Bibliographies thématiques / Ramayanas

Littérature scientifique sur le sujet « Ramayanas »

Auteur : Grafiati
Publié le 18 mai 2024

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Articles de revues sur le sujet "Ramayanas"

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Vishwakarma, Alka. « Translating Ramayana ». Exchanges : The Interdisciplinary Research Journal 11, no 2 (26 avril 2024) : 133–60. http://dx.doi.org/10.31273/eirj.v11i2.1144.

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Embedded contexts and improvisations in bhasha Ramayanas with its nuances of plurality attribute to its influences of respective linguistic and culture of multinational and multicultural countries: Ram-story of Ramayana, considered primarily a work of smriti , has travelled a long journey in the land of multilingual and heterogeneous cultural spheres. Indian bhashas – Assamese, Thamizh, Malayalam, Oriya, Bengali, and so on – have rendered Rama-katha within the very Indian society under different paradigms which have overshadowed the original, i.e. Valmiki’s Ramayana in Sanskrit. In lieu of assimilation of original text in another language that relevant translation promotes, bhasha Ramayanas presents different renderings or retellings , instead of variants or versions of Valmiki, colored with heterogeneous cultural ethos. Discussing three bhasha Ramayana(s) – 12th century Kampar’s Ramavataram in Thamizh , 15th century Krttivasi Ramayana or Sriram Pacali in Bengali, and 16th century Tulsidas’s Ramcharitmanas in Awadhi – this essay explores social and literary function of translation strategies in its poly-lingual and multinational world. Questioning the idea of original and relevant Ramayana, it also reflects on how bhasha Ramayanas co-exist in multilingual and multicultural society with its distinguished autonomy and differences. The tripartite comparative project of this article critically investigates their structures, sequential arrangements, bhasha cultural color, and story overlaps. It also calls attention to coalescence of Rama-story through plurilingual renderings with respect to its pluricultural valences in South Asia. Focusing on the polyvalences, it also argues that such retellings problematize the relevance of a genuine translation by questioning translational canonical principles for bhasha texts.
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R, Rathi. « Tamil Classical Foundations in Ezhuthachan Ramayana ». International Research Journal of Tamil 4, SPL 1 (24 janvier 2022) : 28–35. http://dx.doi.org/10.34256/irjt22s14.

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Morality has been talked about at various levels as a part of culture, a weapon of the dominant society and a life guide to the way of life that guides human society. The adhyatma ramayanam-kilippattu, written in Malayalam, is taken as the site of the book, which is written in Malayalam, in view of the impact of the ethics spoken on the Tamil cultural plane. The source of the Ramayana is the adhyatma Ramayana in Sanskrit. Similarly, Sanskrit is the source of the Ramayanas that arose in Tamil. Therefore, considering that the influence of the original language is inevitable that it is inevitable that it will be included in the copies that follow it, it is here that the book of Etiquette is primarily meant to carry out the search for Sanskrit ethics. Similarly, thirukkural is primarily concerned with the search for Dravidian morality. This article is designed to show that whatever is beneficial to many is done as a modern moral, although various ethical ideas are spoken of at various levels.
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K.S, Sini. « Guiding the Possibility of Conduct : A Reading of ‘Rama-Katha’ ». SMART MOVES JOURNAL IJELLH 7, no 11 (28 novembre 2019) : 11. http://dx.doi.org/10.24113/ijellh.v7i11.10117.

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Ramayana is not a solo entity. The number of Ramayanas and the range of their influence in South and Southeast Asia over the past twenty-five hundred years or more are astonishing. Different versions of Rama story are available. We can trace the story line in Burma, Thailand, Japan, Oman etc. But from 20th century, from the time modern thought of learning came into practice, Valmiki Ramayana and Ramcharitmanas started gaining unprecedented importance.
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S, Jeyashree. « Rama Ravana Battle Scenes in Tamil Temple Sculptures ». International Research Journal of Tamil 4, SPL 2 (28 février 2022) : 349–56. http://dx.doi.org/10.34256/irjt22s253.

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The Ramayana and the Mahabharata are immortal epics that are the treasury of Indian culture. Both epics convey the values and ideals that people need. The Ramayana written in the Northern language by Valmiki is in some way the source for other Indian language Ramayanas. Kambana in Tamil and Konaputharetti in Telugu have composed Kambaramayana and Iranganatha Ramayana respectively. Sculptures can be found in the temples of Tamil Nadu including these three language Ramayanas. Thus, it is possible to realize that literature and art are interrelated. Many of the Alvars in the Vaishnava literary four-thousandth Prabhupada exemplify the message of Ramavatara. Among the Alvars, Kulasekara gives the Ramavatara reference. References to the Ramayana are also baked into vegetarian literature. The Ashoka Pillar of the Mauryan period is the beginning of the stone sculpture. Horoscope Ramayana messages in India are inscribed on Buddhist monuments. Although Rama, Krishna and Narasimhan are notable among the three incarnations of the Vaishnava deity Thirumal in Tamil Nadu, the influence on the Ramayana is due to the large number of sculptures about Rama. The Vedic Cholas in Tamil Nadu have created Vaishnava Ramayana sculptures in their temples. The influence of Vaishnavism was greatest during the Vijayanagara Nayak period following the Chola period. The Vijayanagara Nayaks built roundabouts, planes, towers, etc., along with the foundations of the temple. Of these, sculptures were placed on stones and sutas. Ravanavatha is featured in the war to fulfill the purpose of Ramavatar. The battle of Rama Ravana and Ravanavatha can be seen in the temples of Tamil Nadu as sculptures of this event.
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Vanina, E. Yu. « Modernization of the sacred : two Ramayana novels (a historian’s view) ». Orientalistica 5, no 2 (29 juin 2022) : 243–64. http://dx.doi.org/10.31696/2618-7043-2022-5-2-243-264.

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Ramayana, the ancient Indian epic, has been for many centuries a source of religious, social, ethical and aesthetical values for many Indians, primarily Hindus. Apart from the classical Sanskrit version attributed to Valmiki, there have been hundreds of literary, folkloric, visual, dramatic (later on film, animation and TV) variants. Their creators reworked and reconstructed the story, sometimes changing it beyond recognition, up to the emergence of ‘anti-Ramayanas’, thus answering the questions from and catering for the needs of various regional, religious, socio-cultural and political groups. Thus, they adjusted the sacred story to the perceptions of the changing times, trying to make the storyline and personages deeds more adequate to the values of a given epoch. This process has been continuing up to nowadays; the article discussing it, using as a case study two modern Ramayana novels, one in Hindi and one in English.
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Kirom, Dina Ashlikhatul, Mujimin Mujimin et Widodo Widodo. « Pengembangan Buku Cerita Ramayana Berbahasa Jawa sebagai Penunjang Pembelajaran Sastra Wayang Bagi Siswa Tunagrahita SMPLB di Semarang ». Piwulang : Jurnal Pendidikan Bahasa Jawa 8, no 1 (1 juillet 2020) : 1–12. http://dx.doi.org/10.15294/piwulang.v8i1.19702.

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Ramayana is a story about the Javanese puppet there in Kurikulum 2013 for Junior High School. Extraordinary Junior High School (SMPLB), specifically mental retardation, used that curriculum. The teacher of SMPLB is a classroom teacher there was find it difficult using Ramayana’s story for the lesson. Lack of teaching materials and student interest to learn Ramayana’s story make Javanese Ramayana storybook worthy to be developed. Based on the questionnaire, this Javanese Ramayana storybook is needed by teachers and students. Then generated the storybook "Crita Ramayanaku" was accorded the title and purpose of the manufactured, that used Javanese language and translated into Indonesian. From the story content, design, and image structure are feasible to use based on the assessment of media experts and materials. Then the Javanese Ramayana storybook for mental retardation students of SMPLB in Semarang proved to be effectively used in learning the story of Ramayana
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A, Gurumoorthy. « Women in Pulavar Kulanthai’s Ravana Kaviyam ». International Research Journal of Tamil 3, no 1 (28 janvier 2021) : 181–88. http://dx.doi.org/10.34256/irjt21120.

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‘Porul Thodarnilai Ceyyul’ was the name given to epic before the word kāppiyam came into existence. Tamil lexicon refers ‘kāppiyam’ as Sanskrit term. Kāvyam is the word used by Sanskrit scholars for ‘kāviyam’. Ravana Kāviyam written by Pulavar Kulanthai consists of 56 padalams (Chapters) of 2828 Viruttangal i.e., poems. He adopts the story of Ramayana as it is. He is a person who follows Periyar’s ideology of self-respect, feminism etc. His passion for Tamil makes him write many of his creative writings. Periyar advised women to learn all arts, particularly the art of self-defence. Kambar had depicted Sita as Rama’s wife in his epic. The relationship of Rama and Sita varies in various Ramayanas available in India. Ravana kāviyam doesn’t deviate from the parameters of epic. It stands within its grammar. Pulavar Kulanthai portraits women characters with dignity modesty of women.
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Niklas, U. « Review : Questioning Ramayanas : A South Asian Tradition ». Journal of the American Academy of Religion 71, no 1 (1 mars 2003) : 244–48. http://dx.doi.org/10.1093/jaar/71.1.244.

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S, Anjana, et Savitha A R. « Subverting Patriarchal Narratives : Exploring Bhyrappa's Depiction of Sita Through Historiographic Metafiction ». Grove - Working Papers on English Studies 30 (30 décembre 2023) : 17–36. http://dx.doi.org/10.17561/grove.v30.8022.

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The Ramayana, the ancient Hindu epic, has been retold and rewritten in various narrative forms by numerous writers from different countries. It has a global appeal that has inspired authors worldwide to create unique Ramayanas. Among these recreations, Bhyrappa's Uttarakaanda stands out with its multiple story views. This research paper, titled “Subverting Patriarchal Narratives: Exploring Bhyrappa’s Depiction of Sita Through Historiographic Metafiction,” delves into the author's methods of retelling the age-old narrative. The present study utilizes the conceptual frameworks of postmodernism, with a particular emphasis on historiographic metafiction. By delving into the deconstruction of grand narratives and questioning traditional elements that impede women's rights, the article aims to shed light on important thematic concerns. Specifically, the primary focus of this research lies in the analysis of the author's work titled 'Sitayana,' where the narrative spotlight is shifted from Rama to Sita. Through a meticulous examination of the author's adept incorporation of alternative perspectives, the paper explores how this approach resonates with both Indian literature and its readership. Moreover, the article critically engages with the power dynamics that influenced Rama's actions and shaped his understanding of dharma.
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Hakim, Rafadi. « Countless Ramayanas : Language and Cosmopolitan Belonging in a South Asian Epic ». ASIANetwork Exchange : A Journal for Asian Studies in the Liberal Arts 21, no 2 (30 juin 2014) : 4. http://dx.doi.org/10.16995/ane.117.

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Thèses sur le sujet "Ramayanas"

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Ghosh, Bani. « A Philosophical study of the aesthetic structure of the Ramayanas, with special reference to the Adhyatma Ramayana and the Ramayana by Bhanubhkta ». Thesis, University of North Bengal, 1999. http://hdl.handle.net/123456789/1196.

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McGarry, Theresa. « Teaching the Ramayana ». Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/6149.

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This is a Sri-Lankan-oriented guide for college professors in teaching the Indian epic Ramayana, specifically featuring Sita, her poetic and historic connections to Sri Lanka, and teaching the Ramayana with a concentration on feminist/gender topics.
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Dubuisson, Daniel. « Le Ramayana épopée mythologique ». Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37594013c.

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Variyar, Suvarna. « Saving Sita : The Ramayana and Gender Narratives in Postcolonial Hindu Nationalism ». Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18761.

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This thesis examines the role that the Hindu epic the «em»Ramayana«/em» plays in shaping the relationship between conservative Hindu Indian nationalism and gender in post-colonial India. It demonstrates how the Bharatiya Janata Party (BJP) has manipulated understandings of the Ramayana to best serve its political aims since 1980, and to further an inherently sexist and discriminatory agenda.«br /» «br /» Chapter One outlines the role of exclusionary narrative in constructing national identity along conservative and fundamentalist lines. Drawing from this, it goes on to present and expand upon the key research questions explored in this thesis. Chapter Two examines the various relevant fields of literature which are involved in this discussion. Chapter Three outlines the key methodological fields from which this thesis draws as an intersectional study. Chapter Four analyses Valmiki’s Ramayana in considering its depiction of gender constructs, and touches upon the significance of the 1987 Ramayan television serial by Ramanand Sagar. Chapter Five explores the role of gender in the Indian Independence movement and the development of Hindu nationalism. It then examines postcolonial secularism and nationalism, and women’s rights till the BJP’s founding in 1980.«br /» «br /» Chapter Six focuses on India, the rise of the BJP, and the shape of women’s issues over the past forty years. Chapter Seven focuses upon three separate endeavours to approach the Ramayana«em» «/em»from unconventional perspectives, one of which is my experience writing and directing the 2014 production Fire to Earth«em» «/em»with the UNSW Indian Society. Chapter Eight outlines the BJP’s attempts to moderate in recent years, summarises the current state of women’s affairs, and concludes by highlighting some of the lacunae that still need to be addressed in this field.«br /» «br /» This thesis situates itself at the intersection of Ramayana studies, Indian women’s studies, and postcolonial Indian politics. It takes a multifaceted methodological approach to answering its principal questions, incorporating narrative studies, politics, gender studies, and literature studies. I acknowledge the numerous perspectives in these fields and synthesise their various contributions to illustrate the deep-rooted connections between Hindu nationalism, gender exclusion and oppression, and the Ramayana.
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Kaul, Aashish. « The Queen’s play (novel) + texts & ; myths : a postscript to The Queen’s play & ; more (exegesis) ». Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10618.

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This thesis is composed of two parts: creative and exegetical. The first part, my novel, The Queen's Play, tells the story of the origin of chess, linking it to the Indian epic, Ramayana, and in the process offers an alternative telling of the epic events. Although myths abound as to the invention of chess in the East, it is unclear whether it originated in India, China or Persia. References to a chess-like game in the Ramayana and the lore surrounding it refer as far back as the fifth century BCE. Using the game’s development as a narrative strategy in a time period which is immeasurably remote, this project probes perennial literary questions. The novel adopts the modernist technique of temporal and spatial disruptions in narration, even as the narrative at times seems to mimic the movement of certain chess pieces. The second part, the exegesis, is an exploration of my writing practice in the light of theories and disciplines including Narratology, Structuralism, Post-Structuralism, Psychology, and Mythology; and writers/thinkers including Marcel Proust, J.L. Borges, James Joyce, Stendhal, John Hawkes, Gérard Genette, Mikhail Bakhtin, Claude Lévi-Strauss, Georg Lukács, Maurice Merleau-Ponty, Joseph Frank, and C.G. Jung. It investigates, inter alia, how reading practices inform those of writing; how certain kinds of narratives (in this case, ‘free-indirect style’) come to be constructed; how qualities such as lightness, speed, and multiplicity are harmonized to create the unique atmosphere of a novel; how the disruptions of spatial and temporal forms in the modern novel inform my own practice and patterns of structuring material and help find the most suitable voice for the story; and, finally, why such disruptions are particularly important in a novel that branches out of the epic.
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Noguera, Mas Roser. « De Kosala a Bollywood : dos mil años contando historias. Un estudio semiótico del ramayana ». Doctoral thesis, Universitat de València, 2008. http://hdl.handle.net/10803/9823.

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El Rāmāyaa se originó en el norte de la India entre los siglos IV a.C. y IV d.C. Contiene elementos fantásticos, míticos, legendarios y religiosos. Los jainistas y los budistas escribieron sus propios rāmāyaas para criticar aspectos del brahmanismo y difundir sus doctrinas. La literatura sánscrita se inspiró en la leyenda de Rāma y la historia también se incluyó en los purāas. En el siglo V aparecieron las primeras narrativas visuales, paneles esculpidos en los templos que se leen como secuencias cinematográficas. La devoción y el culto a Rāma se popularizaron con el movimiento devocional (bhakti) y se compusieron rāmāyaas en prácticamente todas las lenguas indias y asiáticas. Entiendo el Rāmāyaa como una obra panasiática, un sistema textual (rāmāyaasfera) en el que diferentes actores, artes y culturas han hecho su aportación a lo largo de dos mil años. El objetivo de mi tesis es analizar la construcción de significados a través de los géneros artísticos en los que aparece el Rāmāyaa ante audiencias de diferentes lugares, épocas o grupos sociales. La tesis consta de cuatro capítulos, una introducción, un apartado de conclusiones y cinco anexos complementarios. En la introducción, hablo de la metodología y desarrollo de la tesis: mis estudios de semiótica, género, oralidad y cine y una base sociológica, lingüística y cultural que me han aportado los diez años que he residido y estudiado en Asia. En el primer capítulo, explico a qué se debe la popularidad del Rāmāyaa e incluyo los estudios y traducciones más importantes. Presento una nueva forma de abordar el conjunto de rāmāyaas con el concepto semiótico de rāmāyaasfera, inspirado en la semiosfera de Iuri M. Lotman. En el capítulo segundo, abordo la figura de Vālmīki, el problema de la datación y evolución de su poema y el género literario. Reflexiono sobre la importancia de la oralidad como modo de transmisión y trazo una historia cronológica de cómo aparecen los rāmāyaas más importantes en la India y en el sudeste asiático. El capítulo tercero presenta lecturas del Rāmāyaa por diferentes grupos religiosos. Defino el Rāmāyaa como mito, leyenda y dharmaśastra. Expongo el debate y las principales teorías sobre la divinidad de Rāma y ejemplifico tres formas de llevar a cabo la rāmbhakti: la recitación del Rāmcaritmānas de Tulsīdās; la representación en las rāmlīlās (especialmente la de Rāmnagar) y el culto a Hanumān. Explico cómo budistas y jainistas usan el Rāmāyaa como material "pastoral", predicando sobre la no violencia y la impermanencia y transformando a Rāma en un santo jainista o en un bodhisattva. Los primeros santos musulmanes también utilizaron las épicas como elementos didácticos para la expansión de su fe, añadiendo algunos capítulos o utilizando varias de sus enseñanzas morales. El Rāmāyaa contribuyó al proceso de "indianización" e "islamización" del sudeste asiático. El capítulo cuarto presenta la lectura que hacen las mujeres del Rāmāyaa. Ellas destacan los episodios en los que Sītā es protagonista y desarrollan temas y sentimientos que les incumben. Estudio también el uso que hace el nacionalismo hindú del Rāmāyaa y su héroe para reivindicar y reclamar el espacio que hoy ocupa la mezquita Babri de Ayodhyā. Por último, reflexiono sobre las características "épicas y orales" del cine de Bollywood poniendo el ejemplo de algunas películas contemporáneas que utilizan y reelaboran los temas y argumentos del Rāmāyaa.
Rāmāyaa originated in the north of India two thousand years ago but is a panasiatic work. Certain religious sects, political groups and social collectives have also composed and used rāmāyaas to spread their own doctrines, thoughts, ideas and perspectives. I understand the Rāmāyaa as a textual paradigm to which different actors, arts and cultures have made their contributions in the past two millennia and continues to be recreated and interpreted today. The objective of my PhD thesis is to analyse the construction of meanings through artistic genres in which the Rāmāyaa appears to audiences of different places, periods and social groups. My studies in Semiotics, gender, oral literature and cinema as well as the sociological, linguistic and cultural impact of ten years in Asia have contributed much to the evolution of this research. I present a new perspective to approach the variety of rāmāyaas through the semiotic concept of rāmāyaasphere, inspired by the cultural theory of Iuri M. Lotman. The thesis is composed of four chapters, as well as an introduction, the conclusions and five annexes.
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Nunan, Thomas Ahlers. « Renegotiating a Beheading : Literary Opposition to Varna Hierarchy in Shambuka's Story ». Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1368363299.

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Khan, Peenaz. « Trans-lation, poetics and politics : reflections on Clinton B. Seely's the slaying of Meghanada : a Ramayana from Colonial Bengal and William Radice's the poem of the Killing of Meghnad ». Thesis, University of North Bengal, 2020. http://ir.nbu.ac.in/handle/123456789/4243.

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Evans, Kirsti Kaarina. « Epic narratives in the Hoysala temples : the Ramayana Mahabharata and Bhagavata Purana in Halebid, Belur and Amrtapura ». Thesis, Lancaster University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239660.

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Vencatesan, Vidya. « Le theme du compagnonnage guerrier dans le cycle de guillaume d'orange et le ramayana de valmiki : recherches comparatives ». Paris 3, 1997. http://www.theses.fr/1997PA030154.

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Cette etude qui se veut comparatiste, se propose de mettre en lumiere les differents echos et correspondances qui existent entre le ramayana de valmiki et le cycle de guillaume d'orange dans le traitement du compagnonnage guerrier. Elle est composee de 4 parties successives : compagnon de guerre, ami, lignage et femme. Sur le champ de bataille le heros a interet a ne pas se retrouver seul. Ses adversaires s'acharnent contre lui et la mort le guette. Il choisit un allie militaire qui le pourvoit en armes, en montures et lutte a ses cotes. Guillaume et gui se battent de concert tout comme rama et sugriva pour vaincre la mort. Parfois il se ligue avec l'ennemi de son ennemi, lui promet des benefices politiques, militaires et sociaux. Rainouart et vibhishana trahissent les leurs pour assurer la victoire de guillaume et rama. Le compagnon de guerre comble la solitude physique du heros mais il continuerait a sombrer dans la solitude affective et morale s'il n'y avait pas a ses cotes son ami, cet alter ego qui le suit, fidele comme une ombre. Vivien et guillaume au meme titre que lakshmana et rama constituent un personnage collectif car chacun represente un des aspects de l'ideal heroique. Etre d'exception, le heros epique suscite de grands devouements a cote de l'amitie mutuelle. Girart et bertrand vouent un culte a vivien qu'ils adorent; hanuman et guha venerent en rama leur maitre. Souvent la parente fournit le cadre propice a l'eclosion de l'amitie. Le lignage est une unite de defense invincible et le heros et ses freres et neveux presentent un des plus saisissants exemples d'unanimisme. Les aymerides et les ikshvakus incarnent l'esprit de clan. Dans cet univers resolument male, les heroines epiques indiennes et leurs consoeurs francaises font piece a la personnalite ecrasante du heros. Ces nouvelles eves s'arrogent des fonctions plus visibles et s'adaptent aux circonstances ou elles se trouvent placees. Cela dit, la misogynie epique reste sous-jacente
This thesis is a comparative study of the theme of male solidarity and cooperation in the valmiki ramayana and the cycle de guillaume d'orange. It is divided into 4 chapters which study the role played by the military ally, the alter ego, the family and the women in the life of an epic hero. On the battle field the hero recognises that he is not in a position to win the battle all by himself. The enemy forces far outnumber his and he would do well to take on a military ally who will supply him with men and arms and also fight faithfully by his side. Guillaume choses gui and rama finds such an ally in sugriva. This ally may also be his enemy's enemy as is the case of rainouart or vibhishana, both of whom betray their own kith and kin in exchange for a kingdom and social recognition. However the ally remains a political contact who meets certain material needs, but it is only the friend who fulfills the emotional void within. Guillaume and vivien like rama and lakshmana together form the composite hero. The charismatic persona of the hero often attracts great devotion from secondary characters who worship him selflessly. Such is the love of hanuman and guha for rama, girart and bertrand revere vivien likewise. The family provides a favourable milieu for the flowering of such friendships ; vivien is guillaume's nephew, and lakshmana is rama's half brother. The aymerides like the ikshvakus provide each other with unconditional material and moral support. The uncle nephew bond rivals with the fraternal, paternal and filial bonds. In this very androcentric world, women characters of both the french and indian poems, namely sita, kausalya etc like guibourc, hermenjart and others play a very visible and public role as wives, mothers and daughters. They represent the voice of chivalric honour, provide wise political counsel and even battle with the hero. Yet the latent misogynistic attitudes never let these women characters disturb the conservative patriarchal set-up
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Livres sur le sujet "Ramayanas"

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Tampi, Pa Patmanāpan̲. Ramayanas of Kampan and Eluttacchan. Thuckalay, South India : O. Padmakumari, 1996.

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Paula, Richman, dir. Questioning Ramayanas : A South-Asian tradition. New Delhi : Oxford University Press, 2000.

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Paula, Richman, dir. Questioning Ramayanas : A South Asian tradition. Berkeley : University of California Press, 2001.

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Sen, Dineshchandra. The Bengali Ramayanas : Being lectures delivered to the Calcutta University in 1916, as Ramtanu Lahiri research fellow in the history of Bengali language and literature. Delhi : Amar Prakashan, 1987.

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Rajagopalachari, C. Ramayana. 2e éd. Bombay : Bharatiya Vidya Bhavan, 1985.

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Vālmīki, dir. Ramayana. [India] : V & S Publishers, 2012.

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Pendit, Nyoman S. Ramayana. Jakarta : Gramedia Pustaka Utama, 2006.

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VÕalmÕiki. Ramayana. New York, NY : New York University Press, 2006.

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Vālmīki. Ramayana. New York : New York University Press, 2005.

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Ufuq. Ramayana. [S.l.] : [s.n.], s. d.

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Plus de sources

Chapitres de livres sur le sujet "Ramayanas"

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Chakravarty, Saumitra. « Women's Ramayanas ». Dans The Goddess Re-discovered, 169–81. London : Routledge India, 2022. http://dx.doi.org/10.4324/9781003310815-11.

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Sharma, Pritima. « Ramayana Revisited ». Dans Indira Goswami, 120–28. London : Routledge India, 2022. http://dx.doi.org/10.4324/9781003147015-30.

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Sam, Sam-Ang. « Ramayana Theater in Cambodia ». Dans Ramayana Theater in Contemporary Southeast Asia, 91–111. New York : Jenny Stanford Publishing, 2022. http://dx.doi.org/10.1201/9781003290957-5.

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Lutgendorf, Philip. « The Ramayana in Translation 1 ». Dans The Routledge Handbook of Translation and Religion, 466–79. London : Routledge, 2022. http://dx.doi.org/10.4324/9781315443485-34.

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Setyami, Inung, Faruk et Fadlil Munawwar Manshur. « Epic of Ramayana in Kuntowijoyo’s Novels ». Dans Proceedings of the Sixth International Conference on Language, Literature, Culture, and Education (ICOLLITE 2022), 268–72. Paris : Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-91-6_41.

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Barman, Preetinicha. « Kushan Gaan : Retelling of the Ramayana ». Dans Cultural Forms and Practices in Northeast India, 85–97. Singapore : Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9292-6_7.

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Vanita, Ruth. « Krittivasa Ramayana : The Birth of Bhagiratha (Bengali) ». Dans Same-Sex Love in India, 100–102. New York : Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-349-62183-5_12.

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Vanita, Ruth. « Krittivasa Ramayana : The Birth of Bhagiratha (Bengali) ». Dans Same-Sex Love in India, 100–102. New York : Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-05480-7_12.

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Rais, Qamar. « Ramayana and Alpomysh : Two Epics, Two Heroes ». Dans Cultural Histories of Central Asia, 93–98. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003332138-12.

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Kaligotla, Subhashini. « Dasharatha's Oil Vat in the Mewar Ramayana ». Dans The Routledge Companion to Literature and Art, 313–25. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003273356-28.

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Actes de conférences sur le sujet "Ramayanas"

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Prastowo, Bramantyo Fendi, et Sugito. « Learning Management of Ramayana Ballet Roro Jonggrang Foundation ». Dans 2nd Yogyakarta International Conference on Educational Management/Administration and Pedagogy (YICEMAP 2019). Paris, France : Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201221.014.

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Saddhono, Kundharu, Budhi Setiawan et Kartika Rahmat Sari Dewi. « Ramayana and Mahabharata - Deconstruction Literature Studies in Indonesia ». Dans The 2nd International Conference on Sociology Education. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007101505260530.

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Hidajat, Robby, Pujiyanto, Hartono et Muh ‘Afaf Hasyimy. « Aesthetical Transformation on Ramayana Stories of Indonesia- Thailand Versions ». Dans 5th International Conference on Arts Language and Culture (ICALC 2020). Paris, France : Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210226.063.

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Dirghangi, Aditi, et Seemita Mohanty. « De-mythifying the Ramayana : A Study of the ‘Devoiced’ Surpanakha ». Dans International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/23572744.2019.6102.

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Setiawan, Luki, Nurul Fathanah Muntasir, Syafa Fahreza et Asep Sholahuddin. « Prediction of Stock Price Data of PT. Ramayana Lestari Sentosa Tbk. using Long Short Term Memory Model ». Dans 2021 International Conference on Artificial Intelligence and Big Data Analytics (ICAIBDA). IEEE, 2021. http://dx.doi.org/10.1109/icaibda53487.2021.9689702.

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Paulina, Elin. « Company Financial Performance Analysis (Case Study at PT Matahari Department Store and PT Ramayana Lestari Sentosa Tbk) ». Dans International Conference on Economics, Management and Accounting (ICEMAC 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/aebmr.k.220204.023.

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Xue, Yuyun. « Study on the Time and Route of the Introduction of Ramayana into the Dai Ethnic Area of China ». Dans 2nd International Conference on Language, Communication and Culture Studies (ICLCCS 2021). Paris, France : Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211025.032.

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Hidajat, Robby, Pujiyanto Pujiyanto, Inggit Prastiawan, Wiflihani Wiflihani, Rully Rochayati et Agung Suharyanto. « Tourism Performances Management Patterns and the Role of Maecenas in Ramayana Play Presentation as A Tourist Attraction in Indonesia and Thailand ». Dans 11th Annual International Conference on Industrial Engineering and Operations Management. Michigan, USA : IEOM Society International, 2021. http://dx.doi.org/10.46254/an11.20210775.

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