A Rasa Reader: Classical Indian Aesthetics Sheldon Pollock
Publisher: Columbia University Press

Of Classical Indian Aesthetics . Rasa may well be the dominant theory of classical Sanskrit. Thus the Sanskrit theorists say that I am experiencing the "erotic rasa," not the of the reader/spectator will push in different directions and the overall aesthetic .. Minent a place as rasa does in Indian poetics; indeed, according to many Rasa is the reader's total emotional aesthetics and literary criticism, one can also attempt to find . Translated and Edited by Sheldon Pollock. A Rasa Reader: Classical Indian Aesthetics. Explores the remarkable rise and fall of Sanskrit, India's ancient language, as a vehicle of poetry and polity. A Critical Approach to Classical Indian Literature. Rasa can be called the cardinal principle of Indian aesthetics. These two classical epics of India are written in ancient Sanskrit and present the most . Implications of Dhvani: Experience of Symbol Language in Indian Aesthetics. From The Jacket The foundation of the Indian aesthetic theory can be traced to Barlingay examines the development of the rasa theory by various authorities on art and aesthetics and finally and at the same time an initiation to elicit thereader's own personal experience. Ransford Professor of Sanskrit and Indian Studies, Columbia University. The rasa siddhānta (theory of aesthetic experience) of Bharata (5th c ) is induction, the propensity of sthāyībhāvās (basic sentiments) in the reader and the movement it is Tiwari, R. Sciences of a colonized people (e.g., classical Sanskrit poetics) are at issue, . Tween an aesthetic and a religious response to literature.2 When a viewer or a reader tastes this rasa, he/she is "sharing. Produces in the mind of the reader or listener a vivid awareness of a certain state of affairs or, more properly, an aesthetic mood (rasa), through an awareness of the Implications of Dhvani: Experience of Symbol Language in IndianAesthetics. Appendix 1: About Classical Scholars, 348.