Treatise on Nyaya and Vaiśeṣika philosophy.

On Indic aesthetics and various forms of art.

Seminar papers on Dvaitadvaita philosophy with reference to Advaitabrahmasiddhi of Madhusūdana Sarasvatī and Nyāyāmr̥ta of Vyāsatīrtha, 1460-1539.

Study of Pañcadaśi of Mādhava, d. 1386, compendium on Advaita philosophy.

Papers presented at the International Conference on "the State of Buddhism, Buddhists and Buddhist Studies in India and Abroad", held at Banaras Hindu University during 2-4 January 2009. Commemoration volume on the birth centenary of Bhikku Jagdish Kashyap, 1908-1976.

Presents a wide offering of contemporary philosophical perspectives--including theoretical, historical, cross-cultural, and evolutionary--regarding the nature of art and the possibility of its definition.

This transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise _Imagination and Art_ propose bold and innovative theoretical frameworks for conceptualizing imagination in all of its divergent forms.

Rasa, Dhvani and Rasa-Dhvani are the major critical terms in Sanskrit poetics that developed during the post-Vedic classical period. Rasa is used by a sage named Bharata to denote the aesthetic experience of a theatrical audience. But Anandavardhana and Abhinavagupta intermedialize this experience by extending it to a reader of poetry. They argue that rasa is also generated by a linguistic potency called dhvani. Some critics like Bhoja also proposed generation of rasa by pictorial art, and further, some modern critics (...) propose to trace dhvani property in non-verbal arts such as dance and music pleading thereby that these non-verbal arts also generate rasa. The present essay examines these arguments and concludes that generation of rasa is confined to only the audio-visual and verbal arts such as the theatre and poetry, and, dhvani as a specific linguistic potency, is strictly confined to the verbal arts. Its intermedialization is a contradiction in terms. (shrink)

Focuses on the multidisciplinary and cross-cultural perspectives of the concept of experience, and evaluates its cultural value as it is used in science, ...

Aesthetics originated in ancient India as a descriptive account of the drama which was meant for both entertainment and education of the mass. If the drama was a mass medium, aesthetics — its account — represented the mass culture. Philosophical thinking, rigorous ethical practices and the dramatic art had a common aim — experience of the Reality as a whole. The difference was that while the first two were accessible to only a few elite or intellectuals, the third one was (...) meant for all. The mass was experiencing the representation of Reality in the drama by a dehghtful emotional response. The sensibihty necessary for such response was technically called "like-heartedness" which was also a necessary qualification for a healthy social life. (shrink)

The author has made a detailed study, more detailed, he rightly claims, than hitherto attempted, of the concept of mimesis in aesthetic thought and has devoted equal space to Greek and Sanskrit writers... Wilamowitz, the doyen of modern classical scholars, describes mimesis as a 'fatal word' 'rapped out' by Plato. But the present author has demonstrated with great cogency that the word was not 'rapped out' by Plato at all, and that the concept and the word are both as old (...) as Greek thought. He shows too, once again with considerable scholarship and perceptiveness, how Greek art was bound to be sensuous, unmystical and also 'formal' in the best sense of the term. In the four long chapters of the first part of his thesis the author gives at every step evidence of deep study and illuminating insight, and can claim originality both in approach and argument... The chapter on Aristotle contains one of the best discussions of mimesis I have read... the most striking portion of his thesis is his elucidation of poetic truth according to Aristotle. -/- -- Prof. S. C. Sengupta, Jadavpur University -/- The author provides a faithful rendering of both Greek and Indian ideas. The work is valuable for its expositions especially of the Indian theories of art. -/- -- V. K. Chari, Journal of Aesthetics and Art Criticism (JAAC), USA, Spring 1979 -/- ... A fairly exhaustive comparative study of the concept of mimesis in Greek and Indian aesthetics... wide ranging and at the same time well controlled acquaintance with this proliferating literature is revealed throughout... the co-relation of the Aristotelian linking-up of 'imitation' and 'completion' with Abhinavagupta's integration of imitation with completion is very suggestive and is a help towards the formulation of a universal aesthetic comprising body and soul, the immediate impact of Appearance and the slow revelation of Reality... (the author) has mastered the material and achieved a steady progression in argument so as to sustain the central thesis. -/- -- K. R. S. Iyengar, Professor of English and Vice-Chancellor, Andhra University -/- The book is a significant contribution towards understanding the essentials of Indian aesthetics apropos the Greek (and, through the Greek, the Western)... The author has surveyed the entire field in a masterly manner. His erudition and judgement are both commendable. -/- -- S. K. Ramachandra Rao, Deccan Herald (03.09.1978) -/- ...The author's views hold good even among modern critics including the ones known as 'the Chicago school' and experimental psychologists. -/- -- Indian and Foreign Review (August 1978) -/- The work is a valuable addition to the literature on aesthetics. -/- -- The Indian Express (12.03.1978) -/- The comparison is too smooth and sharply compartmentalized... The book is of great value to those who are interested in the comparative and historical evolution of a very important concept in aesthetics. -/- -- The Hindustan Times (31.12.1978) -/- The work is in two parts. The first part in four chapters examines the concept of imitation in Greek thought, and the second in three chapters explores the meaning of the term in Indian thought... the author offers a brilliant interpretation of Aristotle's theory in the fourth chapter (Pt. 1) which is the best one in the book... The work is a pioneering one and it repays a careful examination. It is probably the first of its kind and every student of aesthetics must read it. -/- -- Prof. P. S. Sastri, Nagpur Times . (shrink)

This monograph represents the first comprehensive study dedicated to the interdisciplinary French philosopher Michel Serres. As the title of this project unequivocally suggests, Serres s prolific body of work paints a rending portrait of what it means for a sentient being to live in the modern world. This book reflects Serres s profound conviction that philosopher c est anticiper / to philosophize (about something) is to anticipate ( Philosophie Magazine ). According to Serres, a philosopher is someone who possesses an (...) extremely broad base of knowledge coupled with the uncanny ability to envision what "might" transpire based upon his or her astute observations concerning phenomena that are already starting to unfold in a given society. Serres s explanation of what engaging in philosophical inquiry entails encourages us to imagine all of the present and future ramifications of certain trajectories that are clearly visible all around us. From 1968 to the present, Serres has been generating forceful, prophetic visions in his works that mingle philosophy, religion, theology, contemporary science, and literature. Comprehensive and insightful introduction both illuminates pressing contemporary issues and presages potential futures-to-come. This is a remarkable achievement and a genuine gift to readers both new and old to Serres s work. -Steven D. Brown, Professor of Psychology, University of Leicester An essential book for becoming aware of the threat of a return of obscurantism despite the development of new technologies and of the necessity of a new century of "Lumieres." -Issa Asgarally, Associate Professor, Mauritius Institute of Education, founder, Foundation for Interculturality and Peace Moser s engaging prose makes this study a great read, and he demonstrates a formidable grasp on the connections within Serres work, as well as the links between Serres and other major twentieth century thinkers. -Tom Trzyna, Professor Emeritus of English, Seattle Pacific University Both timely and thorough. His provocative critique of societal malaise, from our relationship to the planet, to ourselves, to each other, and to technology, as well as the solutions envisioned through an erudite and thoughtful analysis of Serres entire philosophical corpus is a remarkable contribution to Philosophy and French Studies. -Isaac Joslin, University of Denver Keith Moser s pioneering vision of the post-Marxist era, as reflected in the syncretism of philosophy, religion, theology, science and literature in Michel Serres body of work during the last half a century, transforms human consciousness beyond its illusory genophobia that has damaged the very semiotics of life. Moser s monograph taps into a tremendous flow of energy that evokes a passionate desire in a dead humanity to re-live and re-think. -Professor Ananta Sukla, Editor, Journal of Comparative Literature and Aesthetics Keith Moser is Associate Professor of French at Mississippi State University. He is the author of "A Practical Guide to French Harki Literature, J.M.G. Le Clezio: A Concerned Citizen of the Global Village, Le Clezio dans la foret des paradoxes" (co-editor), and "Privileged Moments in the Novels and Short Stories of Le Clezio: His Contemporary Development of a Traditional French Literary Device." Moser has also contributed approximately forty essays to peer-reviewed publications such as "The French Review, The International Journal of Francophone Studies, Romance Notes, Dalhousie French Studies, Les Cahiers Le Clezio, Modern Language Review, French Cultural Studies, Forum for Modern Language Studies" (Oxford), "Interdisciplinary Studies in Literature and Environment" (Oxford), and "Pennsylvania Literary Journal."". (shrink)