<<My departure point is that the guru's performance during satsa.nga is akin to the poet's performance and that similar elements are required for the guru's message to be understood as in the performance of poetry.>>
Where does the importance of such an intermediary come from?
rasa is universally (in India)understood as a sentiment of the reader/listener or viewer that is aroused by  reading/hearing a kaavya or by a visual or audiovisual presentation.
Best
DB

From: patrick mccartney <psdmccartney@GMAIL.COM>
To: INDOLOGY@liverpool.ac.uk
Sent: Wednesday, 21 November 2012 12:31 PM
Subject: [INDOLOGY] ethnography of aesthetic experience

Dear List,

I would appreciate any advice on whether recent research into Abhinavagupta's theory of aesthetic appreciation has been applied ethnographically?

I am trying to theorise my observations of satsa.nga as performance; what constitutes epistemological access to rasa, particularly zaanta rasa; and the identity of the true connoisseur (sah.rdaya).

<My departure point is that the guru's performance during satsa.nga is akin to the poet's performance and that similar elements are required for the guru's message to be understood as in the performance of poetry.>

As Sanskrit poetic theory is quite new to me, I am not sure of many things. I would appreciate the names of any relevant texts that you may feel could benefit me in this endeavour.

--
All the best,

Patrick McCartney

PhD Candidate
School of Culture, History & Language
College of the Asia-Pacific
The Australian National University
Canberra, Australia, 0200
Rm 4.30 Baldessin Precinct Building

skype - psdmccartney
W- +61 2 6125 4323
M - +91 9714120772

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