Open Access
Indian Philosophy and Darśana
Vol. 2, No. 1 (2026)
This review essay examines Nalini Bhushan and Jay L. Garfield's new translation of Krishnachandra Bhattacharyya's Subject as Freedom (Oxford University Press, 2026), a text long regarded as philosophically significant yet notoriously difficult. It argues that the edition exceeds ordinary translation practice, functioning at once as translation, commentary, and interpretive intervention, and proposes that Bhushan and Garfield are best understood as contemporary bhāṣyakāras: active philosophical participants rather than neutral transmitters. The review discusses the editors' lexical choices, such as rendering "object" as "intentional object," and their extensive introduction, which situates the text within Bhattacharyya's engagement with Advaita Vedānta through the "bookend" works of 1925 and 1936. While affirming the sophistication of this Advaitic reading, the review questions whether it constrains the text's methodological independence, given Bhattacharyya's phenomenological idiom and his departures from traditional Advaitic vocabulary. It concludes that the edition's parallel text presentation and editorial apparatus make it the standard English entry point into Bhattacharyya's thought, restoring him to philosophical discussion beyond his usual classification as an Advaita representative alone.
DOI: 10.63752/pijcace.0201S09
34 Downloads
247 Views
Open Access
Dharmaśāstra, Law, and Textual Traditions
Vol. 1, No. 2 (2026)
This review essay examines Chatuh Shloki Manusmriti: An English Commentary by Nithin Sridhar, situating the work within the broader intellectual framework of the Indian śāstric tradition. The study analyses the author’s decision to interpret the philosophical architecture of the Manusaṃhitā through the first four verses of the opening chapter, read in light of the classical hermeneutic structure of anubandha catuṣṭaya. By foregrounding questions of adhikārī (qualified reader), prayojana (purpose), and viṣaya (subject matter), the essay argues that Sridhar’s work attempts to reintroduce contemporary readers—particularly those outside traditional modes of learning—to the conceptual world of Dharmaśāstra. The review further examines the methodological implications of employing the bhāṣya tradition as a modern interpretive tool and reflects on the distinction between śruti and smṛti, authorship, and authority within the Indian knowledge system. While acknowledging the book’s pedagogical strengths and its contribution to renewed discussions on the Manusmṛti, the essay also highlights certain translation and interpretive issues, suggesting that the text is best understood within the framework of śāstra pramāṇa rather than as an independent epistemic authority.
DOI: 10.63752/pijcace.0102W07
40 Downloads
640 Views
Open Access
Postmodernism and Contemporary Critical Theory
Vol. 1, No. 2 (2026)
This paper examines Krishna Baldev Vaid’s None Other (1992) through the lens of postmodern literary theory, focusing on the themes of suffering, alienation, and existential fragmentation. The novella presents the interior soliloquy of a nameless ageing protagonist whose reflections on pain, memory, and meaninglessness unfold without conventional plot or character development. By analysing the text’s fragmented narrative structure, intertextual references, and philosophical meditations, the study situates the work within the broader framework of postmodern literature. The protagonist’s monologue reflects a crisis of identity and purpose characteristic of postmodern consciousness, where certainty, truth, and stable meaning collapse into ambiguity. Drawing parallels with works such as T. S. Eliot’s Gerontion and Samuel Beckett’s Waiting for Godot, the essay explores how Vaid employs silence, repetition, and self-reflection to dramatize existential despair and the futility of human striving. Ultimately, the novella emerges as a lyrical yet unsettling meditation on loneliness, memory, and the fractured self, embodying the postmodern condition of uncertainty and the relentless search for meaning in an apparently indifferent universe.
DOI: 10.63752/pijcace.0102W06
27 Downloads
494 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
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
