DOCSLIB.ORG

The Demonic Body: an Evaluation in the Light of Gender and Sexuality

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Demonic Body: an Evaluation in the Light of Gender and Sexuality International Journal of Research ISSN NO:2236-6124 The Demonic Body: An Evaluation in the light of Gender and Sexuality Ms. Neethu S, Assistant Professor in English, Department of Taxation, Bharata Mata College,Thrikkakara. Email: [email protected] Abstract Myths and legends have influenced human beings from times immemorial. They serve as the backbone of any culture. Hindu civilization is mainly renowned for its myriad myths and legends. Puranas like Ramayana and Bhagavatha serve as an eye opener to our cultural heritage. It serves as an answer to all kinds of dilemma faced by people even today. The role of puranas is thus significant in layman’s life as he/she takes it as an authentic record of his/her cultural past. The paper intends to analyse the treatment of certain women who are characterised as demonesses in Puranas who are categorized so just because they are the desiring subjects, throwing light on two mythical characters Shoorpanakha (from Ramayana) and Poothana (from Bhagavatha) who are portrayed as evil in the Puranas as they express overtly their repressed desires. Keywords: sexuality, female body, desire. ---------------------------------------------------------------------------------------------------- Ramayana, the story of Srirama, has been among one of the favourites of people belonging to almost all age categories. It tells the story of Rama, the prince of Ayodhya, his wife Sita, daughter of king Janaka and Ravana the king of Lanka. The story of Ramayana has been thus told innumerable times. The enthralling story of Rama, the incarnation of lord Vishnu, who slew Ravana, the evil demon of darkness, is known to every Indian. In the pages of history, as always, it is the version told by the ones who hold the weight of victory. In this postmodern era a time has arrived where Ravana is no more portrayed an evil or a demon but someone who is a devout disciple of Lord Shiva and one who captures Sita in order to worship her. Counter- histories have been written in order to reconstruct many mythical characters who were initially portrayed in a dark light so as to bring them to the limelight as it is the need of the hour as we live in a postmodern world that accepts the multiplicity of truths. This has increased peoples’ concern for characters like Ravana and Karna . Women being the subjects of desire can complicate the smooth running of a patriarchal society, and in order to get back the poise of such a society, there arises a need to suppress the voice of such a category of women. This is done through a series of strategies. Here arises the need to analyse the body of a woman. The female body is a place where all kinds of paraphernalias conjoin. Desire is essentially human and social. It is relational. It is part of a two-fold platform because where desire exists, there always co-exist an object of desire. Expressed through language and cultural symbols, desire is culturally and communally determined. Desire is, thus, inseparable from the social influences that give it shape and meaning. For women, as well as for men, desire tells a cultural and gendered story. Volume 7, Issue XII, December/2018 Page No:2066 International Journal of Research ISSN NO:2236-6124 Although many women writers have tried to bring out an expression of female desire as a liberating experience, most of them have failed to do so falling into the old pattern of conceiving female sexuality and the female body as subservient to, or depending upon male desire. It is mainly because they are not liberated from the patriarchal discourse mainly because they succumb to guilt. This guilt originates in the split experienced by the female subject, torn between patriarchal traditions and the desire for self-fulfilment. It includes social, psychological, intellectual and sexual fulfilment. Women, at a time, has to confront her own erotic desire as well as the expectations of the society on her. In “The Laugh of the Medusa,” Helene Cixous proposes l’ecriture feminine as a model that allows feminine desire, the language of the body, to reconstitute expression as a revolutionary movement against the masculine rhetorical structure that has defined language over time. By employing the medusa image, Cixous deconstructs Jacques Lacan’s phallocentrism and Sigmund Freud’s misogynist psychoanalytic closure of women. She counters Freud’s model of passivity for women with one that offers uninhibited freedom through the body and the mind. As per Valmiki's Ramayana, Shoorpanaka was an ugly woman (gora mukhi), pot bellied and cross- eyed. She has thin, brown hair and a grating voice that is harsh on the ears. She had oversized breasts, which can be translated to mean a heart full of wickedness. The concept of docile body can be a solution to the aporia of the identity of Shoorpanaka. According to Foucault, as mentioned earlier body is a paraphernalia where all cultural ideologies conjoin. The body of Shoorpanaka thus becomes a site where one can explore the traits of racial, sexual, patriarchal as well cultural ideologies. Most of the versions of Ramayana portrays Shoorpanaka as a demoness who tries to woo Rama and as a result gets mutilated. The reason for such a portrayal needs attention. Shoorpanaka belongs to the asura clan, and is considered to be Ravana’s sister and demoness Thataka’s grand daughter. This gives an idea of the situation that she is part of an evil lineage. This estranges our sympathy for her. She makes advances of love to Rama. The story takes a major turn here. Shoorpanaka is characterised as an evil as she, being a woman, made romantic advances towards an Aryan, a member of the elite class. Rama and lakshmana after making fun of her, decides to amputate her senses. Her nose is stripped of by Lakshmana. In the Kamban version of Ramayana, Shoorpanaka’s breasts are also mutilated. Mutilation of breasts and nose has a greater implication in this research. Breast, often considered to be the symbol of femininity is a major element in studies regarding female body. It is portrayed as stupendous and over-sized. This actually implies the concept of beauty surmounting femininity. Beauty is a major yardstick that helps to assess the quality of the female body. The juxtaposition of Shoorpanaka with Sita makes clear to the reader the disparity between the good and the evil. The reason behind the portrayal of Shoorpanaka as evil is her desire to become a subject. Race as well as patriarchy never allowed females to advocate their desires as they feared the empowerment of the former. She becomes a demoness like Medusa whose sexuality frightens even the warriors. Portraying women who wish to become desiring subjects as monstrous will enable the patriarchal society to condition the thoughts and perspectives of the layman as it always conveys the false message that such women do not fit in an ordinary patriarchal society. Combining Foucault’s theory of the body with the theories of Cixous and de Beauvoir, the female body is inscripted with the patriarchal and cultural ideologies as a means of suppression. Volume 7, Issue XII, December/2018 Page No:2067 International Journal of Research ISSN NO:2236-6124 At the end of Shoorpanaka’s story, she gets a chance to become the wife of Lord Krishna, but even then, she seems to be disfigured. She has her rebirth as Kubja, the hunch-backed wife of Lord Krishna. No matter whoever a woman is, she is not assigned the permission to desire for something disapproved by the males of the society. If at all she expresses her desire, she becomes a monster or is portrayed as grotesque, causing havoc in a normal society. By removing Shoorpanaka from the trajectory of the epic, a deliberate attempt is made to throw her into oblivion from the human minds. Even now, when people read about her, she exists in their mind as the demoness who was instrumental in the cause of Rama-Ravana war. Leaving aside the patriarchal readings of Ramayana, Shoorpanaka ,the woman, though marginalized, could be seen as a major character of the epic without whom, Ramayana would not have had such an ending. This also gives a proper backdrop to the story of Poothana. Poothana, considered to be a noble lady during the period of the reign of King Bali, condescended to the position of a demoness during the incarnation of Krishna. In Hindu mythology, Poothana is a demoness, who is killed by the infant-god Krishna. Poothana is also considered as a foster-mother of Krishna as she breast-fed him, though it was with the motive of killing Krishna by poisoned milk. By offering her milk, Poothana had performed the supreme act of maternal devotion in the shadow of her evil motives. The myth is told and retold in Hindu scriptures and some Indian books, which portray her variously as an evil hag or a demoness who surrendered herself to Krishna, though she initially came with evil motives. Poothana is also interpreted as an infantile disease or bird, symbolizing danger to an infant or desire respectively, and even as a symbolic bad mother. She is included in a group of malevolent Hindu mother goddesses called the Matrikas and also in the group of Yoginis and Grahinis (Seizers). Ancient Indian medical texts prescribe her worship to protect children from diseases. The legend of Poothana and Krishna is narrated in many Hindu texts like Bhagavata Purana, Harivamsa (part of Mahabharata), Brahma Vaivarta Purana, Vishnu Purana, Garga Samhita and Prem Sagar. Poothana, the "killer of infants", was sent by Krishna's evil uncle Kamsa to kill Krishna.
Load more

Recommended publications
  • Krishna Lila-48
    Kåñëa Lélä notes – Chapter 48 (Kåñëa Pleases His Devotees) Kåñëa visits Kubja Description is found p For days together, Kåñëa heard from Uddhava all the details Srimad Bhagavatam of his visit to Våndävana, (Krishna Book) p especially the condition of His father and mother and of the gopés and the cowherd boys. p Lord Kåñëa was fully satisfied that Uddhava was able to solace them by his instructions and by the message delivered to them. p Lord Kåñëa then decided to go to the house of Kubjä, the hunchback woman who had pleased Him by offering Him sandalwood pulp when He was entering the city of Mathurä. p To fulfill His promise, Kåñëa, along with Uddhava, went to the house of Kubjä, who was very eager to get Kåñëa for the satisfaction of her lusty desires. p When Kåñëa reached her house, He saw that it was completely decorated in a way to excite the lusty desires of a man. This suggests that there were many nude pictures, on top of which were canopies and flags embroidered with pearl necklaces, along with comfortable beds and cushioned chairs. p The rooms were provided with flower garlands and were nicely scented with incense and sprinkled with scented water. p And the rooms were illuminated by nice lamps. p When Kubjä saw that Lord Kåñëa had come to her house to fulfill His promised visit, she immediately got up from her chair to receive Him cordially. p Accompanied by her many girlfriends, she began to talk with Him with great respect and honor.
    [Show full text]
  • Bhagavata Purana
    Bhagavata Purana The Bh āgavata Pur āṇa (Devanagari : भागवतपुराण ; also Śrīmad Bh āgavata Mah ā Pur āṇa, Śrīmad Bh āgavatam or Bh āgavata ) is one of Hinduism 's eighteen great Puranas (Mahapuranas , great histories).[1][2] Composed in Sanskrit and available in almost all Indian languages,[3] it promotes bhakti (devotion) to Krishna [4][5][6] integrating themes from the Advaita (monism) philosophy of Adi Shankara .[5][7][8] The Bhagavata Purana , like other puranas, discusses a wide range of topics including cosmology, genealogy, geography, mythology, legend, music, dance, yoga and culture.[5][9] As it begins, the forces of evil have won a war between the benevolent devas (deities) and evil asuras (demons) and now rule the universe. Truth re-emerges as Krishna, (called " Hari " and " Vasudeva " in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and good – a cyclic theme that appears in many legends.[10] The Bhagavata Purana is a revered text in Vaishnavism , a Hindu tradition that reveres Vishnu.[11] The text presents a form of religion ( dharma ) that competes with that of the Vedas , wherein bhakti ultimately leads to self-knowledge, liberation ( moksha ) and bliss.[12] However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil.[13] An oft-quoted verse is used by some Krishna sects to assert that the text itself is Krishna in literary
    [Show full text]
  • Krishnalila in Terracotta Temples of Bengal
    Krishnalila in Terracotta Temples of Bengal Amit Guha Independent Researcher Introduction The brick temples of Bengal are remarkable for the intricately sculpted terracotta panels covering their facades. After an initial period of structural and decorative experimentation in the 17th and 18th centuries, there was some standardization in architecture and embellishment of these temples. However, distinct regional styles remained. From the late 18th century a certain style of richly-decorated temple became common, particularly in the districts of Hugli and Howrah. These temples, usually two- storeyed or atchala and with a triple-arched entrance porch, had carved panels arranged in a fairly well-defined format (Figure 1). Ramayana battle scenes occupied the large panels on the central arch frame with other Ramayana or Krishna stories on the side arches. Running all along the base, including the base of the columns, were two distinctive friezes (Figure 2). Large panels with social, courtly, and hunting scenes ran along the bottom, and above, smaller panels with Krishnalila (stories from Krishna's life). Isolated rectangular panels on the rest of the facade had figures of dancers, musicians, sages, deities, warriors, and couples, within foliate frames. This paper is an iconographic essay on Krishnalila stories in the base panels of the late-medieval terracotta temples of Bengal. The temples of this region are prone to severe damage from the weather, and from rain, flooding, pollution, and renovation. The terracotta panels on most temples are broken, damaged, or completely lost. Exceptions still remain, such as the Raghunatha temple at Parul near Arambagh in Figure 1: Decorated Temple-Facade (Joydeb Kenduli) Hugli, which is unusual in having a well-preserved and nearly-complete series of Krishnalila panels.
    [Show full text]
  • Substantial and Substantive Corporeality in the Body Discourses of Bhakti Poets
    Perichoresis Volume 18.2 (2020): 73–94 DOI: 10.2478/perc-2020-0012 SUBSTANTIAL AND SUBSTANTIVE CORPOREALITY IN THE BODY DISCOURSES OF BHAKTI POETS YADAV SUMATI* PG Govt. College for Girls, Chandigarh, India ABSTRACT. This paper studies the representation of human corporeal reality in the discours- es of selected Bhakti poets of the late medieval period in India. Considering the historical background of the Bhakti movement and contemporary cultural milieu in which these mystic poets lived, their unique appropriation of the ancient concept of body is reviewed as revolu- tionary. The focus of the study is the Kabir Bijak, Surdas’s Vinay-Patrika, and Tulsidas’s Vinay- Patrika, wherein they look at and beyond the organic corporeality and encounter human body not as a socially, religiously, economically stamped noble body or lowly body; male body or female body, but a human body. This paper explores how, like existential phenomenologists, these poet/singers decode the material reality of human beings and link it to the highest goal of achieving Moksha (liberation from the cycle of birth-death) by making body a vulnerable but essential instrument towards spiritual awakening. The paper also reflects upon how these poets have suggested a middle path of absolute devotion to God while performing all earthly duties, seek spiritual enlightenment and avoid the extremities of asceticism and hedonism. KEYWORDS: corporeality, body, liberation, salvation, bhakti In this Kali Yug the body is full of woe, care, wickedness and diverse pains. Where there is steadfastness, peace and all purity, rise, Kabir, and meet it there. (Kabir) Those powerful rulers who had conquered the whole world, even made Yamraj (the God of death) their captive and tied him up—even they became the food of Kaal (Time), what do you count then? Contemplate and think about the whole matter seriously yourself—what is the truth, what is the reality.
    [Show full text]
  • Srimad-Bhagavatam – Canto Ten” by His Divine Grace A.C
    “Srimad-Bhagavatam – Canto Ten” by His Divine Grace A.C. Bhaktivedanta Swami Prabhupada. Summary: Srimad-Bhagavatam is compared to the ripened fruit of Vedic knowledge. Also known as the Bhagavata Purana, this multi-volume work elaborates on the pastimes of Lord Krishna and His devotees, and includes detailed descriptions of, among other phenomena, the process of creation and annihilation of the universe. His Divine Grace A.C. Bhaktivedanta Swami Prabhupada considered the translation of the Bhagavatam his life’s work. COPYRIGHT NOTICE: This is an evaluation copy of the printed version of this book, and is NOT FOR RESALE. This evaluation copy is intended for personal non- commercial use only, under the “fair use” guidelines established by international copyright laws. You may use this electronic file to evaluate the printed version of this book, for your own private use, or for short excerpts used in academic works, research, student papers, presentations, and the like. You can distribute this evaluation copy to others over the Internet, so long as you keep this copyright information intact. You may not reproduce more than ten percent (10%) of this book in any media without the express written permission from the copyright holders. Reference any excerpts in the following way: “Excerpted from “Srimad-Bhagavatam” by A.C. Bhaktivedanta Swami Prabhupada, courtesy of the Bhaktivedanta Book Trust International, www.Krishna.com.” This book and electronic file is Copyright 1977-2003 Bhaktivedanta Book Trust International, 3764 Watseka Avenue, Los Angeles, CA 90034, USA. All rights reserved. For any questions, comments, correspondence, or to evaluate dozens of other books in this collection, visit the website of the publishers, www.Krishna.com.
    [Show full text]
  • Inquiries Into the Absolute
    Inquiries into the Absolute (A collection of thought provoking & intriguing answers given by His Holiness Romapada Swami for questions raised by devotees on various spiritual topics) Shri Shri Radha Govinda, Brooklyn, NY We invite you to immerse yourself into the transcendental answers given by Srila Romapada Swami! These sublime instructions are certain to break our misconceptions into millions of pieces and to deepen our understanding of various topics in Krishna consciousness. Compilation of weekly digests 1 to 242 (Upto December 2007) His Holiness Srila Romapada Swami Maharaj! Everyone one likes to inquire. Srila Prabhupada writes, "The whole world is full of questions and answers. The birds, beasts and men are all busy in the matter of perpetual questions and answers... Although they go on making such questions and answers for their whole lives, they are not at all satisfied. Satisfaction of the soul can only be obtained by questions and answers on the subject of Krishna." -- Purport to Srimad Bhagavatam 1.2.5 "Inquiries into the Absolute" is a wonderful opportunity provided by Srila Romapada Swami to help us fruitfully engage our propensity to inquire and seek answers. Please take advantage! Guide to “Inquiries into the Absolute” om ajïäna-timirändhasya jïänäïjana-çaläkayä cakñur unmélitaà yena tasmai çré-gurave namaù I offer my respectful obeisances unto my spiritual master, who has opened my eyes, blinded by the darkness of ignorance, with the torchlight of knowledge. ‘Inquiries into the Absolute’, is a weekly email digest comprising of thought provoking and sublime answers given by His Holiness Romapada Swami Maharaj to the questions raised by devotees on myriad spiritual topics.
    [Show full text]
  • The Absent Vedas
    The Absent Vedas Will SWEETMAN University of Otago The Vedas were first described by a European author in a text dating from the 1580s, which was subsequently copied by other authors and appeared in transla- tion in most of the major European languages in the course of the seventeenth century. It was not, however, until the 1730s that copies of the Vedas were first obtained by Europeans, even though Jesuit missionaries had been collecting Indi- an religious texts since the 1540s. I argue that the delay owes as much to the rela- tive absence of the Vedas in India—and hence to the greater practical significance for missionaries of other genres of religious literature—as to reluctance on the part of Brahmin scholars to transmit their texts to Europeans. By the early eighteenth century, a strange dichotomy was apparent in European views of the Vedas. In Europe, on the one hand, the best-informed scholars believed the Vedas to be the most ancient and authoritative of Indian religious texts and to preserve a monotheistic but secret doctrine, quite at odds with the popular worship of multiple deities. The Brahmins kept the Vedas, and kept them from those outside their caste, especially foreigners. One or more of the Vedas was said to be lost—perhaps precisely the one that contained the most sublime ideas of divinity. By the 1720s scholars in Europe had begun calling for the Vedas to be translated so that this secret doctrine could be revealed, and from the royal library in Paris a search for the texts of the Vedas was launched.
    [Show full text]
  • Satsanga and Svadhyaya
    SATSANGA AND SVADHYAYA The Glory, the Importance and the Life-transforming Power of Holy Company and Spiritual Books. By SRI SWAMI SIVANANDA SERVE, LOVE, GIVE, PURIFY, MEDITATE, REALIZE Sri Swami Sivananda So Says Founder of Sri Swami Sivananda The Divine Life Society A DIVINE LIFE SOCIETY PUBLICATION First Edition: 1965 Sixteenth Edition: 1996 (3,000 Copies) World Wide Web (WWW) Edition: 2000 WWW site: http://www.SivanandaDlshq.org/ This WWW reprint is for free distribution © The Divine Life Trust Society ISBN 81-7052-125-4 Published By THE DIVINE LIFE SOCIETY P.O. SHIVANANDANAGAR—249 192 Distt. Tehri-Garhwal, Uttar Pradesh, Himalayas, India. PUBLISHERS’ NOTE This book offers, between the covers of one volume, the varied writings of H.H. Sri Swami Sivanandaji Maharaj on the subject of Satsanga or holy company and the related topic of Svadhyaya or daily study of sacred literature. The second part of the book throws more light on the subject. Therein Swami Chidanandaji Maharaj analyses in detail the subtle connection and the subtle distinction between the company of a holy man and the company of the Guru and points out clearly the circumstances under which Satsanga can prove most fruitful for the Sadhaka. It is a slightly abstract subject, but one which is vital for all spiritual seekers. It is our sincere hope that the pages that follow will open up a glorious new chapter in the lives of many. THE DIVINE LIFE SOCIETY s:ts:ög:tv:ð en:Hs:ög:tv:ö en:Hs:ög:tv:ð en:m::ðühtv:m:Î .
    [Show full text]
  • Bharata Muni's Natyashastra
    INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745 (ICI) KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol.6.Issue.1.2019 (Jan-March) BHARATA MUNI’S NATYASHASTRA: A COMPREHENSIVE STUDY Dr. M. RAMESHWOR SINGH Assistant Professor, P.G. Department of English D.M. College of Arts, DMU, Imphal, Manipur doi: https://doi.org/10.33329/ijelr.6119.85 ABSTRACT The Natyashastra is a notable ancient encyclopaedic treatise on arts which has influenced dance, music and literary traditions in India. According to Susan L. Schwartz, ‘Natyashastra praises dramatic arts as a comprehensive aid to the learning of virtue, proper behaviour, ethical and moral fortitude, courage, love and adoration of the divine.’ The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwrights, the artists and the Dr. M. RAMESHWOR SINGH spectators, their intimate relationship during the performance. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu gods and goddesses. The general approach of the text is to treat entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators into the expression of ultimate reality and transcendent values. It is notable for its aesthetic ‘Rasa’ theory, which asserts that entertainment is a desired effect of performance arts and it transports the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness and reflects on spiritual and moral questions.
    [Show full text]
  • Editors Seek the Blessings of Mahasaraswathi
    OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi
    [Show full text]
  • Read Book Ideas of Human Nature from the Bhagavad Gita To
    IDEAS OF HUMAN NATURE FROM THE BHAGAVAD GITA TO SOCIOBIOLOGY 1ST EDITION PDF, EPUB, EBOOK David P Barash | 9780136475873 | | | | | Ideas of Human Nature From the Bhagavad Gita to Sociobiology 1st edition PDF Book Disobedience: Concept and Practice. Chapter 11 of the Gita refers to Krishna as Vishvarupa above. Krishna reminds him that everyone is in the cycle of rebirths, and while Arjuna does not remember his previous births, he does. Nadkarni and Zelliot present the opposite view, citing early Bhakti saints of the Krishna-tradition such as the 13th-century Dnyaneshwar. Sartre: Existentialism and Humanism and Being and Nothingness. Bhagavad-gita As It Is. Lucretius: On the Nature of Things. Bhakti is the most important means of attaining liberation. Very Good dust jacket. About this Item: Wisdom Tree. We're sorry! More information about this seller Contact this seller Javascript is not enabled in your browser. Yet he is a historical figure also. View basket. Samsung now 5th in 'Best Global Brands ' list, Apple leads. The Illustrated Encyclopedia of Hinduism, Volume 1. Swami Vivekananda , the 19th-century Hindu monk and Vedantist, stated that the Bhagavad Gita may be old but it was mostly unknown in the Indian history till early 8th century when Adi Shankara Shankaracharya made it famous by writing his much-followed commentary on it. Sampatkumaran, a Bhagavad Gita scholar, the Gita message is that mere knowledge of the scriptures cannot lead to final release, but "devotion, meditation, and worship are essential. This is evidenced by the discontinuous intermixing of philosophical verses with theistic or passionately theistic verses, according to Basham.
    [Show full text]
  • Fundamental Concepts of Hinduism
    Fundamental Concepts of Hinduism My Salutations to all Devas-Rishis-Pithrus OM DEDICATED TO LORD YAMA, MARKANDEYA, NACHIKETAS, SAVITRI AND NANDI, THE ETERNAL ATTENDANT OF LORD SIVA, WHO HAVE ALL UNRAVELLED THE MYSTERIES OF THE LIFE BEYOND DEATH OM "Hinduism is not just a faith. It is the union of reason and intuition that cannot be defined but is only to be experienced” - Dr. Sarvepalli Radhakrishnan (1888-1975) ॐ अञानतिमिरा्ध्य ञाना्जनशलाकया । चषुु्िीमलिं यॳन ि्िॴ रीगरवॳु निः ॥ om ajnana-timirandasya jnananjnana salakaya caksur unmilitam yena tasmai sri gurave namah “I offer my most humble obeisance to my spiritual master who has opened my eyes which were blinded by ignorance with the light of knowledge.: [FOR PRIVATE CIRCULATION] 1 INTRODUCTION The Information on this article “Fundamental Concepts of Hinduism” furnished here in is compiled from various mail friends, internet sites and elders who have knowledge on this subject. The documents referred in the net sites are quoted as told but not gone through by me for their authencity. Every effort has been taken not to leave essential points but to make the reading informative and interesting. Since the subject matter is lengthy and it could not be confined in one or two postings - it may appear lengthy. Hindu Dharma says, “To lead a peaceful life, one must follow the Sastras which are the rules of the almighty that cannot be changed by passage of time(i.e.kruta,thretha,dwapara&kali yuga).The almighty says, “Shruthi smrithi mamaivaagya yaasthaam ullangya varthathe | Aagya chhedi mamadhrrohi math bhaktopi na vaishnavahah||” Which means,vedas and sastras are my commands and one who surpasses these rules have breaken my laws and cannot be considered as my bhakta or a vaishnava.
    [Show full text]