By Kavita Kané
Karnas spouse: The Outcasts Queen tells the intense tale of Karna, the unsung hero of the Mahabharata, throughout the eyes of his spouse Uruvi, bringing his tale to the reader from a special point of view. An comprehensive Kshatriya princess who falls in love with and dares to settle on the sutaputra over Arjun, Uruvi needs to come to phrases with the social implications of her marriage and learn how to use her love and intelligence to be permitted via Karna and his family members. although she turns into his mainstay, counselling and guiding him, his blind allegiance to Duryodhana is past her strength to alter. the tale of Uruvi and Karna unfolds opposed to the backdrop of the fight among the Pandavas and the Kauravas. As occasions increase resulting in the good warfare of the Mahabharata, Uruvi is a witness to the twists and turns of Karnas destiny; and the way it's inextricably associated with divine layout. A best saga from the pages of the Mahabharata, Karnas spouse: The Outcasts Queen brings its characters alive in all their majesty.
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Additional resources for Karna's Wife: The Outcast's Queen
35 To be comic is to be both grotesque and artificial; the two are inextricably linked and equally indicative of the comic genre. Scholarship on the (male) comic body has focused primarily on its relationship to the notion of the ideal Athenian citizen. 36 Helene Foley has modified his view, noting that these grotesque characters nevertheless frequently claim to be citizens and to represent the interests of citizens. ”37 Foley’s argument emphasizes the distancing power of the costume’s patent artificiality, a feature that surely made it possible for actual male citizens to play these roles without shame.
Photograph © The State Hermitage Museum. Photo by Leonard Kheifets,Yuri Molodkovets. 65 On a Campanian bell-krater dated to c. 67 In both of these cases, the female figure is unmasked, clothed in a normal robe without somation, and of nongrotesque proportions, as in Figure 14. 68 Lest we think that this is only a southern Italian phenomenon, the Attic relief discussed earlier (Figure 3) seems to depict an auletris with a comic chorus, although the upper body and face have not survived. These auletrides suggest at least the possibility that nonspeaking performer roles were represented onstage in quite The Comic B ody as Costume a different manner from the grotesquely shaped speaking characters who sport obvious layers of costume.
This chapter examines the comic body costume from four points of view: first, the contributions of the visual record to our understanding of the body as staged in comic performances; second, some common patterns of bodily manipulation in Aristophanes; third, the comic body as figure of gluttony and outrageous demagoguery in Knights; fourth, the thematic interweaving of body and textiles in Lysistrata. 16 The Comic B ody as Costume Envisioning the Comic Body The Male Comic Body The male comic body as depicted in the visual record of the late fifth through mid-fourth century is both grotesque and manifestly artificial.