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Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present
UGC MRP - COMICS BOOKS & GRAPHIC NOVELS Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present UGC MAJOR RESEARCH PROJECT F.NO. 5-131/2014 (HRP) DT.15.08.2015 Principal Investigator: Aneeta Rajendran, Gargi College, University of Delhi UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Acknowledgements This work was made possible due to funding from the UGC in the form of a Major Research Project grant. The Principal Investigator would like to acknowledge the contribution of the Project Fellow, Ms. Shreya Sangai, in drafting this report as well as for her hard work on the Project through its tenure. Opportunities for academic discussion made available by colleagues through formal and informal means have been invaluable both within the college, and in the larger space of the University as well as in the form of conferences, symposia and seminars that have invited, heard and published parts of this work. Warmest gratitude is due to the Principal, and to colleagues in both the teaching and non-teaching staff at Gargi College, for their support throughout the tenure of the project: without their continued help, this work could not have materialized. Finally, much gratitude to Mithuraaj for his sustained support, and to all friends and family members who stepped in to help in so many ways. 1 UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Project Report Contents EXECUTIVE SUMMARY 3 1. Scope and Objectives 3 2. Summary of Findings 3 2. Outcomes and Objectives Attained 4 3. -
The Story of Rama and Sita Play Script
The Story of Rama and Sita Play Script Cast: Rama Sita King Rama’s stepmother The King’s Son Rama’s Wife An old, The king’s wife who and rightful heir tired man wants her own son to the throne to be the next king Lakshmana Ravana Hanuman Rama’s brother The demon-king The monkey king with ten heads Cast continued: Fawn Monkey Army Narrator 1 Monkey 1 Narrator 2 Monkey 2 Narrator 3 Monkey 3 Narrator 4 Monkey 4 Monkey 5 Prop Ideas: Character Masks Throne Cloak Gold Bracelets Walking Stick Bow and Arrow Diva Lamps (Health and Safety Note-candles should not be used) Audio Ideas: Bird Song Forest Animal Noises Lights up. The palace gardens. Rama and Sita enter the stage. They walk around, talking and laughing as the narrator speaks. Birds can be heard in the background. Once upon a time, there was a great warrior, Prince Rama, who had a beautiful Narrator 1: wife named Sita. Rama and Sita stop walking and stand in the middle of the stage. Sita: (looking up to the sky) What a beautiful day. Rama: (looking at Sita) Nothing compares to your beauty. Sita: (smiling) Come, let’s continue. Rama and Sita continue to walk around the stage, talking and laughing as the narrator continues. Rama was the eldest son of the king. He was a good man and popular with Narrator 1: the people of the land. He would become king one day, however his stepmother wanted her son to inherit the throne instead. Rama’s stepmother enters the stage. -
Rajesh Kumar Gupta Page 48 AMAR CHITRA KATHA: the FIGURE OF
International Journal of Movement Education and Social Science ISSN (Print): 2278-0793 IJMESS Vol. 7 Special Issue 1 (Jan-June 2018) www.ijmess.org ISSN (Online): 2321-3779 AMAR CHITRA KATHA: THE FIGURE OF RAM AND HINDU MASS MOBILIZATION relied heavily on the symbols of Ram and Ramyana Rajesh Kumar Gupta was Mahatma Gandhi. He brought the concept of Ram Rajya. For Gandhi, Ram Rajya was an ideal Abstract „republic‟ where values of justice, equality, idealism, In this paper I tried to explore how the popular renunciation and sacrifice are practiced. His idea of comics of Amar Chitra Katha based on Ram and Satyagraha was derived from Ramyana and Geeta. Ramyana the psychology of the comics reader in the The conceptual root of the application of the concept late influenced tweinteeth century. It also shows as of Ahimsa also lay in the Geeta and Ramyan in to how these comics laid the background of ugra which it was reared, to political action.2 Gandhi's Ram instead of benovelent Ram? This was the time imaginative invention and usage of symbols when, ugra Ram became the symbol of Hindu resonated in the minds and hearts of Indians.3 With Nationalism, he was utilised as a political figure the above examples of Baba Ramchandra and which was directly or indirectly linked with the Hindu- Mahatma Gandhi, I wish to emphasize that symbols Muslim conflicts, and it also sharpning the religious of Hindu epics and figure of Ram were utilized to identity for the construction of Ram temple in critique the colonial rule and the idea of Ram Rajya Ayodhya. -
The Ramayana by R.K. Narayan
Table of Contents About the Author Title Page Copyright Page Introduction Dedication Chapter 1 - RAMA’S INITIATION Chapter 2 - THE WEDDING Chapter 3 - TWO PROMISES REVIVED Chapter 4 - ENCOUNTERS IN EXILE Chapter 5 - THE GRAND TORMENTOR Chapter 6 - VALI Chapter 7 - WHEN THE RAINS CEASE Chapter 8 - MEMENTO FROM RAMA Chapter 9 - RAVANA IN COUNCIL Chapter 10 - ACROSS THE OCEAN Chapter 11 - THE SIEGE OF LANKA Chapter 12 - RAMA AND RAVANA IN BATTLE Chapter 13 - INTERLUDE Chapter 14 - THE CORONATION Epilogue Glossary THE RAMAYANA R. K. NARAYAN was born on October 10, 1906, in Madras, South India, and educated there and at Maharaja’s College in Mysore. His first novel, Swami and Friends (1935), and its successor, The Bachelor of Arts (1937), are both set in the fictional territory of Malgudi, of which John Updike wrote, “Few writers since Dickens can match the effect of colorful teeming that Narayan’s fictional city of Malgudi conveys; its population is as sharply chiseled as a temple frieze, and as endless, with always, one feels, more characters round the corner.” Narayan wrote many more novels set in Malgudi, including The English Teacher (1945), The Financial Expert (1952), and The Guide (1958), which won him the Sahitya Akademi (India’s National Academy of Letters) Award, his country’s highest honor. His collections of short fiction include A Horse and Two Goats, Malgudi Days, and Under the Banyan Tree. Graham Greene, Narayan’s friend and literary champion, said, “He has offered me a second home. Without him I could never have known what it is like to be Indian.” Narayan’s fiction earned him comparisons to the work of writers including Anton Chekhov, William Faulkner, O. -
Rama, Sita, Hanuman
Hinduism Rama, Sita, Hanuman Rama, Sita, Hanuman Summary: Rama, Sita, and Hanuman are central, divine characters in the Ramayana. Rama is both worshipped and admired as a righteous king and a fully human incarnation of Lord Vishnu. During a Rama Navami Celebration, Rama's birth is celebrated and his wedding to Sita is reenacted. Families with daughters of marriageable age serve as sponsors for the divine wedding, which is also a chance to pray for the good marriage of their daughters in the future. In the Bharatiya Temple in Troy, Michigan, the Hindu community gathers for Rama Navami, the annual festival celebrating Lord Rama. Bharatiya literally means the temple of India, highlighting the fact that this a pan-Hindu temple, not dedicated to a specific deity. Modern in its design, Bharatiya set on a wooded hillside in the northern suburbs of Detroit. Four huge arching wooden trusses support the roof of the carpeted sanctuary where more than three hundred people are sitting for the “Wedding of Rama and Sita,” the divine couple who are hero and heroine of the beloved Ramayana. The images of Rama and Sita have been brought forward on the raised platform which serves as the altar of the temple. Rama is both worshipped and admired as a righteous king and a fully human incarnation of Lord Vishnu. Today Rama’s birth is celebrated and his wedding to Sita is re-enacted. Two families from the community are seated with the priests near the altar which bears the small images of Rama in a yellow silk dhoti and Sita in red silk sari and pearls. -
The Story of Rama
The Story of Rama A Curriculum Packet for Educators Spring 2011 Dear Teachers, We are glad you are choosing to bring your students to the Asian Art Museum, where they will experience the first exhibition in the United States dedicated to the arts and culture of Bali, an island in Indonesia that has captured the imagination of the world for centuries. You and your class are scheduled to take a special tour of Bali: Art, Ritual, Performance at the museum. Students will learn how art and stories can teach us about culture. Culture influences how everyone views the world, and students will learn about this by studying how the Hindu epic of the hero-prince Rama (the Ramayana) appears in the visual, performing, and literary arts of Bali. “The Abduction of Sita” (kidnapping of Rama’s wife), a pivotal chapter in the Ramayana, is also an ideal lens through which students may understand how art is “lived” in Bali, the only Indonesian island whose majority population is Hindu. To prepare for your visit, we encourage you to try one or all of the lessons in the enclosed inte- grated standards-based classroom unit, The Story of Rama: Revealing Art, Ritual, and Performance through Story. We also encourage you to review your tour confirmation and theGuidelines for Teachers, Students, and Chaperones. For more information on the Bali exhibition, please visit our microsite www.asianart.org/Bali. In the meantime, if you have questions or preferences, please contact us at [email protected] or speak directly with your docent, who will contact you about two weeks prior to your tour. -
Rama's Return to Ayodhya: from the Ramayana
PICTURING THE STORY: NARRATIVE ARTS AND THE STORIES THEY TELL Rama's Return to Ayodhya: from the Ramayana At the end of the epic poem the Ramayana, the hero- brothers Rama and Lakshmana, along with Rama’s wife Sita, returned in triumph to their home- city of Ayodhya. They were accompanied by the armies of the Monkey King and Bear King, who helped them defeat the evil Ravana, demon-king of Lanka. The victorious party is joined by Vibhishan, the new King of Lanka, who joined Rama’s cause against his own brother Ravana. When Rama, longing to Indian Rama, Sita and Lakshmana Return to Ayodhya, ca. 1850-1900 return home after his long Rajasthan, Rajput School adventures, laments, Opaque watercolor, ink, silver and gold paint on paper, 11 1/4 in. x 17 15/16 in. Gift of Helen H. Reiff in memory of Robert F. Reiff, 83.55 "Far is Ayodhya: long, alas, Then Rama entered the glorious car “A joy beyond all joys the best the dreary road and hard to pass." that shone like Day's resplendent star. will fill my overflowing breast, "One day," Vibhishan cried, "one day There in his lap he held his dame if surrounded by you, O noble band, shall bear thee over that length of way. veiling her eyes in modest shame. I seek again my native land.” Is not the wondrous car Pushpaka mine, Beside him Lakshmana took his stand, made by the god Brahma’s own hands whose mighty bow still armed his hand. Swift through the air, as Rama chose, divine? the wondrous car from earth arose. -
THE MEANING of RAMA M. Ram Murty1 Long Before Plato
THE MEANING OF RAMA M. Ram Murty1 Long before Plato composed The Republic, describing the ideal state, an ideal king, the poet-sage Valmiki wrote the epic Ramayana doing just that. Written more than 3000 years ago, the Ramayana is the story of Rama, as an ideal human being, an ideal monarch, the ideal philosopher-king. Even today, people in India refer to Ram rajya, as a fair, and just rule of a country. The Ramayana contains more than 20,000 verses. It is larger than Homer’s Iliad which contains 8,000 verses or Virgil’s Aenid which contains 4500 verses. In length, it is exceeded by The Mahabharata, composed by the sage Vyasa, which has more than 100, 000 verses and believed to be the longest poem ever written by a single human being. The mind is like a sponge. It absorbs any idea or thought put in front of it. Sri Ramakrishna used to say, “the mind is like a laundered cloth. It takes on the colour of the dye you dip it in.” We are all according to our thoughts. This important psychological principle was foremost in the minds of the ancient sages. That is why, in their infinite wisdom, they composed epic poetic works exemplifying the lives of great spiritual personalities. But why poetry? Because poetry conveys feeling. Poetry inspires. Poetry is easily remembered. Poetry is also music. It stirs and activates the deeper chambers of the mind. Poetry energises the being. In his essay, ‘The Absolute and Manifestation’, Swami Vivekananda writes, “In the old Upanishads, we find sublime poetry; their authors were poets. -
Amar Chitra Katha Books Download
Amar Chitra Katha Books Download Amar Chitra Katha Books Download 1 / 3 2 / 3 The ACK Comics app, the digital storefront of Amar Chitra Katha, is now available for Android Tablets and Mobiles. This free app brings alive glorious stories .... Editorial Reviews. About the Author. Anant Pai or Uncle Pai, as he is popularly known as, was ... devices; Due to its large file size, this book may take longer to download ... An Amazon Book with Buzz: "American Dirt" by Jeanine Cummins. The table below shows Amar Chitra Katha also issues a collection of individual comics as a set of "3 in one" or "5 .. Create a book · Download .... Amar Chitra Katha : Here you can download the comics and books of Amar Chitra Katha. Amar Chitra Katha offers Indian mythology books, epic story books, .... Amar Chitra Katha - 597 - Tales of Shivaji (English) (Reprinted). Cleaned and Enhanced Version. 36 Pages | English | CBR | 10 MB. Download.. Download free Stories From Mahabharata (Amar Chitra Katha 5 in 1 Series) pdf. ... Shiva (Amar Chitra Katha): Anant Pai: 9788175080430: Amazon.com: Books .... Addeddate: 2016-03-28 04:04:15. Coverleaf: 0. Identifier: Garuda-Comic. Identifier-ark: ark:/13960/t0ps26k4q. Ocr: ABBYY FineReader 11.0.. Anant Pai is a genius. in particular the Amar Chitra Katha series in 1967, along with the India Book House Review: Stories Of Krishna (Amar Chitra Katha) .... At Amar Chitra Katha, we offer a wide range of mythological stories, fables & humour, visionaries, Indian classic and regional language books. Visit our website .... Online shopping for Amar Chitra Katha eBooks from a great selection at Kindle Store Store. -
Storytelling Ramayana Through Philately
Storytelling Ramayana through Philately Briti Deb India 1947 photogravure print stamp with Jai Hind written in Hindi. Ramayana was written in Sanskrit which influenced many languages like Hindi, and both are written in the same script called Devanagari. Introduction: Ramayana, one of the four largest epics of the world (other three being the Mahabharata, Iliad, and Odyssey), is also arguably the oldest continuous tradition of storytelling in the world. This Hindu epic teaches on the goals of human life. It has a profound impact on the culture, family relations, and moral values in India and many other countries, manifesting itself in literature, art, architecture, painting, dance, drama, and festivals. Ramayana was introduced to the West in 1843 in Italian by Gaspare Gorresio. The term Ramayana literally means the march (ayana) of Rama (an avatar of the Hindu God Vishnu) in search of human values. The epic poem is written in Sanskrit and is composed of rhyming couplets called Slokas, teaching the concept of Dharma (moral). According to Hinduism, Dharma is the law that maintains the regulatory order of the universe, helping to achieve social harmony and human happiness. According to Hindu mythology, the historic period or Yuga in which Rama lived is known a Treta Yuga, when Dharma (moral) of people are believed to be of high order. In subsequent periods, i.e., Dwapar Yuga when the story of Mahabharata took place and the present Kali yuga in which we live now, morality is believed to be declining. In this context, storytelling Ramayana comes as a relief by teaching moral and spiritual values. -
Women in Pre- and Post-Victorian India: the Use of Historical Research in the Writing of Fiction
Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Vol 2 Women in pre- and post-Victorian India: The use of historical research in the writing of fiction by Radhika Praveen This practice-based thesis is submitted in partial fulfillment of the requirements of London Metropolitan University for a Doctorate of Philosophy degree in Creative Writing. September 2018 1 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD This work is dedicated to both my grandmothers, Devaki Amma, and Saroja Iyengar. A deep regret that I could not spend much time with my paternal grandmother, Devaki Amma (Achchamma), is probably reflected in my novel. Memories with her are few, but they will last forever. For my dear Ammamma, Saroja, who has always lamented the lack of formal education in her life: this doctorate is for you. 2 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Abstract This practice-based creative writing doctorate supports the creation of a novel that is in part, historical fiction, based on research focusing on the discrepancies in the perceived status of women between the pre-Victorian and the postmillennial periods in India. The accompanying component of the doctorate, the analytical thesis, traces the course of this research in connection to the novel's structural development, its narrative complexity and its characters. The novel traces the journey of two women protagonists – each placed in the 18th- and the 21st-centuries, respectively – as they reconcile to the realities of their individual circumstances. The introduction to the critical thesis gives a brief synopsis of the novel.