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Книги з теми "Kannada Art"

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Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 29 липня 2024

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1

Ār, Tippēsvāmi Pi, and Mariśāmācār En, eds. Kalākōśa. Beṅgaḷūru: Karnāṭaka Lalitakalā Akāḍemi, 1994.

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2

Sundara, A. Keḷadi arasara kālada vāstu mattu mūrti śilpa. Maisūru: Prācyavastu mattu Saṅgrahālaya Nirdēśanālaya, 1986.

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3

Bhaṭṭa, Sēḍiyāpu Kr̥ṣṇa. Vicāraprapañca: Sēḍiyāpu Kr̥ṣṇa Bhaṭṭara lēkhanasañcaya. 2nd ed. Uḍupi: Rāṣṭrakavi Gōvinda Pai Saṃśōdhana Kēndra, 2002.

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4

editor, Paṭṭaṇaśeṭṭi Mālati, and Karnāṭaka Sāhitya Akāḍemi, eds. "Thou art translated": Doffing the Kannada hat to Shakespeare : Shakespeare in the Kannada world : Jan 2013 - March 2016 (combined edition) : Aniketana, a quarterly journal of Kannada language and literature. Bengaluru: Karnataka Sahithya Academy, 2016.

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5

Karnatak University. Kannada Research Institute. Museum. Jaina bronzes in the Kannada Research Institute Museum. Dharwad: Kannada Research Institute, Karnatak University, 1985.

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6

Ec, Kr̥ṣṇayya Eṃ. Ālōkana: Sāhitya-kale kurita vivēcanegaḷu. Beṅgaḷūru: Vasanta Prakāśana, 2006.

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7

century, Dēvidāsa active 17th, та Dēvidāsa active 17th century, ред. Yakṣagāna: Eine Einführung in eine südindische Theatertradition : mit Übersetzung und Text von "Abhimanyu Kāḷaga". Wiesbaden: Harrassowitz, 2004.

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8

Śivarāmayya. Sāhiti-kalāvidara Kaṇṇalli Ṭippu. Śivamogga: Sirigannaḍa Prakāśana, 2005.

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9

Gaṇēś, Ār. Hāsu bīsu: Kale, sāhitya, saṃskr̥ti kurita vivēcanegaḷu. Beṅgaḷūru: Vasanta Prakāśana, 2009.

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10

Kambar, Chandrasekhara. Dēśīya cintana. Beṅgaḷūru: Aṅkita Pustaka, 2004.

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11

Ji, Śrīdhar Ec. Prācīna Kannaḍa sāhityadalli yuddhakale: Kri. Śa. 450rinda 1350. Puttūru: Śivarāma Kāranta Adhyayana Kēndra, 2002.

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12

Kūsanūra, Candrakānta. Sāhitya mattu citrakale. Beṅgaḷūru: Karnāṭaka Sāhitya Akāḍemi, 1993.

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13

Mariśāmācār, En. Sāhityadalli citrakale: Sāhityadalli citrakale mattu itara lēkhanagaḷu. Beṅgaḷūru: Si. Eṃ. En. Prakāśana, 1989.

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14

1936-, Rajegowda H. K., Paramaśivayya Jī Śaṃ 1933-, Kr̥ṣṇakumār Si Pi 1939-, and Akhila Karnāṭaka Jānapada Sammēḷana (3rd : 1971 : Nagamangala, India), eds. Mutta tumbēvu kaṇajake. Maisūru: Eṃ. El. Śrīkaṇṭhēgauḍa Saṃsmaraṇa Samiti, 1988.

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15

author, Filliozat Pierre-Sylvain joint, та Indira Gandhi National Centre for the Arts, ред. Kālāmukha temples of Karnataka: Art and cultural legacy : Somanātha at Haraḷahaḷḷi and Kaḍambeśvara at Raṭṭtihaḷḷi. New Delhi: Indira Gandhi National Centre for the Arts, 2012.

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16

Śrī, Mugaḷi Raṃ. Punarnavōdaya. Beṅgaḷūru: Rasikaraṅga Prakāśana, 1986.

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17

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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18

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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19

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Dillī: Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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20

Pāṭīla, Candraśēkhara. Suvarṇa nāṭaka. Beṅgaḷūru: Kannaḍa mattu Saṃskṛ̥ti Ilākhe, Karnāṭaka Sarkāra, 2006.

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21

Pāṭīla, Candraśēkhara. Suvarṇa nāṭaka. Beṅgaḷūru: Kannaḍa mattu Saṃskṛ̥ti Ilākhe, Karnāṭaka Sarkāra, 2006.

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22

Candraśēkhara, Pāṭīla, та Mālati Es, ред. Suvarṇa nāṭaka. Beṅgaḷūru: Kannaḍa mattu Saṃskr̥ti Ilākhe, Karnāṭaka Sarkāra, 2006.

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23

Jōśi, Ji Bi. Āśu nāṭakagaḷu: Mūru ēkāṅkagaḷa saṅgraha. 2nd ed. Dhāravāḍa: Manōhara Granthamālā, 2002.

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24

Subbanna, K. V. Are śatamānada ale barahagaḷu: Ke. Vi. Subbaṇṇa lēkhana saṅkalana 1954-2004. Heggōḍu, Sāgara, Karnāṭaka: Akṣara Prakāśana, 2004.

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25

Subbaṇṇa, Ke Vi. Are śatamānada ale barahagaḷu: Ke. Vi. Subbaṇṇa samagra lēkhana saṅkalana 1954-2005. Heggōḍu, Sāgara: Akṣara Prakāśana, 2011.

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26

Rādhākr̥ṣṇamūrti, Mikkilinēni. Teluguvāri jānapada kaḷārupālu. [Hyderabad, India]: Telugu Viśvavidyālayaṃ, 1992.

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27

Bhaṭṭa, Pādēkallu Viṣṇu. Ananyavyakti: Ēkavyaktiyakṣagāna granthagaurava. Mūḍabidre: Āḷvās Śikṣaṇa Pratisṭhāna, 2010.

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28

Upadhyaya, Susheela P. Janapada ārādhane mattu raṅgakale: Karnāṭaka Viśvavidyānilayada Kannaḍa Adhyayana Pīṭhadalli Ḍā. Ār. Si. Hirēmaṭha viśēṣa upanyāsa mālikeyalli nīḍida mūru upanyāsagaḷu. Uḍupi, Dakṣiṇa Kannaḍa: Prādēśika Janapada Raṅgakalegaḷa Adhyayana Kēndra, 1989.

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29

Shankar, M. Sannata: Minor folk-plays of northern Karnataka. Udupi: Regional Resources Centre for Folk Performing Arts, 1986.

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30

Shankar, M. Sannata: Minor folk-plays of north Karnataka. Udupi: Regional Resources Centre for Folk Performing Arts, MGM College, 1986.

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31

Brown, Charles Philip. Cyclic tables of Hindu and Mahomedan chronology, regarding the history of the Telugu and Kannadi countries to which are added the genealogies of particular Hindu families, with essays on various matters of enquiry. New Delhi: Asian Educational Services, 1994.

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32

Heiskanen, Ilkka. Kulttuurin julkinen rahoitus Suomessa: Tilastot ja todellisuus : rahoitustilastojen käyttökelpoisuudesta ja 1990-luvun rahoitustilanteesta taide- ja kulttuurilaitosten kannalta = Public financing of the arts and culture : statistics and reality in Finland : methodological issues and identification of the 1990s turning points that re-shaped the conditions of cultural and art institutions. Helsinki: Helsingin yliopiston valtio-opin laitos, 2000.

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33

sr, swamy. S-Formula KANNADA: Pathanjali Art of Living. Independently Published, 2017.

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34

Paramashivam, SPH Nithyananda. Meditation Is for You - an Introduction to the Science and Art of Meditation - in Kannada. KAILASA's Nithyananda Hindu University Press, 2005.

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35

sr, swamy. One Who Has Master of This Art Is the Master of All: S-Formula KANNADA India. Independently Published, 2017.

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36

Paramashivam, SPH Nithyananda. Who You Truly Are - Kannada. KAILASA's Nithyananda Hindu University Press, 2007.

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37

Paramashivam, SPH Nithyananda. Who You Truly Are in Kannada. KAILASA's Nithyananda Hindu University Press, 2006.

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38

Carlson, Richard, and Suzanne Carlson. English-Kannada My Feelings Are Hurt Children's Bilingual Picture Book. Independently Published, 2019.

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39

Ben-Herut, Gil. 'Siva's Saints. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878849.001.0001.

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Анотація:
The Vīraśaiva tradition, which developed over the last eight centuries in the Kannada-speaking region of the Deccan plateau in India, holds a unique place in Hindu society. Its members do not adhere to the hierarchical structures of Brahminical-centered society, and they practice a distinct set of rituals, such as carrying a personal liṅga on their body and worshiping it individually (as well as in groups). The roots of the tradition are linked to a revolutionary community of devotees of the Hindu god Śiva from the twelfth century, headed by the saintly figures Basavaṇṇa, Allama Prabhu, and Mahādēviyakka, whose poetry is the most translated and read literature ever produced in the Kannada language. This book takes a pioneering approach to understanding the origins of Vīraśaivism by focusing for the first time in English-language scholarship on a corpus of hagiographies about the twelfth-century devotees that was produced at a very early stage of the tradition. This untitled collection of narrative poems, commonly called the Śivaśaraṇara Ragaḷegaḷu (“Poems in the Ragaḷe Meter for Śiva’s Saints”), is the first written account of the devotees of the Kannada-speaking region, and its author was an accomplished poet called Harihara. By closely reading the saints’ stories in this text, the book takes a more nuanced historical view than commonly held notions about the egalitarian and iconoclastic nature of the early tradition, arguing instead that early bhakti (devotionalism) in the Kannada-speaking region was less radical and more accommodating toward traditional religious, social, and political institutions than thought of today.
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40

Ben-Herut, Gil. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878849.003.0001.

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Анотація:
The introduction refers to modern scholarly notions about the origins of the Vīraśaiva tradition and the perceived narrative about the egalitarian and protestant dispositions of the twelfth-century devotees considered as the forefathers of the tradition. Building on recent critique of the long-standing reliance on vacanas (devotional poems associated with the twelfth-century devotees) as the main historical source about the early tradition, the introduction turns to consider previously unread Kannada hagiographies about the twelfth-century saints, which complexify common notions about the early tradition, its claimed egalitarian and iconoclastic nature, its ideological separation from the greater society and competing religious sects, and its nomenclature, including the tradition’s accepted titles today, vīraśaiva and liṅgāyata, which are absent from the early texts. In addition, the introduction argues for a greater and more integrative role of devotional poets in the history of Kannada literature and presents several strategies for close reading the relevant saints’ biographies.
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41

Ben-Herut, Gil. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878849.003.0008.

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Анотація:
The conclusion provides an overview of Harihara’s treatment of the early Kannada Śivabhakti tradition in the Ragaḷegaḷu. The overview is organized according to several themes that are central in the broader study of South Asian devotional traditions: the tradition’s public memory, social inequity and conservatism, iconic worship and traditional ritual, orthodoxy and its rejection, and religious others. Harihara’s literary project is considered in terms of its appeal to large and multiple audiences in contemporaneous society, including Brahmin and educated elites and non-elite communities. The conclusion ends with discussing the need for developing more nuanced and context-sensitive methods for understanding pre-modern devotional traditions in South Asia.
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42

Trivedi, Poonam. Shakespearean Tragedy in India. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.53.

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Анотація:
The genre of tragedy, which was introduced to Indian cultures through colonial hegemony, challenged the norms of Sanskrit and other indigenous literatures. This essay explores the tensions that arose with the entry of this ‘newness’, by tracing the reception, influence and assimilation of tragedy in some of the major Indian literatures viz. Bengali, Marathi, Kannada and Hindi. The most influential examples of tragedy were those of Shakespeare, and their modes of structure and characterization, as well as the world view they incorporate, have been debated, adapted, and accepted in different ways by critics, playwrights, and now film makers, through the several stages of Indian colonial and postcolonial cultural history spanning more than a century and half. Among this diversity of approaches to Shakespearean tragedy, the interpolation of a female avenger into many adaptations is singled out as a specifically Indian act of cultural translation.
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43

Steel Nibs Are Sprouting: New Dalit Writing from South India Dossier 2. HarperCollins, 2013.

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44

Barnwell, Katharine. Bible Translation: An Introductory Course in Translation Principles. SIL International, 2020. http://dx.doi.org/10.54395/k8vp-t5wd.

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Анотація:
Bible Translation: An Introductory Course in Translation Principles continues to provide crucial, practical training for those preparing to translate the Bible or contribute to Bible translation in other ways. The fourth edition of this classic textbook is a leading voice in addressing the following developments in the Bible translation world: The priority of oral communication and its value in drafting, testing, and polishing draft translations. The availability of software and online resources specifically designed for Bible translation; exercises and assignments include practice in the use of these resources. The increase in Old Testament translation projects worldwide; more examples and exercises from the Old Testament are included. The value of partnership and teamwork in translation projects, recognizing the different gifts, skills, and roles of those involved, helping each team member to serve effectively as a member of a team. The involvement of local churches and community in the translation process; planning for local responsibility, ownership and sustainability as fully as possible in each translation project. The importance of ongoing training for translators, including training translators to train others and preparing capable translators to serve as translation consultants in due time. The materials are designed for the classroom but are also suitable for self-study, for example, by those who are already qualified in biblical languages and exegetical skills and are training as translation consultants. A companion Teacher’s Manual is also available. Documents, references, and links to videos and other published works can be found online at: publications.sil.org/bibletranslation_additionalmaterials. Bible Translation: An Introductory Course in Translation Principles has previously been translated in whole or in part into French, Hindi, Indonesian, Kannada, Malagasy, Malayalam, Marathi, Oriya, Portuguese, Russian, Slovak, Spanish, Swahili, Tamil, and Telugu. For information on translation or republishing, contact: publications.sil.org/about/contact.
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