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Sheldon Pollock - A Rasa Reader: Classical Indian Aesthetics

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Sheldon Pollock A Rasa Reader: Classical Indian Aesthetics
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From the early years of the Common Era to 1700, Indian intellectuals explored with unparalleled subtlety the place of emotion in art. Their investigations led to the deconstruction of arts formal structures and broader inquiries into the pleasure of tragic tales. Rasa, or taste, was the word they chose to describe arts aesthetics, and their passionate effort to pin down these phenomena became its own remarkable act of creation.

This book is the first in any language to follow the evolution of rasa from its origins in dramaturgical thoughta concept for the stageto its flourishing in literary thoughta concept for the page. A Rasa Reader incorporates primary texts by every significant thinker on classical Indian aesthetics, many never translated before. The arrangement of the selections captures the intellectual dynamism that has powered this debate for centuries. Headnotes explain the meaning and significance of each text, a comprehensive introduction summarizes major threads in intellectual-historical terms, and critical endnotes and an extensive bibliography add further depth to the selections. The Sanskrit theory of emotion in art is one of the most sophisticated in the ancient world, a precursor of the work being done today by critics and philosophers of aesthetics. A Rasa Readers conceptual detail, historical precision, and clarity will appeal to any scholar interested in a full portrait of global intellectual development.

A Rasa Readeris the inaugural book in the Historical Sourcebooks in Classical Indian Thought series, edited by Sheldon Pollock. These text-based books guide readers through the most important forms of classical Indian thought, from epistemology, rhetoric, and hermeneutics to astral science, yoga, and medicine. Each volume provides fresh translations of key works, headnotes to contextualize selections, a comprehensive analysis of major lines of development within the discipline, and exegetical and text-critical endnotes, as well as a bibliography. Designed for comparativists and interested general readers, Historical Sourcebooks is also a great resource for advanced scholars seeking authoritative commentary on challenging works.

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Table of Contents
A RASA READER Historical Sourcebooks in Classical Indian Thought HISTORICAL - photo 1
A RASA READER
Historical Sourcebooks in Classical Indian Thought
HISTORICAL SOURCEBOOKS IN CLASSICAL INDIAN THOUGHT
The Historical Sourcebooks in Classical Indian Thought series provides text-based introductions to the most important forms of classical Indian thought, from epistemology, rhetoric, and hermeneutics to astral science, yoga, and medicine. Each volume offers fresh translations of key works, headnotes that orient the reader to the selections, a comprehensive introduction analyzing the major lines of development of the discipline, and exegetical and text-critical endnotes as well as an extensive bibliography. A unique feature, the reconstruction of the principal intellectual debates in the given discipline, clarifies the arguments and captures the dynamism that marked classical thought. Designed to be fully accessible to comparativists and interested general readers, the Historical Sourcebooks also offer authoritative commentary for advanced students and scholars.
A Rasa Reader CLASSICAL INDIAN AESTHETICS Translated and edited by - photo 2
A Rasa Reader
CLASSICAL INDIAN AESTHETICS
Translated and edited by
SHELDON POLLOCK
COLUMBIA UNIVERSITY PRESS NEW YORK Columbia University Press - photo 3
COLUMBIA UNIVERSITY PRESS
NEW YORK
Columbia University Press Publishers Since 1893 New York Chichester West - photo 4
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
cup.columbia.edu
Copyright 2016 Columbia University Press
All rights reserved
E-ISBN 978-0-231-54069-8
Library of Congress Cataloging-in-Publication Data
Names: Pollock, Sheldon I., translator, editor.
Title: A rasa reader : classical Indian aesthetics / translated and edited by Sheldon Pollock.
Description: New York : Columbia University Press, 2016. | Series: Historical sourcebooks in classical indian thought | Includes bibliographical references and index. | Includes translations from Sanskrit.
Identifiers: LCCN 2015020974 | ISBN 9780231173902 (cloth : alk. paper) | ISBN 9780231540698 (electronic)
Subjects: LCSH: RasasEarly works to 1800. | Aesthetics, IndicTranslations into English. | Sanskrit literatureTranslations into English.
Classification: LCC BH221.I52 R43 2016 | DDC 111/.850954dc23
LC record available at http://lccn.loc.gov/2015020974
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
COVER DESIGN: Jennifer Hever
References to websites (URLs) were accurate at the time of writing. Neither the author nor Columbia University Press is responsible for URLs that may have expired or changed since the manuscript was prepared.
FOR ALLISON
Contents The world of classical Indian literary theory is vast and complex - photo 5
Contents
The world of classical Indian literary theory is vast and complex, and it had long seemed to me that any attempt to produce a historical reconstruction of even a part of it, such as the discourse on aesthetic experience, was foolhardy. Given that this theory is among Indias most luminous contributions to humanistic knowledge, however, and that there is so little of it, in translation or in exposition, that one can confidently recommend to students and general readers, the attempt seemed worth making. I first tried assembling a small team to produce a Rasa Reader, distributing the different chapters to different specialist scholars. My colleagues were perfectly willingbut their schedules were not. When months of delay had turned into years, I decided to take on the task alone. After half a decade of work on it, I can affirm that my initial cautions were fully justified.
The Rasa Reader is the first in a new series of historical sourcebooks that aims to make available to a contemporary reading publicstudents, comparativists, and interested generalists no less than specialiststranslated and annotated texts from the major scholarly disciplines of classical India, arranged in such a way that the principal arguments and disputes can be observed in their historical development. That no such works exist, whether dealing with Indian aesthetics or rhetoric, hermeneutics, logic, or anything else, is a result, as series contributors are learning, of the serious difficulties involved on every front.
In the case of classical Indian aesthetics, the original works have often been very poorly transmitted (a trait that distinguishes this field from the others), and even when the integrity of the texts is assured, some of them can be obscure to the point of impenetrability. The arguments are often complex in themselves and presuppose knowledge of many different disciplineshermeneutics, logic, philosophy of language, psychologyand deep familiarity with literary texts, some of which have vanished. The thought world the Western reader is entering here is remarkably sophisticated and subtle, and even those inside the tradition were sometimes confused or simply uncomprehending; this Readers jungle of endnotes is testimony to both the text-critical and the interpretive challenges the materials present. Making sense of the conceptual shape of this world, moreover, requires confronting very real intellectual-historical and theoretical problems. And this is to say nothing of the challenges of translation. The unhappy history of English versions of Sanskrit technical writings demonstrates how enormously difficult it is to achieve clarity, consistency, and accessibility, to say nothing of readability. Even after engagement with core questions of Indian aesthetics for almost twenty years and continual work on this book for five, I am sometimes uncertain whether I have come much closer to resolving some basic problems than when I first encountered them, or to giving them an English form that does the original justice.
Let me address some of these matters in a little greater detail, starting with the texts I have included in the Reader and how I have structured it.
Although it is painful to think of the many extraordinary works of classical Indian aesthetics that have been lost, fragments are sometimes quoted by later authors, and a large number of complete works have indeed been preserved. As for the fragments, I have assembled all available for a given author and ordered them as coherently as possible; the arrangement and some attributions remain speculative. From the major works, I have tried my best not to omit any significant argument from fifteen centuries of discourse (save in the rare case where an outstanding translation has recently appeared). The word classical in the subtitle of this book refers to a tradition of theorists who grappled with the problem of rasa in Sanskrit. The reception of this theory within other South Asian traditionsits acceptance as the basis for Brajbhasha poetics, its complex interaction with Sufi mysticism in Avadhi poetry, its relation to the very different conceptual orientation of classical Tamil poetsis outside the scope of this book (and the competence of its author).
but the work as a whole is as much as five centuries older. It therefore must come first, despite the likelihood that its earliest commentators knew nothing of some ideas it advances in the form we now have it. The commitment to chronological presentation has been broken in only a few cases. The
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