Supermind to change the very fabric of earthly nature

 In the aesthetic philosophy of Abhinavagupta (elaborated in his seminal commentaries, the Abhinavabhārātī and Locana), becoming a Sahridaya (a gifted, sensitive reader/spectator) or a Rasika (a connoisseur of aesthetic flavor) requires a rigorous transformation of consciousness. To experience pure aesthetic bliss (rasāsvāda), one must transcend individual, egoistic filters and enter a state of "disinterested" detachment—a state where personal anxieties, desires, and biases are suspended. [1, 2, 3]

Abhinavagupta’s prescription for cultivating this detached, resonant state relies on two interconnected dimensions: continual preparatory cultivation and the psychological process of universalization. [4, 5, 6]

---

1. The Preparatory Cultivation: Polishing the Mirror of the Mind

Abhinavagupta famously notes that a Sahridaya is literally "one of the same heart". He dictates that this aesthetic sensitivity is not merely an innate gift but a discipline achieved through: [7]

• Constant Immersive Study (Kāvya-Anuśīlana): The mind must be trained by continuously "chewing" on great poetry, literature, and drama. This relentless exposure refines the intellect and attunes the mind's emotional palette. [4, 6, 8]
• The Mirror Metaphor (Hridaya-Mukura): Through regular artistic exposure, the Sahridaya's heart becomes as polished and transparent as a mirror. When the mirror is clean (free of personal baggage and the distractions of everyday life), it can instantly and flawlessly reflect the exact emotional coloring (bhāva) portrayed by the artist without distorting it. [6]
• Active suspension of "Practical Identity": A Rasika must enter the theatre or read poetry having intentionally cast aside their mundane worries, professional identities, and domestic anxieties. If a viewer is caught up in their own real-life grievances, they cannot achieve the clear, unclouded state needed to savor art. [2, 4]

2. The Mechanics of Dispassion: Sādhāraṇīkaraṇa (Universalization)

Once the Sahridaya engages with a work of art, Abhinavagupta describes a specific psychological progression that yields dispassionate joy: [9]

• Stripping Away Specificities: Under the influence of powerful dramatic devices (like costumes, poetry, music, and the skill of the actors), the spectator undergoes a shift in perception. The Sahridaya stops seeing the character on stage as a specific historical individual (e.g., King Dushyanta) tied to a specific time or place. [4, 9, 10]
• Eradication of Personal Ego: Crucially, the Sahridaya also detaches from their own ego. For instance, when witnessing a terrifying scene, the spectator does not think "I am afraid" (which would trigger a real-world fight-or-flight panic) nor do they think "That actor is afraid" (which would breed cold indifference). [4, 9]
• The Rise of Pure Emotion: Instead, through Sādhāraṇīkaraṇa (commonization or universalization), the emotion is entirely de-contextualized from real-world cause and effect. The reader experiences the generalized essence of "Fear" or "Love" as a shared, communal human property. [1, 5, 9]

The Ultimate Outcome: Alaukika Ānanda (Extraordinary Bliss)

By following this pathway of aesthetic detachment, the Rasika experiences emotions not as raw, disruptive everyday impulses (laukika), but as sublimated, extraordinary flavors (alaukika rasa). [2]

Abhinavagupta concludes that this state of dispassionate, universalized harmony creates a "taste of unified consciousness" (camatkāra). Because the ego is temporarily dissolved, this aesthetic relish functions as a twin sibling to spiritual liberation (Brahmāsvāda-sahodara), offering a profound, temporary release from the friction of ordinary life. [5, 9, 11, 12]

Would you like to explore how Abhinavagupta connects this aesthetic detachment to his Kashmir Shaivism philosophy, or perhaps examine Śānta Rasa (the taste of tranquility) which he considers the ultimate pinnacle of this dispassionate state?

[1] https://www.researchgate.net

[2] https://philpapers.org

[3] https://www.sahapedia.org

[4] https://ebooks.inflibnet.ac.in

[5] https://ijrar.org

[6] https://www.wisdomlib.org

[7] https://www.nepjol.info

[8] https://www.scribd.com

[9] https://www.youtube.com

[10] https://journals.eltai.in

[11] https://pdfs.semanticscholar.org

[12] https://ia801407.us.archive.org

- GoogleAI 

The premise that Sri Aurobindo needed to "correct" Abhinavagupta to include life in the world is a common misunderstanding.

While both philosophers treat art and aesthetics as vital gateways to spiritual realization, their ultimate systems do not contradict each other on the reality of the world. Instead, they represent two different evolutionary peaks of non-dual Indian philosophy: Abhinavagupta’s Trika (Kashmir Shaivism) and Sri Aurobindo’s Integral Yoga. [1, 2, 3]

The nuances of how their views intersect reveal that Sri Aurobindo's system expands upon, rather than corrects, Abhinavagupta's foundational concepts.

---

1. The Myth of World-Negation in Abhinavagupta

It is easy to misinterpret Abhinavagupta's focus on aesthetic liberation (rasānanda) as a temporary, world-escaping trance. In his commentary on the Nātyaśāstra (the Abhinavabhāratī), he describes the savoring of art (rasa) as alaukika (extra-worldly or transcendental). When a spectator universalizes an emotion (sādhāraṇīkaraṇa), they briefly escape their narrow ego, an experience Abhinavagupta equates to a twin sibling of spiritual bliss (brahmāsvāda-sahodara). [4, 5, 6]

However, this does not mean Abhinavagupta rejected the world:

• The World as Divine Play (Līlā): As the master of non-dual Kashmir Shaivism, Abhinavagupta strongly rejected the illusionism (Māyāvāda) later associated with absolute monasticism. For him, the physical universe is not an illusion to be escaped; it is the dynamic self-expansion (Vimarsa) and playground of Supreme Consciousness (Śiva-Śakti). [7]
• Liberation While Living (Jivanmukti): His philosophy strongly emphasizes bhukti-mukti—the integration of worldly enjoyment and spiritual liberation. The ultimate goal is not to flee into a cave, but to recognize the divine flash (camatkāra) in every mundane experience. [2, 7, 8]

2. Sri Aurobindo’s "Overmind Aesthesis" and Transformation

Sri Aurobindo did not view the world as an illusion either, but his spiritual objective went a step further than historical non-dual traditions. He did not just seek the realization of the Divine in the world; he sought the supramental transformation of the world. [3, 9]

In works like The Future Poetry, Sri Aurobindo introduces the concept of Overmind Aesthesis: [10, 11]

• Art as a Spiritual Tool: Sri Aurobindo agrees with Abhinavagupta that the soul is the true creator and recipient of art. He views aesthetic delight (ānanda) as a key power for raising human consciousness. [10, 12]
• Evolutionary Descent: Where Sri Aurobindo adds a distinct dimension is his insistence on the descent of a higher consciousness (the Supermind) to change the very fabric of earthly nature, including matter, life, and mind. [3, 9]

Comparison of Aesthetic Frameworks

Feature	Abhinavagupta (Kashmir Shaivism)	Sri Aurobindo (Integral Yoga)
Status of the World	Fully real; the dynamic manifestation of Śiva's energy (Śakti).	Fully real; an evolving manifestation of the Divine (Satchitananda).
Aesthetic Goal	Universalization (Sādhāraṇīkaraṇa) to realize the inherent bliss of consciousness.	Overmind Aesthesis to express and capture the rhythmic vibration of the Divine Truth.
Ultimate Objective	Jivanmukti: Recognizing identity with the ultimate reality here and now.	Supramental Transformation: Divinizing earthly life and the physical body.

Summary

Sri Aurobindo does not "correct" Abhinavagupta for being anti-world, because Abhinavagupta was already an advocate for the reality of the cosmos. Instead, Sri Aurobindo extends the trajectory. While Abhinavagupta uses aesthetics to recognize the absolute consciousness already present within the world, Sri Aurobindo uses aesthetics as a tool for the evolutionary advancement and total transformation of the earth-consciousness itself. [3, 5, 7, 9]

If you wish to explore this deeply, please let me know:

• Would you like to focus on how Shanta Rasa (the sentiment of peace) bridges the gap between art and enlightenment?
• Are you interested in a deeper look into Sri Aurobindo's concept of Overmind Aesthesis?
• Do you want to examine how their views on sacred speech and mantric poetry align?

[1] https://www.shehjar.com

[2] https://www.researchgate.net

[3] https://www.aurogroup.ac

[4] https://ijrar.org

[5] https://www.granthaalayahpublication.org

[6] https://www.ikashmir.net

[7] https://www.youtube.com

[8] https://ia801407.us.archive.org

[9] https://beezone.com

[10] https://www.thebeacon.in

[11] https://www.academia.edu

[12] https://www.the-criterion.com

- GoogleAI 

There is no evidence of direct mutual indebtedness or communication between Abhinavagupta (c. 950–1016 CE) and Ramanuja (traditionally 1017–1137 CE), as they belonged to entirely distinct geographical regions, theological lineages, and philosophical frameworks. [1]

While certain modern scholars note broad structural parallels between their systems, their intellectual trajectories developed independently.

1. The Timeline and Geography Barrier

• Abhinavagupta lived and wrote in Kashmir during the late 10th and early 11th centuries, anchoring the monistic Trika (Kashmir Shaivism) tradition. [1, 2]
• Ramanuja lived in Tamil Nadu (South India) during the 11th and 12th centuries, organizing the Sri Vaishnava tradition and formulating Vishishtadvaita (Qualified Non-Dualism). [3, 4]
• Given the vast geographic distance and the time it took for texts to travel across medieval India, Ramanuja did not have access to Abhinavagupta’s esoteric Shaiva Tantric texts, nor could Abhinavagupta have known of Ramanuja, who was born around the time of the Kashmiri master's passing. [1]

2. Radical Differences in Philosophy

Rather than borrowing from one another, they developed alternative responses to the absolute monism (Advaita) of Adi Shankara: [5]

Point of Comparison	Abhinavagupta (Kashmir Shaivism)	Ramanuja (Vishishtadvaita)
Ultimate Reality	Shiva (Pure, dynamic consciousness).	Vishnu/Narayana (A personal deity endowed with supreme attributes).
The Material World	The world is a real manifestation (abhasa) of Shiva's own free will and energy (Shakti).	The world is real, functioning literally as the body (sarira) of God.
The Individual Soul	The soul is entirely identical to Shiva; it merely needs to "recognize" its true nature (Pratyabhijna).	The soul is an eternal, separate spark (amsa) dependent on God; it never merges completely into identity.
Primary Method	Esoteric yoga, tantric practice, and direct cognitive recognition.	Intense, loving devotion (Bhakti) and total self-surrender (Prapatti).

3. Divergent Sources of Influence

Their respective philosophies were built on completely separate operational foundations:

• Abhinavagupta drew directly from the Bhairava Tantras, the Shiva Sutras, and the aesthetic lineages of Bharata Muni. [6, 7]
• Ramanuja drew heavily from the Prasthana Trayi (Upanishads, Brahma Sutras, Bhagavad Gita), the older Pancaratra Vaishnava Agamas, and the emotional devotional Tamil poetry of the Alvars. [3, 4]

Summary

Any similarities between the two—such as their shared rejection of the world-as-an-illusion (Maya) doctrine taught by Shankara—stem from a universal shift in medieval Indian philosophy toward validating the material world and human experience. They arrived at these conclusions independently within their own respective Shaiva and Vaishnava frameworks.

If you are interested, we can look closer at:

• How each philosopher uniquely reinterpreted the Bhagavad Gita
• How they both sought to dismantle Adi Shankara's concept of Maya
• The structural parallels between Abhinavagupta's Shakti and Ramanuja's Sarira-Sariri (body-soul) relationship

Let me know which angle you would like to explore.

[1] https://en.wikipedia.org

[2] https://www.shehjar.com

[3] https://www.vedantu.com

[4] https://www.cambridge.org

[5] https://www.instagram.com

[6] https://en.wikipedia.org

[7] https://www.hinduwebsite.com

- GoogleAI 

Those people who are saying, it's movie just watch it as movie, this is for them 

https://x.com/navavimarsh/status/2119334156207521990?a=0aluqdJksmT7xajTiSk&s=19

Making movies and consuming content is  good, however we need to be mindful of the following 

Neil Postman and Jacques Ellul are two of the most important thinkers for understanding how technology, mass media, entertainment and propaganda shape human consciousness, public opinion and civilisation.

Both have argued that media and technology are not neutral instruments. They fundamentally influence how people think, what they believe, what they consider important, and how societies organise themselves.

Their ideas are particularly relevant to understanding Hollywood as a narrative-building institution, political communication, cultural influence and ideological conditioning.

https://x.com/navavimarsh/status/2119717291130769613?a=W5lhj4wql599FPMwlGc&s=19

ईश उपनिषद: विद्या के विभिन्न अर्थ 

विद्या के कई अर्थ हमारे महान भाष्यकारों ने निकाले 

शंकर के अनुसार विद्या से अर्थ वैदिक उपासना (अविद्या से अर्थ वैदिक नियत कर्म या रीतियाँ rituals)

सत्यव्रत सिद्धांतालंकार के अनुसार विद्या यानि आध्यात्मिक ज्ञान (अविद्या यानि सांसारिक या भौतिक ज्ञान)

श्री अरविंद के अनुसार विद्या का अर्थ जानना (अविद्या से भाव नहीं जानना या अज्ञान)

ईश उपनिषद के ९-११ श्लोकों को समझने हेतु विद्या के विभिन्न अर्थों की यह समीक्षा जानना आवश्यक है 

https://x.com/AmazingVedas/status/2120055209879547952?a=Uv_rWBQr5vmVzKYIr8E&s=19

प्रिय मित्र 

इस पहेली के कई उत्तर संभव हो सकते हैं 

किंतु मेरा उत्तर क्या है?

आपको एक सुराग देता हूँ

यह पहेली ईश उपनिषद पर मनन से प्रेरित हुई इस पर ध्यान करें 

https://x.com/AmazingVedas/status/2120056571828863023?a=frrbHwhzFe9_dzpOCfQ&s=19

The Literary Genius of Isha Upanishad Shloka 10

अन्यदेवाहुर्विद्ययाऽन्यदाहुरविद्यया ।

इति शुश्रुम धीराणां ये नस्तद्विचचक्षिरे ॥

Let us not look at the meaning for a moment. Just listen to the sound. The first two padas are essentially the same. Yet, they signify two opposite poles of knowing.

Now let us forget even this and listen to the notes. You will see that the first line and second lines deploy very different sounds. The first line mostly plays with soft sounds without too much exhalation, alpa prana. 

The second line uses more of the sibilants or 3 ushna varna, maha prana or the ones with exhalation and ghoshavat or the ones in which the vocal cords vibrate. 

To make it simple the second line uses more varnas that have a vibratory character than those of the first. And this is a masterstroke for the second line describes the vibrations or echoes of knowledge that have come to us from the past or are in the background. The sound perfectly represents the idea

https://x.com/AmazingVedas/status/2120034321394253935?a=7WS2EN3X2B_biPqo-BI&s=19

What does Diwali teach us about Dharma? Join @PariksithSingh & @MakrandParanspe as they explore Ravana, Ramayana, and the timeless battle between Dharma and Adharma. Watch full episode youtu.be/vCP0Mzwd6Fk?si…

https://x.com/sriaurobindochr/status/2120157529099387099?a=cBc7wNgCQ5agop90uIg&s=19 

People are generally drawn to the aesthetic element but The Mother & Sri Aurobindo demand a far greater refinement. Virtues are intrinsic to human beings but educing their right versions at appropriate points requires a dispassionate disposition. Abhinavagupta paints a Sahridaya. 

https://x.com/SavitriEra/status/2120037587897479310?a=tVGqY0yk474l7Q3bBSM&s=19 

Savitri Era Religion (2006) promotes freedom from mythology and rituals. Worshipping The Mother & Sri Aurobindo as the one Supreme Divine inspires simplicity and detachment for seeking true happiness in life, instead of the manufactured kind generated through hubris and hedonism. 

https://x.com/SavitriEra/status/2120200144444588128?a=P0cF502MZN_Yb4dgltw&s=19

[PDF] Sri Aurobindo's Fourfold Vision of the Mahāśakti: Correspondences in Vedic, Purāṇic, and Stotra Literature

RS Hariharan - Journal of Sanatana Dharma¦ Volume, 2026

… Sri Aurobindo's characterisation of the four Aspects alongside the relevant
passages in three strata of Sanskrit literature. The claim is not that Sri Aurobindo …
Sri Aurobindo's account in The Mother gives these the precision of a direct …

[PDF] Village Reconstrution theory as conceived by Sri Aurobindo

D Banerjee

… In this above citation from Sri Aurobindo we become aware … Sri Aurobindo
dreamt of reconstructing our villages. Now what are the steps of village
reconstruction? There must remain some necessary steps in this regard. To find out …

Cleansing India: Gandhi, Hindutva and the calypsology of sanitation reforms

P Chacko, A Sreekumar - South Asia: Journal of South Asian Studies, 2025

… On the surface, the Gandhian and contemporary Hindutva political-economic
projects … of existing literature on Gandhi and Hindutva, which either emphasises
their dissonances or … also underpins Hindutva organicist nationalism and both …

Varieties of Caste Politics

H Mylonas, AP Syed - Political Science Quarterly, 2026

Caste is among the world's most enduring forms of hierarchical social stratification,
yet it remains undertheorized in comparative research on race and ethnicity. Existing
scholarship often treats caste as a uniquely Indian phenomenon, limiting its …

[HTML] The Post-Secular Cosmopolitanization of Religion

A Jong - Religions, 2025

The contemporary restructuring of religion and secularism demands a departure
from conventional post-secular analyses that remain confined within the epistemic
and institutional frameworks of the nation-state. This paper develops the concept of …

[PDF] The Nexus between Populism and Democracy: An Indian Experience

S Mondal, L Bag

… While populism exists within all political parties, the BJP’s ideology of Hindutva,
which involves a revival of Hinduism and opposition to perceived intruders (particularly
Muslims), is unique to India’s current political climate. Chatterjee argues, “The project of …

[HTML] “What's in a Name?” Modernity, Class and the Negotiation of Gender-nonconforming Categories in India

A Mukherjee - South Asia Multidisciplinary Academic Journal, 2026

This article examines how gender-nonconforming (GNC) people in India construct
and negotiate identity within NGO-mediated contexts in the National Capital Region (NCR).
Locally known as hijras and in other vernacular categories as jogappa, kothi, aravani …

[PDF] Journal of Tourism and Himalayan Adventures

D Tripathi, G Millar, TR Kaini, S Gautam

… It presents spiritual experiences of a Vedic r`cg`j, born and raised in the west,
lived in Sri Aurobindo Ashram in India for forty years from his young age and now
has been living in Panchasee. Its key concern is to understand his spiritual quest in …

[PDF] Cinematic Pasts, Political Presents: The Politics of Hindi Historical Films after 2014

S Kureshi - Práticas da História. Journal on Theory, Historiography …, 2026

… many means through which Hindutva history is created and disseminated –
schools, textbooks, journals, front-organisations etc.This article seeks to add
Hindutva historicals to that list. The article is an attempt to inquire into the …

[PDF] A Western story in an Indian frame: A philosophical engagement with the cross-cultural adaptation of The Last Leaf into Lootera

P Tiwari, S Ghosh, G Dalal - 2026

This paper examines Vikramaditya Motwane’s Indian film adaptation Lootera (2013),
inspired by O’Henry’s short story The Last Leaf, to highlight the transformation that
occurs in a cross-cultural adaptation. Focusing on the philosophical aspect of the …

[PDF] Bulletin of the Ramakrishna Mission Institute of Culture (July 2026), pp. 13-18;(August 2026), pp. 14-18

G Stavig

Saguna Brahman lives in the Eternal Now knowing the past, present, and future by a
single cognition and unlike the human mind it is able to cognize Itself and Its objects
at the same time. According to Shankara and Swami Vivekananda, Brahman-God is …

Sachidanand Mohanty wrote about women writers of Odisha

 Collated by Tusar Nath Mohapatra

Of all my contemporary academics, Sachi was the most authentic Sri Aurobindo scholar, especially with reference to Sri Aurobindo's socio-political relevance today. Apart from the personal loss, it is a huge loss in the field of Sri Aurobindo research. - GG

A must-read for thinkers and students, Sachi Mohanty’s Sri Aurobindo: A Contemporary Reader brings together Sri Aurobindo’s most compelling visions on human unity, cultural evolution, and modern global crises.

https://x.com/Nimai_Swain/status/2115371207524819208?a=__C81JblRiz6PcsL8XY&s=19

I am still unable to believe that Prof. Sachidanand Mohanty is no more. I can recall dozens of panel discussions where he was my co-panelist and offered rich, in-depth inputs. I remember his warmth as an elder brother who, from day one, gently forced me to call him Sachhi Bhai, not sir or professor.

What I must always remember as a writer is his critical contribution to Odia literature through editing, compiling, and elaborately writing about the women writers of Odisha. Being the proud son of a great woman poet of Odisha, he devoted his life to exploring the creative power of his mother, her contemporaries, and her predecessors. He was the finest authority on women’s writings in Odisha—an authority I fear ended with his untimely death.

https://x.com/MishraKedar1/status/2115472235360366641?a=HHdGj08ctXEkJCvWdbo&s=19

Himself a product of Sri Aurobindo International Central of Education, he was one of the finest commentator of Sri Aurobindo's literature. May Sachi Bhai inspire all of us. 

https://x.com/Nimai_Swain/status/2115648369570021471?a=hodDH7clYcGtBQ2GzDM&s=19 

An ‘Indo-Anglian’ legacy - Sachidananda Mohanty https://www.thehindu.com/features/magazine/an-indoanglian-legacy/article4927193.ece/amp/

Sri Aurobindo and the Modern Academic World by Dr. Sachidananda Mohanty https://overmanfoundation.org/sri-aurobindo-and-the-modern-academic-world-by-dr-sachidananda-mohanty/

Rebati's Sisters: Search for Identity Through Education

S Mohanty - India International Centre Quarterly, 1994 - JSTOR

Irigary," The uniquely metaphysical logic of dichotomous oppositions" has always dominated" philosophical thought: for instance Presence/Absence, Being/Nothingness, Truth/Error, …

Rebati's Sisters: Search for Identity Through Education

Sachidananda Mohanty

India International Centre Quarterly 21 (4), 41-52, 1994

Irigary," The uniquely metaphysical logic of dichotomous oppositions" has always dominated" philosophical thought: for instance Presence/Absence, Being/Nothingness, Truth/Error, Some/Other, Identity/Dif ference, etc." 1 Women must constantly define themselves in terms of one half of the repressed categories as the Other, Absence, Silence, Error, Nothingness and the Insane. In the case of Orissa, feminist historiography of the kind Elaine Showalter had in mind is compounded by the problem of covering wide gaps even in newly retrieved areas of Oriya literary/cultural history. We must routinely make inexplicable leaps from a sparsely populated female landscape, from isolated instances of early women writers like Madhavi Dasi, Vrindavati Dasi, Tribhuvan Mahadevi, and Nih Shanka Devi to a more fecund region membered by those who wrote during the twenties and thirties of this century: Kokila Devi, Reba Ray, Narmada Kar, Pratibha Devi, Kuntala Kumari Sabat and others.

I suggest that one of the ways by which this fractured literary cultural history can be bridged is by subjecting key literary texts of the late nineteenth century, including those of the sympathetic male writers to a closer study. More specifically, I shall be arguing in this paper that Oriya novelist Fakir Mohan Senapati's (1843 1918) early, acclaimed and much anthologised tale" Rebati" 2 (1898) could act as a valuable missing link in tracing the continuity of the female literary tradition in Orissa. Apart from the concern with the issue of woman's education that is clearly borne out by the content of this first short story written and recorded in Oriya literature, I contend that Senapati's larger historical and socio-realistic interest

Ovid in Orissa: Translation and cultural representation in colonial India

S Mohanty - India International Centre Quarterly, 1999 - JSTOR

similarities occur invariably when regions go through similar cultural and ideological experiences. In the British colonial settlements that came to be established in Calcutta, Bombay and …

Ovid in Orissa: Translation and cultural representation in colonial India

Sachidananda Mohanty

India International Centre Quarterly 26 (3), 119-126, 1999

similarities occur invariably when regions go through similar cultural and ideological experiences. In the British colonial settlements that came to be established in Calcutta, Bombay and Madras, broad parallels in cultural forms and institutions became quite evident. It is this perspective that I wish to bring from Orissa. My aim is to see how translation mediates in the positioning of cultures. For my purpose, I shall take up a poetical composition called'Usha'by the Oriya poet Radhanath Ray1, generally acknow ledged as one of the makers of modern Oriya literature. I shall attempt to show that Radhanath's long poem was modelled after a Latin composition'Atalanta'in Ovid's Metamorphoses. 2 However, my inter est is not so much with tracing patterns of similarities and differences between the two texts so as to determine the question of what George Steiner aptly calls' fidelity'and'betrayal'—the traditional objective of translation study. Instead, I shall treat the translated text'Usha'as a free and independent rendering. I shall attempt to show that Radhanath's translations/adaptations like'Usha','Chandrabhaga'and'Parbati'were governed by a set of socio-cultural and ideological factors. In specific terms, I hope to show that Radhanath in'Usha'was not very burdened by the need to recapture the classical Latin heritage or to attempt poetical innovations through the use of exotic sources. As a poet working in a specific socio-cultural matrix, Radhanath, I argue, was engaged in the formation of a regional cultural identity.

[B] Travel Writing and the Empire

S Mohanty - 2003 - books.google.com

Travel has been a mode of assessment of territory, of knowledge gathering, and of putting a discursive system into place. This volume, edited and introduced by Sachidananda Mohanty…

Travel Writing and the Empire

Sachidananda Mohanty

Katha, 2003

Travel has been a mode of assessment of territory, of knowledge gathering, and of putting a discursive system into place. This volume, edited and introduced by Sachidananda Mohanty, brings to you the range of hidden discourses that constituted and explored the issues central to the political and literary representation of Indian reality, and the politics behind it.

Burden of Shakti: Female Agency and Literary Creativity in Orissa

S Mohanty - Economic and Political Weekly, 2004 - JSTOR

The issue of women as cultural icons is a highly contentious one with far-reaching political implications. Some outstanding literary women in late 19th and early 20th century Orissa …

Burden of Shakti: Female Agency and Literary Creativity in Orissa

Sachidananda Mohanty

Economic and Political Weekly, 2442-2444, 2004

The issue of women as cultural icons is a highly contentious one with far-reaching political implications. Some outstanding literary women in late 19th and early 20th century Orissa consciously embraced Shakti, for personal empowerment and participation in wider political space. But the emblems they embraced and the lives they lived betrayed unsolved contradictions: personal love versus public service, drudgery of domestic life versus the desire for literary creativity, the loyalty to a married partner vis-a-vis the attraction to a true companion of the soul, intimate social longing and demands for public chastity.

[B] Early women's writings in Orissa, 1898-1950: a lost tradition

S Mohanty - 2005 - books.google.com

Based on archival research, this fascinating book brings together many of the neglected writings of Oriya women of the late 19th and early 20th centuries. Sachidananda Mohanty …

Early women's writings in Orissa, 1898-1950: a lost tradition

Sachidananda Mohanty

Sage, 2005

Based on archival research, this fascinating book brings together many of the neglected writings of Oriya women of the late 19th and early 20th centuries. Sachidananda Mohanty focusses on a period when women’s writings dealt not only with questions of gender and identity but also with cultural, political and ideological issues of their times. Utilizing different forms—short stories, poems, essays, travel writings, novels and letters—these women writers responded honestly both to the world that was in turmoil around them and to the demands of their own inner selves. By articulating and advancing the personal in the public and by imbuing the personal with the social and the political, these ‘literary domestics’ transcended their limitations and became the precursors of a tradition that critically examined both traditional values and modern contingencies, yet sought to bring them together to fruition.

[C] Remembering Kishor Gandhi

S Mohanty - Sri Aurobindo and the new age - ixtheo.de

Description: Remembering Kishor Gandhi :: IxTheo IxTheo Social media Bluesky Bluesky Mastodon Mastodon Login Language English Deutsch Español Français Italiano Português …

[B] Sri Aurobindo: A contemporary reader

S Mohanty - 2012 - api.taylorfrancis.com

This book compiles some of the finest writings of Sri Aurobindo (1872–1950) — the nationalist, visionary, poet-philosopher. It reflects the range, depth and outreach of the moral, …

Sri Aurobindo: A contemporary reader

Sachidananda Mohanty

Routledge India, 2012

This book compiles some of the finest writings of Sri Aurobindo (1872–1950) — the nationalist, visionary, poet-philosopher. It reflects the range, depth and outreach of the moral, intellectual and spiritual vision of this versatile and multifaceted genius. It aims at providing, at one place, access to the key concepts, tenets, and the spirit of the extraordinary range of texts authored by him. Although concretely grounded in contemporary times — with its location in a specific socio-cultural matrix — this work projects a body of writings that is certain to have lasting value. In particular, the compilation brings forth Sri Aurobindo’s social vision and his role as a cultural critic: his views on ethnicity, his exposition of the key role language plays in the formation of communitarian identities, his crucial understanding of self-determination which has incidentally become an important aspect of human rights discourse today. Situating the writings in a specific intellectual, spiritual and historical context, this collection will enable readers to appreciate the overall vision of Sri Aurobindo, in what can be conceived as a caravan of history of ideas in terms of a common heritage of humankind, and recent developments in theory and disciplinary practice, especially those pertaining to consciousness and future studies.

[B] Cosmopolitan modernity in early 20th-century India

S Mohanty - 2018 - books.google.com

… © 2018 Sachidananda Mohanty The right of Sachidananda Mohanty to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the …

Cosmopolitan modernity in early 20th-century India

Sachidananda Mohanty

Taylor & Francis, 2018

This book presents an alternative view of cosmopolitanism, citizenship and modernity in early 20th-century India through the multiple lenses of mysticism, travel, friendship, art, and politics. It makes a key intervention in the understanding of cosmopolitan modernity based on the lives and experiences of Rabindranath Tagore, Ananda Coomaraswamy, Sri Aurobindo, Mirra Alfassa, James Cousins, Paul Richard, Dilip Kumar Roy, and Taraknath Das. Using archival texts and photographs, Mohanty interrogates the ideas of tradition and modernity, the local and the global, and Self and the world as integral to the conception of a cosmopolitan world order. This second edition will interest scholars and students of modern Indian history, comparative literature, cultural studies, Indian philosophy, and South Asian studies and the general reader.

Sri Aurobindo in the University

S Mohanty - Indian Literature, 2023 - JSTOR

—Sri Aurobindo on modern psychology ri Aurobindo’s reputation as a poet, patriot, revolutionary, mystic, and Sexponent of the future evolution of Man, has eclipsed, for long, his major …

Sri Aurobindo in the University

Sachidananda Mohanty

Indian Literature 67 (5 (338), 197-208, 2023

—Sri Aurobindo on modern psychology ri Aurobindo’s reputation as a poet, patriot, revolutionary, mystic, and Sexponent of the future evolution of Man, has eclipsed, for long, his major contributions to the modern university system. How has Sri Aurobindo been received in the academia in the East and West? What have been the debates around his poetry and literary writings? What is the lasting value of Sri Aurobindo in the context of the intellectual history and future studies? On his 150th birth anniversary, it may be fruitful to assess his place in the modern academic world.

I shall argue that while the reception of Sri Aurobindo in the mainstream academia in India and the West may have undergone a change after his passing, and some academic disciplines may not be as hospitable to him as before, newer vistas like Global Studies, International Relations, Consciousness Studies, Cosmopolitanism, Indic Studies, and Integral Education may witness the growing role of Sri Aurobindo in the thought systems of the world. Like all institutions, the modern university system has undergone

Colonial Periodicals and the Birth of a New Province: The Case of Utkal Dipika and Utkal Sahitya

S Mohanty - Studies in Humanities and Social Sciences (SH&SS), 2022 - journal.iias.ac.in

This essay will explore the intersections between the twin periodicals, Utkal Dipika edited by Gourishankar Ray [1866-1917] and Utkal Sahitya edited by Biswanath Kar [1897-1934] in …

Colonial Periodicals and the Birth of a New Province: The Case of Utkal Dipika and Utkal Sahitya

Sachidananda Mohanty

Studies in Humanities and Social Sciences (SH&SS) 29 (2), 202-217, 2022

This essay will explore the intersections between the twin periodicals, Utkal Dipika edited by Gourishankar Ray [1866-1917] and Utkal Sahitya edited by Biswanath Kar [1897-1934] in terms of authorial ‘intentions’ and textual practice. Located in the larger colonial context in British India, it will argue that in course of time, these pivotal intersections resulted in the birth of a new linguistic province called Odisha in 1936, one of the first of its kind in India. It will argue that the emerging print culture, created by the native gentry, under the British Raj, led to newer forms of linguistic and cultural imaginaries in eastern India whose contours are beginning to be unravelled in recent times.