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MULTIVALENCE OF AN EPIC retelling the ramayana in south india and Southeast Asia

Title
MULTIVALENCE OF AN EPIC retelling the ramayana in south india and Southeast Asia / edited by Parul Pandya Dhar.
ISBN
1000991946
1000991962
1003456790
9781000991949
9781000991963
9781003456797
103259912X
9781032599120
Published
[S.l.] : ROUTLEDGE, 2023.
Physical Description
1 online resource
Local Notes
Access is available to the Yale community.
Access and use
Access restricted by licensing agreement.
Biographical / Historical Note
Parul Pandya Dhar is art historian and professor in the Department of History, University of Delhi. She has authored The Toraṇa in Indian and Southeast Asian Architecture (2010), edited Indian Art History: Changing Perspectives (2011), and co-edited Temple Architecture and Imagery of South and Southeast Asia (2016), Asian Encounters: Exploring Connected Histories (2014), and Cultural Interface of India with Asia (2004), besides contributing several research articles.
Summary
This volume examines The Rmyaa traditions of South India and Southeast Asia. Bringing together 19 well-known scholars in Rmyaa studies from Cambodia, Canada, France, India, Indonesia, Malaysia, Singapore, Thailand, UK, and USA, this thought-provoking and elegantly illustrated volume engages with the inherent plurality, diversity, and adaptability of the Rmyaa in changing socio-political, religious, and cultural contexts. The journey and localization of the Rmyaa is explored in its manifold expressions - from classical to folk, from temples and palaces to theatres and by-lanes in cities and villages, and from ancient to modern times. Regional Rmyaas from different parts of South India and Southeast Asia are placed in deliberate juxtaposition to enable a historically informed discussion of their connected pasts across land and seas. The three parts of this volume, organized as visual, literary, and performance cultures, discuss the sculpted, painted, inscribed, written, recited, and performed Rmyaas. A related emphasis is on the way boundaries of medium and genre have been crossed in the visual, literary, and performed representations of the Rmyaa. Print edition not for sale in South Asia (India, Sri Lanka, Nepal, Bangladesh, Pakistan and Bhutan)
Variant and related titles
Taylor & Francis. EBA 2024-2025.
Other formats
Print version:
Format
Books / Online
Language
English
Added to Catalog
August 07, 2024
Bibliography
Includes bibliographical references and index.
Contents
<P class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>Prologue</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>Acknowledgements</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><b>Introduction</b></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>Exploring the Epic's Multivalence: Rāmāyaṇas in Visual, Literary, and Performance Cultures</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Parul Pandya Dhar</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><b>I. Visual Cultures: Sculptures, Paintings, and Inscriptions</b></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>1. The Rāmāyaṇa Retold by Sculptors and Scribes in pre-Vijayanagara Karnataka</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Parul Pandya Dhar</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>2. Stone, Wood, Paint: Rāma-Story Representations throughout Southeast Asia</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>John Brockington</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>3. Looking for Rāma: Traces of the Rāmāyaṇa in Temples of the Pallava Dynasty</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Valérie Gillet</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>4. Rāmāyaṇa Retold in Khmer sculpture with Special Reference to the Yuddhakāṇḍa, c. 10th-12th centuries</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Rachel Loizeau</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>5. Rāmāyaṇa Bronzes and Sculptures from the Cōḻa to Vijayanagara Times</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Sharada Srinivasan</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>6. Mighty Messenger: Adaptation and Localization of Hanumān and the Rāmāyaṇa in Southeast Asia</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Gauri Parimoo Krishnan</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>7. The Rāmāyaṇa Paintings of the Māliruñcōlai Temple: Nationalism under the Spell of Regionalism</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>RKK Rajarajan</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>8. Expressions of the Rāmāyaṇa Epic in Malaysian Arts</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Cheryl Thiruchelvam</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><b>II. Literary Cultures: Texts, Recitation, and Associated Imagery</b></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>9. The Discourse on Governance and Ethics as a Leitmotif in the Old Javanese Rāmāyaṇa or Rāmāyaṇa Kakawin</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Malini Saran</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>10. Thai Rāmakīen: Its Close Links with South India</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Chirapat Prapandvidya</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>11. From Kanauj to Laos: Development of the 'Floating Maiden' Episode in the Southeast Asian Rāma Tradition</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Mary Brockington</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>12. Making of a Language and the Making of a Bhakti Text: The Story of the Composition of Tunćat Ezhuttaććan's Adhyātma Rāmāyaṇaṃ Kiḷippāṭṭu</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>A J Thomas</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>13. Kumaran Asan's 'Cintāviṣṭayāya Sītā', Sītā, Deep in Thought, a Translation</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Sudha Gopalakrishnan</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>14. Mabasan Rāmāyaṇa, a Continuous Retelling of the Rāmāyaṇa in Bali</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Thomas M Hunter</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><b>III. Performance Cultures: Theatre, Puppetry, and Folk Practices</b></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>15. Representations of Rāvaṇa in a Kathakalī Piece and a Mythological Drama</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Paula Richman</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>16. The Rāmāyaṇa of the Malay Shadow Play, Wayang Kulit Kelantan, and its Possible Parallels and Connections with the Epic Versions in Northern Southeast Asia</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Ghulam-Sarwar Yousof</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>17. From Palace to Streets: Many Rāmāyaṇas from the Bylanes</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Krishna Murthy Hanuru</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>18. The Making of Rāmāyaṇa in the Yakṣagāna of Coastal Karnataka</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Purushottama Bilimale</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>19.
Reamker Performance in Khmer Society</p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;><i>Sirang Leng</i></p><p class=MsoNormal style=margin-bottom: 0cm; line-height: normal; mso-layout-grid-align: none; text-autospace: none;>The Contributors</p><p class=MsoNormal style=color: #000000; font-family: Catamaran, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;>Index</p>
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