The researcher aims to conduct an exquisite and critical sociological study of the text Naga-Mandala utilizing a contemporary and postmodern approach to it. It also attempts to bring out the problems and challenges largely faced by twentieth century Indian women. Also how Naga-Mandala falls under the category of subaltern and feminist literary text.
Anil Pinto This blog is an experiment in using blogs in higher education. Most of the experiments done here are the first of their kind at least in India.
I wish this trend catches on Now you can view this blog on your mobile phones! Nagamandala is an elaborate and spectacular ritual of serpent worship at present found in Tulunadu, especially in Mangalore and Udupi districts.
Nagamandala is also called hudiseve, mandlabhoga or mandlaseve by the Baidyas. But nagamandala is a term generally used by all to denote this form of worship. The term nagamandala is a compound of two words: Naga means serpent and mandala implies decorative pictorial drawings on the floor.
The decorative drawing in this context means the drawing of the figure of serpent god in a prescribed form. Nagamandala depicts the divine union of male and female snakes.
Noted play writer Girish Karnad wrote a play titled Nagamandala in Like the ritual this also revolves around the union of a snake. However, here the union was not with another snake. Instead it was the union of a snake in the form of a human with another human. The play is based on two folk-tales that Karnad heard from his mentor A.
The above paper will take a direction towards the idea of snake in the play and its various connected concepts to the Indian culture. Rani is a young bride who is neglected by her indifferent and unfaithful husband, Appanna.
Appanna spends most of his time with his concubine and comes home only for lunch. In an attempt to do so, she decides to drug her husband with a love root, which she mixes in the curry. That curry is spilled on the nearby anthill and Naga, the King Cobra drinks it.
Naga, who can take the form of a human being, is enchanted with her and begins to visit her every night in the form of her husband.During his tenure at Chicago Nagamandala had its world premiere at the Guthrie Theater in Minneapolis based on Karnad's English translation of the Kannada original.
The Plays of Girish Karnad: Critical Perspectives Prestige Books, New Delhi, Pradeep Trikha, Multiple Celebrations, Celebrating Multiplicity in Girish Karnad.
The Plays of Girish Karnad: Critical Perspectives 83 In The Dreams of Tipu Sultan, Karnad celebrates Tipu as a figure of anti-colonial resistance in keeping with the occasion for which it was written.
The play thus calls for a resurgence of the feeling of patriotism and nationalism by reminding the uprooted.
The present study is a modest attempt to examine Girish Karand’s Tughlaq, which is noted for its historical theme and contemporary relevance, and to throw light on Tughlaq, the central figure of the play, who stands for administrative reforms, for implementing the policy.
A Friendship Destined to be Doomed: A Critical Study of Girish Karnad’s Hayavadana. Avijit Pramanik. Junior Research Fellow Department of Humanities and Social Sciences.
A Feminist Critical Study of Girish Karnad’s Naga- Mandala Shraddha Research Scholar, Department of English and Modern European Languages, University of Allahabad, Allahabad India Abstract: Girish Karnad is the foremost playwright of the contemporary stage.
He has given the Indian. The Plays of Girish Karnad: Critical Perspectives 81 Girish Karnad is one such Indian playwright who has rejected the imitative pursuits of Naga Mandala () is a socio-psychological study of Indian woman; richly textured dramatic transmutation of two folk tales of Karnataka.
It deals with gender-.