Elements of the comparative grammar of the Indo-Germanie languages. A concise exposition of the history of Sanskrit, Old Iranian ... Old Armenian. Old Greek, Latin, Umbrian-Samnitic. Old Irish. Gothic. Old High German, Lithuanian and Old Bulgarian.

Vols. II-[V] have title: A comparative grammar of the Indo-Germanic languages. Other variations in title.

Sanskrit and its kindred literatures. Studies in comparative mythology.

Mode of access: Internet.

Indian idylls : from the Sanskrit of the Mahâbhârata /

"Part of the Henry Buckingham Witton Collection."

Etymologische Forschungen auf dem Gebiete der indo-germanischen Sprachen, unter Berücksichtigung ihrer Hauptformen, Sanskrit; Zend-Persisch; Griechisch-Lateinisch; Littauisch-Slawisch; Germanisch und Keltisch,

"2. Th. 2. Abth." to "5. Bd." have added t.-p.: Wurzel-Wörterbuch der indogermanischen Sprachen ...; "6. Bd.": Wurzel-, Wort-, Namen- und Sach-Register zu den fünf Bänden ... von Dr. Heinr. Ernst Bindseil.

An English translation with the Sanskrit text of the Tattva-Kaumudî (Sânkhya) of Vâchaspati Miśra /

Includes index.

Fünf gesänge des Bhatti-kâvya, aus dem sanskrit übers. von. C. Schütz, nebst einem verzeichnisse der im sanskrit vorkommenden namen der sonne und des mondes, und einer uebersetzungs-probe aus dem Màgha-kàvya.

Mode of access: Internet.

Original Sanskrit texts on the origin and history of the people of India, their religion and institutions /

Vol. 2: Second edition, revised. Vol. 3: Second edition, revised and enlarged.

Sanskrit-wörterbuch nach den Petersburger wörterbüchern bearbeitet /

Mode of access: Internet.

First record of marine crab, Eucrate alcocki SerSne, in SerSne and Lohavanijaya, 1973 (Crustacea, Decapoda, Brachyura, Euryplacidae) from India

This paper reports the occurrence of a marine brachyuran crab species Eucrate alcocki SerSne, in SerSne et al., 1973, of the family Euryplacidae Stimpson, 1871, for first time from India, based on a male specimen from Parangipettai fish landing centre in Bay of Bengal, Southeast Coast of India. Although morphologically corresponding with what is currently defined as E. alcocki, the color pattern of the carapace of the present specimen is rather different from that of the Chinese material-only the anterior fifth of the carapace is marked with scattered red spots, the rest of the surface is yellowish, with four unusually shaped red blotches which almost look like Sanskrit characters.

A view of the history, literature, and religion of the Hindoos : including a minute description of their manners and customs, and translations from their principal works / by Rev. W. Ward.

http://www.archive.org/details/wardshidoos00sethuoft

Zeros and Os:Silence, Absence and Erasure in an Intercultural O-thello

The performative function of sound and music has received little attention in performance theory and criticism and certainly much less so in studies of intercultural theatre. Such an absence is noteworthy particularly since interculturalism is an appropriative Western theatrical form that absorbs Eastern sources to re-create the targeted Western mise en scene. Consequently, a careful consideration of the employment of sound and music are imperative for sound and music form the vertebrae of Asian traditional performance practices. In acoustemological and ethnomusicological studies, sound and music demarcate cultural boundaries and locate cultures by an auditory (dis)recognition. In the light of this need for a more considered understanding of the performative function of sound and music in intercultural performance, this paper seeks to examine the soundscapes of an intercultural production of Shakespeare’s Othello – Desdemona. Directed by Singaporean Ong Keng Sen, Desdemona was a re-scripting of Shakespeare’s text and a self-conscious performance an identity politics. Staged with a multi-ethnic, multi-national cast, Desdemona employed various Asian performance traditions such as Sanskrit Kutiyattam, Myanmarese puppetry, and Korean p’ansori to create the intercultural spectacle. The spectacle was not only a visual aesthetic but an aural one as well. By examining the soundscapes of fractured silences and eruptive cultural sounds the paper hopes to establish the ways in which Desdemona performs absences and erasures of ‘Asia’ in a simultaneous act of performing an Asian Shakespeare.