Pdf Seul Refuge.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Pdf Seul Refuge.Pdf 1 Table des matières 1- Préface 2- Introduction 3- Une offrande d’amour 4- Saï, l’Incarnation divine de notre ère Des Ondes de joyeuse espièglerie 5- Voyage à Puttaparthi 6- Le jeune Saï, le Bien-aimé du monde entier 7- L’Ashram 8- Saï, le Maître de musique 9- Le vieux Mandir 10- Célébrations de Dasara 1945 11- Saï Krishna 12- L’exorcisme 13- Saï le tendre coquin 14- Saï l’espiègle, inaccessible 15- Manifestations et faits stupéfiants 16- Des miracles exceptionnels 17- Saï, le plaisantin diverti 18- Le jeune Saï l’adorable farceur 19- L’extraction du poison 20- Les examens de fin d’études secondaires 21- Les grandes célébrations de Navaratri 22- Saï, ‘Homme des miracles 23- Le deuxième jour 24- Le troisième jour 25- Le quatrième jour 26- Le cinquième jour 27- Le sixième jour 28- Le septième jour 29- Le huitième jour 30- Le neuvième jour 31- Vijayadasami 32- Salutations à Ses pieds sacrés 33- Visite de Saï à Kuppam 34- Tour dans l’inde du Sud 35- L’arrangement du mariage 2 Des Ondes de miracles 36- Des miracles hilarants 37- Transe 38- Sai, le Protecteur de ses fidèles 39- Le mariage — 1948 Des Ondes d’Enseignement 40- Vijayadasami— 1949 41- Le Sauveur 42- Cérémonie d’inauguration de Prashanti Nilayam 43- Les nuits de pleine lune 44- Saï ne laissera pas se perdre la foi des croyants 45- Célébration de l’anniversaire de Swami — 1953 46- Le test— enquête 47- Le don de la vie (5-8-53) 48- Les doux discours de Swami 49- Quelques aperçus sur l’enfance de Swami 50- Les soixante ans de mon père 51- Dîpavali 52- Les rives du Chitravati, essence de la Spiritualité 53- Le service social 54- L’assemblée des poètes 55- Le rassemblement d’Anantapur 56- La Splendeur de l’Anniversaire 57- La cour de Venkatagiri 58- Le jardin de la méditation 59- La Déesse Lakshmi du Dasara 60- Nandavanam 61- Madras 62- Le Naturel de Swami 63- Les fermes résolutions de Sai 64- Sri Vedapurusha Saptaha Janayagne Mahotsavam — 1961 65- Je M’incarne d’ère en ère, pour le rétablissement de la justice 66- Conquête des trois mondes 67- La maladie de Swami 68- Sri Ratnakaram Pedavenkama Raju, l’homme béni 89- La maison de Brindavan 70- Célébration de l’investiture du cordon sacré (1964) 71- Le Srimantharn de Jalaja 72- Guru Purnima 73- La réunion des serviteurs volontaires 74- Première conférence mondiale 75- Dharmakshetra 3 76- Notre installation à Whitefield — 1968 77- Voyage de Swami en Afrique — 1968 78- La pratique du yoga en présence de Swami 79- L’innocence de Saï Des Ondes de directives sur l’Education 80- Balvikasi — Cours d’Eté 81- Vous êtes bénie, lshvaramba 82- Quelques réflexions anciennes 83- Notre famille 84- Le divin Médecin 85- Saï, notre Ami fidèle en temps d’épreuves 86- La grande chance du service volontaire 87- Le cosmos entier est Saï Glossaire 4 Préface La lecture de l’ouvrage Anyadhâ Saranam Nasthi, rédigé par Smt. Vijaya Kumari, en hommage intensément dévotionnel à Bhâgavan Sri Sathya Saï Baba, la Divinité incarnée de notre ère, a constitué pour moi une expérience de profond retournement de l’âme. Chaque aperçu des années de jeunesse de Bhâgavan, chaque détail sur l’amour débordant de Swami pour Ses fidèles, chaque description de Ses pouvoirs incroyables, qu’il s’agisse de matérialisation d’objets (de la vibhuti— cendre sacrée — aux bijoux en or et diamants ou aux figurines de Dieux), ou de Sa maîtrise en matière de clairvoyance, claire-audience, apports, etc., tout est utilisé par l’auteur pour mettre en évidence la compassion infinie de Swami à l’égard du genre humain, ainsi que Ses efforts inlassables pour créer un nouvel ordre mondial fondé sur la Vérité, la Bonté, la Paix et l’Amour. Cette ère est celle de Saï. Tout le monde se tourne vers Swami, parce que Son message divin de la « sâdhana — exercice spirituel — à travers le service » touche un besoin vital du moment et est le seul remède sûr pour accéder à une sérénité mentale durable en famille, dans la société qui nous entoure et dans le monde en général. La tâche de traduire cet ouvrage, je l’ai assumée en vue de partager avec tout un chacun l’expérience de la présence irrésistible de Swami que je fis par cotte lecture, et le zeste de complétude qu’elle imprima sur ma foi dans les divins Pieds de lotus de Saï qui nous guident tous vers un Havre de Paix, à travers les eaux houleuses, pleines de tensions et de mécanismes, de la vie moderne. Je me prosterne devant Swami, afin que, sous l’excuse de cette traduction, j’occupe mon temps à Le contempler et à méditer sur Son amour pour le genre humain, plutôt que de « tuer » ce temps en bavardages inutiles. J’exprime à Smt. Vijaya Kumari toutes mes félicitations pour avoir illuminé des milliers de cœurs ardents comme le mien par la lampe de son merveilleux ouvrage. J’étends mes sincères remerciements à tous mes frères en Sa?, tels que le Prof. Nanjundaiah, Sri Sri Râm et mes sœurs en Saï: Mademoiselle Sita Lakshmi et Smt. Vijaya Kumari pour leur aimable support moral. Je dois des remerciements particuliers aux membres du Centre Sathya Saï local, tels que le Prof. C. Bhakara Sarma, le Prof. C.V. Nageswara Sastry et Sridhar, pour avoir pris part à la préparation des clichés. Je suis reconnaissante à ma mère et à mes filles pour leur chaleureux soutien. Je reconnais avec gratitude l’aide précieuse de mon mari, le Prof. T. Ramesh Dutta, sans la cordiale collaboration de qui je n’aurais pas mené à terme mon aventure de traduction, afin qu’elle soit posée en offrande devant les Pieds de Lotus de Bhâgavan Sri Sathya Saï Baba, notre Swami bien-aimé, avec un abandon sincère: Anyathâ Saranam Nasthi — Tu es mon seul refuge — Andhra University Visakhapatnam, 9juin 1999 T. Padma 5 Préface à l’édition française Sri Sathya Sai Baba a dit à plusieurs reprises, à l’occasion de Ses discours, que l’homme actuel a perdu l’amour pour Dieu, la crainte de la faute et la moralité en société. Lisant l’ouvrage de Smt. Vijayamma, nous ne pouvons- nous abstenir de constater combien la société indienne a su maintenir ces trois points dans sa vie quotidienne, au moins jusqu’à nos jours. En Inde, la dévotion sincère à Dieu n’est généralement pas, comme en Occident, une attitude dont on cherche à se cacher, sous peine d’être pris en dérision par l’entourage. Les chercheurs spirituels et les sâdhus déferlent encore dans tout le pays, le long des grands fleuves sacrés ou dans les lieux de pèlerinages et les ashrams. Smt. Vijayamma nous enseigne pas à pas, par sa spontanéité et sa profondeur sans pareille, comment aimer Dieu « de tout son corps, de tout son cœur et de tout son esprit ». Avions-nous appris cette science parfaite? Ne nous a-t-on pas inculqué, dans le meilleur des cas, à craindre Dieu, mais bien peu à l’aimer? On trouve ici des traces du grand mouvement spirituel qui a marqué l’Hindouisme du XVIIe siècle, appelé Madhura Bhakti — la douceur de la dévotion à Dieu — et dont tant de saints ont été les interprètes, dans leur aspiration intense à réaliser l’unicité divine. Cette attitude d’abandon inconditionné à Saï Baba, cet Etre incommensurable qui incarne pleinement les qualités d’omniprésence, omniscience et toute- puissance, est une porte ouverte sur la grande aventure intérieure, celle du réveil et de l’épanouissement de la conscience du Soi. Grâce au Seigneur Saï, la Madhura Bhakti assume, à présent, un caractère universel d’amour de tous les êtres comme expressions du Divin, et se déploie en pure connaissance de sa propre divinité intérieure. Smt. Vijayamma nous offre son expérience, avec la modestie et la chaleur humaine des femmes indiennes éduquées strictement selon les normes de la culture traditionnelle. Son but est toujours celui d’exalter la figure et les actes du Seigneur Saï, sans jamais chercher à valoriser sa propre personne. Son témoignage nous est donc doublement précieux, car elle nous fait connaître des aspects de Sa? Baba qui seraient, sans elle, restés inexorablement inconnus à la plupart d’entre nous, venus tardivement aux pieds de ce Maître sacré. Notre profonde gratitude au Seigneur Sal et à Son instrument. La traductrice 6 OM SRI SAI RAM MES HOMMAGE A SAI KRISHNA J’ai griffonné en bref les paroles de Swami Bien plus que ne le permet mon habilité à écrire ! Car penser à Lui, c’est se sentir béni. Je Lui donne ce petit livre en offrande d’amour! 7 Introduction Les chapitres de cet ouvrage sont subdivisés en quatre parties, appelées successivement: Lîla Tarangani (Des ondes de joyeuse espièglerie), Mahima Tarangani (Des ondes de miracles), Upadesha Tarangani (Des ondes d’enseignements) et Vidya Tarangani (Des ondes de directives sur l’Education). Ces paroles recouvrent une signification profonde. Tarangani signifie «onde». A partir de l’instant où l’on entre dans les ondes, on se sent emporté par le courant. Comment sont ces «ondes»? Elles sont sans fin, elles ne s’arrêtent jamais. Jour après jour, les ondes viennent, les unes après les autres, incessamment. De la même façon, les Lîlas de Saï, incroyables et merveilleux, ne tarissent jamais. Ils se manifestent d’ère en ère, continuellement, et ses prodiges ne connaissent ni épuisement ni limites : ils se révèlent partout et à tout instant, simultanément. Lorsque le jour se lève, le soleil fait son apparition à l’est, pour disparaîtra ensuite derrière l’horizon à l’ouest, mais pas le Seigneur Saï.
Recommended publications
  • Sunada Vinodini Music Gurukulam, Gurgaon, Haryana, India
    SUNADA Music, Therapy and More... Volume XIII, January, 2018 “WRITE IT ON YHOUR HEART THAT EVERY DAY IS THE BEST IN THE YEAR” – RALPH WALDO EMERSON HAPPY, HEALTHY NEW YEAR TO OUR DEAR READERS… From the Editor’s Desk… Baby Sunada completes one year. Despite some teething problems, we have learned a lot of things about running a magazine, the pains, pleasures and everything else. Taking the suggestions offered by our valued readers, we are changing the format of the magazine so that it becomes easier to turn the pages and makes it a more pleasurable experience to read. We hope the readers welcome the new Avatar.. We welcome your continued patronage and readership and valuable suggestions. And, baby Sunada needs all of your best wishes and blessings. We assure our readers that we will keep up our efforts to make this a magazine of high standards. KSVasanthaLakshmi Founder & Editor www.sunadavinodini.com In this issue… The Bhajan Effect…….3 Face to Face..…………………………6 What you Think……………………….9 Effect of listening to favourite music. GENRES OF MUSIC – THE BHAJAN EFFECT By K.S. Vasantha Lakshmi Bhajan means prayer or singing in praise of God generally. As is known to one and all, Bhajans, Keertans and chants are used to evoke and awaken the divine spirit hidden in the human mind and heart. There are many ways in which Bhajans are used, in a personal capacity as a one-to-one dialogue or as group prayers. To talk about Bhajan Effect and not mention great saint poets is blasphemous. However, the attempt is not to sing in praise of the saint poets, but to analyse the effect it has on the listeners and those who participate in the act of singing the Bhajans.
    [Show full text]
  • The Journal of International Communication Film Remakes As
    This article was downloaded by: [Mr C.S.H.N. Murthy] On: 08 January 2015, At: 09:46 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Journal of International Communication Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rico20 Film remakes as cross-cultural connections between North and South: A case study of the Telugu film industry's contribution to Indian filmmaking C.S.H.N. Murthy Published online: 13 Nov 2012. To cite this article: C.S.H.N. Murthy (2013) Film remakes as cross-cultural connections between North and South: A case study of the Telugu film industry's contribution to Indian filmmaking, The Journal of International Communication, 19:1, 19-42, DOI: 10.1080/13216597.2012.739573 To link to this article: http://dx.doi.org/10.1080/13216597.2012.739573 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • 1) Mana Desam ( Category/Genre = Social ) (Date: 24.11.1949 )
    1) Mana Desam ( Category/Genre = Social ) (Date: 24.11.1949 ) 2) Shavukaru ( Category/Genre = Social ) (Date: 07.04.1950 ) 3) Palleturi Pilla ( Category/Genre = Social ) (Date: 27.04.1950 ) 4) Maya Rambha ( Category/Genre = Mythological ) (Date: 15.09.1950 ) 5) Samsaram ( Category/Genre = Social ) (Date: 29.12.1950 ) 6) Pathala Bhairavi ( Category/Genre = Classical ) (Date: 15.03.1951 ) 7) Mallishwari ( Category/Genre = Historical ) (Date: 20.12.1951 ) 8) Pelli Chesi Choodu ( Category/Genre = Social ) (Date: 29.02.1952 ) 9) Daasi ( Category/Genre = Social ) (Date: 1952 ) 10) Palleturu ( Category/Genre = Social ) (Date: 1952 ) 11) Ammalakkalu ( Category/Genre = Social ) (Date: 12.03.1953 ) 12) Pitchi Pulliah ( Category/Genre = Social ) (Date: 17.07.1953 ) 13) Chandi Rani ( Category/Genre = Classical ) (Date: 28.08.1953 ) 14) Chandraharam ( Category/Genre = Classical ) (Date: 06.01.1954 ) 15) Vaddante Dabbu ( Category/Genre = Social ) (Date: 19.02.1954 ) 16) Thodu Dongalu ( Category/Genre = Social ) (Date: 15.04.1954 ) 17) Rechukka ( Category/Genre = Classical ) (Date: 23.05.1954 ) 18) Raju Peda ( Category/Genre = Classical ) (Date: 25.06.1954 ) 19) Sangam ( Category/Genre = Social ) (Date: 10.07.1954 ) 20) Aggiramudu ( Category/Genre = Social ) (Date: 05.08.1954 ) 21) Parivarthana ( Category/Genre = Social ) (Date: 01.09.1954 ) 22) Iddaru Pellalu ( Category/Genre = Social ) (Date: 06.10.1954 ) 23) Missamma ( Category/Genre = Social ) (Date: 12.01.1955 ) 24) Vijaya Gowri ( Category/Genre = Classical ) (Date: 30.06.1955 ) 25) Cherapakura
    [Show full text]
  • Syllabus Under Choice Based Credit System B. A
    SYLLABUS UNDER CHOICE BASED CREDIT SYSTEM B. A. TELUGU Total Credits: 120 Core Courses : 72 Elective : 36 Ability Enhancement : 04 Skill Enhancement : 08 1 CORE COURSES Credits-72 COURSE I: HISTORY OF TELUGU LANGUAGE Credits: 5+1 Preamble: The course intends to furnish a comprehensive account of the origin and development of Telugu language in the light of studies during modern times. It is broadly divided into three main periods: (i) Influence of Prakrit and Dravidian languages up to A.D. 1100 (ii) Influence of Sanskrit from A.D. 1100 to 1800 and (iii) European influence and modern trends from A.D. 1800. This is designed for an exegetic study of Telugu in the Dravidian family of languages, its linguistic structure, various dialects and the present day usage. Units of the Course: 1. Dravidian Languages and Telugu. 2. Evolution of Telugu Script. 3. Mentions of Telugu, Tenugu and Andhramu. 4. Evolution of Telugu: B.C 200 to A.D 1100. 5. Phonological, Morphological & Syntactic changes: A.D. 1100 to 1900. 6. Loan Words in Telugu. 7. Dialects in Telugu. 8. Semantic change. List of Reading Materials: 1. Prof. Bh. Krishnamurthy (Ed.). 2004: Telugu BhashaCharitra, PS Telugu University, Public Gardens, Hyderabad – 500004. 2. Simmanna, Prof. V. 2004: Telugu BhashaCharitra, DalitaSahityaPeetham, 4-39-12/3, Munsiff St., PedaWaltair, Visakhapatnam – 530017. 3. Sphurtisree (T. BhaskaraRao). 1972:Telugu BhashaCharitra, Prasanthi Publishers, Pattabhi St.Gandhi Nagar, Kakinada – 533004. 4. Somayaji, G. J. 1969: Andhra BhashaVikasamu, Triveni Publishers, Machilipatnam. 5. Subrahmanyam, Prof. P.S. 1997: Dravida Bhashalu, PS Telugu University, Public Gardens, Hyderabad – 500004. 2 COURSE II: LANGUAGE VARIETIES Credits: 5+1 Preamble: The course aims at creating an awareness of varieties in linguistic usage and their successful application in creative literature.It looks at various aspects of high literary language and rules of grammar in Telugu alongside the common conversational/colloquial language.
    [Show full text]
  • Download Download
    A hundred grains of rice: regional Mahābhārata stories in performance Srinivas Reddy V ol. 5, No. 1, pp. 237–248 | ISSN 2050-487X | www.southasianist.ed.ac.uk 2017 | The South Asianist 5 (1): 237-248 | pg. 237 Vol. 5, No. 1, pp. 237-248 A hundred grains of rice: regional Mahābhārata stories in performance SRINIVAS REDDY, IIT Gandhinagar [email protected] This article explores the subject of regional folk stories found in various vernacular expressions of the Mahābhārata. In particular, the non-canonical stories of Śaśirekha and Śakuni as found in several Telugu versions of the Mahābhārata story are taken up as exemplars to investigate the dynamic process by which regional folk stories transitioned from theatre to text, and from text to cinema. The Śaśirekha story for example, moves from Surabhi folk theatre to a multitude of parinaya texts and finally to the Telugu cinematic hit Maya Bazaar of 1957. By tracking these stories as they evolved into various forms of new media, this article elucidates the fluid, circulatory process by which folk elements enter a grand narrative like the Mahābhārata, penetrate the normative text and get recirculated back as new literary forms and performative genres. In this context, I also try to complicate the classical/folk dichotomy and question the permeability and mutually constitutive nature of such hermeneutical categories. Introduction Regional/vernacular literary transcreations of Sanskrit source texts (the Mahābhārata being just one of many examples) serve two important complimentary functions: 1) they allow canonical Sanskrit paradigms to enter the realm of vernacular discourse, and 2) they open up pathways for regional folklores and narrative innovations to recirculate into and transform the Sanskrit cosmopolitan discourse.
    [Show full text]
  • Films and Theatre
    Films and Theatre A. Reading: Rendezvous with Ray A French-Canadian priest, Gaston Roberge’s association with Satyajit Ray made a remarkable contribution to Indian film. Roberge was attracted to the works of Ray through Apu triology. In his book, “Satyajit Ray Essays: 1970-2005’ Roberge provides a scholarly analysis. After watching Ray’s movies Roberge came to Calcutta and met him. Their friendship lasted (22 years), till the death of Ray. He says “Ray took off where Tagore signed out”. Ray was the icon of Indian film at that moment. Both spent a lot on film discussions. ‘Chitrabani’, a communication and film institute was one of the out puts of their friendship. Glossary En route (adv) : on the way Stopover (n) : a halt in a long journey Path-breaking (adj) : totally new Portal (n) : an entrance Trilogy (n) : a set of three films with the same artists or characters Haunted (v) : obsessed Accusation (n) : the act of accusing somebody Detractors (n) : people who criticise Arrogance (n) : showing pride muster up Dictum (n) : a statement that is believed to be true and followed Analogy (n) : a feature that is similar Aesthetics (n) : the art of judging beauty Fallout (n) : result Agnostic (n) : a person who does not know whether God exists Idioms and Phrasal Verbs Muster up confidence (idiom): gather or gain confidence Right away (idiom) : immediately Come across (phr. v) : meet by chance On the dot (idiom) : exactly on time B. Reading: Maya Bazaar In 2013 we grandly celebrated 100 years of Indian cinema. On this occasion ‘Maya Bazaar’ was selected as a ‘greatest Indian film’ in a TV channel’s opinion poll.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप.
    [Show full text]
  • DEPARTMENT of MODERN INDIAN Telugu (Effective from Aca Revised
    DEPARTMENT OF MODERN INDIAN LANGUAGES & LITERARY STSTUDIUDIESES UNIVERSITY OF DELHI Telugu Syllabus for UG Courses (Effective from Academic Year 2019 -20) Revised Syllabus as approved by Academic Council Date: No: Executive Council Date: No: Applicable for students registered with Regular Colleges, Non Collegiate Women’s Education Board and School of Open Learning I List of Contents Preamble Page No. 1. Introduction to Telugu Syllabus for Under Graduate III Courses 2. Learning Outcome-based Curriculum Framework IV IV 2.1. Nature and Extent of the Programme 2.2. Aims of Bachelor Degree IV 3. Graduate Attributes IV 4. Qualification Descriptors for Graduates VII 5. Programme Learning Outcomes VII 6. Assessment Methods VIII 7. Keywords VIII 8. Structure of the Programme IX IX 8.1. Credit Distribution 8.2. Semester-wise Distribution of Courses. X Indian Language under CBCS Core Course (Compulsory): 1 Telugu (A) Indian Language under CBCS Core Course (Compulsory): 13 Telugu (B) Indian Language under CBCS Core Course (Compulsory): 25 Telugu (C) Indian Language under CBCS Core Course (Compulsory): 37 Telugu (For candidates who studied Telugu up to Class XII) Discipline Specific Elective Indian Language under CBCS Core Course (Compulsory): 49 Telugu (For candidates who studied Telugu up to Class XII) I Year / Semester – I: AECC / MIL Indian Language under CBCS Core Course (Compulsory): 53 TELUGU SKILL ENHANCEMENT COURSE (SEC): Telugu (A) & (B) B.A (Honours) & B.Com (Honours) & B.Sc (Honours): 57 Generic Elective under CBCS: Telugu Indian Language under CBCS Core Course (Compulsory): 72 Telugu II Preamble The objective of any programme at Higher Education Institute is to prepare their students for the society at large.
    [Show full text]
  • Volume5 Issue3(5)
    Volume 5, Issue 3(5), March 2016 International Journal of Multidisciplinary Educational Research Published by Sucharitha Publications 8-44-1/7, Bazil & Arul’s Nivas, Chinna Waltair Visakhapatnam – 530 017 Andhra Pradesh – India Email: [email protected] Website: www.ijmer.in Editorial Board Editor-in-Chief Dr.K. Victor Babu Faculty, Department of Philosophy Andhra University – Visakhapatnam - 530 003 Andhra Pradesh – India EDITORIAL BOARD MEMBERS Prof. S.Mahendra Dev Prof. Fidel Gutierrez Vivanco Vice Chancellor Founder and President Indira Gandhi Institute of Development Escuela Virtual de Asesoría Filosófica Research Lima Peru Mumbai Prof. Igor Kondrashin Prof.Y.C. Simhadri The Member of The Russian Philosophical Vice Chancellor, Patna University Society Former Director The Russian Humanist Society and Expert of Institute of Constitutional and Parliamentary The UNESCO, Moscow, Russia Studies, New Delhi & Formerly Vice Chancellor of Dr. Zoran Vujisiæ Benaras Hindu University, Andhra University Rector Nagarjuna University, Patna University St. Gregory Nazianzen Orthodox Institute Universidad Rural de Guatemala, GT, U.S.A Prof. (Dr.) Sohan Raj Tater Former Vice Chancellor Singhania University, Rajasthan Prof.U.Shameem Department of Zoology Andhra University Visakhapatnam Prof.K.Sreerama Murty Department of Economics Dr. N.V.S.Suryanarayana Andhra University - Visakhapatnam Dept. of Education, A.U. Campus Vizianagaram Prof. K.R.Rajani Department of Philosophy Dr. Kameswara Sharma YVR Andhra University – Visakhapatnam Asst. Professor Dept. of Zoology Prof. P.D.Satya Paul Sri. Venkateswara College, Delhi University, Department of Anthropology Delhi Andhra University – Visakhapatnam I Ketut Donder Prof. Josef HÖCHTL Depasar State Institute of Hindu Dharma Department of Political Economy Indonesia University of Vienna, Vienna & Ex.
    [Show full text]
  • Ms. Radha Prathi Guest Faculty Specialization: Sanskrit and English Literature Email: [email protected] Linkedin: [email protected]
    FACULTY PROFILE 20-21 Ms. Radha Prathi Guest Faculty Specialization: Sanskrit and English Literature Email: [email protected] LinkedIn: [email protected] Qualification Career Summary x MA in English, Hindi, Radha Prathi is Professor of English and Sanskrit , teacher of Carnatic Classical Music, and Veena and Sanskrit Literature (Instrumental music). She is a Bangalore based freelance journalist, author, and radio artist with x BA Prasar Bharati Community radio. Radio Active and is aired occasionally on other local radio stations. She has recorded more than a hundred episodes of Hindi lessons under the Sarva Shikshana Abhiyaan with Prasar Bharati, the primary channel of Akashvaani. She is also a scriptwriter for television shows in Kannada and a Voice-over Artist in multiple languages. She is a well-known keynote speaker on a variety of subjects on local, national and international Work Experience – platforms. 30 Years She feels humbled to have been given an opportunity for handcrafting the dress and accessories x 2005 – Present – for the idol of goddess Kannika Parameshwari at the temple in Malleswaram, Bangalore once in a Assistant Professor - year. She is also into painting, traditional crafts and arts and crafts using recycled material. Center for Management Studies, Jain (Deemed-to-be Research Interest University), Bangalore Indian Tradition and Culture in the backdrop of topical issues like Globalization, Global Warming, x 2002 2004 – Faculty - Environment, Culture and Education from an Indian context. KNET PU College x 1999-2001- Faculty - Research Publications St Anne’s Degree -NIL- College x 1990-1999- Faculty - Articles / Case Studies Maharani Lakshmi Ammanni College for All published articles have been digitally archived in a blogsite called Women and MS https://radhaprathi.wordpress.com/author/radhaprathi/ Ramaiah College Consultancy / Projects She conducts periodic sessions for various school teachers and students apart from corporates Courses Facilitated and senior citizens on practical, economic and environmental issues on invitation.
    [Show full text]
  • Volume9 Issue2(2)
    Volume 9, Issue 2(2), February 2020 International Journal of Multidisciplinary Educational Research Published by Sucharitha Publications D.No: 8-42-18/3, F-2,1st Floor, M.K. Residency Tamil Street , Chinna Waltair Visakhapatnam – 530 017 Andhra Pradesh – India Email: [email protected] Website: www.ijmer.in Editorial Board Editor-in-Chief Dr. K. Victor Babu Associate Professor, Institute of Education Mettu University, Metu, Ethiopia EDITORIAL BOARD MEMBERS Prof. S.Mahendra Dev Prof. Igor Kondrashin Vice Chancellor The Member of The Russian Philosophical Indira Gandhi Institute of Development Society Research, Mumbai The Russian Humanist Society and Expert of The UNESCO, Moscow, Russia Prof.Y.C. Simhadri Vice Chancellor, Patna University Dr. Zoran Vujisiæ Former Director Rector Institute of Constitutional and Parliamentary St. Gregory Nazianzen Orthodox Institute Studies, New Delhi & Universidad Rural de Guatemala, GT, U.S.A Formerly Vice Chancellor of Benaras Hindu University, Andhra University Nagarjuna University, Patna University Prof.U.Shameem Department of Zoology Prof. (Dr.) Sohan Raj Tater Andhra University Visakhapatnam Former Vice Chancellor Singhania University, Rajasthan Dr. N.V.S.Suryanarayana Dept. of Education, A.U. Campus Prof.R.Siva Prasadh Vizianagaram IASE Andhra University - Visakhapatnam Dr. Kameswara Sharma YVR Asst. Professor Dr.V.Venkateswarlu Dept. of Zoology Assistant Professor Sri. Venkateswara College, Delhi University, Dept. of Sociology & Social Work Delhi Acharya Nagarjuna University, Guntur I Ketut Donder Prof. P.D.Satya Paul Depasar State Institute of Hindu Dharma Department of Anthropology Indonesia Andhra University – Visakhapatnam Prof. Roger Wiemers Prof. Josef HÖCHTL Professor of Education Department of Political Economy Lipscomb University, Nashville, USA University of Vienna, Vienna & Ex.
    [Show full text]
  • The Surabhi Theatre–An Oasis of Telugu Theatre
    Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Theses, Dissertations, and Other Capstone Theses, Dissertations, and Other Capstone Projects Projects 2020 The Surabhi Theatre–An Oasis of Telugu Theatre Pradeep Aswini Gurrala Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Theatre History Commons Recommended Citation Gurrala, P. A. (2020). The Surabhi theatre-An oasis of Telugu theatre [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/1013/ This Thesis is brought to you for free and open access by the Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. THE SURABHI THEATRE–AN OASIS OF TELUGU THEATRE by PRADEEP ASWINI GURRALA A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN THEATRE ARTS MINNESOTA STATE UNIVERSITY, MANKATO MANKATO, MINNESOTA MAY 2020 May 4, 2020 THE SURABHI THEATRE—AN OASIS OF TELUGU THEATRE . PRADEEP ASWINI GURRALA This thesis has been examined and approved by the following members of the student’s committee. Dr. Paul J. Hustoles Dr. Heather E. Hamilton ABSTRACT Gurrala, Pradeep Aswini, M.A. The Surabhi Theatre–An Oasis of Telugu Professional Theatre.
    [Show full text]