Kāvya’s Repeat Performances

Kāvya’s Repeat Performances. Intersections of Aesthetics, yoga-parikarma-bhāvanā, and the Logic of Medium-Specificity in Daśarūpaka’s Discussion of śāntarasa Largely left underexplored in rasa studies has been an implication made in the middle of the tenth century that śāntarasa eludes theorizat...

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Autor principal: Deven M. Patel
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Lenguaje:EN
Publicado: Ksiegarnia Akademicka Publishing 2020
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Acceso en línea:https://doaj.org/article/0c0fd87406384145acb1f63e11de85bb
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spelling oai:doaj.org-article:0c0fd87406384145acb1f63e11de85bb2021-11-27T12:53:40ZKāvya’s Repeat Performances10.12797/CIS.22.2020.02.031732-09172449-8696https://doaj.org/article/0c0fd87406384145acb1f63e11de85bb2020-12-01T00:00:00Zhttps://journals.akademicka.pl/cis/article/view/2166https://doaj.org/toc/1732-0917https://doaj.org/toc/2449-8696 Kāvya’s Repeat Performances. Intersections of Aesthetics, yoga-parikarma-bhāvanā, and the Logic of Medium-Specificity in Daśarūpaka’s Discussion of śāntarasa Largely left underexplored in rasa studies has been an implication made in the middle of the tenth century that śāntarasa eludes theorization with respect to the theater (nāṭya) but may function within an exclusive theory of poetry (kāvya). A discussion in the Daśarūpaka (“The Ten Dramatic Forms”) and its commentary cryptically imply in the fourth chapter of that work that if śāntarasa is viable at all as a genre of rasa theory, it is medium-specific to kāvya and not possible in nāṭya. Though śāntarasa is a dubious category for theater theory and pragmatics, they seem to argue, it may be acceptable in poetry through a synergy of two theoretical schemas: poetics and Yoga psychology. Reviewing these arguments opens up a larger conversation about the significance of medium to rasa theory and the inherent limitations for conceiving unified theories of art. Deven M. PatelKsiegarnia Akademicka PublishingarticlerasaśāntarasaparikarmabhāvanāgenremediumIndo-Iranian languages and literaturePK1-9601Languages and literature of Eastern Asia, Africa, OceaniaPL1-8844ENCracow Indological Studies, Vol 22, Iss 2 (2020)
institution DOAJ
collection DOAJ
language EN
topic rasa
śāntarasa
parikarma
bhāvanā
genre
medium
Indo-Iranian languages and literature
PK1-9601
Languages and literature of Eastern Asia, Africa, Oceania
PL1-8844
spellingShingle rasa
śāntarasa
parikarma
bhāvanā
genre
medium
Indo-Iranian languages and literature
PK1-9601
Languages and literature of Eastern Asia, Africa, Oceania
PL1-8844
Deven M. Patel
Kāvya’s Repeat Performances
description Kāvya’s Repeat Performances. Intersections of Aesthetics, yoga-parikarma-bhāvanā, and the Logic of Medium-Specificity in Daśarūpaka’s Discussion of śāntarasa Largely left underexplored in rasa studies has been an implication made in the middle of the tenth century that śāntarasa eludes theorization with respect to the theater (nāṭya) but may function within an exclusive theory of poetry (kāvya). A discussion in the Daśarūpaka (“The Ten Dramatic Forms”) and its commentary cryptically imply in the fourth chapter of that work that if śāntarasa is viable at all as a genre of rasa theory, it is medium-specific to kāvya and not possible in nāṭya. Though śāntarasa is a dubious category for theater theory and pragmatics, they seem to argue, it may be acceptable in poetry through a synergy of two theoretical schemas: poetics and Yoga psychology. Reviewing these arguments opens up a larger conversation about the significance of medium to rasa theory and the inherent limitations for conceiving unified theories of art.
format article
author Deven M. Patel
author_facet Deven M. Patel
author_sort Deven M. Patel
title Kāvya’s Repeat Performances
title_short Kāvya’s Repeat Performances
title_full Kāvya’s Repeat Performances
title_fullStr Kāvya’s Repeat Performances
title_full_unstemmed Kāvya’s Repeat Performances
title_sort kāvya’s repeat performances
publisher Ksiegarnia Akademicka Publishing
publishDate 2020
url https://doaj.org/article/0c0fd87406384145acb1f63e11de85bb
work_keys_str_mv AT devenmpatel kavyasrepeatperformances
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