Papers by Pankaj Kumar Verma
Journal of Sharma, 2023
The paper critically evaluates the eco-ethical practices of the knowledge society in the period o... more The paper critically evaluates the eco-ethical practices of the knowledge society in the period of Rāmāyaṇa from an ecoaesthetical perspective. In the current anthropocentric epoch, reorienting people toward eco-ethical values is a considerable challenge. Ecological ethics is one of the key concepts of ecoaesthetics, which can be read through the ancient Indian epic Vālmīki-Rāmāyaṇa. Also, the articulation of human-nature interrelations is deeply embedded in the Sanskrit literary tradition, which Vālmīki's epic narrative illustrates in the Rāmāyaṇa. Against this backdrop, this article proceeds with a discussion of the root causes of the ecological crisis in the Anthropocene. The paper explores the ecological ethos and knowledge rooted in the Hindu religion through a few select secondary works of literature. Further, the paper discusses the concept of eco-aesthetics in the present ecosophical discourse. Finally, the article critically assesses the text of Rāmāyaṇa for the philosophical and aesthetical deliberations of eco-caring, seeking to bring those eco-ethical notions from the epic to the fore that can potentially induce ecological awareness in people.
Journal of Arts, 2023
This paper intends to explore the impact of the classical Indian dramaturgy over the making of ea... more This paper intends to explore the impact of the classical Indian dramaturgy over the making of early Hindi Cinema, with special reference to Bharata's Nāṭyaśāstra and a 10 th-century treatise on dramaturgy Daśarūpakam by Dhanaṁjaya. Dhanaṁjaya's book primarily takes Bharata's ideals forth by adding his own ideas to the concepts proposed in the Nāṭyaśāstra. However, the conceptions postulated in these two treatises formed the very foundation of Indian drama (Nātya) irrespective of genre and time. The journey of dramatic performance to the silver screen is basically from the stage; therefore, the notions which ran through the self of drama were apparently present in the whole being of Hindi Cinema. The rules propounded in the texts mentioned above governed the crucial features of the dramatic representation, which travelling through theatre reached the celluloid world, preparing the ground for the success as well as the failure of the Hindi cinema. Thus, this paper, evaluating the positive and negative aspects of the concepts of classical dramatic art that influenced Hindi cinema the most, concludes by putting forth the relation of the conceptions of classical dramatic art with the dramaturgy of early Hindi Cinema.
Shìdnij svìt/The World of the Orient, 2022
The paper traces the expressions of eco�consciousness through an eco�aesthetical readin... more The paper traces the expressions of eco�consciousness through an eco�aesthetical reading of the text ofRāmāyaṇa, the oldest Sanskrit epic. It brings to the fore the representation of ecologi�cal integrity, beauty of biodiversity, interrelations between different organisms of the ecosystem, and environmental knowledge through its analysis of the eco�religious/cultural practices prevalent during the Rāmāyaṇa-kāla (the period of Rāmāyaṇa). In this Anthropocene epoch, the sentiment of eco�caring has taken a back seat in human minds, leading to a severe ecological crisis. Humans have acquired dominance over the natural environment that jeopardises not only the lives of hu�mans themselves but also of fellow beings. There is a need to revive aesthetic impulses in humans to keep up the symbiotic relations with nature. Aesthetics is an important tool for the appreciation of nature in its varied forms of everyday activities, which forms a link between ecological aesthe�tics and ethics. Further, the idea of ecological harmony is one of the key concepts of eco�aesthe�tics, which can be often seen in the text of Vālmīki-Rāmāyaṇa. While the epic has been approached from the ecological perspective by different scholars, there has not been any significant study that explores the eco�aesthetical dimension of the text. Keeping this gap in view, this article attempts to explore the relevance of eco�aesthetical method for addressing the issue considering simulta�neously the contemporary discourse of eco�aesthetics. Also, the paper analyses the sentiment of eco�caring in light of various episodes of the epic. Finally, the summation of the paper accentuates the importance of eco�aesthetical sentiment to assist the reorientation of humans towards ecologi�cal attunement.
The Mythic Society, 2021
This paper intends to understand śṛngāra rasa from a novel perspective that enriches the study of... more This paper intends to understand śṛngāra rasa from a novel perspective that enriches the study of this rasa substantially. The usage of śṛngāra in any piece of literature is indispensable, and therefore, it is used at different levels in diverse ways. This paper analyses the use of śṛngāra in Kālidāsa’s Mālvikāgnimitra to understand the prevalence of this rasa in Indian literary canons that prevails even beyond the conceptual formulations and nomenclature of Bharatamunī used in Natyaśāstra. It is further delineated in the paper that Dhanaṁjaya’s postulation of ayoga (privation), viprayoga (separation) and saṁbhoga (union) as constitutive elements of śṛngāra adds a new dimension to the aesthetical study of literature by providing broader scope to the reader to address the unexplained emotional states in literary creations. Collateral study of ayoga and viyoga to vipralambha brings forth the gap that was left unnoticed until Dhanaṁjaya propositions in his Daśarupa. In Kālidāsa’s Mālvikāgnimitra, the delineations of ayoga, viprayoga and sambhoga find their artistic manifestations in the form of the love relationship between the King and Mālvikā, the protagonist of the play. To understand the taste of śṛngāra, the paper, firstly, illuminates different constituents of rasa and its composition, and then analyses the play from the aesthetical point of view.
Rupkatha Journal on Interdisciplinary Studies on Humanities, 2020
The paper aims to lay out a critical analysis of eco-aesthetical wisdom of pan-Indian society thr... more The paper aims to lay out a critical analysis of eco-aesthetical wisdom of pan-Indian society through the lens of ancient seers whose insights for environment and ecology were shaped in the form of the teachings of Vedas and Upaniṣads. With the passage of time, the bond between humans and non-humans has largely weakened, and humans have increased exploiting the natural resources without caring for their regeneration. Consequent nature bred hostility is emerging as a bigger crisis in front of the 21 st Century world that may sooner turn to be, if not taken seriously, an existential crisis for the whole human race. The Upaniṣads enlighten us not only with the knowledge of maintaining the relationship between human beings and physical environment but also among various inhabitants of ecology. Therefore, as Deep Ecology proposes, there should be a shift from human at the centre (anthropocentricism) to ecology at the centre (ecocentrism) which very much was existing in Indian society. So, this paper attempts to deal with the global ecological crisis co-opting with the ecological/environmental ideas and attitude of the classical Indian treatises.
Literaria, Bahri Publication, 2019
The philosophical foundations of longing and rebirth can be traced back in the doctrines of the B... more The philosophical foundations of longing and rebirth can be traced back in the doctrines of the Bhagavadgītā. The text states that the cycle of birth and death goes on unless a human being makes himself fit for immortality (2.13); i.e. the process of rebirth unceasingly moves on again and again unless human soul attains the salvation (mokṣa). In the sixth śloka of the eighth chapter of the Bhagavadgītā, it is said, “Thinking of whatever state (of being) he at the end gives up his body, to that being does he attain, O son of Kuntī (Arjun), being ever observed in the thought thereof”. So, one’s destiny of the next birth is determined by the predominant thought of his at the time of death. These doctrines of longing on deathbed and rebirth of Bhagavadgītā are well utilized and illustrated in the Indian classical romance, Kādambari of Bānabhatța, through the longing and rebirth of Candrapīḍā, and Pundarīka. Chandrapīdā’s longing for his beloved and friend at the time of death leads him to the reunion with his loved ones in his next life. Pundarika’s longing for Mahāśvetā at the deathbed turns out to be the cause for their reunion in Pundarīka’s next life as Vaiśampāyan. Thus, the argument in this article will finally lead to understand the philosophico–cultural foundations of longing and rebirth through two monumental texts of philosophy and literature.
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Papers by Pankaj Kumar Verma