The Nay Science offers a new perspective on the problem of scientific method in the human sciences. Taking German Indological scholarship on the Mahabharata and the Bhagavadgita as their example, Adluri and Bagchee develop a critique of the modern valorization of method over truth in the humanities. The authors show how, from its origins in eighteenth-century Neo-Protestantism onwards, the critical method was used as a way of making theological claims against rival philosophical and/or religious traditions. Via discussions of German Romanticism, the pantheism controversy, scientific positivism, and empiricism, they show how theological concerns dominated German scholarship on the Indian texts. Indology functions as a test case for wider concerns: the rise of historicism, the displacement of philosophical concerns from thinking, and the belief in the ability of a technical method to produce truth. Based on the historical evidence of the first part of the book, Adluri and Bagchee make a case in the second part for going beyond both the critical pretensions of modern academic scholarship and the objections of its post-structuralist or post-Orientalist critics. By contrasting German Indology with Plato's concern for virtue and Gandhi's focus on praxis, the authors argue for a conception of the humanities as a dialogue between the ancients and moderns and between eastern and western cultures.

It was in 1942 that the late Dr. V.S. Sukthankar was engaged to deliver four lectures on the 'Meaning of the Mahabharata' under the auspices of the University of Bombay. However, the fourth and last lecture was not delivered on account of his sad sudden demise on the morning of the day fixed for it. The Manuscript (Ms.) of these lectures-a veritable treasure to cherish had remained lost to the world of scholars for the long period of fifteen years. It bore the title "Four Lectures on the Meaning of the Mahabharata." This rather heavy-looking title has been abridged here in publication into the substantial title "On the Meaning of the Mahabharata." In a great many places, sentences or paragraphs have been placed in rectangular brackets in pencil. This bracketed material has been retained in the body of this book. Secondly, an alternative word or phrase is occasionally found written with a pencil in the margin along with an underscoring of the relevant word or words in the text. It is thought advisable to retain the text of the script as it stands, leaving such marginal alternatives alone. However, there is one exception: Dr. Sukthankar had rewritten in pencil almost a whole para at the end of the third lecture. This pencil-script is incorporated in the body of the book. A facsimile of this page is reproduced as the frontispiece. An English rendering of the German quotation from OLDENBURG is given in an Appendix for the convenience of the general reader. In Index, I Sanskrit quotations are printed in Devanagari for the benefit of those not quite conversant with the transliteration.

Eleven year old Samhita Arni s beautifully illustrated version of the Mahabharatha is a bold and fresh re-telling of the great epic.

The Mahabharata is one of the greatest stories ever told. Though the basic plot is widely known, there is much more to the epic than the dispute between Kouravas and Pandavas that led to the battle in Kurukshetra. It has innumerable sub-plots that accommodate fascinating meanderings and digressions, and it has rarely been translated in full, given its formidable length of 80,000 shlokas or couplets. This magnificent 10-volume unabridged translation of the epic is based on the Critical Edition compiled at the Bhandarkar Oriental Research Institute. * The final volume ends the instructions of the Anushasana Parva. The horse sacrifice is held, and Dhritarashtra, Gandhari, Kunti, Vidura and Sanjaya leave for the forest. Krishna and Balarama die as the Yadavas fight among themselves. The Pandavas leave on the great journey with the famous companion—Dharma disguised as a dog. Refusing to abandon the dog, Yudhishthira goes to heaven in his physical body and sees all the Kurus and the Pandavas are already there. * Every conceivable human emotion figures in the Mahabharata, the reason why the epic continues to hold sway over our imagination. In this lucid, nuanced and confident translation, Bibek Debroy makes the Mahabharata marvellously accessible to contemporary readers.

A dazzling and eloquent reworking of the Mahabharata, one of South Asia's best-loved epics, through nineteen peripheral voices. With daring poetic forms, Karthika Naïr breathes new life into this ancient epic. Karthika Naïr refracts the epic Mahabharata through the voices of nameless soldiers, outcast warriors and handmaidens as well as abducted princesses, tribal queens, and a gender-shifting god. As peripheral figures and silent catalysts take center stage, we get a glimpse of lives and stories buried beneath the dramas of god and nation, heroics and victory - of the lives obscured by myth and history, all too often interchangeable. Until the Lions is a kaleidoscopic, poetic tour de force. It reveals the most intimate threads of desire, greed, and sacrifice in this foundational epic.

Ever wanted to read the Mahabharata but never ended up finishing the epic due to the sheer size of the story or the numerous characters that simply overwhelm? Have you always been curious of who the Pandavas actually were and why the Kauravas hated them so much until they resorted to deception and deceit to get rid of their cousins? Was Arjuna actually the greatest archer of all time? Or was it only because of favourable circumstances that Arjuna became known as such? Have you ever wondered how divinity himself, Krishna ended up as Arjuna’s charioteer? And what actually transpired during the battle on the holy lands of Kurukshetra that resulted in us still talking about the Mahabharata more than 5000 years later? This book will answer all these questions and more. Enjoy the greatest epic of our time, the Mahabharata, in a compact and easy-to-read version that is suitable for all ages.

The Sanskrit Mahabharata is one of the most important texts to emerge from the Indian cultural tradition. At almost 75,000 verses it is the longest poem in the world, and throughout Indian history it has been hugely influential in shaping gender and social norms. In the context of ancient India, it is the definitive cultural narrative in the construction of masculine, feminine and alternative gender roles. This book brings together many of the most respected scholars in the field of Mahabharata studies, as well as some of its most promising young scholars. By focusing specifically on gender constructions, some of the most innovative aspects of the Mahabharata are highlighted. Whilst taking account of feminist scholarship, the contributors see the Mahabharata as providing an opportunity to frame discussion of gender in literature not just in terms of the socio-historical roles of men and women. Instead they analyze the text in terms of the wider poetic and philosophical possibilities thrown up by the semiotics of gendering. Consequently, the book bridges a gap in text-critical methodology between the traditional philological approach and more recent trends in gender and literary theory. Gender and Narrative in the Mahabharata will be appreciated by readers interested in South Asian studies, Hinduism, religious studies and gender studies.

The Mahabharata is the more recent of India's two great epics, and by far the longer. First composed by the Maharishi Vyasa in verse, it has come down the centuries in the timeless oral tradition of guru and sishya, profoundly influencing the history, culture, and art of not only the Indian subcontinent but most of south-east Asia. At 100,000 couplets, it is seven times as long as the Iliad and the Odyssey combined: far and away the greatest recorded epic known to man. The Mahabharata is the very Book of Life: in its variety, majesty and, also, in its violence and tragedy. It has been said that nothing exists that cannot be found within the pages of this awesome legend. The epic describes a great war of some 5000 years ago, and the events that led to it. The war on Kurukshetra sees ten million warriors slain, brings the dwapara yuga to an end, and ushers in a new and sinister age: this present kali yuga, modern times. At the heart of the Mahabharata nestles the Bhagavad Gita, the Song of God. Senayor ubhayor madhye, between two teeming armies, Krishna expounds the eternal dharma to his warrior of light, Arjuna. At one level, all the restless action of the Mahabharata is a quest for the Gita and its sacred stillness. After the carnage, it is the Gita that survives, immortal lotus floating upon the dark waters of desolation: the final secret With its magnificent cast of characters, human, demonic, and divine, and its riveting narrative, the Mahabharata continues to enchant readers and scholars the world over. This new rendering brings the epic to the contemporary reader in sparkling modern prose. It brings alive all the excitement, magic, and grandeur of the original - for our times.

“Narayan makes this treasury of Indian folklore and mythology readily accessible to the general reader . . . he captures the spirit of the narrative.”—Library Journal The Mahabharata tells a story of such violence and tragedy that many people in India refuse to keep the full text in their homes, fearing that doing so would invite a disastrous fate upon their house. Covering everything from creation to destruction, this ancient poem remains an indelible part of Hindu culture and a landmark in ancient literature. Centuries of listeners and readers have been drawn to The Mahabharata, which began as disparate oral ballads and grew into a sprawling epic. The modern version is famously long, and at more than 1.8 million words—seven times the combined lengths of the Iliad and Odyssey—it can be incredibly daunting. But contemporary readers have a much more accessible entry point to this important work, thanks to R. K. Narayan’s masterful, elegant translation and abridgement of the poem. Now with a new foreword by Wendy Doniger, as well as a concise character and place guide and a family tree, The Mahabharata is ready for a new generation of readers. Narayan ably distills a tale that is both traditional and constantly changing. He draws from both scholarly analysis and creative interpretation and vividly fuses the spiritual with the secular. Through this balance he has produced a translation that is not only clear, but graceful, one that stands as its own story as much as an adaptation of a larger work.