| 000 | 02682nam a22002057a 4500 | ||
|---|---|---|---|
| 005 | 20180529122659.0 | ||
| 008 | 180529b xxu||||| |||| 00| 0 eng d | ||
| 020 | _a9788125044192 | ||
| 028 |
_aBrijwasi Book Distributors _b;H-87,Lalita Park,Laxmi Nagar,Delhi-110092 _c;BW/004806 _d;21/05/2018 |
||
| 082 | _a891.2109 SEN | ||
| 100 |
_aSaswati Sengupta _a; Deepika Tandon |
||
| 245 |
_aRevisiting Abhijñanaśākuntalam _b : love, lineage and language in Kālidāsa's nāṭaka _c/Saswati Sengupta; Deepika Tandon |
||
| 260 |
_aNew Delhi _b: Orient Blackswan _c, 2011. |
||
| 300 |
_axx, 327 pages _b: illustrations _c; 23 cm. |
||
| 520 | _aK lid sa s Abhijn na kuntalam has an iconic status in the history of Indian literatures. It is a tale of love found, forgotten and restored between Duyanta, the hero king and kuntaland, an innocent maiden. Bringing together linguists, literary critics, historians, Indologists and Sanskritists. Revisiting Abhijnand and kuntalam analyses the play as more than just a figment of imagination-as a rich terrain for exploring links between culture, history and politics, as an interplay of memory, desire and languages. Divided into three sections, it focuses on the continuity as well as the change in the narrative of kuntaland , locating it in contexts of class, caste, gender, patriarchy and monarchy. The first section, The Biography of a Narrative,addresses the earliest appearance of the narrative in the epic Mahand bhand rata, its best known form Abhijnand and kuntalam as nand Oaka and William Jones Orientalist interpretation of the play. It also critically examines the varied representations of the play in diverse forms such as art, theatre and cinema. Contrary to popular perception today that kuntaland is the central protagonist of Abhijnand and kuntalam, the second section, The Hero King, addresses how and why Duyanta is posited as the hero. It examines the representation of the king as the ideal in literature and its material reality in the context of the Gupta Period, the construction of kingship in different genres and the politics of a courtly culture and patronage within which the articulation of the heroic king takes place. The control of the womb is central to the reproduction of feudal and caste patriarchies. The third section, Of Love, Marriage and Family, deconstructs the politics of romantic love, marriage and motherhood in the play. The strategies of surveillance, regulation and control of sexuality by state and society as deployed in it are the focus of this section. | ||
| 650 | _aLiterature | ||
| 655 |
_aCeltic literature _bŚakuntalā (Kālidāsa) |
||
| 700 | _aSaswati Sengupta | ||
| 942 | _cBOOK | ||
| 999 |
_c49430 _d49430 |
||