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The Guru: by Various Authors
Divya Darshan Contributors; Publisher Pt Narayan Bhatt Guru Purnima: Hindu Heritage Society ABN 60486249887 Smt Lalita Singh Sanskriti Divas Medley Avenue Liverpool NSW 2170 Issue Pt Jagdish Maharaj Na tu mam shakyase drashtumanenaiv svachakshusha I Divyam dadami te chakshu pashay me yogameshwaram Your external eyes will not be able to comprehend my Divine form. I grant you the Divine Eye to enable you to This issue includes; behold Me in my Divine Yoga. Gita Chapter 11. Guru Mahima Guru Purnima or Sanskriti Diwas Krishnam Vande Jagad Gurum The Guru: by various Authors Message of the Guru Teaching of Raman Maharshi Guru and Disciple Hindu Sects Non Hindu Sects The Greatness of the Guru Prayer of Guru Next Issue Sri Krishna – The Guru of All Gurus VASUDEV SUTAM DEVAM KANSA CHANUR MARDAMAN DEVKI PARAMAANANDAM KRISHANAM VANDE JAGADGURUM I do vandana (glorification) of Lord Krishna, the resplendent son of Vasudev, who killed the great tormentors like Kamsa and Chanoora, who is a source of greatest joy to Devaki, and who is indeed a Jagad Guru (world teacher). 1 | P a g e Guru Mahima Sab Dharti Kagaz Karu, Lekhan Ban Raye Sath Samundra Ki Mas Karu Guru Gun Likha Na Jaye ~ Kabir This beautiful doha (couplet) is by the great saint Kabir. The meaning of this doha is “Even if the whole earth is transformed into paper with all the big trees made into pens and if the entire water in the seven oceans are transformed into writing ink, even then the glories of the Guru cannot be written. So much is the greatness of the Guru.” Guru means a teacher, master, mentor etc. -
SACRED SPACES and OBJECTS: the VISUAL, MATERIAL, and TANGIBLE George Pati
SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati BRAUER MUSEUM OF ART | APRIL 13 — MAY 8, 2016 WE AT THE BRAUER MUSEUM are grateful for the opportunity to present this exhibition curated by George Pati, Ph.D., Surjit S. Patheja Chair in World Religions and Ethics and Valparaiso University associate professor of theology and international studies. Through this exhibition, Professor Pati shares the fruits of his research conducted during his recent sabbatical and in addition provides valuable insights into sacred objects, sites, and practices in India. Professor Pati’s photographs document specific places but also reflect a creative eye at work; as an artist, his documents are also celebrations of the particular spaces that inspire him and capture his imagination. Accompanying the images in the exhibition are beautiful textiles and objects of metalware that transform the gallery into its own sacred space, with respectful and reverent viewing becoming its own ritual that could lead to a fuller understanding of the concepts Pati brings to our attention. Professor Pati and the Brauer staff wish to thank the Surjit S. Patheja Chair in World Religions and Ethics and the Partners for the Brauer Museum of Art for support of this exhibition. In addition, we wish to thank Gretchen Buggeln and David Morgan for the insights and perspectives they provide in their responses to Pati's essay and photographs. Gregg Hertzlieb, Director/Curator Brauer Museum of Art 2 | BRAUER MUSEUM OF ART SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati George Pati, Ph.D., Valparaiso University Śvetāśvatara Upaniṣad 6:23 Only in a man who has utmost devotion for God, and who shows the same devotion for teacher as for God, These teachings by the noble one will be illuminating. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
S.No Roll No Name Eng San Mat Sci Soc Cgpa 1 4114130 Adithya Dutt A1 B1
SRI SATHYA SAI HIGHER SECONDARY SCHOOL, PRASANTHI NILAYAM X CLASS BOARD EXAMINATION RESULT 2016-17 S.NO ROLL NO NAME ENG SAN MAT SCI SOC CGPA 1 4114130 ADITHYA DUTT A1 B1 B2 B1 A2 8,40 2 4114131 AJITH R M K A2 B1 B1 B1 B1 8,20 3 4114132 ANANTHA KRISHNAN P M A1 A1 A2 A1 A1 9,80 4 4114133 ANISH K A1 A1 A1 A2 A1 9,80 5 4114134 AYUSH AGRAWAL A1 A1 A1 A1 A1 10,00 6 4114135 BHAVYA CHARAN Y A2 B1 B1 B1 B1 8,20 7 4114136 BHAGAWAN P A1 A1 A1 A1 A1 10,00 8 4114137 BIBHU PRASAD SAHU A1 A1 A1 A1 A1 10,00 9 4114138 JAGANNIL BANERJEE A1 A1 A1 A1 A1 10,00 10 4114139 KESHAV P A1 A2 A2 A2 A2 9,20 11 4114140 MEGHA SAI C A1 A2 A2 A2 A1 9,40 12 4114141 MRUNAL SIMHA K A1 A2 B1 A1 A1 9,40 13 4114142 NAVEEN SAI KUMAR REDDY N A1 A1 A1 A1 A1 10,00 14 4114143 NITHIN KUMAR REDDY U A1 A1 A1 A1 A1 10,00 15 4114144 OM SAI RUKVITH S A1 A2 A2 A1 A2 9,40 16 4114145 PREM SUDHEER REDDY T A1 A1 A2 A1 A1 9,80 17 4114146 PRUTHVI KRISHNA M A1 A1 A2 A1 A1 9,80 18 4114147 RAM PRASAD G A1 A1 A2 A2 A1 9,60 19 4114148 RISHABH TOOR A1 A1 A1 A1 A1 10,00 20 4114149 RISHI G KANNAN A1 A1 A1 A1 A1 10,00 21 4114150 ROHIT MOHUN RAJU N A2 A2 B1 A2 A2 8,80 22 4114151 SAHIL MEHRA A1 B1 B1 B1 A2 8,60 23 4114152 SAI AASHISH D A1 A2 B1 A2 A2 9,00 24 4114153 SAI GOVINDA V A1 A1 A2 A1 A1 9,80 25 4114154 SAI JATHIN RAJU C A1 B2 B2 B1 B1 8,00 26 4114155 SAI KESHAV S A1 A2 A2 A1 A2 9,40 27 4114156 SAI MADHAV B Y A1 B1 B1 A2 A2 8,80 28 4114157 SAI MOHIT GARG A1 A1 A2 A2 A2 9,40 29 4114158 SAI SANATHANN K A1 A1 A1 A1 A1 10,00 30 4114159 SAI SANTOSH N A1 A1 A1 A1 A1 10,00 31 4114160 SAI SATHVIK M V -
OM NAMO BHAGAVATE PANDURANGAYA BALAJI VANI Volume 9, Issue 12 December, 2015
OM NAMO BHAGAVATE PANDURANGAYA BALAJI VANI Volume 9, Issue 12 December, 2015 HARI OM In Month of November, many activities were performed in temple and many devotees attended various programs. Sri Balaji Guru Vandana was celebrated grandly with 108 kalasha Ganapathi abhishekam, 108 kalasha Balaji abhishekam, Mahalakshmi abhishekam and Sathya Narayana Pooja. On Friday 20th November, 108 kalasha sthapana (presenting to God) for Balaji abhishekam was done. Families sat individually and invoked almighty lord doing sankalpa (resolution) and performed Ganapthi, Navagraha Poojas and Mahalakshmi abhishekam. Pitathipathi Sri Narayananada Swamiji initiated and led all the devotees in reciting mantras. Later, everyone was enchanted with the Mahalakshi abhishekam. Vittal Nithyananda Swami spoke about the meaning of Guru (Teacher). He talked about how the temple has grown today since the 2006 Charasthapatha of Balaji into a spacious place where devotees can come to feel one with God anytime and also how the Balaji Guru Vandana has become such a grand event every year. He Sri Balaji Guru Vandana, Swamiji talked of how Swamiji had a vision of Lord Balaji and how that vision has Praying to lord Sri Satyanarayana for devotes turned into a reality by which devotees are all able to come here to see and and world peace. pray to all the gods and goddesses. By performing Guru Vandana, devotees can feel closer to God and through performing the poojas, all their doshas (problems) are removed. Later, Mahaprasadam sponsored by Peacock sreyo hi jnanam abhyasaj jnanad dhyanam visisyate | Cupertino (Sri Ram Gopal) was served to everyone. dhyanat karma-phala-tyagas tyagac chantir anantaram || On Saturday 21st November, 108 kalasha abhisheka was performed to invoke Lord Balaji and Swamiji performed this abhisheka with help from other priest’s and devotees. -
Bhoga-Bhaagya-Yogyata Lakshmi
BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www. -
Dadeechi Rushigalu & Narayana Varma
Dadeechi Rushigalu & Narayana Varma Dadeechi Rushigalu was born on Bhadrapada Shudda Astami. Dadeechi Rushigalu is considered in the Puranas as one of our earliest ancestors and he shines in this great country as the illustrious example of sacrifice for the sake of the liberation of the suffering from their distress. No sacrifice is too great for the noble-minded in this world. During Krutayuga, there was a daityas named Vrutrasura. He, associated by Kalakeyas, was attacking Devataas and made to suffer a lot. Devategalu were losing their battle against Daityaas. At that time they went to Brahmadevaru, who took them to Srihari, who recommended them to maka a weapon to destroy Vrutrasura, with the help of bones of Dadeechi Rushigalu. Dadeechi Rushigalu’s bones were very powerful with the Tapashakthi and with Narayana Varma Japa Shakthi. His bones were very very hard and unbreakable. Dadeechi Rushigalu, thereupon quietly acceded to the request of Indra. By his powers of Yoga he gave up his life so that his backbone might be utilised for making the mighty bow, Vajrayudha. In fact, Dadeechi may be regarded as the starting point of the galaxy of saints that have adorned this great country. Accordingly, all the Devatas went to Saint Dadheechi and requested him to donate his bones to them. Dadheechi accepted their request, left the body voluntarily and donated his bones to Devatas. After his death, all the Devatas collected his bones. They made a weapon named “ Vajrayudha” with the spinal bone of Dadheechi and gave it to Indra. With the help of Vajrayudha, Indra killed Vrutraasura. -
ESSENCE of VAMANA PURANA Composed, Condensed And
ESSENCE OF VAMANA PURANA Composed, Condensed and Interpreted By V.D.N. Rao, Former General Manager, India Trade Promotion Organisation, Pragati Maidan, New Delhi, Union Ministry of Commerce, Govt. of India 1 ESSENCE OF VAMANA PURANA CONTENTS PAGE Invocation 3 Kapaali atones at Vaaranaasi for Brahma’s Pancha Mukha Hatya 3 Sati Devi’s self-sacrifice and destruction of Daksha Yagna (Nakshatras and Raashis in terms of Shiva’s body included) 4 Shiva Lingodbhava (Origin of Shiva Linga) and worship 6 Nara Narayana and Prahlada 7 Dharmopadesha to Daitya Sukeshi, his reformation, Surya’s action and reaction 9 Vishnu Puja on Shukla Ekadashi and Vishnu Panjara Stotra 14 Origin of Kurukshetra, King Kuru and Mahatmya of the Kshetra 15 Bali’s victory of Trilokas, Vamana’s Avatara and Bali’s charity of Three Feet (Stutis by Kashyapa, Aditi and Brahma & Virat Purusha Varnana) 17 Parvati’s weds Shiva, Devi Kaali transformed as Gauri & birth of Ganesha 24 Katyayani destroys Chanda-Munda, Raktabeeja and Shumbha-Nikumbha 28 Kartikeya’s birth and his killings of Taraka, Mahisha and Baanaasuras 30 Kedara Kshetra, Murasura Vadha, Shivaabhisheka and Oneness with Vishnu (Upadesha of Dwadasha Narayana Mantra included) 33 Andhakaasura’s obsession with Parvati and Prahlaad’s ‘Dharma Bodha’ 36 ‘Shivaaya Vishnu Rupaaya, Shiva Rupaaya Vishnavey’ 39 Andhakaasura’s extermination by Maha Deva and origin of Ashta Bhairavaas (Andhaka’s eulogies to Shiva and Gauri included) 40 Bhakta Prahlada’s Tirtha Yatras and legends related to the Tirthas 42 -Dundhu Daitya and Trivikrama -
Sanskar Gurukul Weekly Update
Sanskar Gurukul Weekly Update Class Name: Bhargava Week# 25: Apr 12th, 2015 General Assembly Sridhar Uncle started the GA with three Omkars followed by the Shanti Mantra and Prayer Before Studies. Children chanted the first 6 verses of the Gita Dhyanam. Three students from Valmiki class did a lead and follow of verse #7. Paaraasharya vachah sarojamamalam geetaarthagandhotkatam; Naanaakhyaanakakesaram harikathaa sambodhanaabodhitam; Loke sajjana shatpadairaharahah pepeeyamaanam mudaa; Bhooyaadbhaaratapankajam kalimala pradhwamsinah shreyase. May this lotus of the Mahabharata, born in the lake of the words of Vyasa, sweet with the fragrance of the meaning of the Gita, with many stories as its stamens, fully opened by the discourses of Hari, the destroyer of the sins of Kali, and drunk joyously by the bees of good men in the world, become day by day the bestower of good to us! We ended the GA with closing prayers. Class We started the class with a review/game of the Mahabharatha – the kids had a lot of fun answering questions and collecting points. We then continued the story of the Mahabharatha…. AT Badarikashrama – the Pandavas await the arrival of Arjuna. Then suddenly one day a great light descends from the sky – and it is Arjuna arriving in Indras chariot. There is great excitement, as Indra descends from the chariot and embraces his brothers. Indra also arrives and tells Yudhistira to ask Arjuna about his adventures, and recommends that the Pandavas now return to Kamyaka and that their darks days would soon be over. He then returns to his heavenly abode. Arjun recounts his adventures, and describes his fights with The Nivatakavachas (using the Vajra astra) and the Kalakeyas (using the Pasupata astra) – on behalf of Indra – the former had a boon that Devals could not vanquish them, and Arjuna as a mortal did. -
WHIP of the WILD GOD WILD the of WHIP MIRA PRABHU MIRA WHIP OFTHE WILD GOD MIRA PRABHU a Noveloftantra in Ancientindia 4/10/2013 5:47:18 PM
Mira Prabhu’s fascination with eastern philosophy inspired her to write this novel, the seed of which sprouted during the freezing Manhattan winter of 1993. Whip of the Wild God WHIP OF THE WILD GOD reached its current form twenty years later, in the shadow WHIP OF THE of Arunachala, the ancient hill considered by millions to be Shiva incarnate. Mira now lives in the deep south of India, where she focuses on spiritual and creative work. WILD GOD Photo Credit: Danuta Otfinowski Whip of the Wild God is an epic novel set in a time reminiscent of the Indus Valley Civilization. The “Wild God” is Rudra, precursor to the great God Shiva, while “whip” refers to the suffering inflicted by this paradoxical deity on gifted souls who stray into sensual and ethical weaknesses arising from primal ignorance. As this saga ingeniously reveals, it is intense suffering that dissolves the ego, even as it unfurls the petals of the spiritual heart–leading the seeker to the undying bliss of the Self. The novel’s protagonist is Ishvari, an angry and spirited girl plucked out of abject rural poverty on the advice of a royal astrologer. Meticulously groomed by venerable tantric monks, Ishvari is sent to serve as spiritual consort to a powerful but corrupt monarch. Narrated in vivid cinematic style, Ishvari’s tumultuous journey–from terrified peasant to High Tantrika of the sacred city of Melukhha in the year 1839 BCE–spins the reader through a gripping tale into which yogic, tantric and other high teachings are brilliantly woven. Altogether a magnificent work of visionary fiction you will find impossible to put down! “I absolutely love it! Ishvari is a compelling protagonist whom I really “felt” as I read of her incredible adventures and personal journey…. -
Sri Mahanet History, Originate Solely from the Fact That Spirit, in Order to Understand and Comprehend Itself
All Glory to Śrī Guru and Śrī Gaurānga ŚRĪ MAHĀNET Since the beginning of the Millennium MARCH 2008 ŚRŚRŚRĪŚR ĪĪĪ ŚR ŚRĪĪĪĪ PRAPANNAPRAPANNA----JJJJĪĪĪĪVANVANVANĀĀĀĀMRMRMRMRTAMTAM "Positive and Progressive Immortality" by Śrīla Bhakti Rakshaka Śrīdhara Deva Goswāmī Mahārāja Srila A.C. Bhaktivedanta Swami Prabhupada Chapter Ten: Avasesamrtam - Divine Remnants of Nectar One who is fully in Krsna consciousness is always a renouncer because he feels neither hatred nor desire for the results of his actions. Such a 10.1010.10----11111111 renouncer, dedicated to the transcendental loving upakramamrtan caiva, sri-sastra-vacanamrtam service of the Lord, is fully qualified in knowledge because he knows his bhakta-vakyamrtan ca sri-, bhagavad-vacanamrtam constitutional position in his relationship with Krsna. He avasesamrtan ceti pancamrtam mahaphalam knows fully well that Krsna is the whole and that he is bhakta-pranapradam hrdyam, granthe 'smin parivesitam part and parcel of Krsna. Such knowledge is perfect because it is qualitatively and quantitatively correct. The concept of oneness with Krsna is incorrect because the part cannot be "Comprised of five nectars ( pancamrtam ) respectively entitled equal to the whole. Knowledge that one is one Upakramamrtam, Sri SastraSastra----vacanamrtam,vacanamrtam, Sri BhaktaBhakta----vacanamrtam,vacanamrtam, in quality yet different in Sri BhagavadBhagavad----vacanamrtamvacanamrtam , and Avasesamrtam (P (Preluderelude to quantity is correct transcendental knowledge Approaching Nectar, The Nectar of Scriptural Word, Words of Nectar leading one to become full from the Devotees, Words of Nectar from the Supreme Lord, and The in himself, having nothing to aspire to or lament over. Divine Remnants of Nectar), the supreme fruit that gives life to the There is no duality in his devotees and delights their hearts has been served in this book." mind because whatever he does, he does for Krsna. -
Institut Universitari De La Dona
INSTITUT UNIVERSITARI DE LA DONA DE KOSALA A BOLLYWOOD: DOS MIL AÑOS CONTANDO HISTORIAS. UN ESTUDIO SEMIÓTICO DEL RAMAYANA ROSER NOGUERA MAS UNIVERSITAT DE VALÈNCIA Servei de Publicacions 2008 Aquesta Tesi Doctoral va ser presentada a València el dia 10 de març de 2008 davant un tribunal format per: - D. José María Bernardo Paniagüa - D. Josep Gavaldà Roca - D. Juan Arnau Navarro - Dª. Eva Fernández del Campo Barbadillo - D. Ramón X. Roselló Ivars Va ser dirigida per: Dª. Antonia Cabanilles Sanchís ©Copyright: Servei de Publicacions Roser Noguera Mas Depòsit legal: I.S.B.N.: 978-84-370-7160-2 Edita: Universitat de València Servei de Publicacions C/ Artes Gráficas, 13 bajo 46010 València Spain Telèfon: 963864115 UNIVERSITAT DE VALÈNCIA INSTITUT UNIVERSITARI D’ESTUDIS DE LA DONA FACULTAT DE FILOLOGIA, TRADUCCIÓ I COMUNICACIÓ DE KOSALA A BOLLYWOOD: DOS MIL AÑOS CONTANDO HISTORIAS. UN ESTUDIO SEMIÓTICO DEL RAMAYANA TESIS DOCTORAL Presentada por: ROSER NOGUERA MAS Dirigida por: Dra. ANTONIA CABANILLES SANCHIS VALÈNCIA, 2007 I II AGRADECIMIENTOS En primer lugar agradezco a Antonia Cabanilles, mi directora y profesora de crítica literaria y semiótica de la cultura, su entusiamo, apoyo incondicional y tarea de supervisión y dirección. A las personas que me han ayudado todos estos años en la burocracia y el aprendizaje: el profesor Ximo Espinosa del Departamento de Italiano de la Universitat de València, el Prof. Patrizio Rigobon de la Universidad de Bologna, Vicen Belenguer del Institut de la Dona, Sonsoles Vázquez de la Agencia Española de Cooperación Internacional; a todos mis compañeros del Department of Germanic and Romance Studies (GRS) de la University of Delhi, especialmente a Shaswati Mazumdar, Jyoti Sabharwal, Manisha Taneja, Mircea, Sabina, Stefano y Dominique; al profesor H.