Zeitschriftenartikel: „GIRISH KARNAD“

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Saxena, Ritu. „Girish Karnad : A Tribute“. Dialogue: A Journal Devoted to Literary Appreciation 15, Nr. 1-2 (30.12.2019): 1–4. http://dx.doi.org/10.30949/dajdtla.v14i1-2.1.

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Girish Karnad is a writer, dramatist, director and actor par excellence. He belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulkar who have created a national theatre for modern India, which is the legacy of his generation. Jnanpitha Awardee, Karnad is the author of many well known plays in Kannada and English. He has represented Indian art and culture in foreign lands. Girish Karnad was a conscious writer, who had keenly observed cultural and political upheavals in India and brings in a new equation in his plays. In this paper, I propose to analyze the selected plays of Indian playwright Grirish Karnad who has experimented with the fusion of the traditional and the modern dramatic forms and content. Karnad is most famous as a playwright and his plays have become a byword for imagination, innovation and craftsmanship. In the subsequent years, Karnad continued to post script narratives, interpreting for us histories and myths, forging an idiom of writing that was tethered to both the past and present. Karnad's practice of drawing source from myths and tales lends the play an immediacy of appeal. This paper thus studies Karnad's selected plays from the point of view of themes and techniques. While doing so, the focus will mainly be on the history and myth in his dramatic works-Karnad's journey from his first drama 'Yayati holds a mirror to the very evolution of a truly 'Indian theatre.'

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., Dr Manju Singh. „Girish Karnad “Yayati”: The Cultural Values“. International Journal for Research in Applied Sciences and Biotechnology 6, Nr. 1 (31.01.2019): 4–5. http://dx.doi.org/10.31033/ijrasb.6.1.2.

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Mrityunjoy Mondal. „Masking and Unmasking: A Study of Girish Karnad’s The Fire and the Rain“. Creative Launcher 5, Nr. 5 (30.12.2020): 145–53. http://dx.doi.org/10.53032/tcl.2020.5.5.19.

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Girish Karnad was a versatile genius. He was a prolific Kannada writer, a brilliant playwright, a fantastic actor, a talented film director and a meritorious scholar. His long stay in Europe has confirmed him that the Western theatre has nothing to provide him. Therefore, in search of a new mode of expression, he has used ancient Indian myths and history to represent the contemporary issues. The Fire and the Rain is one of the most successful drama of Karnad. In this drama, Karnad has made a brilliant and innovative use of mask. In Indian dramatic culture, masks were used frequently to represent the dramatic characters. But in The Fire and the Rain, mask is both a stage-prop as well as an important tool for the dramatist, by which he has successfully been able to expose the brahminical society. In this paper I will focus on how Girish Karnad has used the mask to unmask the upper-caste Brahmins.

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Manju, Manju, und Dr Nempal Singh. „Thematic Concern and Technical Features in Karnad’s Tale-Danda“. International Journal of Teaching, Learning and Education 2, Nr. 4 (2023): 8–14. http://dx.doi.org/10.22161/ijtle.2.4.2.

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Girish Karnad, a writer, explores Kalyan-Kranti's last days in his play Tale-danda. Girish hopes to draw attention to the divisions in Indian society and government. The centuries-old societal problem of caste is given the attention it deserves. Sharana's effort to outlaw it was brought to life. The plot revolves on the unconventional union of a Brahmin bride and a Cobbler groom. The failed marriage and its aftermath highlight the crude nature of the caste system. Sovidev's political plotting against his own father, Bijjal, is emblematic of the universal lust for power. Karnad brilliantly illustrates the social and political tensions of modern civilization by merging these two subjects.

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Saxena, Ruchi, und Dr Anshu Raj Purohit. „Feminist concern of Girish Karnad Novel: Nagamandala“. International Journal of Multidisciplinary Research Configuration 1, Nr. 4 (28.10.2021): 41–44. http://dx.doi.org/10.52984/ijomrc1406.

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This present paper attempts to critically analyse the selected novel of Girish Karnad _Nagamandala. Girish Karnad, as a dramatist, is free from any such feminist tags and like Shashi Deshpande, an Indian woman novelist, treats ‘woman as a woman’ and as ‘a human being’. As a male feminist, he has treated the feminist issues like child marriage, loveless marriage, exploitation of wife in the hands of husband, double standards of society and law operating against her in the society etc. It also expresses the hollowness and injustice of patriarchal society. He insists that it is not patriarchy but matriarchy which is essential for society. Thus, the refined sensibilities of woman like love, sex, compassion and tolerance make her unsurpassable in the society. The pride of woman also finds a space in his play Naga Mandala.

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Dr. Uzma Khanam. „Contrast between Rani and Padmini in Girish Karnad’s Female Characters“. Creative Launcher 5, Nr. 5 (30.12.2020): 50–53. http://dx.doi.org/10.53032/tcl.2020.5.5.06.

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Girish Karnad has the persona of giving his characters an air of freedom. The characters of his plays are mostly liberated from the pro-social norms or at-least tried their best to get that air. In every play we can find that kind of character very easily, especially in the female characters. This is the most distinct feature of Karnad, of giving the female characters, the lead in his plots. But still there is an exceptional case in this scenario too. The main focus of this paper is to picture the two contrasting female characters of Karnad i.e. Rani’s character from Naga-Mandala and Padmini’s characters from Hayavadana. It also interrogates the actions of both character in the similar situation and its outcome.

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Sadhu, Maun, und Yesha Bhatt. „Exploring Urban Dynamics: Setting in Girish Karnad's Dramatic Universe“. RESEARCH REVIEW International Journal of Multidisciplinary 9, Nr. 2 (15.02.2024): 88–95. http://dx.doi.org/10.31305/rrijm.2024.v09.n02.009.

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This study delves into the complex urban dynamics portrayed within the dramatic universe of renowned playwright Girish Karnad. Through an in-depth exploration of characters inhabiting Karnad's urban landscapes, this study seeks to explore the multifaceted interactions, conflicts, and transformations that represent urban life. Drawing upon textual analysis and theoretical frameworks from different plays of Karnad, it examines the ways in which Karnad's characters negotiate identity, power dynamics, and societal norms within the urban environment. By analysing the complexities of urban existence as depicted in Karnad's works, this study aims to contribute to a deeper understanding of contemporary urban experiences and their representation in Indian theatre. The study contains three plays and critical analysis of the characters with opposite mindsets and struggling to adjust their existence in the modern digital world. The study has first analysed the setting of all the three plays separately. The study explores the dramatic universe of Karnad and unfolds the complexities of the dual world.

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Patra, Mintu. „FEMALE IDENTITY IN THE PLAYS OF GIRISH KARNAD“. Journal of English Language and Literature 09, Nr. 01 (2022): 137–41. http://dx.doi.org/10.54513/joell.2022.9115.

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Feminists have taken a renewed interest in studying the earlier texts of women writers and interpreting them in new ways to determine how women's writings share commonalities with male writing and how much they are part of it. Feminist writers primarily focus on women's perspectives and expressions about their own lives. In the current era of postcolonial literature, women have become the focal point of debate, not only in India but also in Western countries. Amartya Sen mentions two main reasons for gender inequality in his book "more than 100 million women are missing." The first is cultural bias and discrimination while providing nutritious food and general medical treatment. Cultural biases always maintain male dominance at the top. Silvia Wallaby depicts patriarchy as a system of social structures and practises in which men dominate, oppress, and exploit women in her article "theorising patriarch."

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Reddy, G. Kiran Kumar, und Paul Krupakar. „Dalit aspects in the plays of Bohie Bhimmana and Girish Karnad: A Comparison“. International Journal of English Literature and Social Sciences 8, Nr. 3 (2023): 023–25. http://dx.doi.org/10.22161/ijels.83.3.

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Girish Karnad , a genius, one of the most prominent English play-wrights. Bohie Bhimanna hails from Andhra Pradesh. Karnad from Karnataka, while both writers exposed contemporary social and political issues in their plays. They highlighted the darker aspects of life so as to revolutionize and reform the men and manners of the people. Both writers tried to voice the hardships, emotions, and feelings of the poor, down trodden and subjugated people in their works.

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Rashmi, Rashmi, und Dr Brij Govind. „Exploring Mythic Archetypes and Cultural Identity in the Plays of Girish Karnad“. International Journal of Language, Literature and Culture 3, Nr. 4 (2023): 25–28. http://dx.doi.org/10.22161/ijllc.3.4.4.

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Girish Karnad, a visionary playwright and cultural icon, intricately weaves mythic archetypes into his theatrical narratives, reflecting the profound relationship between mythology, cultural identity, and contemporary human experiences. This study endeavors to delve into the plays of Girish Karnad, unveiling the archetype-driven structures that shape his theatrical works. By analyzing these archetypal narratives, the research aims to illuminate the deeper cultural and psychological implications they hold. The study commences by introducing the concept of mythic archetypes and their role in literature and theatre. It then focuses on a selection of Girish Karnad's plays, each drawing from ancient Indian mythology and folklore. By conducting a meticulous analysis of characters, plot structures, symbols, and themes, the study aims to identify recurring archetypes such as the hero's journey, the trickster, and the wise sage. Through the lens of archetype-driven narratives, the research aims to unravel the connection between mythic storytelling and the exploration of cultural identity. Karnad's plays often transcend time and place, tapping into universal human experiences while remaining grounded in their Indian context. By examining how these archetypal narratives resonate with both Indian and global audiences, the study illuminates how mythology serves as a bridge between tradition and modernity.

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Warda, Wahaj Unnisa, und Mohammad Rezaul Karim. „The Visions of a Visionary—Girish Karnard’s Play The Dreams of Tipu Sultan“. World Journal of English Language 14, Nr. 4 (22.03.2024): 41. http://dx.doi.org/10.5430/wjel.v14n4p41.

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Indian playwright Girish Karnad seeks to challenge the conventional historical portrayal of Tipu Sultan in his play Dreams of Tipu Sultan by emphasizing Tipu’s personal and psychological experiences. As a pioneering playwright known for blending diverse theatrical styles, Karnad integrates real historical events with creative storytelling to present Tipu Sultan as a complex figure deserving of both respect and empathy. The play begins not with the central character of Tipu Sultan, but with two historians, Mysorian Kirmani and the British Colin Mackenzie. These historians serve as a lens through which the audience can explore and question the traditional narratives surrounding Tipu Sultan’s life and reign. They raise important inquiries about the authenticity of historical accounts and traditional narratives and encourage a more nuanced understanding of Tipu Sultan’s motivations, relationships, and inner world. By delving into the personal and psychological experiences of Tipu Sultan, Karnad invites us to question and reevaluate our understanding of history, new historicism, and the human portrayal of the historical figure Tipu Sultan.

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Marghany, Ishraq Abd El Aziz Mohammad. „The Use of Myth in Selected Plays by Girish Karnad“. مجلة الآداب والعلوم الإنسانیة 91, Nr. 5 (01.07.2020): 1148–60. http://dx.doi.org/10.21608/fjhj.2020.132902.

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Shaik, Rafi, und Dr Pankaj Kumar K. „REALITY AS MORAL DISCOVERY IN THE PLAYS OF GIRISH KARNAD“. Research Journal of English 05, Nr. 02 (2021): 26–36. http://dx.doi.org/10.36993/rjoe.2020.2636.

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G. Yadagiri. „ISSUES OF GENDER BAISED, CASTE, HEREDITY, RELIGION AND SEX IN THE PLAYS OF GIRISH KARNAD: A CRITICAL ANALYSIS“. Journal of English Language and Literature 10, Nr. 02 (2023): 61–64. http://dx.doi.org/10.54513/joell.2023.10206.

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Girish Karnad was one of the most prominent and celebrated figures in Indian drama. He was an actor, playwright, and director, whose contribution to Indian theatre was immense. Karnad's plays were deeply rooted in Indian history and mythology, and dealt with issues such as identity, language, and cultural conflict. His works were widely performed and admired not only in India, but also internationally. Karnad's contribution to Indian drama can be seen in his numerous awards and accolades throughout his career, including the Padma Shri, Padma Bhushan, and Jnanpith Award, considered the highest literary honour in India. His plays, such as Yayati, Tughlaq, and Hayavadana, are regarded as modern classics of Indian theatre. Girish Karnad, the renowned Indian playwright, has addressed various social, cultural, and political issues in his works. While caste, heredity, religion, and sex are themes that occasionally appear in his plays, it is important to note that Karnad’s works are not limited to these topics. He explores a wide range of subjects and uses them as a means to reflect upon the complexities of Indian society and human nature. Here are some instances where these themes are present in Karnad’s plays. Karnad excelled in multiple fields, including theater, cinema, and literature. He was an accomplished playwright, having written numerous plays in Kannada, his native language, as well as in English. Some of his notable plays include Tughlaq, Hayavadana, and Nagamandala. He also acted in films and directed critically acclaimed movies like Vamsha Vriksha and Utsav.

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Patra, Mintu. „POWER POLITICS IN GIRISH KARNAD’S HAYAVADANA AND TUGHLAQ“. JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, Nr. 04 (2023): 17–21. http://dx.doi.org/10.54513/joell.2023.10404.

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Through the centuries, Indian drama has been one of the means of discovering how a human being can achieve an optimal human existence–cultural, social, political, material, and spiritual. The staging of patriotic plays in modern Indian theatre boosted operative energy in the freedom movement. The spirit of liberty provided significant impetus to the revival of various forms of performing arts. After independence, Karnad, along with other playwrights such as Vijay Tendulkar, Mohan Rakesh, and Badal Sircar, conducted 101 theatrical and thematic experiments in order to free individuals from the shackles of superstitiously internalized socio-cultural constructs.

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Khan, Amara. „Vision of Gender in Girish Karnad's Hayavadana: Functions of Multiplexed Corporal Masks“. Global Social Sciences Review VI, Nr. I (30.03.2021): 148–57. http://dx.doi.org/10.31703/gssr.2021(vi-i).15.

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Through the integration of the local Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad through Hayavadana (1971) has formed a brilliant theatre show. One theatrical device, apart from the folk-theatre motifs, is the utilization of physical masks on stage. The reading examines different techniques used by Karnad, which provide the staging of masks successful in theatre. It furthermore focuses on the objectives, techniques, and types of mask treatment in expressions of disguise and revelation at the physical level. The purpose of this exploration is to make a complete study of the expressive masks used in Hayavadana (1971) to interpret the proposed reality of the characters. The qualitative approach has been adopted as a methodology where the interpretive method of investigation has been engaged to search for the secreted meanings in the text. Professed through the lens of select theoretical structure, Hayavadana becomes a site of diversity and range.

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Kariya, Disha. „Rasa Analysis of Girish Karnad's Hayavadana“. Vidhyayana 9, si1 (01.12.2023): 17–27. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1577.

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Rasa is an aesthetic feeling aroused in the reader or spectator when he witnesses an effective presentation of art. Sage Bharata in ancient India pioneered and Abhinav Gupta elaborated the theory of Rasa. According to the Rasa Sutra, rasa nispattih is a result of the conjunction of vibhāva, anubhāva, and Vyābhicāribhāva, which appeals to the Sthāyibhāva and leads to rasa realization. Hayavadana is a two-act play, originally written in Kannada by Girish Karnad. He himself has translated the play Hayavadana in English. There are two stories, one is of two best friends, Kapila and Devadatta, and a lady named Padmini, another is about a horse headed man- in search of completeness. Author has used various dramatic techniques like, Narrator/ Sutradhar, Puppets, Use of masks, and subplots. Any literary work consists of Rasa in it. In this research paper, the researcher wishes to study Hayavadana in the light of Rasa Theory. This play has already been studied from different perspectives like myth, realism, identity crisis, portrayal of woman, and incompleteness. There is a scope to study this Indian work of art in English from the point of view of Indian Poetics, specifically Rasa Theory.

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Shukla, Sudhir Krishna, Rashi Srivastava und Kum Kum Ray. „Translating Land into Stage: Observations on the Patterns and Presentations in Girish Karnad’s ‘Hayavadana’ and ‘Nagamandala’“. International Journal of English Literature and Social Sciences 9, Nr. 2 (2024): 218–26. http://dx.doi.org/10.22161/ijels.92.32.

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This research paper examines the patterns and presentations in Girish Karnad’s major plays. Girish Raghunath Karnad (19 May 1938-10 June 2019) was the foremost Kannada playwright of India. In addition to writing plays, he was also an actor, film director, and a Jnanpith awardee, who dominated in the fields of Hindi, Kannada, Tamil, Malayalam, Telugu, and Marathi films. His ascent to prominence as a playwright in the 1960s signaled the advent of contemporary Indian playwriting in Kannada as Badal Sarkar, Vijay Tendulkar, and Mohan Rakesh did in Bengali, Marathi, and Hindi respectively. He used his intellectual power to use distilled themes from history, folktales, and myths. He is able to give identity to Indian art and culture in other countries. Tughlaq(1964), Yayati(1961), Hayavadana(1971), Hittina Hunja(1980), Nagamandala(1988), Tale-Danda(1990), Fire and the Rain(1995)

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Senthil Kumar.S und Puthiyarasu.P. „Women in the Drama of Girish Karnad With Reference Yayati & Hayavadana“. INTERNATIONAL JOURNAL OF SCIENCE TECHNOLOGY AND HUMANITIES 2, Nr. 2 (30.10.2015): 55–58. http://dx.doi.org/10.26524/ijsth55.

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Drama constitutes an integral part of any civilized society. It is true that the dramatic instinct is quite universal. The theatre whether in the sacred or the secular from has never failed holds its powerful appeal to men. Undeniably every nation and every race has its own dramatic history. Drama as the best from of literary composition mirrors the social, political and cultural history of a people and him characteristic nature of the genius of any nation cannot be fully comprehended and appreciated without its study.

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Kalidasan, R., und R. K. Jaishree Karthiga. „Girish Karnad's Hayavadana - A Setting for Sacred and Profane“. Shanlax International Journal of English 7, Nr. 4 (01.09.2019): 57–61. http://dx.doi.org/10.34293/english.v7i4.599.

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Hayavadana, a multiplex play, offers various binary themes for discussion. By combining the indigenous Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad has created a unique theatre display, presenting it as a social and religious satire that point to the persistent pursuit of the humanity to achieve perfection. The plot and the sub-plot of the play get interlocked by raising questions on identity and the nature of reality. The dramatist intentionally effects a dynamic communication between the audience and the performance, noting that the audience too are not separate from such an existential predicament. This Verfremdungseffekt or the “alienation effect”, is achieved through a number of devices. One such device, apart from the folk-theatre motifs, is the philosophical survey of the concepts, ‘Sacred’ and the ‘Profane’. This paper ventures to show how these concepts add further investigation of the play.

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Fatima, Sadaf. „Finding the Voice of Indian Urbanity – Through the Selected Texts of Girish Karnad and Mahesh Dattani“. International Journal of English Literature and Social Sciences 8, Nr. 4 (2023): 132–38. http://dx.doi.org/10.22161/ijels.84.23.

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In the present paper, I have endeavored to review the development of Indian English theatre since 20th century to emphasize the common themes and dilemmas that the Indian playwrights writing in English had to deal with special reference to the process of assimilation of Indian themes with the Western genre. The focus is upon analyzing the text from a post-colonial perspective. The aim is to show the manifestation of hybrid cultures in the urban areas as have been successfully represented by the Indian dramas by Girish Karnad and Mahesh Dattani.

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Kumawat, Deepa. „Impact of Brechtian theory on Girish Karnad: An Analysis of Hayavadana and Yayati“. IOSR Journal Of Humanities And Social Science 16, Nr. 5 (2013): 76–80. http://dx.doi.org/10.9790/0837-1657680.

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Priya Saxena. „Integrated Relationship between Language, Literature and Society in the Work of Girish Karnad“. Creative Launcher 5, Nr. 3 (30.08.2020): 257–65. http://dx.doi.org/10.53032/tcl.2020.5.3.33.

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Language, literature and society evolve parallel to each other and often at a similar pace. Integration of the three is taken up as a challenge by penmen of all ages. Language is the tool a writer with the objective of exploring, observing and presenting the narratives about sociological issues in delectable form depends upon. Authors and scholars have always strived to capture audiences across the world with enchanting subjects and prodigious treatments. Some of them drew inspiration from ancient scriptures and folklore and presented their narratives in the contemporary forms and styles, while others composed their works adopting the idiom and styles of the fable-mongers of the ancient times. Since literary works of all genres are directed towards people who form audiences, and, society at large. The sociological orientation of literature is unique in its own ways for each writer, as all of them have their own anomalous combinations and permutations of linguistics, themes and expression. Works of Girish Karnad, one of the most celebrated contemporary playwrights abound in existential themes drawn from ancient scriptures and folklore, especially myths and mythology. The dramatist has been immensely successful in crafting them, putting them in the framework of contemporary issues so as to appeal even to new-age theatre-goers with modern outlook. This study is centered around Karnad’s knack for building literary bridges across time and space to establish links between people, through the use of shared symbolism and idiom, with those existing eons apart and not even remotely connected. This is evident in the key works of Karnad, viz, Yayati, Hayavadana, Naga-Mandala, Tuglaq, Broken Images, etc. The existential concerns of protagonists and key characters of these plays, though varied in hues, seem to be drawn from the same spring, and hence possess universal appeal.

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Singh, Aditya. „Evaluating Patriarchy in Select Works of Mahesh Dattani, Girish Karnad and Vijay Tendulkar“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 5 (31.05.2023): 5169–75. http://dx.doi.org/10.22214/ijraset.2023.52412.

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Abstract: This research paper critically evaluates the theme of patriarchy in select works of three renowned Indian playwrights: Mahesh Dattani, Vijay Tendulkar, and Girish Karnad. Patriarchy, as a pervasive social system, influences power dynamics, gender roles, and relationships within societies. The objective of this study is to analyze how these playwrights explore the manifestations and consequences of patriarchy through their dramatic works. Through a comparative analysis of these playwrights' works, this study aims to highlight the diversity of approaches and perspectives in portraying patriarchy within Indian theatre. By evaluating patriarchy through the lens of these eminent playwrights, this research provides a deeper understanding of the social, cultural, and political factors that shape gender dynamics in contemporary Indian society.

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Ghosh, Subho. „Switching Heads and Cultures: Transformation of an Indian Myth into the Quest of Identity Crisis in Girish Karnad’s Hayavadana“. Praxis International Journal of Social Science and Literature 6, Nr. 8 (25.08.2023): 89–95. http://dx.doi.org/10.51879/pijssl/060810.

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Myths and legends have an enduring significance for the fundamental human obsessions. Indian drama is flavoured with several elements in which mythology plays an important role. One of the most renowned playwrights of contemporary India, Girish Karnad who has made use of the theatre to explore the culture of Indian past, re-created Hayavadana, a commentary on the problems of human being’s search for completeness and perfection, with his own imaginative calibre deriving it from Kathasaritsagar, an 11th century compendium of Indian legends and drawing the picturesque of Thomas Mann’s story of The Transposed Heads in a modern approach. It revolves around the triangular relation between Padmini, Devdatta and Kapila ending in Padmini’s frustrated search to get the best of both men in one body highlighting the confusion of human identities and the ambiguous nature of human personality. This present paper focuses on how Girish Karnad re-interprets the mythology in his creation rummaging a conflict between modernity and indigenous tradition against the backdrop of mythical history to enunciate the acute crisis of identity, self-discovery and imperfection or and wholeness to reach to the zenith of perfection that is next to impossible reflecting the strength of psychology over the physical one where the human beings strive to obtain perfection in all the aspects throughout their life but they forget the fact that perfection is something that is unachievable. It is concluded that although the ending of the play is not within the orthodoxy of Indian epic texts and Hindu philosophy, it can be seen in the cultural context of an Indian woman of today who seeks to fulfil her needs and aspirations.

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Arya, Kavita. „Karnad's Yayati : A Study in the Eternal Conflicts of Mankind.“ Dialogue: A Journal Devoted to Literary Appreciation 15, Nr. 1-2 (11.12.2019): 23–29. http://dx.doi.org/10.30949/dajdtla.v14i1-2.4.

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With Vijay Tendulkar and Badal Sirkar, Girish Karnad is among the three greatest dramatists of post-independent Indian theatre. His most notable plays are Yayati, Nag-Mandala, Hayavadan and The Fire and the Rain. Yayati, his first play, was written initially in Kannad in 1961. For this play he received the Karnatak State award. Karnad was not a simple entertainer. His plays serve to instruct, entertain and enlighten, but there is also a purpose. Through his plays he tries to give his audience an exalted sense of duty with happiness, peace of mind and upliftment of moral values. In Karnad's view, only then can a human being be relieved of the sorrow and pain that he is subjected to in his endless run for pleasures. To achieve it, Karnad draws from the rich store of Indian mythological stories and the collective wealth of inherited culture and recreates the characters and old stories in a new way. He presents them as they originally are and also changes them completely. His genius for fusion of the mythology and modernity is unparalleled. The Yayati of Karnad is the best example of his creative concern, purpose and dramatic art. The human heart is never satiated; its endless craving for more and more pleasure leads it to tragedy. One fine example of this predicament is the story of king Yayati. The present paper would endeavor to study some important aspects of Karnad's Yayati in comparison with the original mythological story as also with the novel of same name by Vishnu Sakharam Khandekar

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MAHADEVAN, A. „Switching Heads and Cultures: Transformation of an Indian Myth by Thomas Mann and Girish Karnad“. Comparative Literature 54, Nr. 1 (01.01.2002): 23–41. http://dx.doi.org/10.1215/-54-1-23.

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Dr. V.S. Bindhu, Mousoomi Aslam A. ,. „The Psychological Deterioration of Characters and Elements of Myth in Girish Karnad’s Play Yayati“. Psychology and Education Journal 58, Nr. 1 (01.02.2021): 4479–84. http://dx.doi.org/10.17762/pae.v58i1.1538.

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This paper attempts to study the psychological degeneration of characters and the presence of mythical elements in the play Yayati. Karnad traverses through unfathomable depths of old Indian mythology to make the social and cultural problems that reflects the traditional Indian society. He portrays a modern context of characters by the amalgamation of symbols. His plays are usually found very close to common people with a very realistic approach towards the issues of humans. He used not only myths to frame the plot but also to pinpoint the human psyche and cultural practices in the society. He took mythical elements from the Mahabharatha with an intention to examine the ludicrousness of life with all its fundamental passions and crisis. The play focuses on man’s eternal struggle to achieve perfection, dreams and desires.

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Kulkarni, Prafull D. „Thematic Analysis of the Sociocultural Decapitation in Karnad’s Play: ‘Tale-danda’“. Shanlax International Journal of English 12, S1-Dec (14.12.2023): 273–78. http://dx.doi.org/10.34293/rtdh.v12is1-dec.72.

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Drama is a source of entertainment as well as enlightenment. Girish Karnad uses this audio-visual medium to bring to light a social vice of India, namely, casteism and its age-old impact on its victims. Its sway on society and the resultant retaliation by its sufferers is highlighted by the dramatist using the legendary figure of Mahatma Basaveshwara as a reformer in one of his English plays entitled Tale-danda (The Beheading) in English. Karnad’s approach in this play is full of censure against the oppression of the underprivileged. For ages, they were the victims of social persecution which once resulted in an anti-elitist uprising in south India. The movement later culminated in a kind of sociocultural decapitation of the underprivileged in twelfth-century Karnataka. The present paper attempts to focus on this historical event and its aftermath as dramatized in the play on the avenging individuals.

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Kulkarni, Prafull D. „Magic Realism in Flowers: Karnad’s Post-Modern World of Folkloric Fantasy“. Shanlax International Journal of English 8, Nr. 3 (02.06.2020): 26–30. http://dx.doi.org/10.34293/english.v8i3.2429.

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“Magic realism” is a recent literary technique that contains a latent amalgamation of fantastic or mythical elements into an otherwise realistically narrated fiction. The theme and subject of such a literary work are often imaginary, somewhat outlandish and fantastic and always reflect into a dream-like reverie. It further marks the miscellaneous use of myths, legends and fairy tales, and an expressionistic description of an arcane situation leading to the element of surprise or abrupt shock. In literary discourses, the term is primarily associated with the post-modern novel of the Americas. Girish Karnad’s dramatic monologue, Flowers, however, bears all the elements of this literary phenomenon. This short play could also be labeled as a dramatized novel and is a simple tale of a priest caught in an agonized conflict between his devotion to God and his love for a courtesan. However, Karnad’s creative genius turns this conflict into a scintillating portrayal of the sexual urge of a priest interspersed with his feelings of religious devotion and familial duties through the technique of magic realism and, in the process, questions god’s authority in the postmodern world. The play is an attempt by Karnad for the first time in his playwriting career “to focus on male than a female desire.” It presents an interesting picture of the bizarre human world full of magic and its realistic social impressions. The present article attempts to shed some light on this aspect of Karnad through the thematic exploration of the flowers.

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Leslie, Julia. „Understanding Basava: history, hagiography and a modern Kannada drama“. Bulletin of the School of Oriental and African Studies 61, Nr. 2 (Juni 1998): 228–61. http://dx.doi.org/10.1017/s0041977x00013793.

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This paper is a meditation from a religious studies perspective on the twelfth-century Vīraśaiva saint, Basava (c. 1105–68); that is, its primary focus is religious experience rather than literary evaluation or the historicity of the past. By exploring a variety of sources—ancient and modern, fact and fiction—and by making connections with urgent twentieth-century concerns, it seeks to bring into focus the religious aspirations and social implications of Basava's world. Part 1 is derived from history and hagiography. It provides an outline of Vīraśaiva belief and practice, and then proceeds to discuss the religious context of twelfth-century Karnataka, the debate regarding the origins of this ‘new’ religion, and a key inscription in the debate. It ends with a summary of the tradition's account of Basava's life. Part 2 focuses on a play written in Kannada (Taledaṇḍa, ‘Death by beheading’, 1990) and then rewritten in English for a pan-Indian and international audience (Talé-Daṇḍa: a play, 1993), in both cases by Girish Karnad. Karnad is not the first playwright to focus on Basava, and he will not be the last. In the preface to the Kannada version, he explains that ‘it becomes inevitable for every Kannadiga to return, like a tongue that returns again and again to a painful tooth, to the victories and agonies of that period.’ Karnad's dramatization of Basava's catastrophic final year is discussed in the context of the historical and hagiographical material considered in Part 1.

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Dr. Uzma Khanam. „Applicability of Ancient Myths and Cultures used in the play Yayati“. Creative Launcher 6, Nr. 4 (30.10.2021): 130–34. http://dx.doi.org/10.53032/tcl.2021.6.4.21.

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Girish Karnad was among the most prolific playwrights of modern India. He took birth in the reign of British India, witness the independence of our country, learnt from the motherland of English, came back to his motherland only to become English poet, but ended up writing plays only in his native language, using the core of Indian origin in his pen. He had the best farsightedness of life which he projected very sharply in his plays. Each of his plays are enriched with the diverse forms of Indian cultures and myths. Although, it has never been mentioned of him studying psychology in a professional manner but his plays has always has the capacity of comforting or at least focusing the flaws of mankind. The main objective of this research paper is to highlight the ancient myths and culture used in one of the Karnad's play Yayati, and its relevancy in the present scenario.

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Noor Fatima, Durasham Saleem und Sadaf Bashir. „A Comparative Analysis of Aspiration Errors among Postgraduate Students from Pashto and Punjabi Language Backgrounds“. sjesr 6, Nr. 4 (31.12.2023): 36–46. http://dx.doi.org/10.36902/sjesr-vol6-iss4-2023(36-46).

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This research investigates pronunciation errors in English, specifically focusing on aspiration among postgraduate students from Pashto and Punjabi backgrounds at a public university in Lahore. It aims to identify the distinct pronunciation challenges faced by these groups when learning English as a second language. Voice recordings of participants reading a selected passage from "The Dreams of Tipu Sultan" by Girish Karnad are analyzed, particularly focusing on words containing aspirated sounds, like the /t/ phonic. The study includes participants from both linguistic backgrounds to ensure diversity. Analysis reveals that Pashto speakers generally demonstrate better pronunciation proficiency with fewer errors, while Punjabi speakers struggle more with aspirated sounds, notably the /t/ phonic. These findings align with existing literature, emphasizing how the native language's phonological system influences English pronunciation. The research contributes to understanding language acquisition and suggests tailored teaching approaches for diverse student populations, emphasizing the need for customized interventions to improve English proficiency among Pashto and Punjabi speakers in multicultural academic settings.

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Nerlekar, Anjali. „Adarallu Idu [“This, even in the midst of that”]: Girish Karnad talks about A.K. Ramanujan and his own dramaturgy“. South Asian Review 26, Nr. 2 (Dezember 2005): 217–36. http://dx.doi.org/10.1080/02759527.2005.11932410.

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Shrivastava, Dr Prashant. „Diachronic approaches to mythology and Indian culture: Reading UR Ananthamurthy and Girish Karnad through the lens of monogenesis and polygenesis“. International Journal of Research in English 4, Nr. 2 (01.01.2022): 35–38. http://dx.doi.org/10.33545/26648717.2022.v4.i2a.137.

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Karnad, Girish. „Performance, Meaning, and the Materials of Modern Indian Theatre“. New Theatre Quarterly 11, Nr. 44 (November 1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.

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D. Mapari, Ms Dimple, und Shankarlal Khandelwal. „Performative Aspects of Mahesh Dattani’s Plays“. International Journal of English Literature and Social Sciences 7, Nr. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.

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Rajeev Yadav und Dr. V. P. Singh. „Decoding Caste and Power-Structure in Tendulkar’s Kanyadaan“. Creative Launcher 7, Nr. 1 (04.03.2022): 16–21. http://dx.doi.org/10.53032/tcl.2022.7.1.03.

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Social structure is a power-structure where every social category reflects the power relations with other in hierarchy. Caste is one of the decisive derivatives in India to measure human relations. It is something which has defined the social hierarchy based on the birth of an individual. Caste has become the most striking method of discrimination of people in India with its maligned and fabricated interpretations. Indeed, it has been originated for distribution of people on the basis of their work for proper functioning of society. Vijay Tendulkar, a Marathi playwright and one of the founding pillars of Modern Indian Drama along with Mohan Rakesh, Badal Sircar and Girish Karnad, has discussed the problems of caste discrimination and general perspectives about inter-caste marriages in India in his play Kanyadaan. Through this play Vijay Tendulkar also tries to reflect his thoughts on contradictory relationship between imaginary idealism and harsh realism; and also on texture of modernity and social change in India through the marriage of two people of different castes and backgrounds. The present paper is an effort to analyse Tendulkar’s Kanyadaan, originally written in Marathi and later on translated into English, as social documentary on relationship between caste and social structure based on power-relations, caste-based discrimination, inter-caste marriage and pseudo-idealism prevalent in the course of social and cultural progress. The present paper also deals with decoding of the phenomenon of ‘violence’ employed in caste-based power relations in the society.

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Islam, Md Alemul. „Parallel Interplay between Tradition and Folk Theatre: A Study of select works of Vijay Tendulkar“. International Journal of English Literature and Social Sciences 8, Nr. 5 (2023): 210–14. http://dx.doi.org/10.22161/ijels.85.34.

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Folk theatre is the root of modern Indian drama, and with the advancement of modernity, folk theatre keeps balancing the dynamic aspect of modernity. Most of India's well-known playwrights overcame the limitations of regional language throughout the 1970s and produced a number of excellent plays on a national scale. The majority of their experimental productions were focused on incorporating Indian folk theatre components or performance traditions into mainstream theatre. As a result, we see Utpal Dutt using Jatra in Surya Sikar and Girish Karnad adopting Yakshagna, a traditional type of theatre, in his play Hayavadana (1972). In order to create a new type of theatre that he called the "Third Theatre" or "Street Theatre", Badal Sircar experimented with incorporating folk elements into proscenium theatres. Similar to his contemporaries, Vijay Tendulkar also experimented with many types of folk drama in Ghasiram Kotwal (1972) and other plays. The current study is an integrated effort to concentrate on how tradition and modernity are portrayed in Vijay Tendulkar's plays. Another way to put it is that modernity has economic, social, cultural, and political ramifications. A cultural driving force with social, economic, and political ramifications is tradition. Vijay Tendulkar explores both conventional and contemporary tendencies in his plays through folk theatre. In his plays, he combines elements of heritage and modernism. They are entangled with both modernity and tradition. One may easily notice Tendulkar's keen observation of life in his plays . He strikes a delicate balance between tradition and contemporary in expressing the social realities . The purpose of this article is try to understand how Tendulkar employed various folk theatre styles to express power dynamics and the outcome of oppression, a very modern and postcolonial subject, on stage.

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Kamal, Ms Deepali. „Conflicts in Relationships with Respect to English Literature and Female Perspective“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 4 (30.04.2023): 1613–15. http://dx.doi.org/10.22214/ijraset.2023.50440.

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Abstract: Though the principle of gender equality is enshrined in the constitution of India, though the women are provided equal rights that of men, though the women are allowed to get education, though the women are considered one of the most important asset for the nation but still the questions that remain unanswered are how far does it matches the reality? How far women and their interests are kept in mind? Are their emotions even considered emotions or just considered and ignored as mood swings. In this paper we will study about conflicts in relationships in respect with english literature and female perspective. We will study about how feminism is included or excluded in the works of literature. Feminism is about women getting equal rights and opportunities as men without spoiling or dominating the rights of men. But though there are so many measures taken to promote feminism in a positive way still we come across novels, poems, dramas and so that somehow creates false image of women and portrays women as an inferior character therefore we will study in detail the role of women in famous works of english literature mainly in the play Hayavadana by Girish Karnad and the play Twelfth Night by William Shakespeare. Hayavadana is a typical Indian play that hold various themes wherein we will be focusing on women as an object and Twelfth Night on the other hand is a western play, also having various themes but the key theme will be patriarchal dominance over female emotions leading to relationship conflicts. We are aiming to study that how sometimes literature set gender roles and promotes gender inequality and women inferiority. Ultimately this portrayal leads to certain other issues that women find offensive. It leads to self doubts and under confidence in women. As women are shown sensitive and powerless in the books of literature the society starts to accept her as inferior and dependent and this leads to conflicts and problems between women and society, women and family, the downfall and abuse in the relationship and so on

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Hossain, Mosarraf. „Girish Karnad’s ‘Tughlaq’: Theatre of Protest, a Post-colonial play“. Indian Journal of Applied Research 2, Nr. 1 (01.10.2011): 111–12. http://dx.doi.org/10.15373/2249555x/oct2012/39.

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Manju, Manju, und Dr Nempal Singh. „Re-Inventing Tradition and Decolonizing the Stage: A Study of Girish Karnads Plays“. International Journal of English Language, Education and Literature Studies (IJEEL) 2, Nr. 4 (2023): 29–38. http://dx.doi.org/10.22161/ijeel.2.4.5.

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This postmodern blurring of cultural lines has resulted in a universal humanity that can be accessed via a single body of knowledge. The epiphanic moment of confronting the other shifted the focus from Europe to the East, where scholars realized that the epistemic discourse of their own countries reflected the same a priori delimitation of knowledge. The Radhakrishnan Commission, for example, proposed in 1948 that the fields of natural science, social science, and the humanities should study different aspects of reality: facts, events, and values, respectively. In order to dismantle the epistemic dominance of western knowledge and eradicate the homogeneity of discourses, the time has come to highlight, as Bakhtin would have it, the importance of comparative dialogic in establishing cross-cultural dialogic. In a same vein, the Orientalist paradigm has to shift toward a focus on humanistic conversation between South and South and a reconfiguration of the Asian dilemma of singularities. To get a holistic comprehension of human beings, a paradigm shift and rethinking—what Derrida terms Transformed Humanities, New Humanities—is essential.

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S, Mullai, und Nagalakshmi M. „The Notion of Fancy and Imagination of Rani in Girish Karnad’s Naagamandala“. Journal of Advanced Research in Dynamical and Control Systems 11, Nr. 0009-SPECIAL ISSUE (25.09.2019): 517–23. http://dx.doi.org/10.5373/jardcs/v11/20192600.

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Reddy, Dr PR Chandra. „TRANSPOSITION OF BODY AND MIND; AN INCISIVE THEMATIC AND COMPARATIVE ANALYSIS OF ‘HAYAVADANA’ BY GIRISH KARNARD AND ‘THE TRANSPOSED HEADS’ BY THOMAS MANN“. International Journal of Engineering Applied Sciences and Technology 8, Nr. 4 (01.08.2023): 171–76. http://dx.doi.org/10.33564/ijeast.2023.v08i04.023.

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In his own words, Karnard declared that he had borrowed, for Hayavadana one with the head of a horse and body of a man.), heavily from the novel, The Transposed Heads, by Thomas Mann, a German writer who had borrowed the plot from a short story from Kathasaritsagara, a magnum opus written in Sanskrit by Somadeva of 11th century. Both Mann and Karnard have depicted sensuality, metaphysics, entangled identities, the problem of love and individuality, an existential humanistic perspective, a philosophical engagement with human conditions, relevance about human sufferings, desire and liberation, sense of alienation, freedom of choice, sensuousness and sensibility, stark reality, absurdity, scopes and limits of human desires and metaphysical emptiness in their works. Hayavadana follows an age-old Yakshagana, which is a traditional theatre style of Southern Karnataka, India. The stories of Devadatta, Kapila, and Padmini and Sridhman, Nanda and Sita center on the conflict between body and mind or mind and matter. The consequences of the confliction reach its zenith after the transposition at the Goddess Kali temple.

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JOHARI, DR SANJAY. „Caste Conflict In Vijay Tendulkar’s Play ‘Kanyadan’“. Journal of Language and Linguistics in Society, Nr. 12 (18.11.2021): 7–11. http://dx.doi.org/10.55529/jlls.12.7.11.

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Literature is the mirror of society. This is so because literature gives shape to civilization and impacts on social norms. It changes the entire atmosphere. Mostly literature changes the political issues and it also exposes in justice. Literature presents before us the real human existence. In English literature there are many dramatists who present the emerging issues in the contemporary life. Girish Karnard, Mahesh Dattni and Vijay Tendulkar are the famous dramatists who show the mirrorto the society by their deft artistic excellence. Vijay Tendulkar one of the most celebrated marathi dramatists, who presents the realistic problems of human society which are emerging in contemporary life. No phase of problem is intouched with his literature that is not depicted in his writings. That is why his plays become the high criticism of Indian society. He penetrates into the inner souls of his characters, especially the women in patriarchal society. In this way Tendulkar presents the complexity of human relationship in contemporary life. He has shown conflicts, violence and sex characterized in his plays.

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Goyal, Dr Pankaj. „A Clinico - Hematological Profile of Nutritional Anaemia among Adolescent Girls in Rural Area around Karad, District- Satara, Maharashtra“. Journal of Medical Science And clinical Research 04, Nr. 12 (23.12.2016): 14862–70. http://dx.doi.org/10.18535/jmscr/v4i12.91.

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-, Dr Kunwar sahab singh. „Myth and Patriachy in Girish Karnads Play Yayati“. International Journal For Multidisciplinary Research 5, Nr. 6 (20.12.2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.10831.

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Girish Karnad play is the most significant playwright of post-independence literature and his plays have become a byword for imagination and innovation. he used folktales and myths in her plays to reveal the social reality. This paper mainly approached the contemporary of Karnad's play, "Yayati " translated is the first dramatic venture by Girish Karnad, written first in 1961 and translated by the dramatist himself into the English language in 2008.

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Singh, Dr Manju. „Girish Karnad 'Yayati': The Cultural Values“. SSRN Electronic Journal, 2019. http://dx.doi.org/10.2139/ssrn.3563465.

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R. SIVARANJANI und Dr. S. ESTHER ARULMANI. „REVERSE TRANSFORMATION IN THE PLAY “HAYAVADANA” BY GIRISH KARNAD“. Journal of Pharmaceutical Negative Results, 14.10.2022, 2587–90. http://dx.doi.org/10.47750/pnr.2022.13.s06.333.

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Well Eminent and versatile writer Girish Karnad’s third popular play in English is Hayavadana. This paper deals with the reverse transformation of the humans in the journey of completeness. Human failed to retain their identity in search of completeness while the animal succeeded in regaining its identity. The central theme- The story of Devadatta and Kapila’ is based on the tale from the Kathasaritsagara. But the main theme is borrowed from Thomas Man’s –The Transposed Heads. The horse regained its full form with its neigh in the end of the story and thus achieved its completeness. On the other hand, the child retained its human smile and become a complete human-being. The Hayavadana was happy to become a full animal while the humans Kapila and Devadatta lost their lives without attaining their completeness. Padmini also unsatisfied with the end result and performed sati. Darwin’s theory says that humans are evolved from Animals. But in Hayavadana, the human attains the animal form in reverse transformation. The mother of Hayavadana loved the horse and got married to it. When he became a human being, she rejected to accept him. So she was cursed to become a horse. She was happy to lose her identity as a human and ready to become a horse. Her love for a horse made her a horse and thus she achieved her completeness. Hayavadhana wanted to attain its completeness whether it will be a horse or may be a human. At-last he became a complete horse but with a human voice. The son of Padmini exchanged his neigh with Hayavadana’s human voice. Thus the mother and her son Hayavadana achieved completeness in reverse transformation by becoming a horse.

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Devi. M, Dr Nirmala. „Women Sensitiveness in Girish Karnad's the Fire and the Rain Hayavadana and Nagamandala“. SMART MOVES JOURNAL IJELLH, 28.04.2022, 61–69. http://dx.doi.org/10.24113/ijellh.v10i4.11294.

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In traditional Indian society, women are ruthlessly deprived of the opportunity to express their true feelings publicly. In Girish Karnad's works, female characters constantly rebel against the traditional position of women in Indian society and try to find their own way. His works make fun of the unjust values ??of the patriarchal society, which does not care about women's feelings and regards women as only inferior people who are absolutely loyal to him. Call it Nagamandala, Hayavadana and The Fire and the Rain, all these elements are everything. The exploitation and oppression of women has become an established culture of male chauvinism, so his works represent a meeting point where women are portrayed as enlightened and liberated with resistance. Girish Karnad strives to overcome male dominance, hoping to raise awareness of how women are exploited and abused in the name of marriage. Karnad started her work to meet the challenge of resolving controversial issues. As for women, she has experience in discriminatory politics that supports gender and caste paradigms.

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