Papers by siddhartha singh
Vichar: Half-yearly Refreed, Peer-reviewed Research Journal-ISSN 0974-4118, 2024
तीस से अधिक पात्र, "प्रकरण" के दस विस्तृत अंकों के कथानक, संस्कृत के अतिरिक्त सात प्रकार की प्राक... more तीस से अधिक पात्र, "प्रकरण" के दस विस्तृत अंकों के कथानक, संस्कृत के अतिरिक्त सात प्रकार की प्राकृत भाषाओं का प्रयोग, अंगी रस शृंगार के साथ प्रमुख रसों की अन्विति, साधारण व उच्च वर्गीय पात्रों की जीवंत उपस्थिति तथा ज्ञान की हर शाखा का विद्वत प्रदर्शन, शूद्रक के मृच्छकटिकम् 1 को एक व्यापक और समावेशी नाटकीय समन्वयता प्रदान करता है । कथानक की विशाल रूपरेखा होते हुए भी इसके विलक्षण नाटकीय आकर्षण में कहीं भी इतिवृत्त का संरचनात्मक शैथिल्य या अस्पष्टता दिखाई नहीं देती।
इस "प्रकरण" ने प्रेम और आकर्षण की एक असामान्य कथा को अपनी मुख्य विषयवस्तु के रूप में चुना और राजनीतिक उथल-पुथल जैसी व्यापक सामाजिक घटनाओं को उपकथानक के रूप में समाहित किया है। इस प्रकार, यह "प्रकरण" व्यक्तिगत और सामाजिक स्तर पर विभिन्न द्वंद्वों और विरोधाभासों के समन्वय की संभावनाओं की खोज करता है। यह न केवल एक उत्कृष्ट कला-कृति के रूप में बल्कि एक प्रभावी सामाजिक दस्तावेज के रूप में भी प्रभाव छोड़ता है।
भारतीय ज्ञान परम्परा की पुनर्स्थापना हेतु नाट्यशास्त्र के अध्ययन के साथ संस्कृत और लोक परम्परा के नाट्यों की नाट्यशास्त्रीय समीक्षा अपेक्षित है। प्रस्तुत शोध पत्र उपरोक्त प्रकरण की नाट्यशास्त्रीय विश्लेषण के साथ उसमें निहित समाजिक राजनितिक द्वन्द और उसमें अंतर्निहित भावनात्मक विरोधाभासों के विषय को आधुनिक संदर्भ के केंद्र में रख कर लिखा गया है।
बीज शब्द - प्रकरण, नाट्यशास्त्र, इतिवृत्त, नाट्य विडंबना, रस, भारतीय ज्ञान परम्परा
STAPS JOURNAL-“ISSN: 0247-106X | ISSN: 1782-1568”, 2024
Jawaharlal Nehru's name has become a battleground in today's news, but not in a good way. The cur... more Jawaharlal Nehru's name has become a battleground in today's news, but not in a good way. The current political opponents are on a mission to tarnish his reputation, dredging up all sorts of controversial issues from his past to tear down his towering legacy. Lost in this mudslinging, people seem to forget one crucial thing: Nehru was an exceptional writer. His contribution to Indian English literature, especially in prose, is unmatched. It's a shame that amidst the noise, his literary brilliance is often overlooked. Jawaharlal Nehru, despite not pursuing writing as a profession, found himself unintentionally drawn into the world of literature. His political career and leadership responsibilities rarely left him with idle moments to contemplate becoming a writer. However, it was during his prolonged incarcerations in Indian prisons that he stumbled upon an opportunity to give voice to his thoughts through the written word. In the solitude and inactivity of his imprisonment, he felt a compelling need to occupy his mind, which led him to pen his thoughts. This paper explores how Nehru, a leader by profession, became a writer almost by accident, and how his writings evolved over time, reflecting his changing roles and the tumultuous historical context in which he lived.
Keywords: Nehru, Decolonization, Indian Writing in English, IKS, Poetic-prose
JOURNAL OF THE ORIENTAL INSTITUTE, 2023
This paper delves into the fundamental elements of drama, using the ancient Indian treatise, the ... more This paper delves into the fundamental elements of drama, using the ancient Indian treatise, the Nāṭyaśāstra, as a guiding lens. The Nāṭyaśāstra, a cornerstone of Sanskrit theatre tradition, offers a comprehensive framework for theatrical performance. This exploration will examine key dramatic elements like plot, characterization, dialogue, spectacle, and rasa (aesthetic experience) as outlined in the Nāṭyaśāstra. The paper will analyze how these elements work together to create a captivating and impactful theatrical experience.
Furthermore, the abstract will highlight the unique contributions of the Nāṭyaśāstra to dramatic theory. This may include its emphasis on the actor's physical and vocal techniques (angika, vācika), the significance of emotions and sentiments (rasa), and the role of music and dance in theatrical performance.
Journal of Comparative Literature and Aesthetics, Vol. 46, No. 2, Summer [24-33], 2023
In defining aesthetics and literary theories, the Greek and Indian perspectives differ as well as... more In defining aesthetics and literary theories, the Greek and Indian perspectives differ as well as share several similarities. Any parallel study must acknowledge that similarities are as important as differences. It shows how different cultures, even though they spring from radically different environments, temperaments, and world views, share some common factor of aesthetic thought that contributes to harmony among human beings. While defining drama one turns to the earliest definitions provided by Aristotle in the West and Sage Bharata in the East. In analyzing the content of the tragedy offered by his contemporary dramatists and formulating its structure, Aristotle, drawing inspiration from the purgatory powers of tragedy, defined it as an imitation (of a form of action, not a quality) that stimulates fear and pity. Considering the plot to be the soul of tragedy he lays out six elements of tragedy in a fixed chronological order, with the last element being the least significant in the tragedy. Bharata, like Aristotle, also describes drama as imitation but his definition seems to be more complex. Not only does it imitate the actions of men, but it also encompasses everything in this universe that has an emotional state, including thoughts. Further, Bharata goes beyond the purgatory power of drama to formulate a theory of nātyarasa which elevates the prominence of acting. This paper examines both definitions in terms of modern dramaturgy and compares their relevance.
Sanshodhak (print only), Mar 10, 2022
'Home' for the diasporic subjects has become an injured
symbol of scars, cultural and fractured ... more 'Home' for the diasporic subjects has become an injured
symbol of scars, cultural and fractured identity. The psychological
traumas in the new land always put immigrants in between the tradition
of the native and host land. Likewise, in The Namesake, Jhumpa Lahiri
focuses on two generations of Indian Bengali family and their struggle
to assimilate themselves in the new land. The reader can notice the
amalgamation of the social ethos of Bengali and American culture in her
novel. She also depicts a grey picture of marginalization and prejudice
in which Gogol becomes a victim of it. In one way he wants to escape
himself from the tradition of his family and on the other he faces trouble
to acculturate himself in the American culture. He is an ABCD, an
"American Born Confused Deshi". Therefore, the main intent of this
paper is to portray the various episodes of the anxiety of dislocation,
nostalgia, and fractured identity in the new land. The present article
also focuses on the upsetting experiences of diaspora which affects the
family relationships of Lahiri's protagonists.
Dialogue A Journal Devoted to Literary Appreciation, 2019
The wide ranging topics attempted by Dr C. N. Ramachandran in this collection are a proof of his ... more The wide ranging topics attempted by Dr C. N. Ramachandran in this collection are a proof of his in depth learning of Sanskrit, English and Kannada literary and critical traditions. Divided into two sections, the first section of this collection of essays written during a long span of time shows remarkable application of contemporary discourses and Western theories on some of the seminal texts like Bhagwatgita, Ramayanas, and Abhijnana Sakuntalam at one hand and a comparative study of Kannad novels and their film versions. The second section draws some new critical parameters to reevaluate Tagore, Gokak, Bendre, Narsimhaswami and other Kannada writers. Wading easily through two different currents of Eastern and Western traditions, he leaves some big lacunae while writing on some of the most fundamental texts and concepts of Indian literature and philosophy, which required deeper studies. The present article, which initially intended to be just a review of the book mentioned above, s...
Strictly as per the compliance and regulations of: AbstractThe source of the Indian theory of dra... more Strictly as per the compliance and regulations of: AbstractThe source of the Indian theory of drama is the Nātyaśāstra of the sage Bharata, an encyclopedic treatise on all the aspects of dramaturgy. Bharata the instaurator and codifier of the Indian tradition of drama postulates theories of drama, music, dance, and poetry, construction of stage, the concept of rasa and the mimetic role of drama, etc. While neither Aristotle nor Plato applies to any form of Western dance style, in India, everyone goes back to Nātyaśāstra to find the source of various styles of Indian classical and regional dances and music. Metaphysically, the Indian theory of drama is based on Karma unlike the Greek theory of drama based on fate. At the outset, the present paper shall explore and discuss the origin of the Nātyaśāstra, and will analyze some of its most significant aspects.
The two new states of India and Pakistan came into being as a result of a division on the basis o... more The two new states of India and Pakistan came into being as a result of a division on the basis of religion and were demarcated by arbitrary borders1 a division which was accompanied by unprecedented mass migration, violent deaths, sexual assaults and a prolonged trauma and was legitimatized through the idea of revenge fraught with the trauma of gender and sexuality. It was a revenge that discriminated along the lines of religion and ethnicity while the atrocities were committed especially against women and their bodies. Women were not only objects of, but also witness to violence. Their bodies became contested sites of violence upon which external identities ascribed their meanings and yet most of the written histories on Partition lack any close female perspective. The need of the hour is, as Joan Kelly advocates, to restore women to history and to restore our history to women with the aim to "make women a focus of enquiry, a subject of the story, an agent of the narrative&qu...
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2020
A major form of folk theatre, Nautanki, still holds an important place in the collective consciou... more A major form of folk theatre, Nautanki, still holds an important place in the collective consciousness of the rural mass of the north India. The storyline of this musical folk theatre, exceptional in preserving the written texts, is derived from multiple sources ranging from mythology, history, romances, and folklores to contemporary icons. With its emphasis on music, both vocal and instrumental, accompanied by its most important companion Nakkara or Nagara, the highly intensified operative theatre can hold the nerves of thousands of people for the whole night. Due to the pressure of Bollywood and new sources of entertainment, Nautanki started losing its distinctive character, yet its survival has kept the hope alive. The present paper will not only introduce the form in detail, but will also shed light on some of the important issues and challenges in Nautanki today.
Pune Research: An International Journal in English, 2013
The two new states of India and Pakistan came into being as a result of a division on the basis o... more The two new states of India and Pakistan came into being as a result of a division on the basis of religion and were demarcated by arbitrary borders1 a division which was accompanied by unprecedented mass migration, violent deaths, sexual assaults, and prolonged trauma and was legitimatized through the idea of revenge fraught with the trauma of gender and sexuality. It was a revenge that discriminated along the lines of religion and ethnicity while the atrocities were committed especially against women and their bodies. Women were not only objects but also witness to violence. Their bodies became contested sites of violence upon which external identities ascribed their meanings and yet most of the written histories on Partition lack any close female perspective. The need of the hour is, as Joan Kelly advocates, to restore women to history and to restore our history to women with the aim to "make women a focus of enquiry, a subject of the story, an agent of the narrative"; in other words, to construct women as a historical subject and through this construction. The impetus provided by the recent researchers like Ritu Menon, Kamla Bhasin, Urvashi Butalia, and Veena Das, who documented oral histories and official records of Hindu and Sikh families' and communities' refusal to accept women subjected to sexual violence in the riots. Contextualizing the feminist historiography and narrativizing history, provided by these researchers, of the Partition, this paper examines the situation of the recovered women through a reading of Lalithambika Antharjanam’s short story “A Leaf in the Storm”.
Rupkatha Journal on Interdisciplinary Studies in Humanities E-ISSN 0975-2935 I Indexed by Web of Science, Scopus, ERIHPLUS, EBSCO, UGC, 2020
A major form of folk theatre, Nautanki, still holds an important place in the collective consciou... more A major form of folk theatre, Nautanki, still holds an important place in the collective consciousness of the rural mass of the north India. The storyline of this musical folk theatre, exceptional in preserving the written texts, is derived from multiple sources ranging from mythology, history, romances, and folklores to contemporary icons. With its emphasis on music, both vocal and instrumental, accompanied by its most important companion Nakkara or Nagara, the highly intensified operative theatre can hold the nerves of thousands of people for the whole night. Due to the pressure of Bollywood and new sources of entertainment, Nautanki started losing its distinctive character, yet its survival has kept the hope alive. The present paper will not only introduce the form in detail, but will also shed light on some of the important issues and challenges in Nautanki today.
Dialogue: A journal devoted to literary appreciation ISSN 0974-5556, 2018
Indian history writing owes a lot to a number of keen travelers and envoys since ancient times th... more Indian history writing owes a lot to a number of keen travelers and envoys since ancient times that came here to seek knowledge, learning and customs and fell in love with diverse Indian traditions and cultures (unlike the European travellers who came in robes of businessmen, but later colonized the nation). A list of such important explorers of ancient and medieval India consists of the travel records of Megasthenes, Fa-Hien, Hiuen-Tsang, I-tsing, Al-Masudi, Al-beruni , Macro Polo, Ibn Batuta, Shihabuddin al-Umari, Nicolo Conti. Later a category of European travellers came to India, mostly for business purposes, whose documentation helped them to raise the empire. There is another category of travelers to India who, routed through the generations of migration and hyphenated identities, undertook sojourn in the post colonial India to find their ancestral roots. Unlike other traveler writers, whose outside positioning keep them free of the anxiety to search the ‘home’, the inside/outside relational position of such diasporic travelers is fraught with the indisputable problem of ‘home’. The present paper engages with the award-winning travel memoir of M. G. Vassanji A Place Within: Rediscovering India (this book bagged highest literary honour of Canada- The Governor-General's Award in 2009), whose conflicting positions of “familiar and yet so alien; so frustrating and yet so enlightening and humbling” (2008 xiii) function both as subjects and as tools of a meta-textual enquiry into and past and the present of the nation. With a deep penetrating eyes of a historian and with an awareness of the epic proportion of the quest, this Indo-African-Canadian writer is not just a wayward tourist, but is bent on deciphering everything which comes in his ways; be it myths, stories, legends, history, family narratives, unforgettable characters, geographical conditions, riots, politics, religious discourses and finally question of identity. For him history is addiction.
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Papers by siddhartha singh
इस "प्रकरण" ने प्रेम और आकर्षण की एक असामान्य कथा को अपनी मुख्य विषयवस्तु के रूप में चुना और राजनीतिक उथल-पुथल जैसी व्यापक सामाजिक घटनाओं को उपकथानक के रूप में समाहित किया है। इस प्रकार, यह "प्रकरण" व्यक्तिगत और सामाजिक स्तर पर विभिन्न द्वंद्वों और विरोधाभासों के समन्वय की संभावनाओं की खोज करता है। यह न केवल एक उत्कृष्ट कला-कृति के रूप में बल्कि एक प्रभावी सामाजिक दस्तावेज के रूप में भी प्रभाव छोड़ता है।
भारतीय ज्ञान परम्परा की पुनर्स्थापना हेतु नाट्यशास्त्र के अध्ययन के साथ संस्कृत और लोक परम्परा के नाट्यों की नाट्यशास्त्रीय समीक्षा अपेक्षित है। प्रस्तुत शोध पत्र उपरोक्त प्रकरण की नाट्यशास्त्रीय विश्लेषण के साथ उसमें निहित समाजिक राजनितिक द्वन्द और उसमें अंतर्निहित भावनात्मक विरोधाभासों के विषय को आधुनिक संदर्भ के केंद्र में रख कर लिखा गया है।
बीज शब्द - प्रकरण, नाट्यशास्त्र, इतिवृत्त, नाट्य विडंबना, रस, भारतीय ज्ञान परम्परा
Keywords: Nehru, Decolonization, Indian Writing in English, IKS, Poetic-prose
Furthermore, the abstract will highlight the unique contributions of the Nāṭyaśāstra to dramatic theory. This may include its emphasis on the actor's physical and vocal techniques (angika, vācika), the significance of emotions and sentiments (rasa), and the role of music and dance in theatrical performance.
symbol of scars, cultural and fractured identity. The psychological
traumas in the new land always put immigrants in between the tradition
of the native and host land. Likewise, in The Namesake, Jhumpa Lahiri
focuses on two generations of Indian Bengali family and their struggle
to assimilate themselves in the new land. The reader can notice the
amalgamation of the social ethos of Bengali and American culture in her
novel. She also depicts a grey picture of marginalization and prejudice
in which Gogol becomes a victim of it. In one way he wants to escape
himself from the tradition of his family and on the other he faces trouble
to acculturate himself in the American culture. He is an ABCD, an
"American Born Confused Deshi". Therefore, the main intent of this
paper is to portray the various episodes of the anxiety of dislocation,
nostalgia, and fractured identity in the new land. The present article
also focuses on the upsetting experiences of diaspora which affects the
family relationships of Lahiri's protagonists.