Dear David,
The short answer is, as far as I know, no. They are zealously guarded and
the last I knew is that they will be for the foreseeable future. Ernst
Steinkellner managed to form a liaison in the 90s and published a few
things, but my impression is that otherwise they are permanently of
e.
>
> The content of the gestures in the dance sections between lines of
> dialogue too is part of this aesthetic interpretation
> /elaboration/commentary by the actor.
>
> On Sat, Apr 2, 2022 at 2:03 AM DIEGO LOUKOTA SANCLEMENTE <
> diegolouk...@ucla.edu> wrote:
>
>>
Dear all,
I am looking for guidance regarding the conventions of the Sanskrit
theater traditions of Kerala. The question is: What is the content and
structure of the semantic gestures in the dance sections between lines of
dialogue?
In one of my courses we will be reading the *Little Clay Ca
Dear Paolo,
Albeit short and less descriptive than we would wish, the three 3rd-4th
Century Gāndhārī documents from Niya that mention the persecution and
summary execution of witches, numbers 58, 63, and 248, are the one instance
I can think of (you will find the texts in Boyer, A.M., E. J. Ra
Dear all,
The Center for the Study of Religion at UCLA welcomes applications for a
two-year lecturership in Jainism & South Asian Religions. The deadline for
application is January 2, 2022; see more information in the link below. I
would be grateful if you could forward this to anyone who wou
Dear Harry,
Something I do (not perfect) is taking the digital Devanagari text and
input it to Google Translate set to Nepali. The phinetic transcription
yields tolerable IAST text with some quirks that can be easily fixed with
the "replace all" feature on Microsoft Word vel sim. (e.g. ē -> e)
"phonetic", not "phinetic"...
On Wed, Dec 1, 2021, 7:18 AM DIEGO LOUKOTA SANCLEMENTE <
diegolouk...@ucla.edu> wrote:
>
> Dear Harry,
>
> Something I do (not perfect) is taking the digital Devanagari text and
> input it to Google Translate set to Ne
Wonderful resource! Thank you and congratulations. *namaskaromi*, Diego.
On Thu, Nov 18, 2021 at 12:26 AM Dániel Balogh via INDOLOGY <
indology@list.indology.info> wrote:
> Dear Tyler,
> heartfelt congratulations, having the recitation sound files there is
> fantastic, and I really appr
Dear Axel,
You can find it here:
https://archive.org/details/in.ernet.dli.2015.533870
*namaskaromi*,
Diego
On Thu, Jul 22, 2021 at 2:45 PM Michaels, Axel <
micha...@hcts.uni-heidelberg.de> wrote:
> Dear all,
>
>
>
> Does anybody have a scan/copy of the following article bei
Dear Prof. Deshpande,
I wonder if these two posts are the ones you were thinking about:
https://list.indology.info/pipermail/indology/1999-August/018160.html
https://list.indology.info/pipermail/indology/1999-August/018163.html
*namaskaromi*,
Diego
On Mon, Jul 19, 2021 at 12:11 P
Hello Patrick,
The term occurs in act four (4.95), p. 152 in the Shulman/Rao
edition+translation for the Clay Sanskrit Library.
Mallaghaṭī is given only as a scenic indication on how a verse is to be
performed, perhaps involving specific modes of song, dance, or pantomime.
Lyne Bansat-Boud
n Tue, May 11, 2021 at 2:44 PM DIEGO LOUKOTA SANCLEMENTE <
diegolouk...@ucla.edu> wrote:
>
> Hello Artur,
>
> I see your point, and it resonates with things I have thought. In the
> period in which I am most interested, the exact original etymon of MIA
> *sutta* is largely
Hello Artur,
I see your point, and it resonates with things I have thought. In the
period in which I am most interested, the exact original etymon of MIA
*sutta* is largely irrelevant—what is crucial is knowing how the term was
understood in the period, namely as equivalent to Sanskrit *sūtra*
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