Open Access
Theories of Performance and Performativity
Vol. 2, No. 1 (2026)
This study proposes that there exists a deeper structural affinity between performance practice and philosophical inquiry than is commonly acknowledged. Grounded in the foundational insights of Piyal Bhattacharya on the metaphysics of embodiment in the Nāṭyaśāstra, this paper builds upon his framework by drawing upon philosophical systems such as Ashtanga Yoga and Kashmir Shaivism. More specifically, it argues that the process of nṛtta may be understood as analogous to the yogic or tantric progression toward states such as Samprajñāta samādhi. Within this mapping, sthāna (along with sthiti) corresponds to dhāraṇā (focused concentration), karaṇa to dhyāna (meditative absorption), and aṅgahāra to samādhi (complete integration). In this context, the paper further argues that the performer employs sthānas as an initial step toward depersonalization—shifting from individual identity toward a structured, archetypal presence. This transformation is not merely aesthetic but contemplative, requiring both technical precision and a deeply internalized state of awareness. Through this lens, Abhinavagupta’s engagement with the Nāṭyaśāstra can be seen as something that recognizes performance as a valid and potent pathway toward higher states of consciousness.
DOI: 10.63752/pijcace.0201S03
26 Downloads
390 Views
Open Access
Comparative Literature and World Literature
Vol. 2, No. 1 (2026)
Saradindu Bandyopadhyay’s immortal creation Byomkesh Bakshi stands apart from other conventional detective characters both in terms of benevolent understanding and humanitarian approach. His main objective is not merely to catch the culprit and bring him to justice, but to solve the crime and reach the crux of truth – famously identifying himself as ‘satyanweshi’ or the ‘truth seeker’. Whereas other detective characters complete their cases with a successful investigation of the crime, Byomkesh as an ‘inquisitor’ goes beyond the limited understanding of crime and punishment. His perception of truth is not confined within the finite scope of justice – either with the recovery of stolen goods or exposing the culprit; but the circumstances in which the crime has been committed. This paper is a modest attempt to critically analyse select stories of Byomkesh series, where the deductive reasoning of sleuth becomes secondary to the didactic teachings he imparts on the characters as well as readers. Byomkesh advocates exceptional methods and often takes unorthodox decisions which set him apart from the stereotype of Western detective models. His realisation of truth is as well the journey of readers from ignorance to experience. This paper also interrogates whether the ‘truth seeker’ aspect of his persona overshadows his capability as a criminal investigator.
DOI: 10.63752/pijcace.0201S08
38 Downloads
283 Views
Open Access
Film and Television Studies (Theory, Genre, Auteurism)
Vol. 2, No. 1 (2026)
This paper explores the theme of female autonomy extensively with special reference to demanding female authority, rights, and freedom through the ‘occult’ form. The study involves a literary analysis of two popular Bollywood films Stree (2018) and Bulbbul (2020) and their larger-than-life portrayals of female autonomy in the occult form. Also, the paper tries to analyze how males become ‘the secondary sex’ in a patriarchal society while women are considered the dominant. This paper highlights females’ retreat over the male dominated society. Also, a subtle critique of the imposition of the mumpsimus ways of the society upon women, is presented in the paper. The binary between the male order and female subjugation has been completely overturned in these films. Though represented in occult forms, the female protagonists in these films symbolize every woman from every sphere and enforces the idea that men become recreants when facing any challenge or when restricted from enjoying freedom and power. Moreover, through feminist theories and readings, the study includes the theoretical analysis of women’s emancipation within the surroundings of Stree and Bulbul. Through the lens of feminism, the study provides an explorative area of how these films highlight the subverted gender dynamics. The paper also presents female empowerment challenging the long-standing patriarchal traditions and the societal expectations to accept the autonomy of women in occult practices.
DOI: 10.63752/pijcace.0201S07
36 Downloads
265 Views
Open Access
Comparative Literature and World Literature
Vol. 2, No. 1 (2026)
This research paper analyses how recent Indian graphic novels re-envision the Ramayana, not only as mythology but also as an empowering graphic-textual means of grappling with contemporary issues that concern identity, power, gender, and ethics. Using a critical reading of Vikram Balagopal’s Simian (2014) and Samhita Arni & Moyna Chitrakar’s Sita’s Ramayana (2011), the research explores how the interplay of visual composition, page layout, artistic choices, and narrative voice in both problematizes and reimagines traditional notions of dharma, heroism, and divinity. This research paper also explores how these graphic novels, evaluated through a multidisciplinary framework of graphic narrative theory, comparative mythology, and cultural studies, subvert hegemonic portrayals of Rama and recentre marginalized voices like Sita. These visual reinterpretations are not just retellings; rather, they are also acts of cultural intervention, questioning who is allowed to interpret the epic and for what purpose. By moving the visual perspective and narrative voice, they present readers with a morally nuanced and aesthetically rich encounter, prompting questions about what it means to reinterpret sacred tradition in a rapidly changing world.
DOI: 10.63752/pijcace.0201S06
45 Downloads
305 Views
Open Access
Indian Religious Traditions (Hinduism, Buddhism, Jainism, Sikhism)
Vol. 2, No. 1 (2026)
This paper focuses on Niṣkāma karma or desireless action in the light of Śrīmadbhagavadgītā. Gītā, despite being a holy book, is an ethical handbook as well. So Niṣkāma karma or desireless action truly brings out the essence of the Gītā and revolves around the notion of desire and human agency in action. The paper first introduces what desireless action is and how it becomes a central question in the Śrīmadbhagavadgītā. The problem lies in the very core of the concept of desirelessness in action, which is surprisingly the slogan of Anāsakta karma or Niṣkāma karma. The paper gradually progresses towards bringing a solution to the apparent contradiction that follows if ‘desireless action’ is considered in the literal sense of the term. Why Niṣkāma karma becomes the point of question is due to the very word ‘niskama’, which seems to be in an apparent contradiction with the word ‘karma’ or action. It is either Niṣkāma karma is possible, or it is not. But following Gītā, Niṣkāma karma is possible and becomes an ethical dictum mostly throughout all the chapters. To support the idea that desireless action is possible, I will provide three accounts of non-literal senses of the term Niṣkāma karma and will try to provide which of these three accounts gives the most plausible explanation. All the interpretations mentioned require explanations separately, and at the conclusion, I will provide my stand towards which interpretation is the most plausible one.
DOI: 10.63752/pijcace.0201S05
36 Downloads
246 Views
Open Access
Comparative Literature and World Literature
Vol. 2, No. 1 (2026)
Historically, Bengali literature has been acclaimed for its richness of fiction as well as poetry. However, not many Bengali authors have been found to be experimenting with the narrative forms. As far as themes and content of fiction were concerned the Bengali authors abundantly experimented; however, the same cannot be said in terms of the narrative style. For example, a widely accepted style like the magic realism was quite underexplored in the oeuvre of Bengali literature. Even when it is employed, as we can see in the works of Nabarun Bhattacharya, it seldom complicates the story-telling by bringing together historiography and magic realism. Rabisankar Bal precisely does that in his work, the Dozakhnama or Conversations in Hell (2010). Bal dexterously handles two different characters, namely Ghalib and Manto, belonging to two separate time periods, and retells the stories of immense historical significance. His narration provides a unique lens to look at the non-linearity of time and synthesizes discrete historical events of India that happened ninety years apart, namely in 1857 and 1947. This paper analyses some salient features of magic realism and shows how Rabisankar Bal appropriates them in his novel Dozakhnama, and in the process, creates a unique work that seldom finds any parallel in the literary realm of Bengali Literature.
DOI: 10.63752/pijcace.0201S04
22 Downloads
227 Views
Open Access
Comparative Literature and World Literature
Vol. 2, No. 1 (2026)
Ecolinguistics, a relatively new sub-discipline of linguistics, is mainly based on the Sapir-Whorfian ideology of linguistic determinism which claims that the way we use language shapes our interactions with the environment. It is the study of “the life-sustaining relationships of humans with other humans, other organisms and the physical environment, with a normative orientation towards protecting the systems that humans and other forms of life depend on for their well-being and survival” (Alexander and Stibbe 105). The relations of humans with other species and the physical environment are of great importance, since the continuation of all life depends on these ecological relationships. T. S. Eliot’s The Waste Land (1922) is a frantic sincere expression of an agonized poetic soul to find out the means of getting rid of the mechanized stony cruelty-ridden modern life. The poem begins with a shocking sentential expression ‘April is the cruelest month breeding,’ but ends with the three-time asyndetic repetition of noun ‘shantih’ which a human being desires most. The present paper is a preliminary attempt to analyze and explore the poem from the perspective of ecolinguistics and to exhibit how poetic expression takes turns in depicting the integral relationship between all the constituents of environment affected by the ‘cruelest’ materialism and repaired by the peace-giving spiritualism.
DOI: 10.63752/pijcace.0201S02
43 Downloads
425 Views
Open Access
Classical and Contemporary Theories of Aesthetics
Vol. 2, No. 1 (2026)
Śrī Caitanya Deva, revered in Gauḍīya Vaiṣṇava tradition as the combined manifestation of Śrī Kṛṣṇa and Śrī Rādhā, is widely recognized for his philosophical contributions and devotional movement. This article highlights a less-explored dimension of his genius–his profound mastery of Sāhitya Śāstra (literary theory and poetics)–through a critical examination of his scholarly encounter with the Kashmirian digvijayī scholar Keśava Bhaṭṭa, as detailed in Śrī Caitanya Caritāmṛta and Caitanya Bhāgavata. During their meeting on the banks of the Gaṅgā, Keśava Bhaṭṭa, renowned for his extemporaneous composition (ghaṭikāśataka), composed one hundred verses glorifying the Gaṅgā. Caitanya selected one verse in the Śikharinī metre and subjected it to a masterful critique based on the principles of Alaṅkāraśāstra. He identified five poetic defects (pañcadoṣa)–two instances of avimṛṣṭavidheyāṃśa, viruddhamatikṛt, bhagnakrama, and punarātta–and five literary ornaments (pañcālaṅkāra): anuprāsa (alliteration), punaruktavadābhāsa, upamā (simile), virodhābhāsa (semblance of contradiction), and anumāna (inference). The article provides detailed definitions and textual analysis of each doṣa and alaṅkāra, drawing from authoritative texts like Sāhityadarpaṇa and Alaṅkārakaustubha. It demonstrates how Caitanya’s analysis reveals both the aesthetic strengths and compositional flaws of the verse, underscoring the primacy of doṣa-guṇa vicāra (critical evaluation of defects and merits) in poetic composition. This episode not only affirms Caitanya’s extraordinary erudition in Sanskrit poetics alongside grammar and philosophy but also exemplifies his humility and spiritual magnetism, which ultimately led to Keśava Bhaṭṭa’s surrender. The study thus illuminates Caitanya’s multifaceted brilliance as a consummate connoisseur of Sāhitya Śāstra.
DOI: 10.63752/pijcace.0201S01
34 Downloads
355 Views
Open Access
Folk, Oral, and Vernacular Traditions
Vol. 1, No. 2 (2026)
This essay examines how Japanese folk narratives produce the uncanny not through spectacular supernatural intrusion but through subtle disturbances within domestic life. Drawing on Freud’s concept of the uncanny and Kristeva’s theory of abjection, the study explores how familiar spaces (such as household) become porous environment where boundaries between human, spirit, and object begin to dissolve. Close readings of the Japanese tales of “Yuki-Onna” and “Futakuchi Onna” demonstrate how secrecy, appetite, and bodily transformation destabilize the apparent stability of domestic order. The snow-woman’s silent return as wife reveals how intimacy may conceal alterity, while the hidden mouth of Futakuchi Onna exposes the tensions between bodily need and social expectations of restraint. The analysis extends comparatively to Girish Karnad’s Nāga-Mandala and Abanindranath Tagore’s Khirer Putul, where serpent lovers and edible dolls function as mythic substitutions that articulate otherwise inexpressible domestic anxieties. Japanese traditions of animated dolls (ningyō) further illustrate how objects may serve as vessels of memory and spiritual presence. Across these narratives, the uncanny emerges through symbolic substitutions that transform landscapes, bodies, animals, and objects into alternative forms of life. The article argues that folklore imagines domestic space as fundamentally relational, where human identity remains permeable to nonhuman forces.
DOI: 10.63752/pijcace.0102W05
36 Downloads
627 Views
Open Access
Ethnomusicology (Cultural and Regional Music Traditions)
Vol. 1, No. 2 (2026)
Guru–Śiṣya paramparā is a revered tradition of learning through close mentorship. It is a system rooted in the concept of paramparā, representing an unbroken lineage of knowledge passed from guru to śiṣya through oral tradition. Each disciple becomes a custodian of their guru’s teachings and is entrusted with the responsibility of preserving, practising, and sharing the art form with future generations, ensuring its sustained evolution. This tradition reached its zenith after the enduring impact of the Trinity—Śrī Śyāmā Śāstri, Śrī Tyāgarāja, and Śrī Muttusvāmi Dīkṣitar—a heritage that inspired generations of composers to carry forward their legacy and enrich the field of Karnatic music.
In order to acquire subtle knowledge and reach transcendental realms, it is a prerequisite to find a bona fide guru to ensure qualitative transmission of proficiency. At the same time, it is a coveted desire of every guru to look for the right disciple with whom they can share their knowledge and later impart advanced learning to sincere disciples. Vālājapēṭ Veṅkaṭaramaṇa Bhagavatar was one such devoted chief disciple of Saint Tyāgarāja.
The current case study deals with the profound compositions of Vālājapēṭ Veṅkaṭaramaṇa Bhagavatar, the foremost disciple of Śrī Tyāgarāja. The article explores the melodic, thematic, and structural features of select compositions by Veṅkaṭaramaṇa Bhagavatar, highlighting his distinctive style and lasting contribution to the Karnatic music tradition.
DOI: 10.63752/pijcace.0102W04
30 Downloads
501 Views
Open Access
Philosophy of Science and Ideology
Vol. 1, No. 2 (2026)
This paper examines Pranab Kumar Sen's distinctive and comparatively lesser-known analysis of the concept of ideology, as articulated in his 1992 seminar paper "Philosophy, Science and Ideology," later included in Knowledge, Truth and Realism. While Sen is widely recognized for his contributions to debates on truth, meaning, logic, and the realism-anti-realism controversy, his reflections on ideology reveal a striking moment of intellectual courage. Against the prevailing and often populist invocations of ideology, Sen undertakes a conceptual inquiry into its very meaning. The paper focuses on one central issue Sen treats with seriousness: the relation between philosophy, science, and ideology. By identifying certain defining characteristics of ideology, such as dogmatism, closure to criticism, and resistance to self-correction, Sen argues that ideology is fundamentally incompatible with philosophy and science, both of which are essentially self-critical and epistemically open enterprises. This study reconstructs Sen's analysis of ideology without engaging the broader political-philosophical literature on the subject, as its primary concern is his conceptual framework. In doing so, it also offers a critical reflection on Sen's position, assessing its implications for understanding the normative role of philosophy in society.
DOI: 10.63752/pijcace.0102W03
31 Downloads
466 Views
Open Access
Gesture, Movement, and Embodiment in the Arts
Vol. 1, No. 2 (2026)
This critical essay examines the metaphysical foundations of embodiment in Bharata's Nāṭyaśāstra, arguing that the sthānas, cārīs, and karaṇas are not merely physical movements but psychophysical embodiments of cosmic tattvas. Drawing on parallels between the cosmological unfolding described in Taittirīya Upaniṣad and the theatrical universe of nāṭya, this study demonstrates how Bharata systematically creates an 'extra-daily' performance dimension through consecrated space, non-empirical time (tāla), and embodied gravitational presence. The essay explores how expansion of space through sthānas manifests specific energies (rūpa and guṇa), how cārīs dynamically explore floor and aerial space, and how karaṇas serve as epistemological tools for acquiring embodied knowledge. Central to this analysis is the concept of Kaiśikī vṛtti, which transforms daily actions into extra-daily artistic expressions capable of generating alaukika rasa experience. This metaphysical framework reveals Bharata's system as a parallel universe creation on stage, where psychophysical embodiments serve the ultimate purpose of delivering dharmic teachings while elevating both performers and spectators beyond mundane emotional experiences.
DOI: 10.63752/pijcace.0102W01
46 Downloads
524 Views
Open Access
Classical and Contemporary Theories of Aesthetics
Vol. 1, No. 2 (2026)
This article examines the concept of sādhāraṇīkaraṇa (generalization) as the indispensable condition for the experience of rasa in classical Indian poetics. While rasa is traditionally regarded as the soul of poetry, its realization requires the dissolution of specific spatial, temporal, and personal associations embedded in poetic elements such as vibhāva, anubhāva, vyabhicāribhāva, and sthāyibhāva. Through the process of generalization, these elements are freed from worldly limitations, allowing the sahṛdaya to experience emotions in a purified, universalized form. The study further argues that sādhāraṇīkaraṇa operates through a distinctive mode of aesthetic cognition that cannot be reduced to ordinary forms of knowledge such as illusion, doubt, or resemblance. By temporarily transcending self–other distinctions and worldly dualities, aesthetic experience approaches a Vedāntic state of non-duality and bliss. Thus, sādhāraṇīkaraṇa is shown to function not merely as a poetic mechanism but as a bridge between aesthetic enjoyment and metaphysical insight.
DOI: 10.63752/pijcace.0102W02
46 Downloads
1117 Views
Open Access
Consciousness, Non-Duality, and Phenomenology in Ritual Aesthetics
Vol. 1, No. 1 (2025)
This essay investigates the text Bhūtaḍāmara Tantra, examining a philosophical tension: “How does a tantra so deeply embedded in ritual coercion reconcile itself with the language of liberation?” The analysis of this issue is conducted through the central deity, Krodha Bhairava, interpreted as Ferocious Consciousness—an expression of Consciousness that subjugates not only spirits but also the fundamental structure of ‘otherness’ within awareness. An examination of the key practices described in the text, viewed through the lens of Trika doctrine, suggests that an effort is made to establish non-contradiction to non-dual liberation through the fierce realisation of Consciousness.
DOI: 10.63752/pijcace.vol.1.issue.01S.006
35 Downloads
1659 Views
Open Access
Theories of Performance and Performativity
Vol. 1, No. 1 (2025)
The Low Country dance tradition of Sri Lanka, centred in the Southern and parts of the Western Province, features three stylistic schools: Matara, Benthara, and Raigama. Central to these traditions are ritual healing ceremonies (shantikarma) and popular folk dramas (Kolam), where masks play a vital role. These masks serve as powerful storytelling tools, generating humour and portraying a wide range of characters, thereby evoking strong emotional responses in audiences. Despite the cultural significance of Sri Lankan traditional masks, there is limited scholarly focus on how their colour symbolism influences psychological engagement and ritual effectiveness. This gap hinders a deeper understanding of how traditional performances impact mental states, emotions, and social cognition. The colours on these masks are not arbitrary; they psychologically stimulate the audience and convey messages about a character’s masculinity, social status, and moral orientation. This study adopts a qualitative methodology, incorporating interviews, observations, and literature reviews. Mask performers involved in shantikarma and Kolam drama were observed over one month, with in-depth interviews conducted over four months. Drawing from psychological theories of colour perception and cultural semiotics, the research highlights how colour choices in mask design are intentionally crafted to influence both performers and spectators. The study reveals that these colours enhance narrative impact and serve therapeutic purposes within ritual contexts. Thus, Sri Lankan masks, a profound element of the nation’s cultural heritage, demonstrate a sophisticated understanding of colour’s psychological effects, enriching both performance art and communal healing practices.
DOI: 10.63752/pijcace.vol.1.issue.01S.005
32 Downloads
1642 Views
Open Access
Music and Ritual (Sacred and Devotional Music)
Vol. 1, No. 1 (2025)
In the Nadīstuti Sūktās of Vedic scriptures, Goddess Sarasvatī emerged as the divine river of consciousness and enlightenment, nourishing the genesis of Vedic Sanskrit civilisation. This study conducts an in-depth analysis of eleven Sarasvatī kṛtis composed by Saṅgīta Chūḍāmaṇi Prof. R. Visweswaran to examine their musical and lyrical intricacies. The research employs systematic musicological analysis to investigate the employment of rāgas ranging from mēḷa, auḍava, vakra, rakti, and Hindustānī classifications, alongside their corresponding tāḷās. Each composition is analysed for its structural elements, including rāga mudrās, svarākṣarās, chiṭṭe svarās, and madhyamakāla sāhityās, while examining the scholarly integration of the Sanskrit and Telugu languages. The study reveals how these compositions beautifully weave together Vedic philosophical concepts with contemporary musical expression, demonstrating Prof. Visweswaran's mastery in creating devotional music that bridges ancient wisdom with modern artistic sensibilities. The findings indicate that these kṛtis serve as vehicles for spiritual contemplation while showcasing sophisticated musical craftsmanship, offering contemporary artists profound scope for both devotional expression and technical exploration in Carnatic music performance.
DOI: 10.63752/pijcace.vol.1.issue.01S.004
33 Downloads
1832 Views
Open Access
Indian, Eastern, and Indigenous Aesthetic Traditions
Vol. 1, No. 1 (2025)
This paper examines Bharata Muni through a traditional śāstrika lens, moving beyond historical debates to interpret him as a cosmic principle of performative knowledge (nāṭya-jñāna). Using Sanskrit philological analysis, the study unpacks the name Bharata as bharati-rāti-tanoti (sustains-offers-expands), revealing a microcosmic model of cosmic emanation functioning through icchā (will), jñāna (knowledge), and kriyā (action).
The analysis demonstrates how Bharata represents not merely an individual scholar but a community of artists—a sampradāya embodying the dharma of manifesting and offering theatrical knowledge for collective benefit. Drawing from the Nāṭyaśāstra, Abhinavabhāratī, Upanishads, and dharmaśāstra texts, the paper establishes connections between aesthetic theory and spiritual goals, positioning nāṭya as a means to transcend material existence and achieve Self-realization.
The study reveals how Bharata's system transforms both performers and spectators through rasa (aesthetic experience), leading from material engagement to spiritual awakening. This interpretation emphasizes nāṭya's role as dharmic practice rather than mere entertainment, offering a framework for understanding Indian performance traditions as vehicles for mokṣa (liberation) through the integration of artistic excellence with spiritual discipline.
DOI: 10.63752/pijcace.vol.1.issue.01S.001
38 Downloads
1939 Views
Open Access
Film and Television Studies (Theory, Genre, Auteurism)
Vol. 1, No. 1 (2025)
This study examines the moral contradictions and values of the Bengali middle class as portrayed in Mrinal Sen's acclaimed films Ek Din Pratidin (1979) and Kharij (1982). Through critical analysis of Sen's cinematic techniques and narrative choices, this research explores how the filmmaker exposed the hypocrisies, moral ambiguities, and social complicity embedded within middle-class life in post-Independence India. In Ek Din Pratidin, Sen interrogates patriarchal surveillance and the performative nature of middle-class morality through the story of a working woman's delayed return home. Kharij confronts issues of class privilege and structural violence through the tragic death of a child domestic worker. Both films demonstrate Sen's commitment to what this study terms "cinema of ethical interrogation"—a cinematic approach that avoids melodrama while exposing the normalized violence of social hierarchies. Rather than offering moral verdicts, Sen's realism compels audiences toward uncomfortable self-reflection. His unflinching critique reveals how middle-class virtue often masks systematic exclusion and selective empathy, making his work profoundly relevant to contemporary discussions of social justice and moral responsibility in South Asian cinema.
DOI: 10.63752/pijcace.vol.1.issue.01S.002
41 Downloads
1479 Views
Open Access
Film and Television Studies (Theory, Genre, Auteurism)
Vol. 1, No. 1 (2025)
This paper examines the theoretical divide between Walter Benjamin and André Bazin regarding cinema's relationship to reality, using Alfred Hitchcock's Psycho (1960) as a case study to bridge their seemingly contradictory positions. Benjamin's "The Work of Art in the Age of its Technological Reproducibility" (1935) conceptualizes cinema through the metaphor of a surgeon penetrating reality with mechanical instruments, emphasizing montage and editing as fundamental to cinematic meaning. Conversely, Bazin's "Ontology of the Photographic Image" (1945) advocates for cinema's capacity to maintain distance from reality, allowing the medium's indexical relationship to the pro-filmic world to emerge naturally without excessive intervention. Through close analysis of the infamous shower sequence in Psycho, this study argues that these two theoretical approaches are not mutually exclusive but complementary. The sequence demonstrates Benjamin's penetrative metaphor through its voyeuristic camera work and violent imagery, while simultaneously exploiting Bazin's notion of photography's ontological connection to reality to achieve its lasting shock value. This analysis suggests that cinema's power lies in its dual capacity to both penetrate and preserve reality, offering a framework for reconciling these foundational film theory perspectives.
DOI: 10.63752/pijcace.vol.1.issue.01S.003
48 Downloads
1757 Views
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