Theory and Practice of Communication- Bharat Muni
Author: Dr. Nirmal Mani Adhikari
Price- 375/-
Edition- 2014
Dr. Nirmala Mani Adhikary is a prominent communication theorist
from Nepal, who is known for the Sadharanikaran Model of
Communication and the theory of Sancharyoga. Currently, he is
Asst. Professor of Media Studies in Kathmandu University, Nepal.
Dr. Adhikary is author/editor of three dozen published books. He
has published more than 50 research articles in national and
international journals and anthologies. He was the recipient of
Bharata Muni Chair Research Fellowship of Makhanlal
Chaturvedia National University of Journalism and
Communication, India.
Contents
Chapter
I
Introduction
Drawing the Boundaries
Theorizing Communication for Communion
Chapter
II
Natyashastra: An Appraisal
Natyashastra, the Shatsahasri
The Natyashastra Tradition
Bharata: The Author of Natyashastra
The Date of Bharata and Natyashastra
Rediscovery of Natyashastra
Some Scholars of Natyashastra Tradition
Reading Natyashastra
Revisiting Ancient Bharatavarsha through Natyashastra
The Issue of Reality in Natya
The Vrittis
(Styles)
Chapter
III
Relevance
and Significance of Natyashastra: Communication
Perspective
Scope of Bharata's Natyashastra
Natyashastra: Intrinsic Qualification and Contemporary Significance
Chapter
IV
Fundamentals
of Communication Practice in Natyashastra
The Abhinayas
Histrionic Representation through the Body
The Angika
Abhinaya
Gestures of the Head
The Glances
Gestures of Eyeballs
Additional Glances
Gestures of Eyelids
Gestures of Eyebrows
Gestures of the Nose
Gestures of the Cheeks
Gestures of the Lips
Gestures of the Chin
Gestures of the Mouth
Colours of the Face
Gestures of the Neck
Gestures of Hands
Gestures of Single Hands (Asamyuta-hasta)
Gestures of
Combined Hands (Samyuta-hasta)
Movements of the Hand Gestures
The 30 Types of Nritta-hasta
The Four Karanas of Dance Hands
Movements of Arms
Gestures of Limbs from Chest to Feet
Gestures of Ura (Chest)
Gestures of Parshva (Sides)
Gestures of Jathara (Belly)
Gestures of Kati (Waist)
Gestures of Uru (Thighs)
Gestures of Jangha (Shank)
Gestures of Pada (Feet)
The Angaharas,
Karanas and Rechakas
The 108 types of Karana
The 32 Types of Angahara
The Four Types of Rechaka
The Chari Movements
The Bhaumi
Charis
The Akashiki
Charis
The Mandala
Movements
The Aerial Mandalas
The Earthly Mandalas
The Sama
Mandalas
The Different Types of Gaits (Gatiprachara)
Gaits in Different Sentiments
The Gaits of Different Characters
Gaits in Relation to Person's Nature
The Postures (Sthanas)
The Standing Postures
Sitting Postures (Asanavidhana)
Seats for Different Characters
Lying-down Postures
Postures in Walking
and Talking to Others
Representation of Objects and Senses
Representation of Three Attitude of Mind
The Vachika
Abhinaya
The 12 Forms of Verbal Representation
Another Classification of Verbal
Representation
Constituents of the Pathya (Recitation)
The Seven Svaras (Notes)
The Three Sthanas (Voice-registers)
The four Varnas (Accents)
The Two Ways of Intonation (Kakus)
The Six Alamkaras
(embellishments) of the Note in Pathya
The Six Angas
of Enunciation
The Virama
(Pause) in Enunciation
Various Subject Matters on Verbal
Representation
The Doshas and the Gunas in Poetical Work
The 10Doshas
The 10Gunas
The 36 Lakshanas
of Kavya
The Four Alamkaras
Some Other Aspects to Consider in
Communication
Modes of Address
The Aharya
Abhinaya
The Four Types of Costumes and Make-up
The Sattvika
Abhinaya
Feminine Graces in a Drama
The Three Physical Graces of Women
The 10 Natural Graces of Women
The Seven Involuntary Graces of Women
The Eight Aspects of the Male's Sattva
The Samanyabhinaya
Regular and Irregular Histrionic
Representations
Signs of Love
The Chitrabhinaya
Various Modes of Speaking
On Qualities and Faults of Voice
Chapter
V
Fundamentals
of Communication Theory in Natyashastra
The Vibhava
The Anubhava
The Bhava
Types of Bhava
Sthayee
Bhava (the Durable Psychological States)
Vyabhichari or Sanchari Bhava (the
Complementary Psychological States)
Sattvika
Bhava
The Glances to Express the Bhavas
The Glances to Express the Sthayee Bhavas
The Glances to Express the Sanchari Bhavas
Chitrabhinaya of the Bhavas
Sthayee
Bhavas and Rasas
in a Continuum
Understanding Rasa
The Eight Types of Rasa
The Issue of Shanta Rasa
The Glances to Express the Rasas
Gestures of Eyeballs in Rasas
Gaits and the Rasas
Various Aspects Related to Rasas
Revisiting Vibhava, Anubhava and Abhinaya
Chapter
VI
Theorizing
Communication from Bharata's Perspective
Prekshaka, Samajika and Sahridaya
Implication of Modes of Address and Naming
Implication of Characters' Classification
Implication of Treatment of the Other Party
Non-verbal Communication for Aesthetic
Purpose and Beyond
The Theory of Rasa
Sadharanikaran and
Communication
Sahridaya
and Sahridayata
The Five Tenets of Sadharanikaran
Chapter
VII
Natyashastra and
Contemporary Developments in Theorizing Communication
The Sadharanikaran
Model of Communication
Communication and Moksha-in-life
Communication as Sancharyoga
Communication as Vidya
Chapter
VIII
Exploring
Natyashastra for a Media Analysis
Technique
Sadharanikaran Media Analysis Technique
(SMAT)
Epilogue
References
List of Tables
Table 1: Corresponding Bhava
and Rasa
Table 2: Rasas and Their
Respective Colors and Deities
Table 3: Rasas and Vibhavas
Table 4: Possible variations of sahridayata
parikshan
List of Figures
Sadharanikaran
Model of Communication
BP: Bhavaprakashanam (of
Sharadatanaya)
B.S.: Bikram Samvat
NL: Natyalochanam (of
Trilochanaditya)
NS: Natyashastra
(of Bharata 
No comments:
Post a Comment