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By Mandakranta Bose

The Ramayana is one in all India's foundational epics, and it demonstrates a continuous energy to steer social, non secular, cultural, and political existence. delivered to textual existence in Sanskrit via the mythical "first poet," Valmiki, over the resultant centuries the story has been recycled with striking adaptability and variety throughout the assorted cultural heritages of India and different elements of Asia. the fundamental story of the Ramayana is consistently tailored to new contexts, types, and media. it truly is learn, recited, sung, danced, and acted in a single shape or one other, and renewed so regularly by way of altering occasions and values that it calls for consistent revaluation. The Ramayana Revisited offers the most recent in Ramayana scholarship. Fourteen best students research the epic in its myriad contexts all through South and Southeast Asia. They discover the position the narrative performs in societies as diversified as India, Indonesia, Thailand, and Cambodia. The essays additionally extend the certainty of the "text" to incorporate non-verbal renditions of the epic, with specific cognizance to the advanced methods such retellings swap the best way the narrative bargains with gender. This quantity may be precious to scholars and students attracted to mythology, Hinduism, Asian stories, and anthropology.

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A deeply religious woman herself, Candra¯vatı¯ nonetheless directs her sympathy toward Sı¯ta¯, going so far as to turn the epic mainly into Sı¯ta¯’s story, but also that of Mandodarı¯’s life and the poet’s own as parallel legends of women’s suffering. The evident subtext of Candra¯vatı¯’s writing is the miserable lot of women in general, which marks a distinctive trend in Bengali Ra¯ma¯yanas. Bose points out that the questioning of Ra¯ma’s actions, of Sı¯ta¯’s treatment in particular, is a common feature of Bengali Ra¯ma tales.

This argument enables Ra¯ma to steer the debate away from the issue of generational deference to patriarchal authority to that of the gendered deference of a wife to her husband. Ra¯ma rejects Kausalya¯’s plea to be permitted to accompany him on grounds that are interesting in the light of his extensive debate with Sı¯ta¯ on this very subject, to which the present one serves as a preamble. He argues that Kausalya¯ cannot accompany him because it is under no circumstances permissible for a woman to leave her husband.

Lorenzen. Albany: State University of New York Press. Parkhill, Thomas. 1993. ” In B. R. Hertel and C. A. , Living Banaras. Albany: State University of New York Press. Pollock, Sheldon. 1993. 2 (May). Raghavan, V. 1961. Some Old Lost Ra¯ma Plays. Annamalainagar: Annamalai University. ———, ed. 1980. The Ra¯ma¯yanfi a Tradition in Asia. New Delhi: Sahitya Akademi. Raghuvira and Chikiyo Yamamoto. 1938. Ra¯ma¯yanfi a in China. Nagpur: International Academy of Indian Culture. Richman, Paula, ed. 1991.

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