Through a thorough study of the relevant texts in the classical Himalayan languages (Sanskrit, Newari, Tibetan and Nepali), the book puts forward a new thesis about how the Newars legitimated and reinvented their tradition by devising new concepts of canonicity, as such it will appeal to scholars of the history and philology of Buddhism (less)

For Hanna is not all she seems. Years later, as a law student observing a trial in Germany, Michael is shocked to realize that the person in the dock is Hanna.

The woman he had loved is a criminal.Much about her behaviour during the trial does not make sense.

But then suddenly, and terribly, it does - Hanna is not only obliged to answer for a horrible crime, she is also desperately concealing an even deeper secret.'A tender, horrifying novel that shows blazingly well how the Holocaust should be dealt with in fiction.

A thriller, a love story and a deeply moving examination of a German conscience'INDEPENDENT SATURDAY MAGAZINE (less)

The nature of Bengali theatre: the social and economic character. 2.

Swadeshi and Bengali theatre: 1905-1912. 3.

Representation in theatre: Bengal's search for a hero. 4.

New political agenda in 1930s. 5.

A theatre of politics: anger and protest. 6.

After word. Glossary.

Bibliography. "Minoti Chatterjee, an academic and a theatre activist, explores how Bengali theatre and the upsurges of nationalist movements inform and appropriate each other during the turbulent era of 1905-1947.

As Bengal was the centre of the interaction, negotiation and conflict between the native and the British, its theatre experienced different spatial, and consequently, thematic and technical dislocations and relocations. The theories and practices of theatre underwent a change due to the emergence of a conscious nation-space.

Chatterjee studies the various aspects of the contemporary Bengali stage, with all its major and minor nuances, fame and notoriety, allegiances and importance. She covers the wide range of themes, innovations, and (less)

Geographical background. 2.

Historical background. 3.

From tribal culture to civilization. 4.

Ramgarh hill: the Chitrakuta of Ramayana and Ramagiri of Meghaduta. 5.

Caves as pleasure-resorts. 6.

The Ramgarh hill cave paintings. 7.

The Ramgarh hill cave theatre. 8.

The dance theatre at Ramgarh. 9.

Caves’ inscriptions. 10.

Archaeological re-assessment. 11.

Conclusion. Bibliography.

Index. "The student of theatre, wherever his particular interest lies, will accept that the Ramgarh hill cave theatre of Chhattisgarh State is the oldest known theatre of the world.

We find in Ramgarh hill caves a richness of diversity of archaeological material (along with the cave paintings) which can scarcely be equalled in world. Compared with most other genre of theatrical literature, however, the repertoire of the cave theatre is considerably less prolific, less varied, less immediately appealing and partly for this reason the cave theatre of Ramgarh hill has been ignored both by archaeologist and theatrical historian.

Historical (less)

Acknowledgements. Introduction: the politics of land use.

Island: Poem on the City/Nissim Ezekiel. List of abbreviations.

I. Agrarian Bombay, c.

1660-1860: Land into private property: 1. The British in Bombay, c.

1660-1720: a precarious presence. 2.

Defence preoccupations and the emerging town, c. 1720-1780.

3. Customary rights and state regulations, c.

1780-1810. 4.

Thomas Dickinson and the Bombay Revenue Survey, c. 1810-30: a time for change.

5. Law and the acquisition of land for public purpose, c.

1830-60. II.

Industrial Bombay, c. 1860 to Present Times Changing Patterns of land use: 6.

A metropolis takes shape, c. 1860-90.

7. Urban planning or crisis management? Bombay, c.

1890-1930. 8.

Bombay's built environment and the Housing Conundrum, c. 1930-60.

9. Bombay/Mumbai, 1950 to Present Times: confronting the challenges.

Glossary. Select bibliography.

Index. "A city of varied shades and home to millions, Mumbai stands tall among the most prominent cities of the world, (less)

Introduction. II.

Bhasa's plays: 1. Abhisekanatakam.

2. Avimaraka.

3. Balacarita.

4. Daridra Carudattam.

5. Dutaghatotkacha.

6. Dutavakya.

7. Karnabhara.

8. Madhyam-Vyayoga.

9. Pancaratra.

10. Pratijnayaugandharayanam.

11. Pratimanatakam.

12. Svapnavasavadatta.

13. Urubhanga.

14. Yajnaphala.

III. Bhasa Mahotsavam.

IV. Kutiyattam and Bhasa plays.

V. Bhasa plays in performance: 1.

Abhisekanataka. 2.

Avimaraka. 3.

Balacharitam. 4.

Daridracarudatta. 5.

Dutaghatotkacha. 6.

Dutavakya. 7.

Karnabharam. 8.

Madhyamavyayoga. 9.

Pancaratra. 10.

Pratijnayaugandharayana. 11.

Pratimanatakam. 12.

Svapnavasavadatta. 13.

Urubhangam. VI.

Bibliography: 1. Principal works (text).

2. Translations.

3. Bio - critical notices.

Index. "This is the first and probably the last encyclopaedia of Indian theatre of this millenium.

A multi-volume reference work, the first few of which will be a definite guide to great masters of ancient Indian drama such as Bhasa, Kalidasa, Bhavabhuti, Bodhayana, Sudraka, Vishakhadutt etc. The later volumes will be so designed to give a cornucopia of information.

The Indian stage from its beginnings to the (less)

Asvaghosa. 2.

Bhatta Narayana. 3.

Bhavabhuti. 4.

Bodhayana. 5.

Dhananjaya. 6.

Dinnaga. 7.

Harsadeva. 8.

Jayadeva. 9.

Krishna Mishra. 10.

Murari. 11.

Rajasekhara. 12.

Rupa Gosvamin. 13.

Saktibhadra. 14.

Sudraka. 15.

Visakhadatta. "This is a bio-bibliograhical work that offers a wealth of information on these major Sanskrit dramatists, providing almost everything you need to know about them in the form of a comprehensive information package furnishing the date, time, legends and life of each dramatists.

"An insight into their work is offered through critical views on their writings followed by synopsis, list of dramatis personae, time analysis and plots of the plays. An exhaustive bibliography of works and their translations in Indian and foreign languages and a select bio-critical notices enhance the scope of this unique encyclopaedia.

Above it, the reference book provides historical awareness to the performance of various plays over the last two centuries supported by very rare and invaluable (less)

I. Status of governance in India: 1.

Governance: a rudderless leaky boat. 2.

Two constitutions: multiple identities. 3.

Democracy: the bluff and bluster. 4.

The unfortunate children of God. 5.

The God that failed India. 6.

P.A.

: the power axis. 7.

Pushkar brides. 8.

Corruption stayed: governance betrayed. 9.

Orphanages: for the Godfathers. 10.

Preamble: the obituary of democracy. 11.

Indecent centralism. 12.

Technology and governance. 13.

Humour in democracy. II.

Some whys and why nots: 1. (Anti) National Anthem of India.

2. Student politics.

3. Election Commission.

4. None of these.

5. Why Commonwealth? 6.

Ram Rajya. 7.

Hindi: the neglect is official. 8.

Democracy, poverty, and imperial inheritance. 9.

Vote: right, duty or privilege. 10.

Media: observation/listening post of democracy. 11.

Terrorism: a case of bullet versus ballot. 12.

Populism: the Ecstasy pill of democracy. 13.

Benchmarks of excellence. 14.

Directive principles--the song less birds..

III. Dynamics of change: 1 (less)

2. Musical practices in Sanskrit drama.

3. Functions of classical ragas in drama.

4. Music in traditional Indian theatres.

5. The raasleela of Braj.

6. Use of music by western dramatists and directors.

7. Music in Asian theatre.

8. Use of music by Indian directors and playwrights.

9. The summing up.

"Music is the culmination of every art form, an integral part of the total dramatic world of India - an essential element of the traditional theatre forms - that use music - vocal and instrumental - chants, various percussion rhythms, sounds and speech patterns with definite dramatic function. Bharat Muni in Natyashastra in his advice to the theatre practitioners says, "one should first of all bestow care on songs, for songs have been called the bed (base) of drama.

The song and the playing of musical instruments being well-executed, the performance of the drama does not encounter (less)

The theatre according to the Natyasastra of Bharata. 2.

Summary. 3.

References. 4.

Glossary of technical terms. 5.

Chapter second of Bharata's Natyasastra (Original Sanskrit text with English translation). Appendices.

Index. "Detailed descriptions of different types of theatres, depending on their shape and dimensions, are given in the second chapter of the Natyasastra, the famous treatise on dramaturgy, by the venerable sage Bharata.

This chapter deals with the construction of theatres and obviously some technical terms are used while describing it. It may be observed that interpretations regarding dimensions, divisions, arrangements of columns etc.

of theatres of different types, as well as the technical terms used, as given by most of the scholars, particularly the modern ones, are not correct, probably because of their lack of knowledge of engineering. The author has given his opinions on different aspects of theatre building based on the information given in the treatises of Silpasastra, written (less)

Dedication. A few words.

Preface. 1.

Before the Parsi Theatre. 2.

The origins of the Parsi Theatre. 3.

The development of the Parsi Theatre. 4.

Urdu dramatists of the Parsi stage. 5.

The Parsi Theatrical companies. 6.

Parsi actors. 7.

Other elements of the Parsi Theatre. 8.

The Indar Sabha and its influence. 9.

Impact of the Parsi theatrical companies. Appendix: The beginnings of Hindu drama in Bombay and Maharashtra.

"From its inception in 1853, Parsi theatre rapidly developed into a mobile, company-based entertainment that reached across colonial and princely India and extended overseas into Southeast Asia. Like its counterparts in modern Bengali and Marathi, it employed the prevailing local languages (Gujarati, Urdu and Hindi), used the European-style proscenium with richly painted backdrop curtains and trick stage effects, and depended on spectacle and melodrama to create audience appeal.

Simultaneously, it ushered in the conventions and techniques (less)

Kutiyattam is widely acknowledged as the only living link to India?s ancient theatrical tradition. While its origins are hazy, it is said to have an unbroken history of around two thousand years, combining old Sankrit theatre with the regional forms of Kerala.

It has its own distinctive theatrical conventions and improvisations, with highly sophisticated facial expressions and a fluent vocabulary of gestures. Kutiyattam elaborates action by extending the performance score to heights of imaginative fancy.

Ever since it ventured outside Kerala?s temple-theatres in the 1950s, it has been appreciated by a wider circle of connoisseurs, and challenged by shifting systems of patronage. This book discusses the theory and practice of the art form and aims to introduce Kutiyattam to a larger readership.

It includes the translation of the performance manual of 'Asokavanikanakam', from Saktibhadra's play Ascharyachudamani, as an illustrative example (less)