahākāvya’s fourth through sixth sargas . My intention in focusing on the intense friendships between men (...) is to highlight a significant rhetorical strategy of Bilhaṇa’s, which allowed the poet both to introduce and to buffer the poem’s most explicit statement of his skepticism towards royal power. It is this charged affective theme—one that occupied only a tenuous position within the regnant critical discourse of literary emotion at the time—that sets up Bilhaṇa’s most powerful and explicit denunciation of kingship. The explicit theme of royal praise and the subtext of its denunciation can thus be seen as contrapuntally related, which goes some way towards explaining how the court poet was able to successfully carry off his potentially incendiary literary project. (shrink)

Throughout its history of almost a millennium and a half, Sanskrit kāvyaśāstra was resolutely obsessed with the task of unravelling the ontology kāvya. Literary theoreticians in Sanskrit, irrespective of their spatio-temporal locations, unanimously agreed upon the fact that kāvya was a special mode of expression characterized by the presence of certain unique linguistic elements. Nonetheless, this did not imply that kāvyaśāstra was an intellectual tradition unmarked by disagreements. The real point of contention among the practitioners of Sanskrit literary (...) theory was the prioritization of certain formal elements as the ‘soul’ of literature. This strong sense of intellectual disagreement on the question of what constituted the soul of kāvya eventually paved the way for the emergence of new frameworks of criticism and extensive scrutiny of the existing categories, thus playing a vital role in keeping this tradition alive and new.But towards the turn of the 20th century, Sanskrit kāvyaśāstra tradition underwent an epistemic rupture primarily because of a change in the way the idea of literariness was understood. During this phase, the traditional Formalistic notions about literature underwent a radical transformation, and the style and language of literature eventually became similar to everyday speech. This trend played an important role in severing Sanskrit kāvyaśāstra’s natural tie with literature. Eventually, the vigour in which new treatises in Sanskrit literary poetics were produced also dwindled. This did not mean that the scholarship in Sanskrit poetics vanished. Scholars in Sanskrit poetics continued to flourish in India, but in a different form and shape. In other words, the focus of scholars in Sanskrit poetics slowly got shifted from the production of new treatises in Sanskrit poetics to the creation of the intellectual history of this field and the application of these theories to evaluate the literary merit of modern literary texts. Though these two approaches played a vital role in disseminating the knowledge about Sanskrit poetics in modern times, they were caught up in an ontological certitude. In other words, neither of these two directions attempted to study these theoretical positions from a standpoint other than that of literary theory. To borrow a Barthian terminology, these two approaches treated Sanskrit poetics as a ‘work,’ instead of a ‘Text.’ This paper aims to intervene in this lacuna of scholarship by proposing the Derridian idea of ‘play’ as a methodological framework to unearth the potentialities lying dormant in these theories and to move beyond the ontological certitude traditionally imposed on these theoretical positions. The new methodological praxis that I put forward in this paper is further exemplified through a non-canonical reading of Ānandavardhana’s avivakṣita-vācya-dhvani. (shrink)

All Arts In India Owe Their Roots To The Theoretical Structure Developed By Bharatamuni In His Celebrated Work Natyasastra. His Theory Of Beauty Is Known As The Theory Of Rasa. The Present Volume Has Shown How The Insight Of Bharata Was Developed By The Classical Scholars From Abhinavagupta To Jagannatha Who Propounded The Theories With Names Like Rasa, Alamkara, Riti, Vakrokti, Dhvani Etc. To Employ The Theory Of Beauty From Natya (Drama) To Kavya (Poetry).

This paper will examine the sanskrit short-poem Āta ṅkavādaśataka written in 1988 by the famous indian pandit Vagish Shastri. Although composed in a language that is 2500 year old, the Century deals with one of the most dramatic events in contemporary indian history: sikh nationalist terrorism. The poet provides both a socio-political interpretation as well as a mythological-theological one, managing to combine a traditional approach with a pronounced ideological awareness. We will both supply information on the social and historical background (...) of the phenomenon, and discuss the poetic qualities of the work. Special attention will be given to linguistic, metrical and rhetorical features, which link this contemporary composition to classical kāvya poetry. (shrink)

Setting Out on the Great Way: Essays on Early Mahayana Buddhism, edited by Paul Harrison. Equinox Publications, 2018. 320pp. Hb. £75.00, Pb/eBook. £26.99. ISBN-13: Hb. 9781781790960, Pb. 9781781798539, eBook 9781781796856.

There is something quite deceptive about Bilhaṇa’s Vikramāṅkadevacarita , one of the most popular and oft-quoted works of the Sanskrit canon. The poem conforms perfectly to the stipulations of the mahākāvya genre: it is replete with descriptions of bravery in battle and amorous plays with beautiful women; its language is intensified by a powerful arsenal of ornaments and images; and it portrays its main hero, King Vikramāṅka VI of the Cāḷukya dynasty (r. 1076–1126), as an equal of Rāma. At the (...) same time, the poem subverts these very aspects of Sanskrit literary culture: the poetic language is thinned down at a series of crucial junctions; the Rāmaness of the hero is repeatedly undermined; and the poet consistently airs his ambivalence toward, if not utter resentment for his immediate cultural milieu, his own patron and subject matter, and the very task of a court poet. The article argues that Bilhaṇa’s ambivalence and alienation are the hallmark of his work, and that the poet constantly and consciously struggles with and comments on what he sees as the utter incompatibility between poetry and political reality. It also demonstrates that Bilhaṇa’s unique, personal voice resonates in his many afterlives and in several collections of poems attributed to him posthumously. I argue that it may well be a sign of recognition of what was truly innovative in his poetry that the tradition has credited Bilhaṇa with such additional lives and corpora. (shrink)