Rasa

RESUMO
O ensaio tem por objetivo dissecar a noção de poesia enquanto fator subjacente na consolidação de uma existência totalmente imersa no congraçamento universal, na compaixão e no desapego, e que aponta para a convergência dos projetos de persecução da Verdade, da Beleza, e da Felicidade. Para tanto, dividi o ensaio em duas partes. Na primeira, apresento o contexto filosófico-científico-religioso que condicionou a recepção de Rabindranath Tagore no Ocidente. E no segundo, analiso o seu projeto místico-poético enquanto 'religião do Poeta', i.e., uma disciplina (sadhana) que "libera a ideia de indivíduo de seu confinamento aos fatos do cotidiano e confere a suas asas a liberdade do universal. É esta a função da poesia".
PALAVRAS-CHAVE: Tagore. Rasa. Religião do poeta. Mística.

ABSTRACT
The essay aims at analyzing the notion of poetry as a subliminal factor leading to the consolidation of an existence totally immersed in universal celebration, compassion and detachment, and which points to the convergence between the projects searching for Truth, Beauty and Happiness. For that, I divided the essay in two parts. In the first part, I discuss the philosophical-scientific-religious context that conditioned the reception of Rabindranath Tagore in the West. And, in the second, I analyze Tagore's mystical-poetical project as the 'poet's religion', i.e, a discipline (sadhana) that seeks "to detach the individual idea from its confinement of everyday facts and to give its soaring wings the freedom of the universal: this is the function of poetry."
KEYWORDS: Tagore. Rasa. Poet’s religion. Mystic.

There has long been a debate on the possible similarity between some forms of Indian and Greek idealistic monism (Advaita and Neoplatonism). After a basic historical introduction to the debate, the text proposes that Paramādvaita, also known as Kashmiri Shaivism, is a more suitable comparandum for Neoplatonism than any other form of Advaita, suggested in the debate. Paramādvaita's dynamic view of reality summarized in the terms prakāśa-vimarśa or unmeṣa-nimeṣa, corresponds quite precisely to the viewpoint of Neoplatonism, summarized in the similar bipolar terms such as prohodos-epistrophe. The context of the dynamic nature of reality doctrine is also quite similar (svataḥsiddhatva, authypostasis). My arguments are based on the texts of Plotinus and Proclus (Neoplatonism) and the texts of Abhinavagupta, Utpaladeva and Kṣemarāja (Paramādvaita). Several parallel doctrines of both systems are further discussed: the doctrine of creative multilevel subjectivity, the doctrine of mutual omnipresence of all in all, the doctrine of creative multilevel speech, and some corresponding doctrines on aesthetic beauty and its important role in the Soul's return towards its ultimate source. Some implications of the high degree of correspondence between both systems are considered at the end of the paper, for instance whether some similarities of compared systems might be explained on a structural basis, since both schools ware facing similar sceptical critique (Mādhyamika, Hellenistic scepticism).

This study examined the relationship between music preferences (MP),
listening styles (LS), functions of music (FoM), perceived rasa (music), and personality traits (PT – Big Five Factors). A sample of 77 young adults (M = 39; F = 38; M = 22.7 years) completed measures of the above constructs and data were analysed via correlations, one-way ANOVA, post hoc tests, and T-tests. Significant correlations were found between LS & PT; MP & PT; FoM & PT; FoM & emotion; and LS & FoM. Findings indicated stronger preferences for genres namely Romantic songs, Soft songs, and Filmy (Sad) songs. Gender difference existed in terms of MP, perceived emotions and LS. Music listening mainly served as a ‘source of pleasure and enjoyment’ and which ‘calms, motivates, or reminds of past events’. Musical genres inducing santoṣa rasa were perceived significantly higher in female participants. Based on the findings, a ‘music engagement model for Young Adults’ describing their music behaviour, have been proposed.

n Indian classical dance, drama and music, the term rasa is used to refer to the aesthetic experience of the audience. The theory of rasa was put forth in Natya Shastra(NS)in 500 CE by philosophers of the Kashmir valley  of Himalayas. Rasa essentially describes the experience of the audience when the boundary between subject and object disappear and the audience enjoys the play intuitively without requirement of an intellectual explanation. Rasa deals with how emotions are depicted, inferred and transmitted in the presentation of a play.
It is undeniable that at the core, architecture is a functional art & rasa is essentially an emotional response to an ongoing art performance. Through this paper, by using a 3-part analysis, an attempt shall be made to establish a bridge between rasa and architecture; Firstly, this paper establishes a basic structure of the rasa theory for a more universal interpretation. Second, it applies this structure to understand how rasa influences the design of sets of a Drama/ movie. Finally, it attempts to extend the parameters laid down in NS to create experience of rasa in architecture.
“Baahubali 2- the conclusion” is the second part of a two-part Indian movie in Telugu language (dubbed into other Indian languages) directed by S. S. Rajamouli and produced by Arka Media works. By taking this movie as the case study, this paper shall critically analyze the architectural settings of this movie and a probable outcome of emotional work on functionality and eventual physicality as a way into architecture of reality.

This study examined the relationship between music preferences (MP), listening styles (LS), functions of music (FoM), perceived rasa (music), and personality traits (PT -Big Five Factors). A sample of 77 young adults (M = 39; F = 38; M = 22.7 years) completed measures of the above constructs and data were analysed via correlations, one-way ANOVA, post hoc tests, and T-tests.

The Cotentin Peninsula (Normandy, France) displays sequences of marine terraces and rasas, the latter being wide Late Cenozoic coastal erosion surfaces, that are typical of Western European coasts in Portugal, Spain, France and southern England. Remote sensing imagery and field mapping enabled reappraisal of the Cotentin coastal sequences. From bottom to top, the N Cotentin sequence includes four previously recognized Pleistocene marine terraces (T1 to T4) at elevations < 40 m as well as four higher and older rasas (R1 to R4) reaching 200 ± 5 m in elevation. Low-standing marine terraces are not observed in the central part of the Peninsula and a limited number of terraces are described to the south. The high-standing rasas are widespread all over the peninsula. Such strandline distributions reveal major changes during the Late Cenozoic. Progressive uplift of an irregular sea-floor led to subaerial exposure of bathymetric highs that were carved into rocky platforms, rasas and marine terraces. Eventually, five main islands coalesced and connected to the mainland to the south to form the Cotentin Peninsula. On the basis of previous dating of the last interglacial maximum terrace (i.e. Marine Isotopic Stage, MIS 5e), sequential morphostratigraphy and modelling, we have reappraised uplift rates and derived: (i) mean Upper Pleistocene (i.e. since MIS 5e ~ 44 122 +/- 6 ka, i.e. kilo annum) apparent uplift rates of 0.04 ± 0.01 mm/yr, (ii) mean Middle Pleistocene eustasy corrected uplift rates of 0.09 ± 0.03 mm/yr, and (iii) low mean Pleistocene uplift rates of 0.01 mm/yr. Extrapolations of these slow rates combined with geological evidence implies that the formation of the sequences from the Cotentin Peninsula occurred between 3 Ma (Pliocene) and 15 Ma (Miocene), which cannot be narrowed down further without additional research. Along the coasts of Western Europe, sequences of marine terraces and rasas are widespread (169 preserve the MIS 5e benchmark). In Spain, Portugal, S England and other parts of western France, the sequences morphostratigraphy is very similar to that of Cotentin. The onset of such Western European sequences occurred during the Miocene (e.g. Spain) or Pliocene (e.g. Portugal). We interpret this Neogene - Quaternary coastal uplift as a symptom of the increasing lithospheric compression that accompanies Cenozoic orogenies.

This paper seeks to explore the folk aesthetics of the springtime Bihu festival of Assam. The concept of Rasa, a significant part of the classical aesthetics found in Bharatmuni’s Natyashastra, has been outlined and illustrated through the Bihu songsthe dancing, the gestures as well as the overall ethos of the festival. A major aspect of the paper is the dialectics that form between the folk and the classical canon; an effort has been made to understand the juxtaposition of the two as well as the formation of the classical from the folk. Bihu as a celebration of eros, romance and fertility forms the core of the argument; adi-rasa and shringar-rasa form the primary essence of this celebration and this paper. This folk festival is undergoing rapid modernisation which has brought the dance form onto the urban stage that has led to the metamorphosis of the otherwise agricultural nomenclature of Bihu into a more ‘sanitised’ version of the same. [

ABSTRACT: There has long been a debate on the possible similarity between some forms of Indian and Greek idealistic monism (Advaita and Neoplatonism). After a basic historical introduction to the debate, the text proposes that Paramādvaita, also known as Kashmiri Shaivism, is a more suitable comparandum for Neoplatonism than any other form of Advaita, suggested in the debate. Paramādvaita’s dynamic view of reality summarized in the terms prakāśa-vimarśa or unmeṣa-nimeṣa, corresponds quite precisely to the viewpoint of Neoplatonism, summarized in the similar bipolar terms such as prohodos-epistrophe. The context of the dynamic nature of reality doctrine is also quite similar (svataḥsiddhatva, authypostasis). My arguments are based on the texts of Plotinus and Proclus (Neoplatonism) and the texts of Abhinavagupta, Utpaladeva and Kṣemarāja (Paramādvaita). Several parallel doctrines of both systems are further discussed: the doctrine of creative multilevel subjectivity, the doctrine of ...

There have been a number of attempts at editing and translating the text of the Nāṭyaśāstra and Abhinavabhāratī, including most recently Professor K.D. Tripathi’s first volume of the Nāṭyaśāstra (2015) and a selection of translations included in Professor S. Pollock’s Rasa Reader (2016). Despite a relatively long history of scholarly engagement, however, much about this tradition remains poorly understood, and the texts themselves remain very difficult to establish conclusively: both texts are technical, and to add to this, the Nāṭyaśāstra is available in widely-divergent forms in several families of manuscripts, while the Abhinavabhāratī is available only in a highly corrupt form in a single family of manuscripts.

This workshop will principally include a close textual reading of selections from the Rasādhyāya (chapter 6) of the Nāṭyaśāstra of Bharatamuni—the celebrated work on Indian aesthetics—together with the Abhinavabhāratī commentary of Abhinavagupta. The discussion in the Abhinavabhāratī includes a critical overview of the history of Indian aesthetics up to Abhinavagupta himself in the tenth century, including such thinkers as Śrī Śaṅkuka, Bhaṭṭa Lollaṭa, Bhaṭṭa Nāyaka, etc. The aim of the workshop is not only to familiarize the participants with the principal questions and debates in Indian aesthetics, but also to discuss the philological challenges posed by these texts with experts in the field. We will therefore work with parallel texts and manuscripts in our readings of the Abhinavabhāratī.

Rasa ingin tahu meningkatkan penglibatan dan kerjasama. Orang yang ingin tahu membuat pilihan yang lebih baik, meningkatkan prestasi institusi mereka, dan membantu mereka menyesuaikan diri dengan keadaan persekitaran yang tidak menentu dan tekanan luar.