The Book Deals With The Creative Use Of Language In Poetry, And Explores An Important Area Of Intersection Between India And Western Thinking. Without Dust Jacket.

There is a marked awareness about the language of literature and its meaning both in Indian and Western aesthetic thinking. The aestheticians of both schools hold that the language of literature embodies a significant aspect of human experience, and represents a creative pattern of verbal structure to impart meaning effectively. Modern Western aesthetic thinking, which includes theories like formalism, new criticism, stylistics, structuralism, post-structuralism, deconstruction, discourse analysis, semiotics and dialogic criticism, in one way or another emphasizes the study of the language of literature in order to understand its meaning. Similarly, there is a distinct focus on the language of literature and its meaning in Indian literary theories which include the theory of rasa (aesthetic experience), alaṁkāra (the poetic figure), rīti (diction), dhvani (suggestion), vakrokti (oblique expression) and aucitya (propriety). This book explores how the language of literature and its meaning have been dealt with in both Indian and Western aesthetic thinking. In doing so, the study concentrates on Kuntaka’s theory of vakrokti and Ānandavardhana’s theory of dhvani in Indian aesthetic thinking and Russian formalism and deconstruction in Western thinking. The book categorically focuses on the intersection between the theory of vakrokti and Russian formalism and the meeting-point between the theory of dhvani and deconstruction.

The Present Book Is An Attempt To Analyse Some Of The Outstanding Post-Colonial Writers Like Arundhati Roy (Booker Prize Winner 1997), Vikram Chandra (Commonwealth Prize Winner 1997), Derek Walcott (Nobel Prize Winner), Margaret Atwood (Booker Prize Winner 2000), Jayanta Mahapatra, Dom Moraes, Nissim Ezekiel, Keki N. Daruwalla, Kamala Das, Shiv K. Kumar, Anita Desai, Shashi Deshpande, Ruskin Bond (All Sahitya Akademi Award Winners) In The Light Of Post-Colonial Theory. Apart From Analysing Individual Authors, An Attempt Has Also Been Made To Show The Trends In Post-Colonial Poetry, Indian English Fiction, Orissan Contribution To Post-Colonial Indian English Literature And Above All, Post-Colonial English Studies In India.

Ever since it was first published in 1930, William Empson’s Seven Types of Ambiguity has been perceived as a milestone in literary criticism—far from being an impediment to communication, ambiguity now seemed an index of poetic richness and expressive power. Little, however, has been written on the broader trajectory of Western thought about ambiguity before Empson; as a result, the nature of his innovation has been poorly understood. A History of Ambiguity remedies this omission. Starting with classical grammar and rhetoric, and moving on to moral theology, law, biblical exegesis, German philosophy, and literary criticism, Anthony Ossa-Richardson explores the many ways in which readers and theorists posited, denied, conceptualised, and argued over the existence of multiple meanings in texts between antiquity and the twentieth century. This process took on a variety of interconnected forms, from the Renaissance delight in the ‘elegance’ of ambiguities in Horace, through the extraordinary Catholic claim that Scripture could contain multiple literal—and not just allegorical—senses, to the theory of dramatic irony developed in the nineteenth century, a theory intertwined with discoveries of the double meanings in Greek tragedy. Such narratives are not merely of antiquarian interest: rather, they provide an insight into the foundations of modern criticism, revealing deep resonances between acts of interpretation in disparate eras and contexts. A History of Ambiguity lays bare the long tradition of efforts to liberate language, and even a poet’s intention, from the strictures of a single meaning.

Includes: "Poetic elements in Sanskrit literature " explains the extensive use of verse in Indian texts. "Introduction to Metrics " gives a clear overview of Sanskrit prosody. "A Treasury of Common Meters" includes fully-worked examples of verses drawn from many sources. "Figures of Speech" explains similies, metaphors, and other poetic uses of language. "Figures of Sound" explains techniques that affect sound, such as rhyme and alliteration. A metrical analysis of the Hathapradipika, the best-known work on Hatha Yoga, is included. An Introduction to the Hathapradipika by Anthony Biduck summarizes key spiritual and philosophical ideas of Hatha Yoga.

The Making of Indian English Literature brings together seventeen well-researched essays of Subhendu Mund with a long introduction by the author historicising the development of the Indian writing in English while exploring its identity among the many appellations tagged to it. The volume demonstrates, contrary to popular perceptions, that before the official introduction of English education in India, Indians had already tried their hands in nearly all forms of literature: poetry, fiction, drama, essay, bio­graphy, autobiography, book review, literary criticism and travel writing. Besides translation activities, Indians had also started editing and publish­ing periodicals in English before 1835. Through archival research the author brings to discussion a number of unknown and less discussed texts which contributed to the development of the genre. The work includes exclusive essays on such early poets and writers as Kylas Chunder Dutt, Shoshee Chunder Dutt, Toru Dutt, Mirza Moorad Alee Beg, Krupabai Satthianadhan, Swami Vivekananda, H. Dutt, and Sita Chatterjee; and historiographical studies on the various aspects of the genre. The author also examines the strategies used by the early writers to indianise the western language and the form of the novel. The present volume also demonstrates how from the very beginning Indian writing in English had a subtle nationalist agenda and created a space for protest literature. The Making of Indian English Literature will prove an invaluable addition to the studies in Indian writing in English as a source of reference and motivation for further research. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.