Books by Natalia Lidova
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Drama and Ritual of Early Hinduism sets out to explore the foundations of theatre in ritual pract... more Drama and Ritual of Early Hinduism sets out to explore the foundations of theatre in ritual practice. In a careful, systematic way Lidova lays out a process by which the classical Sanskrit theatre may have come into existence. Scholars have wrestled with this question for centuries. Because of this work we have a better understanding of the process. The work is bound to encourage further speculation about this topic in the years to come.
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Reviews on "Drama and Ritual" by Natalia Lidova
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Edited Volumes by Natalia Lidova
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В книге представлены переводы, исследования и комментарии текстов, являющихся репрезентативными д... more В книге представлены переводы, исследования и комментарии текстов, являющихся репрезентативными для литературной мысли Востока. Среди них как теоретические трактаты, или собственно "поэтики", так и предисловия к литературным произведениям и антологиям, а также высказывания самих поэтов и писателей о литературе и фольклоре. Демонстрируется разнообразие поэтологических традиций таких стран Востока, как Индия, Япония, Китай и Персия, начиная с первых веков нашей эры вплоть до начала XX века. Книга выявляет специфику литературной мысли Востока, позволяет более четко определить ее место в исторической и сравнительной поэтике народов Евразии.
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Сборник статей ведущих отечественных исследователей выходит к 80-летию выдающегося российского ин... more Сборник статей ведущих отечественных исследователей выходит к 80-летию выдающегося российского индолога и литературоведа профессора П.А.Гринцера. Коллективный труд освещает актуальные проблемы индологии, востоковедения, классической западной традиции, исторической поэтики и сравнительного литературоведения.
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Papers by Natalia Lidova
The Oxford History of Hinduism, 2020
Pūjā is often perceived as a predominantly Hindu form of veneration of gods, as it is currently t... more Pūjā is often perceived as a predominantly Hindu form of veneration of gods, as it is currently the main ritual for almost one billion followers of Hinduism (about 15 per cent of the world’s population), with approximately 800 million of them living in India. It is less known that pūjā is also used as the main ritual in other religious communities, specifically different groups of contemporary Buddhists and Jains, as well as of Sikhs and various India-orientated spiritual practices and religious movements such as ISKCON. This makes pūjā not only a pan-Indian form of worship but the worldwide ritual that crossed the borders of its native country and gained many adepts all over the world. This chapter examines the genesis and development of this religious practice.
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Quaderni Di Acme, 2013
This paper is dedicated to the reconstruction of the earliest formative stage of the vrtti, analy... more This paper is dedicated to the reconstruction of the earliest formative stage of the vrtti, analyzed within the concept of cyclic time, which the author considers to be a crucial key for the interpretation of the Nāṭyaśāstra mythological complex. It is demonstrated in the paper that the concept of vṛtti was initially used to designate the various kinds of divine activity aiming to awaken universal creative powers as an earnest of another cycle of Creation. The bearers of the tradition were well aware of the sublime ontological status of the vrtti. However, this concept of vṛtti, just as the sacral hierarchy underlying it, lost much of its topicality already during the formative period of the Nāṭyaśāstra. As in the other similar instances, this led the theoretical system of the treaty to outer redundancy, and made the vṛtti an analogue of the abhinaya, thus allowing the later theorists to regard them as mere manners or styles of acting.
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Cracow Indological Studies, 2012
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The Sanskrit treatise Nāṭyaśāstra is the most ancient and authoritative Indian text on the arts... more The Sanskrit treatise Nāṭyaśāstra is the most ancient and authoritative Indian text on the arts. Some researchers, trying to single out the most ancient kernel of the text, dated it to the 5th century BCE. Others, meaning the concluding stage of its formation, by which the treatise had incorporated interpolations from different times, proposed much later dates up to the 7th-8th centuries CE. It is widely believed that the treatise acquired its modern form between the 2nd century BCE and the 2nd century CE. Of an encyclopaedic scope, the Nāṭyaśāstra treats a great variety of topics and comprises a manual for producers and performers, treatises on the theory of drama and aesthetics, as well as the oldest poetic theory in the Indian tradition. The main aim of this paper is to analyze the Nāṭyaśāstra as the earliest available source for the study of the Ancient Indian poetics.
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The correlation between yajña and puja may well be one of the most complicated problems in Indolo... more The correlation between yajña and puja may well be one of the most complicated problems in Indology. Yajña and puja are known to have been mutually counterposed in the Indian tradition. At any rate, they were topical in different periods of its evolution. Yajña held pride of place as a solemn rite in the Vedic time, while puja became widespread in the post-Vedic era to become the central ritual of Hinduism. Many scholars cling to the idea of a Vedic origin of puja, regarding it as a yajña which went through specific transformations, though no substantiated explanations of these supposed changes have yet appeared. Perhaps, the only attempt of this kind was made by J.A.B. van Buitenen, who hypothetically traced puja to the Pravargya, a Vedic ritual, which included the soma offering. Based on a similarity of the purely external aspects of ritualism, his concept failed to win broad recognition but, on the contrary, was subject to ample and well-deserved criticisms. Attempts to compare yajña and puja have either emphasized the similarities between the two, or brought out the differences. Irrespective of this, they all proceeded from comparisons between the outward aspects of the ritual practice, with extremely vague results. A comparison of rituals appears to be destined for success only if it proceeds from a specific methodological approach, which allows comparison not only of the outward aspects of rites but ritual principles underlying them. Here, our task is reduced to the identification of what we may conventionally term the "ritual archetype" at the basis of yajña and puja. As I see it, the most salient features of a ritual archetype are determined by three principal aspects, which can be put into the form of three queries. The first, "Where?" pertains to the arrangement of the ritual space; the second, "How?" to the type of the offering; the third, "What for?" describes the ritual goals of the worship. To bring out the ritual archetype of yajña, I proceeded from the Brahmanas, which characterized the principal conceptual bases of the Vedic ritualism, as well as the srauta- and sulba-sutras, which contained essential technical details of the actual ritual. The ritual archetype of puja was reconstructed on the basis of ritualistic chapters of the Natyasastra, the Atharvaveda Parisistas, the Sattvata Samhita, which preserved testimony of the ritualism of the Pancharatra, and the Saiva Agamas – the Ajita, the Raurava and the Mrgendra.
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Books by Natalia Lidova
Reviews on "Drama and Ritual" by Natalia Lidova
Edited Volumes by Natalia Lidova
Papers by Natalia Lidova