This book is an attempt at a reconstruction of the YOgacara subjective idealism and an exhaustive criticism of it by different schools of Indian realism. The exposition of the doctrine is based on the works of Santaraksita and Kamalasila and the critics of Vijnanavada. Generally the exposition and criticism of the doctrine by every eminent thinker have been given separately. Most of the critics give a fair and impartial account of Vijnanavada and contribute to the clarification of the idealist position. The author has dealt with the controversy between subjective idealism and realism in Indian thought and tried to give a fairly full account of the arguments by which Indian realists seek to establish the reality of the external world. Incidentally the Yogacara subjective idealism has been compared with the idealism of Berkeley and the sensationalism of Hume and the resemblances and differences between them have been briefly noted. A striking feature of the book is that the parallel arguments of many contemporary realists have been quoted simply to indicate that the philosophical genius of a particular type is apt to move in the same groove, irrespective of the soil it thrives in.

Early twentieth-century Indian novels often depict the harsh material conditions of life under British colonial rule. Even so, these 'realist' novels are profoundly imaginative. In this study, Ulka Anjaria challenges the distinction between early twentieth-century social realism and modern-day magical realism, arguing that realism in the colony functioned as a mode of experimentation and aesthetic innovation – not merely as mimesis of the 'real world'. By examining novels from the 1930s across several Indian languages, Anjaria reveals how Indian authors used realist techniques to imagine alternate worlds, to invent new subjectivities and relationships with the Indian nation and to question some of the most entrenched values of modernity. Addressing issues of colonialism, Indian nationalism, the rise of Gandhi, religion and politics, and the role of literature in society, Anjaria's careful analysis will complement graduate study and research in English literature, South Asian studies and postcolonial studies.

Our knowledge of the most ancient times in India rests mainly on tradition. The Puranas, the Mahabharata, and in a minor degree of Ramayana profess to give accounts from tradition about the earliest occurrences. The Rgveda contains historical allusions, of which some record contemporary persons and events, but more refer to bygone times and persons and are obviously based on tradition. Almost all the information, therefore, comes from tradition. The results obtained from an examination of Puranic and epic tradition as well as of the Rgveda and Vedic literature are set forth in the present book, which happens to be a pioneering work in the area by an important orientalist of the nineteenth century.

Based on original translations of passages from the works of three major thinkers of the classical Indian school of Advaita (Sankara, Vacaspati and Sri Harsa), but addressing issues found in Descartes, Berkeley, Hume, Kant, Wittgenstein and contemporary analytic philosophers, this book argues for a philosophical position it calls 'non-realism'. This is the view that an independent, external world must be assumed if the features of cognition are to be explained, but that it cannot be proved that there is such a world, independently of an appeal to cognition itself. This position is constructed against idealist denials of externality, realist arguments for an independent world and the sceptical denial of the coherence of cognition.

This study argues that realism in twentieth-century Indian literature functioned as a mode of experimentation and aesthetic innovation - not merely as mimesis of the "real world." Addressing issues of colonialism, Indian nationalism, the rise of Gandhi, religion and politics, and the role of literature in society, Anjaria's analysis will complement graduate study and research in English literature, South Asian studies, and postcolonial studies.

This study aims at delineating the cultural work of magical realism as a dominant narrative mode in postcolonial British fiction through a detailed analysis of four magical realist novels: Salman Rushdie's Midnight's Children (1981), Shashi Tharoor's The Great Indian Novel (1989), Ben Okri's The Famished Road (1991), and Syl Cheney-Coker's The Last Harmattan of Alusine Dunbar (1990). The main focus of attention lies on the ways in which the novelists in question have exploited the potentials of magical realism to represent their hybrid cultural and national identities. To provide the necessary historical context for the discussion, the author first traces the development of magical realism from its origins in European Painting to its appropriation into literature by European and Latin American writers and explores the contested definitions of magical realism and the critical questions surrounding them. He then proceeds to analyze the relationship between the paradigmatic turn that took place in postcolonial literatures in the 1980s and the concomitant rise of magical realism as the literary expression of Third World countries.

Indian literature is not a corpus of texts or literary concepts from India, argues Preetha Mani, but a provocation that seeks to resolve the relationship between language and literature, written in as well as against English. Examining canonical Hindi and Tamil short stories from the crucial decades surrounding decolonization, Mani contends that Indian literature must be understood as indeterminate, propositional, and reflective of changing dynamics between local, regional, national, and global readerships. In The Idea of Indian Literature, she explores the paradox that a single canon can be written in multiple languages, each with their own evolving relationships to one another and to English. Hindi, representing national aspirations, and Tamil, epitomizing the secessionist propensities of the region, are conventionally viewed as poles of the multilingual continuum within Indian literature. Mani shows, however, that during the twentieth century, these literatures were coconstitutive of one another and of the idea of Indian literature itself. The writers discussed here—from short-story forefathers Premchand and Pudumaippittan to women trailblazers Mannu Bhandari and R. Chudamani—imagined a pan-Indian literature based on literary, rather than linguistic, norms, even as their aims were profoundly shaped by discussions of belonging unique to regional identity. Tracing representations of gender and the uses of genre in the shifting thematic and aesthetic practices of short vernacular prose writing, the book offers a view of the Indian literary landscape as itself a field for comparative literature.

This book brings together over 25 years of Arindam Chakrabarti's original research in philosophy on issues of epistemology, metaphysics, and philosophy of mind. Organized under the three basic concepts of a thing out there in the world, the self who perceives it, and other subjects or selves, his work revolves around a set of realism links. Examining connections between metaphysical stances toward the world, selves, and universals, Chakrabarti engages with classical Indian and modern Western philosophical approaches to a number of live topics including the refutation of idealism; the question of the definability of truth, and the possibility of truths existing unknown to anyone; the existence of non-conceptual perception; and our knowledge of other minds. He additionally makes forays into fundamental questions regarding death, darkness, absence, and nothingness. Along with conceptual clarification and progress towards alternative solutions to these substantial philosophical problems, Chakrabarti demonstrates the advantage of doing philosophy in a cosmopolitan fashion. Beginning with an analysis of the concept of a thing, and ending with an analysis of the concept of nothing, Realisms Interlinked offers a preview of a future metaphysics, epistemology, and philosophy of mind without borders.

Untouchable Fictions considers the crisis of literary realism--progressive, rural, regionalist, experimental--in order to derive a literary genealogy for the recent explosion of Dalit ("untouchable caste") fiction. Drawing on a wide array of writings from Premchand and Renu in Hindi to Mulk Raj Anand and V. S. Naipaul in English, Gajarawala illuminates the dark side of realist complicity: a hidden aesthetics and politics of caste. How does caste color the novel? What are its formal tendencies? What generic constraints does it produce?