The Book Presented In Clear And Lucid Expression And Style Is Studded With Authentic Quotations And Appropriate Illustrations. The Author Hopes That Through His Modest Attempt Some Of The Readers May Cultivate The Desire Of Studying Some Of The Original Texts On Poetics Written In Sanskrit Itself. The Book Containing 21 Essays, Would Furnish A Valuable Material On The Subject. The Essay ýA Survey Of Sanskrit (India) Poeticsý Provides The Readers A Wide Panorama Of The History Of The Subject Of About One And Half Millennium. The Essay ýThe Soul (Essence) Of Poetryý Deals With The Topic In Much Detail And Dhvani Has Been Designated As The Soul Of Poetry. The Essay ýThe Process Of Poetic Creationý Traces The Psyche Of The Poet About The Very Moments When He Actually Becomes Absorbed In Composing His Literary Piece Of Work. The Articles ýCauses Of Poetryý And ýOriginality And Plagiarismý Deal With The Creative Activity Of The Poets Of Different Calibre, And The EssayýActing, Actor And Spectatorý Denotes How And Upto What Extent The Spectator Is Influenced By The Acting Of The Actor Performing His Job On The Stage. The Other Essays, Connected With Various Alamkaras And Rasas, Highlight And Elucidate The Academic Issues Related With Them.

(In)fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines (In)fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.

On the completion of fiftieth year of Sahitya Akademi.

Contributed research papers presented in the National Seminar on Indian Poetics organized by the Dept. of English, University of Poona, during 6-8 March 1986.

Aristotle’s neat compartmentalization notwithstanding (Poetics, ch. 9), historians and playwrights have both been laying claim to representations of the past – arguably since Antiquity, but certainly since the Renaissance. At a time when narratology challenges historiographers to differentiate their “emplotments” (White) from literary inventions, this thirteen-essay collection takes a fresh look at the production of historico-political knowledge in literature and the intricacies of reality and fiction. Written by experts who teach in Germany, Austria, Russia, and the United States, the articles provide a thorough interpretation of early modern drama (with a view to classical times and the 19th century) as an ideological platform that is as open to royal self-fashioning and soteriology as it is to travestying and subverting the means and ends of historical interpretation. The comparative analysis of metapoetic and historiosophic aspects also sheds light on drama as a transnational phenomenon, demonstrating the importance of the cultural net that links the multifaceted textual examples from France, Russia, England, Italy, and the Netherlands.

Scholars have often focused on understanding Aristotle's poetic theory, and particularly the concept of catharsis in the Poetics, as a response to Plato's critique of pity in the Republic. However, this book shows that, while Greek thinkers all acknowledge pity and some form of fear as responses to tragedy, each assumes for the two emotions a different purpose, mode of presentation and, to a degree, understanding. This book reassesses expressions of the emotions within different tragedies and explores emotional responses to and discussions of the tragedies by contemporary philosophers, providing insights into the ethical and social implications of the emotions.