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Englisch

gopala dasaru

Kanaresisch

Gopala dasaru

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Englisch

gopala dasaru

Kanaresisch

Kannada

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Englisch

gopala dasaru

Kanaresisch

ಗೋಪಾಲ dasaru

Letzte Aktualisierung: 2016-11-01
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Englisch

gopala dasaru in kannada

Kanaresisch

ಕನ್ನಡದಲ್ಲಿ ಗೋಪಾಲ ದಾಸು

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Englisch

About gopal dasaru in Kannada

Kanaresisch

ಕನ್ನಡದಲ್ಲಿ ಗೋಪಾಲ್ ದಾಸು ಬಗ್ಗೆ

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Englisch

gopala dasaruGopala Dasa (1721–1769) was a prominent 18th century Kannada language poet and saint belonging to the Haridasa tradition. With other contemporary Haridasas such as Vijaya Dasa and Jagannatha Dasa, Gopala Dasa propagated the Dvaita philosophy of Madhvacharya in South India through Kirtans ("Songs of God") known as Dasara Padagalu with the pen name (ankita nama or mudra) "Gopala Vittala". Gopala Dasa was named "Bhaganna" at birth. He was born in Mosarakallu a village in Raichur district of Karnataka state, India. After his initiation into the Madhwa order, he became a disciple of Vijaya Dasa and is credited to being a prolific composer. He is known to have been an astrologer as well. Later Gopala Dasa inspired the well known woman saint Helavanakatte Giriyamma to compose melodious songs in praise of the Hindu god Vishnu.[1][2] Legend has it that once Vijaya Dasa, a leading Haridasa of the 18th century, invited Jagannatha Dasa to attend a religious ceremony and dine with his devotees. Jagannatha Dasa, who was known for his scholarship in Sanskrit, thought it unnecessary to mingle with the Kannada Haridasas and pretended to have severe stomach pain. Another account claims Jagannatha Dasa even excused himself by feigning sickness due to Tuberculosis. Soon Jaganatha Dasa actually began to suffer from acute stomach pain. Unable to find a suitable remedy, he went to Vijaya Dasa who advised him to approach Gopala Dasa. Jagannatha Dasa's problem was solved by Gopala Dasa. Realizing his mistake and wrong attitude toward the Haridasas, Jaganatha Dasa joined the Madhwa order and went on to become one of its foremost proponents.[2] Notes Shivaprakash in Ayyappapanicker (1997), p.201 G. Varadaraja Rao (G.V.R) in Sahtya Akademi (1988), p.1764 Bibliography Various (1988) [1988]. Encyclopaedia of Indian literature – vol 2. Sahitya Akademi. ISBN 81 260 1194 7. Shiva Prakash, H.S. (1997). "Kannada". In Ayyappapanicker. Medieval Indian Literature:An Anthology. Sahitya Akademi. ISBN 81 260 0365 0. [hide] Madhva religious figures Madhvacharya (1199–1278 CE) Naraharitirtha (1324 1333 CE) Jayatirtha (ca. 1365 – ca. 1388) Sripadaraya (Sripadaraja) (1404 – 1502) Vyasatirtha (1460–1539) Vadirajatirtha (1480 1600) Vijayendra Tirtha (1514 1593) Purandara Dasa (1484–1564) Kanaka Dasa (1509–1609) Raghavendra Swami (1595–1671 CE) Vijaya Dasa (1682–1755) Gopala Dasa (1721 1769) Jagannatha Dasa (1728–1809) Aum symbol Categories: 18th century Indian philosophersIndian male philosophersMadhva religious leadersDvaitaCarnatic musiciansScholars from KarnatakaPeople from Raichur district1762 deaths1722 births18th century Indian musiciansMusicians from Karnataka

Kanaresisch

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Englisch

Kannada inscriptions begin to occur about AD 450. The earliest Kannada literary text dates from the ninth century, though references to a number of earlier works exist. Jains were the earliest known cultivators of Kannada literature though works by Lingayats from that period have survived. Vaddaradhana by Shivakotiacharya is the earliest existing prose work in old Kannada. However, one of the earliest extant works in Kannada is the Kavirajamarga generally ascribed to the Rashtrakuta king Nripatunga Amoghavarsha. In the tenth century, the champu style of composition was perfected. Pampa was the master-pioneer of this art; he is called the father of Kannada poetry. Continuing the epic tradition were Ponna and Ranna. Pampa, Ponna and Ranna are considered the three gems and the epithet ‘golden age’ is used for their period. With Basaveswara introducing the vacham sahitya or sharana sahitya in writing, a revolution came about in the 12th century. Pithy, simple and drawn from daily life, the ‘sayings’ or vacham spoke up for the equality of men and dignity of labour. The poets expressed their devotion to god Shiva in simple vachana poems. These poems were spontaneous utterances of rhythmic, epigrammatical, satirical prose emphasising the worthlessness of riches, rituals and book learning. Basavanna, Allama Prabhu, Devara Dasimayya, Channabasava and Kondaguli Kesiraja are the poets called Vachanakaras who wrote in this genre. Akka Mahadevi was prominent among the women poets; she is also said to have written Mantrogopya and Yogangatrividhi. Siddharama is credited with writings in tripadi metre and 1,379 extant poems of his are to be found. Aroimd AD 1260 Karmada’s first standard grammar, Sdbdamani Darpana was written by Kesiraja. Under the patronage of the later Hoysalas, several literary works were produced. Kannada literature flourished under the Vijayaaagara kings and their feudatories during the 14th-16th centuries. The Kannada Bharata by Kumara Vyasa is an outstanding work. Jainas, Virashaivas and brahmins produced poetic works and biographies of saints. Some of the notable names of the period are Ratnakara Varni (Bharatesvara Charita), Abhinavadai Vidyananda (Kavyasara), Salva (Rasa Ratnakara), Nanjunda Kavi (Kumara Ramane Kathe), Bhimkavi (Basava Purana), Chamarasa (Prabhulinga-lilai in 1430), Narahari (Torave Ramayana). Kumari Valmiki (1500) wrote the first complete brahmanical adaptation of Ramayana, the Torave Ramayana. With the decline of the Vijayanagara Empire, the Kingdom of Mysore (1565-1947) and the kingdom of the Keladi Nayakas (1565-1763) gave encouragement to production of literary texts covering various themes. A unique and native form of poetic literature with dramatic representation called Yakshagana gained popularity in the 18th century. Modern Kannada theatre is traced to the rise of Yakshagana (a type of field play) of the 16th century. Yakshagana compositions are associated with the rule of King Kanteerava Narasaraja Wodeyar II (1704-1714) and Mummadi Krishnaraja Wodeyar (1794-1868), a prolific writer of the era who penned over 40 writings including a poetic romance called Saugandika Parinaya. King Chikka Devaraja Wodeyar (1673-1704) wrote Geetha Gopala, a well-known treatise on music, in saptapadi metre. It was the first writing to propagate the Vaishnava faith in the Kannada language. Sarvajna, a mendicant and drifter Virashaiva poet who was seen as the ‘people’s poet’, wrote didactic vachanas, penned in the tripadi metre, which constitute some of Kannada’s most celebrated works. Lakshmisa (or Lakshmisha), a well- known story-teller and a dramatist, is dated to the mid-16th or late 17th century. The Jaimini Bharata, his version of the Mahabharata written in shatpadi metre, is a popular poem. The Vaishnava movement produced the immortal songs of Purandaradasa and Kanakadasa. Modern Kannada literature began in mid-nineteenth century and incorporated two aspects—absorption of western ideas and a rediscovery of the past. Laskhminaranappa (‘Muddana’) wrote some good prose works. In the early 19th century, Maharaja Krishnaraja Wodeyar III and his court poets moved away from the ancient champu form of prose toward prose renderings of Sanskrit epics and plays. The first modern Kannada novel is Kempu Narayana’s Mudramanjusha (1823). Modern Kannada literature was cross- fertilised by the colonial period in India as well, as translations of Kannada works and dictionaries into European languages as well as other Indian languages, and vice versa, and European style newspapers and periodicals in Kannada came to be. In the 19th century, interaction with European technology, like new printing techniques, gave an impetus to modern Kannada literature. The first Kannada newspaper called Mangalore Satnachara was published by Hermann Mogling in 1843; and the first Kannada periodical, Mysuru Vrittanta Bodhini, was published by Bhashyam Bhashyacharya in Mysore at around the same time. B.M. Srikanthayya (Inglis Gitagalu) regarded as the father of modern Kannada literature, gave Kannada poetry a conscious modern direction. S.G. Narasimhachar, Panje Mangesha Rao and Hattiangadi Narayana Rao made immense contributions. The novel found an early champion in Shivaram Karanth while another prominent writer, Masti Venkatesh Iyengar (‘Masti’), a Jnanpith Award winner considered the father of Kannada short story, laid the foundation with his Kelavu Sanna Kathegalu (1920) and Sanna Kathegalu (1924). T. P. Kailasam, with his Tollu Gatti (1918) and Tali Kattoke Cooline pioneered modern drama. His plays mainly focused on problems like the dowry system, religious persecution, woes in the extended family system and exploitation of women. Novels of the early 20th century promoted a nationalist consciousness. While Venkatachar and Galaganath translated Bankim Chandra and Harinarayana Apte respectively, Gulvadi Venkata Rao, Kerur Vasudevachar and M.S. Puttanna wrote realistic novels. Aluru Venkatarao penned Karnataka Gatha Vaibhava that deeply influenced the movement for Karnataka’s unification. D.V. Gundappa and K.V. Puttappa were other poets of note. Most famous was D.R. Bendre. Puttappa (Ramayana Darsanam) and Bendre (Nakuthandti) have won the Jnanpith Award. The novel in Kannada has made a lasting impact. M.S. Puttanna wrote novels rooted in the Kannada soil. A novelist of note is K. Sivaram Karanth whose Chomana Dudi and Marali Mannige are outstanding works. He has received the Jnanpith Award. Yet another Jnanpith Award winner is Prof. V.K. Gokak, poet and novelist. Incidentally, the most number of Jnanpith awards has been given to Kannada literary writers. Some dramatists of note are Basavappa Sastri, T.P. Kailasam, and ‘Sansa’. Kannada literature has seen the rise of writers like P. Lankesh, Nissar Ahmed, Girish Karnad, and U.R. Ananthamurthy. From the early 1970s, a segment of writers started to write novels and stories that were anti-‘Navya’. This genre was called Navyottara and had a more socially responsible role. The writers in this form of writing were Poornachandra Tejaswi and Devanur Mahadeva. Striking developments in recent times have been the rise of the prose form to a position of predominance and growth in dramatic literature. Bandaya (Rebellion) and Dalit literature, with Mahadeva’s Marikondavaru and Mudala Seemeli Kole Gile Ityadi are examples of this trend.

Kanaresisch

ಗಣರಾಜ್ಯೋತ್ಸವದಂದು ಪ್ರಬಂಧ ಭಾಷಾಂತರಿಸಲು

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