DOCSLIB.ORG

The Publication of Kashmir Sabha, Calcutta Vol. XXXII

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Publication of Kashmir Sabha, Calcutta Vol. XXXII The Publication of Kashmir Sabha, Calcutta "Cultural Heritage of India - Kashmiri Pandit Contribution" KASHMIR BHAWAN, CALCUTTA CK-35 (NEAR CK MARKET) KARUNAMOYEE, SALT LAKE CALCUTTA-700 091 PHONE: 358 3932 Vol. XXXII (1998(1998----1999)1999) Vitasta Annual Number Page Intentionally Left Blank ii Vol. XXXII (1998-1999) VViittaassttaa AAnnnnuuaall NNuummbbeerr Vol. XXXII (1998(1998----1999)1999) iii Vitasta Annual Number CCCooonnnttteeennntttsss page Contents ..................................................................................................................... v 1 Editorial ........................................................................................................... 1-2 2 FROM THE PRESIDENT'S DESK ............................................................... 2-4 3 KASHMIR - A GLIMPSE IN TIME .............................................................. 3-7 3.1 EARLY ACCOUNTS .................................................................................................. 3-7 3.2 ISLAMIC INFLUENCE .............................................................................................. 3-8 3.3 MODERN HISTORY ................................................................................................ 3-10 3.4 LANDMARKS OF SRINAGAR ............................................................................... 3-11 3.5 HOLY SHRINES ....................................................................................................... 3-12 3.6 LANGUAGE ............................................................................................................. 3-12 3.7 MUSIC, DANCE AND THEATRE .......................................................................... 3-12 3.8 FOOD ......................................................................................................................... 3-13 3.9 ARTS AND CRAFTS................................................................................................ 3-13 4 ON THE IMPORTANCE OF CULTURAL HERITAGE ........................... 4-15 5 DESCENT FROM KASHMIR ..................................................................... 5-17 6 KASHMIR - THE HOME OF SANSKRIT LANGUAGE AND LITERATURE ..................................................................................................... 6-20 6.1 ALANKARA SASTRA OR POETICS ..................................................................... 6-21 6.2 ABHINAVAGUPTA ................................................................................................. 6-21 6.3 KSHEMENDRA - FATHER OF SOCIAL SATIRE ................................................ 6-23 6.4 FABLE LITERATURE ............................................................................................. 6-23 7 CONTRIBUTION TO SANSKRIT LITERATURE .................................... 7-25 7.1 FOREWORD ............................................................................................................. 7-25 8 CONTRIBUTION TO POETICS AND DRAMATURGY ......................... 8-37 9 CLASSIFIED LIST OF THE SANSKRIT WORKS OF KASHMIR .......... 9-48 10 FOREWORD TO SOMADEVA'S KATHASARITSAGARA .............. 10-57 11 KSEMENDRA - A PEOPLE'S POET .................................................... 11-59 12 ON KASHMIRI LANGUAGE ............................................................... 12-61 12.1 Kashmiri and its dialects .......................................................................................... 12-61 12.2 Linguistic Characteristics......................................................................................... 12-63 12.3 Script ........................................................................................................................ 12-64 13 POETRY OF SHAIK-UL-AALAM........................................................ 13-65 14 KASHMIRIS IN THE SERVICE OF URDU ......................................... 14-69 15 KASHMIRIS IN THE SERVICE OF URDU ......................................... 15-71 15.1 Court Language ........................................................................................................ 15-71 15.2 Mother Tongue......................................................................................................... 15-71 15.3 Literary Giant ........................................................................................................... 15-71 15.4 Our Own Time ......................................................................................................... 15-72 16 CHAKBAST: THE POET OF PATRIOTISM ....................................... 16-73 17 SHANKAR RAMAYANA BY SWAMI SHANKAR RAZDAN .......... 17-76 v Vitasta Annual Number 17.1 VAAKH SIDHI ....................................................................................................... 17-76 17.2 ADOPTS CHILD ..................................................................................................... 17-77 17.3 SPURNED ............................................................................................................... 17-77 18 CONTRIBUTION OF KASHMIR TO INDIAN LITERATURE .......... 18-79 18.1 Introduction .............................................................................................................. 18-79 18.2 Historical Literature ................................................................................................. 18-79 18.3 Medicine .................................................................................................................. 18-80 18.4 Grammar and Philology ........................................................................................... 18-81 18.5 Poetics ...................................................................................................................... 18-82 18.6 Other Critics ............................................................................................................. 18-84 18.7 Metrics and Prosody ................................................................................................ 18-84 18.8 Lexicography ........................................................................................................... 18-85 18.9 Music........................................................................................................................ 18-85 18.10 Epics ..................................................................................................................... 18-85 18.11 Shorter Poems (Khanda Kavyas) ......................................................................... 18-86 18.12 Gnomic and Didactic Poetry ................................................................................ 18-87 18.13 Devotional Poetry ................................................................................................ 18-87 18.14 Anthologies (Subhasitavali) ................................................................................. 18-88 18.15 Popular Tales ....................................................................................................... 18-88 18.16 Drama ................................................................................................................... 18-88 18.17 Buddhist Literature .............................................................................................. 18-89 18.18 Kashmirian Saivism ............................................................................................. 18-90 19 ART, CULTURE AND FOOD ............................................................... 19-92 19.1 Means of recreation.................................................................................................. 19-92 19.2 Music........................................................................................................................ 19-92 19.3 Dancing .................................................................................................................... 19-93 19.4 Popularity of music and dancing in Kasmira ........................................................... 19-93 19.5 Nature of music and dancing ................................................................................... 19-93 19.6 Theatrical performances ........................................................................................... 19-94 19.7 Other sports .............................................................................................................. 19-94 19.8 Arts and Crafts ......................................................................................................... 19-95 19.9 Dress and Ornaments ............................................................................................... 19-96 19.10 Cosmetics and other requisites of personal decoration ........................................ 19-96 19.11 Food and drinks.................................................................................................... 19-96 20 AYURVEDA ........................................................................................... 20-98 21 POSITION OF WOMEN IN ANCIENT KASHMIR ........................... 21-104 21.1 WOMEN OUTSIDE MARRIAGE........................................................................ 21-105 22 KASHMIRI PANDIT MARRIAGES - MAIN FEATURES ................ 22-106 22.1 BRAHAMDEVA ................................................................................................... 22-106 22.2 KANYA-DAAN .................................................................................................... 22-106 22.3 VIVAAHA
Load more

Recommended publications
  • Choice Based Credit System (CBCS) Hazratbal, Srinagar, Kashmir, J&K, India-190006 No
    University of Kashmir Choice Based Credit System (CBCS) Hazratbal, Srinagar, Kashmir, J&K, India-190006 No. F (CBCS -Basket-Review)198/20. Dated: 14.09.2020 NOTICE Sub:- Review of Course Baskets of PG 3rd Sem (2019 Batch) and PG 4th Sem (2018 Batch). All the Heads of the Departments/Directors of Satellite Campuses/Principals of PG Colleges/Coordinators of PG Programmes are asked to direct the concerned Academic Counsellors (ACs) to review the departmental Courses (Core, DCE, GE and OE) in Course-baskets of PG 3rd Sem (2019 Batch) and PG 4th Sem (2018 Batch). The course baskets for both the semesters are available under “CBCS” tab in the footer portion of the University’s Main Website. The same have also been directly emailed to Academic Counsellors for ready reference and review In case of any inconsistency, deficiency or error, kindly revert back to us on this email ([email protected]) or phone (7889665644) latest by Sept 20, 2020. Sd/- Chief Coordinator CBCS Copy to: 1. The Heads of the Departments/Directors of Satellite Campuses/Principals of PG Colleges/Coordinators of PG Programmes 2. PA to Dean Academic Affairs for information to Dean Academic Affairs. 3. File. 4th Sem 2019 COURSECODE SUBJECTCODE SUBJECTNAME CREDITS Capacity Timing BMFA FA18001OE Outdoor/Open Air Landscape/Acrylic/Water Colour/Oil Colour 2 0 0 BMFA FA18002OE Creative Painting, Basic Fundamentals 2 0 0 BMFA FA178003OE Creative Photography 2 0 0 BMFA FA18004OE Clay Modelling 2 0 0 BMFA FA18005OE Indian Classical(Vocal) 2 0 0 BMFA FA18006OE Indian Classical(Sitar) 2
    [Show full text]
  • All Category...XLS
    Office of the Chief Education Officer Anantnag. Tentative Seniority list of Class-IV officials as on date 18/12/2020 Annexure "E" Present Place Of Date Of Ist S.No. Name Desig. D.O.B Appointed as Qualification Cat. Residance Posting Appointment Night Kewa 1 Mohd Shaban Sheikh HS Chekiwangund 1-Jan-63 1-Sep-81 Night Chowkidar Matric (Adeeb) OSC Chowkidar Qazigund 2 Ab. Salam Sheikh Peon CEO, Anantnag 15-Apr-61 7-Apr-82 Peon Matric (Adeeb) General Badasgam 3 Girja Raina Lab. Bearer CAO Migrant Cell 5-Sep-61 10-Mar-88 Lab. Bearer BA, General Jammu 4 Madhu Balla Lab. Bearer CAO Migrant Cell 12-Apr-69 4-Aug-88 Lab. Bearer Matric General Jammu Camp HSS Roop 5 Basanti Kumari Orderly 4-Feb-72 9-Jan-97 Orderly Matric General Jammu Nager Camp HSS Durga Present Adress 6 Menakshi Orderly 3-Jul-75 18-Oct-00 Orderly Matric General Nagar Jammu Matric(Adeeb) 7 Aali Jan Orderly GHSS Sagam 9-Mar-86 15-Apr-06 Class-IV RBA Zalangam May.2018 8 Sami Jan Lab.Br. GHSS Aishmuqam 10-Dec-78 31-Mar-06 Lab.Br. Matric General Aishmuqam 9 Rouf Ahmad Shah Peon BHS Nowgam Kuther 8-Jul-84 10-Apr-06 Peon Matric General Shangus 10 Ali Mohd Itoo Peon HS Nowgam(V) 11-May-79 18-Apr-06 Peon Matric (Adeeb) RBA Nowgam Sandoo BB 11 Mohd Yaqoob Sheikh Lab.Br HSS Akingam 15-May-61 16-May-06 Lab Bearer Matric General Nowgam 12 Nazir Ahmad Hafiz Peon HSS Uttersoo 15-Dec-61 16-May-06 Peon Matric General Uttersoo 13 Ali Mohd Dar Orderly ZEO Doru 30-Jan-62 15-Jun-09 Peon Matric General Larkipora Manzoor Ahmad Chonitpora 14 Lab.
    [Show full text]
  • Fisheries Dept
    AADHAR BASED BIOMETRIC IDENTIFICATION AND SKILL PROFILING Reports Select Department :- FISHERIES DEPARTM Select District :- All Sno. District Name Parentage Address Present Office DOB Category MOHD GOWHAR ASSISTANT DIRECTOR 1 ANANTNAG MAQBOOL PAPHARANNAG PANZMULLA MATTAN 06-07-1973 CASUAL LABOURERS ISHTIYAQ FISHERIES ANANTNAG SALROO SYED IMTIYAZ ASSISTANT DIRECTOR 2 ANANTNAG RAFIQA AKTHER KURIGAM QAZIGUND 03-04-1973 CASUAL LABOURERS AHMAD FISHERIES ANANTNAG PEER FARHAT PEER GH 3 ANANTNAG ACHABAL IMOH ANG A.D.FISHRIES ANG 26-02-1978 CASUAL LABOURERS HUSSAIN SHAH MOHIDIN SHAH AADIL BASHIR BASHIR AH ASSISTANT DIRECTOR 4 ANANTNAG VERINAG 10-10-1986 CASUAL LABOURERS KHAN KHAN FISHRIES ANANTNAG W/O BASHIR ASSISTANT DIRECTOR 5 ANANTNAG MASRAT JAN CHANDRIGAM TRAL 14-02-1969 CASUAL LABOURERS AHMAD FOSHERIES ANANTNAG MAHABEENA AB GANI ASSISTANT DIRECTOR 6 ANANTNAG SEHPORA DOORU 21-05-1978 CASUAL LABOURERS ARA KHANDAY FISHERIES ANANTNAG MOHD JAMAL MOHD ISMAIL ASSISTANT DIRECTOR 7 ANANTNAG PAHALGAM 25-05-1951 CASUAL LABOURERS LONE LONE FISHERIES ANANTNAG ASHIQ HUSSAIN MOHD SHABAN ASSISTANT DIRECTOR 8 ANANTNAG ANCHIDORA 01-06-1981 CASUAL LABOURERS TANTRAY TANTRAY FISHERIES ANANTNAG GOWHAR MOHAMMAD ASSISTANT DIRECTOR http://10.149.2.27/abbisp/AdminReport/District_Wise.aspx[1/16/2018 12:38:29 PM] 9 ANANTNAG AHMAD MAQBOOL MARAG MOHALLA LARKIPORA 01-03-1987 CASUAL LABOURERS FISHRIES ANANTNAG MANTOO MANTOO MOHD AFZAL MOHD AZIZ ASSISTANT DIRECTOR 10 ANANTNAG CHANDRIGAM TRAL 03-01-1960 CASUAL LABOURERS GANAI GANAI FISHERIES ANANTNAG MOHD SHABIR AHMAD
    [Show full text]
  • Alamkara-Gamaka: an Anthology
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 20, Issue 9, Ver. III (Sep. 2015), PP 122-125 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Alamkara-Gamaka: An Anthology Arun S1, Dr. Choodamani Nandagopal2 1. (M.Phil Research Scholar, Faculty of Humanities and Social Sciences, Jain University, Bangalore, India) 2. (Guide and DEAN, Faculty of Humanities and Social Sciences, Jain University, Bangalore, India) Abstract: Music, by nature is a dynamic embellishment. But, it is the innate embellishments present within the art form and the artiste, makes it appreciable to a large audience. Alamkara (Fore-runners of Gamaka) and Gamaka (Certain melodic embellishment in the voice which is aesthetic to the aesthete) are the codified embellishments as per Sanskrit lexicons. These are not units in themselves but they are Unifying Forces. It is interesting that the mnemonic syllables (Abstract sound rhetoric units) emanated from percussion instruments which by nature are abstract units of sound phonemes perfectly synchronize with the diffused elements such as Alamkara and Gamaka. While summing up the thirty three Alamkaras of Bharata as per the treatise Natya Shastra, the “Tension-Retention Concept” discussed in the paper proves the above statement. Keywords: Alamkara, Gamaka, Mnemonic Syllables, Music, Natya Shastra, Nuances, Percussion, Sangitaratnakara. I. Introduction Any Art, be it performing, visual or otherwise is basically are set of gyrations; but without the nuances which adheres in the art form. The nuances might not have a definite scientific origin but the fact of; “something catchy or different” which makes the aesthete appreciate a particular piece of work proves the presence of the nuances or certain embellishments.
    [Show full text]
  • Volume 1 on Stage/ Off Stage
    lives of the women Volume 1 On Stage/ Off Stage Edited by Jerry Pinto Sophia Institute of Social Communications Media Supported by the Laura and Luigi Dallapiccola Foundation Published by the Sophia Institute of Social Communications Media, Sophia Shree B K Somani Memorial Polytechnic, Bhulabhai Desai Road, Mumbai 400 026 All rights reserved Designed by Rohan Gupta be.net/rohangupta Printed by Aniruddh Arts, Mumbai Contents Preface i Acknowledgments iii Shanta Gokhale 1 Nadira Babbar 39 Jhelum Paranjape 67 Dolly Thakore 91 Preface We’ve heard it said that a woman’s work is never done. What they do not say is that women’s lives are also largely unrecorded. Women, and the work they do, slip through memory’s net leaving large gaps in our collective consciousness about challenges faced and mastered, discoveries made and celebrated, collaborations forged and valued. Combating this pervasive amnesia is not an easy task. This book is a beginning in another direction, an attempt to try and construct the professional lives of four of Mumbai’s women (where the discussion has ventured into the personal lives of these women, it has only been in relation to the professional or to their public images). And who better to attempt this construction than young people on the verge of building their own professional lives? In learning about the lives of inspiring professionals, we hoped our students would learn about navigating a world they were about to enter and also perhaps have an opportunity to reflect a little and learn about themselves. So four groups of students of the post-graduate diploma in Social Communications Media, SCMSophia’s class of 2014 set out to choose the women whose lives they wanted to follow and then went out to create stereoscopic views of them.
    [Show full text]
  • MRIDANGA SYLLABUS for MA (CBCS) Effective from 2014-15
    BANGALORE UNIVERSITY P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MRIDANGA SYLLABUS FOR M.A (CBCS) Effective from 2014-15 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. MRIDANGA Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree music with Mridanga as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination of Mridanga conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in Mridanga conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in Mridanga b) All India Radio/Doordarshan gradation c) Any diploma in Mridanga or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. Mridanga course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), three practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. Fourth semester will have two theory Papers (core) two practical papers (core), one project work and one is Elective paper.
    [Show full text]
  • Introduction
    1 Introduction A jackal who had fallen into a vat of indigo dye decided to exploit his mar- velous new appearance and declared himself king of the forest. He ap- pointed the lions and other animals as his vassals, but took the precaution of having all his fellow jackals driven into exile. One day, hearing the howls of the other jackals in the distance, the indigo jackal’s eyes filled with tears and he too began to howl. The lions and the others, realizing the jackal’s true nature, sprang on him and killed him. This is one of India’s most widely known fables, and it is hard to imagine that anyone growing up in an Indian cultural milieu would not have heard it. The indigo jackal is as familiar to Indian childhood as are Little Red Rid- ing Hood or Snow White in the English-speaking world. The story has been told and retold by parents, grandparents, and teachers for centuries in all the major Indian languages, both classical and vernacular. Versions of the collec- tion in which it first appeared, the Pañcatantra, are still for sale at street stalls and on railway platforms all over India. The indigo jackal and other narratives from the collection have successfully colonized the contemporary media of television, CD, DVD, and the Internet. I will begin by sketching the history and development of the various families of Pañcatantra texts where the story of the indigo jackal first ap- peared, starting with Pu–rnabhadra’s. recension, the version on which this inquiry is based.
    [Show full text]
  • Agha Hashar Kashmiri - Poems
    Classic Poetry Series Agha Hashar Kashmiri - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Agha Hashar Kashmiri(03 April 1879 -28 April 1945) Agha Hashar Kashmiri or Agha Hashr Kashmiri (Urdu: ??? ??? ???????) was an eminent Urdu poet, playwright and dramatist. He was also called the Shakespeare of Urdu. <b> Biography </b> Agha Hashar Kashmiri was born on 3 April 1879, in Banaras, British India. He got his initial Education there .He could not get a higher education due to lack of interest in text books. Since child hood he was interested in poetry,music but after watching few stage drammas his mind was changed toward his field. He came to Bombay at the age of 18 and started his career as a play had a full command on more than one language but familiar wid Urdu, Arabic, persian, English, Gujrati and Hindi. His first play, Aftab-e-Muhabat, was published in 1897. He started his professional career as a drama writer in the New Alfred theatrical company in Bombay, on a salary of Rs. 15 per month. Murid-e-Shak, his first play for the company, was an adaptation of Shakespeare's play The Winter's Tale. It proved a success and his wages were raised to Rs. 40 per month thereafter. In his works, Agha had experience introducing shorter songs and dialogues with idioms and poetic virtues in plays. Later, he created the Shakespeare theatrical company but could not stay in business for long. He also joined Maidan theatre – a tented theatre to accommodate large audiences – where he earned a credible name in Urdu drama and poetry.
    [Show full text]
  • The Upanishads, Vol I
    The Upanishads, Vol I Translated by F. Max M&uuml;ller The Upanishads, Vol I Table of Contents The Upanishads, Vol I........................................................................................................................................1 Translated by F. Max Müller...................................................................................................................1 PREFACE................................................................................................................................................7 PROGRAM OF A TRANSLATION...............................................................................................................19 THE SACRED BOOKS OF THE EAST........................................................................................................20 TRANSLITERATION OF ORIENTAL ALPHABETS,..............................................................................25 INTRODUCTION.................................................................................................................................26 POSITION OF THE UPANISHADS IN VEDIC LITERATURE.......................................................30 DIFFERENT CLASSES OF UPANISHADS.......................................................................................31 CRITICAL TREATMENT OF THE TEXT OF THE UPANISHADS................................................33 MEANING OF THE WORD UPANISHAD........................................................................................38 WORKS ON THE UPANISHADS....................................................................................................................41
    [Show full text]
  • American Oriental Society
    American Oriental Society FOUNDED 1842 Constituent of the American Council of Learned Societies And the International Union of Orientalists ABSTRACTS OF COMMUNICATIONS PRESENTED AT THE TWO HUNDRED AND TWENTY-NINTH MEETING Chicago, Illinois March 15–18, 2019 c American Oriental Society 2019 New Haven CT and Ann Arbor MI A. Ancient Near East I: Syntax and Semantics. John Huehnergard, Uni- versity of Texas, Chair (1:30 p.m.–2:30 p.m.) Picasso Ballroom ∗ 1. Øyvind Bjøru, University of Texas at Austin, and Na’ama Pat-El, The Univer- sity of Texas, Austin On the Historical Syntax of the Subordination Morpheme in Assyrian Akkadian Akkadian marks subordinated verbs with a special morpheme, Babylonian -u and Assyri-an -(¯u)ni; e.g., ˇsa ir-ra-ru ‘the one he curses’ (OB, Anzu, line 22). Semitists and Assyriologists have debated the origin of these morphemes in Akkadian in general and in Assyrian in particular (e.g., Kouwenberg 2010, Hasselbach 2012). In this paper we will concentrate on the syntax and distribution of the morpheme in Assyrian, where it is morphologically complex and its syntax differs significantly from Babylonian. We will argue that this morpheme becomes generalized in this dialect, shifting from being part of the Assyrian TAM markers with restricted distribution, to acquiring a purely syntactic function which is decoupled from the verbal paradigm. In Middle Assyrian, the morpheme is attested on all verbal and deverbal predicates, with no restriction, including with verbs carrying other suffixes, such as pronominal and ventive. The most interesting development, however, is attested in Neo-Assyrian, where the morpheme is used to mark the right-most edge of the subordinated sentence, no matter what element is located there, including pronominal subjects in nominal sentences; e.g., LU´ la ´u-da a-a-´uˇsu-tu-´u-ni ‘I don’t know who this man is’ (SAA 10, 280: r1-2).
    [Show full text]
  • Istanbul 2016 T.C. Fatih Sultan Mehmet Vakif Üniversitesi
    T.C. FATİH SULTAN MEHMET VAKIF ÜNİVERSİTESİ MEDENİYETLER İTTİFAKI ENSTİTÜSÜ YÜKSEK LİSANS TEZİ BİLİMSEL BİR SÖYLEM FORMU OLARAK TEMSİL: MANDEVİLLE’İN ARILAR MASALI ÜZERİNE BİR İNCELEME FİRDEVS BULUT 130401003 TEZ DANIŞMANI: PROF. DR. RECEP ŞENTÜRK PROF. DR. TAHSİN GÖRGÜN ISTANBUL 2016 T.C. FATİH SULTAN MEHMET VAKIF ÜNİVERSİTESİ MEDENİYETLER İTTİFAKI ENSTİTÜSÜ YÜKSEK LİSANS TEZİ BİLİMSEL BİR SÖYLEM FORMU OLARAK TEMSİL: MANDEVİLLE’İN ARILAR MASALI ÜZERİNE BİR İNCELEME FİRDEVS BULUT 130401003 Enstitü Anabilim Dalı: Medeniyet Araştırmaları Enstitü Bilim Dalı: Medeniyet Araştırmaları Bu tez 23/06/2016 tarihinde aşağıdaki jüri tarafından oy birliğiyle kabul edilmiştir. BEYAN Bu tezin yazımında bilimsel ahlâk kurallarının gözetildiğini, başkalarının eserlerinden yararlanırken bilimsel normlara uygun olarak kaynak gösteriminin yapıldığını, kullanılan veriler üzerinde herhangi bir değişiklik yapılmadığını, tezin herhangi bir kısmının bu üniversite veya başka bir üniversitedeki başka bir tez çalışmasına ait olarak sunulmadığını beyan ederim. FİRDEVS BULUT ÖZET Bu tezde, Bernard de Mandeville’in 1714 yılında kaleme aldığı ve klasik temsili anlatım türünün bir örneği olan Arılar Masalı (The Fable of the Bees) eseri incelenecek, metinde öne çıkan kavramlar ve metnin yazıldığı dönemin özellikleri, temsili anlatım ile bilgi üretimi arasındaki ilişkiyi ortaya koyması açısından ele alınacaktır. Ortaya koyduğu toplum teorisi ve erken modern Batı toplumu örnekliği ile yazıldığı dönemin ender eserlerinden biri olan Arılar Masalı, bu çalışmada öncelikle döneminin düşünsel birikiminin bir parçası olarak değerlendirilecektir. Daha sonra metnin şu ana kadarki iktisadi ve ahlaki açıklama ve yorumlarının ötesine geçilmeye çalışılarak, edebi bir metin olarak ele alınacaktır. Fabl türü ve temsil getirme metodu ile siyasi ve ahlaki bir toplum teorisi kuran eserin, bir edebiyat ürünü olarak döneminin neresinde bulunduğu açıklanacaktır.
    [Show full text]
  • THEORY of AYURVEDA (An Overview)
    THEORYTHEORY OFOF AYURVEDAAYURVEDA (An(An Overview)Overview) Dr Chakra Pany Sharma M. D. ( Ayu ), PhD ( Sch ) READER -PG MMM Govt Ayurveda College Udaipur -India Lord Brhama Lord Dhanvantari-The 313001 Father of Surgery Email: [email protected] [email protected] An Overview of Lake City Udaipur Fatehsagar Lake and Island Park Greenery in Rural Area Clouds over the Peak of Mountain Night Scenario of Fountain Park Introduction & Background Ayurveda (Devanagari : आयुवBद ) or Ayurvedic medicine is an ancient system of health care that is native to the Indian subcontinent . It is presently in daily use by millions of people in India , Nepal , Sri Lanka ,China , Tibet, and Pakistan . It is now in practice for health care in Europian countries. The word " Ayurveda " is a tatpurusha compound of the word āyus meaning "life" or "life principle", and the word veda , which refers to a system of "knowledge". Continued…………………….. According to Charaka Samhita , "life" itself is defined as the "combination of the body, sense organs, mind and soul, the factor responsible for preventing decay and death." According to this perspective, Ayurveda is concerned with measures to protect "ayus ", which includes healthy living along with therapeutic measures that relate to physical, mental, social and spiritual harmony. Continued…………………. Ayurvedavatarana (the "descent of Ayurveda ") Brahama Daksha Prajapati Indra Bharadwaj Bharadvaja in turn taught Ayurveda to a group of assembled sages, who then passed down different aspects of this knowledge to their students . Continued…………………. According to tradition, Ayurveda was first described in text form by Agnivesha , named - Agnivesh tantra . The book was later redacted by Charaka , and became known as the Charaka Samhit ā.
    [Show full text]