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Table Of Contents

Sanskrit theater as the total art-form based on the rasa-canon
Aesthetic identification is the very life of rasa-dhvani
Universalization of shared emotions in aesthetic relish
Rasa is ultimately reflexive consciousness mediated by emotion
Suggestion, the soul of poetry even before its late formulation
Viability of rasa-canon in music, painting, and non-verbal arts
Ethics and aesthetics: good taste, bad taste, ‘Hindu’ taste
Aesthetic rapture embodies a ‘descending’ spiritual realization
Ambiguous status of art within the spectrum of the religious life
Quiescence as the soul of rasa: liberation through emotion
Rasa in the service of devotion or the aestheticization of bhakti?
Religious art as propaganda: trans-sectarian aesthetics of rasa
Sanskritize, popularize, and acculturate: the vernacular triumph
Muslim allegories on the taste of Love: becoming God’s image
Banarasipan as ‘intoxicated’ (mastî) state of spiritual autonomy
Are rasa and dhvani relevant to the emerging global aesthetics?
Bisociative insights: enigmatic humor and Internet pedagogy
Consciousness, self and other: universalization in Abhinava’s theory of Rasa
Only a world-affirming spirituality can conceptualize aesthetic delight
Emotion as bondage in the ascending perspective of Indian philosophy
Problematic status of the subject in aesthetic identification
Universalization of (aesthetic) emotion even without identification
World as theater: the aesthetics of the descent
Abhinava’s zânta versus the Buddha’s cessation of desire (zama)
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Published by Aluizio Monteiro Jr

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Published by: Aluizio Monteiro Jr on Sep 19, 2011
Copyright:Attribution Non-commercial


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