Trends in Modern Indian Art is a study of Indian Art from the end of 19th century to 1990. Indian Art started with academic realism of Raja Ravi Varma at the close of the 19th century. Abanindranath Tagore who was trained by Samuel Palmer and Japanese artist. Okakura, established the wash process of water colour painting known as the Bengal School in the beginning of the 20th century. His disciples like Nandalal Bosa and Ventappa further elaborated the style of the Bengal School later known as the Oriental Style.
This Book Presents A Reasonably Comprehensive Account Of The Development Of The Indian English Novel Since Independence. The Novel During The Colonial Period Has A Different Outlook And Was More Concerned With The Problems Of The Indian People Suffering Under The British Yoke. After Independence The Indian Writers Looked At The Indian Scene From The Postcolonial Point Of View. There Were New Hopes, No Doubt, But The Problems Social, Economic, Religious, Political And Familial That Were Submerged In The Flood Of The National Movement Emerged And Drew Attention Of The Creative Writers. The Partition, The Communal Riots After Partition, The Problem Of Casteism, The Subjugation Of Women, The Poverty Of The Illiterate Masses Became The Focal Points. Mulk Raj Anand, Raja Rao, R.K. Narayan, Nayantara Sahgal And Kamala Markandaya In The Beginning Wrote Novels Of Social Realism In The Fifties.But After The Sixties, New Trends Emerged. Writers Like Anita Desai, Ruth Prawer Jhabvala, Bhabani Bhattacharya, G.V. Desani, Chaman Nahal, Manohar Malgonkar And B. Rajan Portrayed The Picture Of The Post-Independence Indian Society. The Stream Of The Early Fifties Now Turned Into A Broad River With New Currents And Cross Currents. The Old Traditional Method Of Novel Writing Gave Way To Modern Techniques.The Indian English Novel Took Further Strides In The Eighties And The Decades That Followed It. Salman Rushdie Can Be Said To Be The Leader Of The New Trend. Shashi Deshpande And Arundhati Roy Followed Suit.This Book Divided Into Six Chapters Surveys And Discusses The Major Trends In The Post- Independence Indian English Novel. The Major Writers Discussed Apart From The Trio, R.K. Narayan, Raja Rao And Mulk Raj Anand Are Bhabani Bhattacharya, Nayantara Sahgal, Ruth Prawer Jhabvala, Anita Desai, Arundhati Roy And Kamala Markandaya.This Book Will Be Of Immense Help To The Students Of Indian English Fiction And The General Reader.
This is a transnational and bilingual investigation of the cross-fertilisation of mystical religiosity and modern poetical imagination in the works of the Bengali poet Rabindranath Tagore and the Irish poet W. B. Yeats. The book demonstrates how their commitments to transnational mysticism deeply form and inform the modernist literary projects of these poets as well as their understanding of cultural modernity. Although its primary interest lies in their poetry and poetics, the monograph also includes some of their relevant prose works. This study begins with a close look at and around the phase of 1912-1913, when Yeats and Tagore met over the collection of the latter’s English translations of his spiritual verses, Gitanjali, and took mutual interests in each other’s works and cultural significances. The monograph then expands on both sides of that phase, selectively covering the whole career of the poets in its exploration of their parallel mystic-modern cultural-poetical projects.
This collection of primary texts introduces readers to the mystical literature of the world's great religious traditions. Beginning with an introduction by Steven T. Katz, a leading scholar of mysticism, the anthology comprises poetry, prayer, narrative, and other writings from Jewish, Christian, Muslim, Hindu, Buddhist, Taoist, Confucianist, and Native American traditions. This collection provides readers not only with the primary mystical texts from each religious tradition, but with an explanation of the context of the source and tradition. Comparative Mysticism shows how the great mystical traditions of the world are deeply rooted in the religious traditions from which they originated. The contextual methodological approach taken throughout the anthology also addresses the critical question of what these mystical traditions, at their highest level, have in common. Despite the prevailing view that mystical traditions throughout the world are essentially similar, the presentation of the sources in this volume suggests that, in fact, the various traditions have distinct teachings and different metaphysical goals. The writings collected in Comparative Mysticism address the most fundamental and important methodological, epistemological, and hermeneutical questions regarding the study and interpretation of mysticism and mystical sources across cultures. This anthology will be an invaluable resource to students and scholars of mystic tradition for years to come.
This book opens up a dialogue between pre-modern women identified as mystics in diverse locations from South Asia to Europe. It considers how women from the disparate religious traditions of Hinduism, Islam, and Christianity expressed devotion in parallel ways. The argument is that women’s mysticism demands to be compared not because of any essential "female" experience of the divine but because the parallel positions of marginalization that pre-modern women experienced led them to deploy intimate encounters with the divine to speak publicly and claim authority. The topics covered range from the Sufi devotional tradition of Sidis (Indians of African ancestry) to the Bhakti poet Mīrābaī and the nuns of Barking Abbey. Collectively the chapters show how mysticism allowed premodern women to speak and act by unsettling traditional gender roles and expectations for religious behavior. At the same time as uncovering connections, the juxtaposition of women from different traditions serves to highlight distinctive features. The book draws on a range of disciplinary expertise and will be of particular interest to scholars of medieval religion and theology as well as history and literary studies.