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8. Krishna Karnamrutam
Sincere Thanks To: 1. SrI nrusimha SEva rasikan, Oppiliappan Koil V.SaThakOpan swAmi, Editor- In-Chief of sundarasimham-ahobilavalli kaimkaryam for kindly editing and hosting this title in his eBooks series. 2. Mannargudi Sri.Srinivasan NarayaNan swami for compilation of the source document and providing Sanskrit/Tamil Texts and proof reading 3. The website http://www.vishvarupa.com for providing the cover picture of Sri GuruvAyUrappan 4. Nedumtheru Sri.Mukund Srinivasan,Sri.Lakshminarasimhan Sridhar, www.sadagopan.org www.sadagopan.org Smt.Krishnapriya for providing images. 5. Smt.Krishnapriya for providing the biography of Sri Leela Sukhar for the appendix section and 6. Smt. Jayashree Muralidharan for eBook assembly C O N T E N T S Introduction 1 Slokams and Commentaries 3 Slokam 1 -10 5-25 Slokam 11 - 20 26-44 Slokam 21 - 30 47-67 Slokam 31 - 40 69-84 www.sadagopan.org www.sadagopan.org Slokam 41 - 50 86-101 Slokam 51 - 60 103-119 Slokam 61 - 70 121-137 Slokam 71 - 80 141-153 Slokam 81 - 90 154-169 Slokam 91 - 100 170-183 Slokam 101 - 110 184-201 nigamanam 201 Appendix 203 Brief Biography of Sri Leelaa Sukhar 205 Complete List of Sundarasimham-ahobilavalli eBooks 207 www.sadagopan.org www.sadagopan.org SrI GuruvAyUrappan . ïI>. ïIlIlazukkiv ivrictm! . ïIk«:[k[aRm&tm!. KRISHNAAKARNAAMRTAM OF LEELASUKA X×W www.sadagopan.org ABOUT THE AUTHOR The name of the author of this slokam is Bilavamangala and he acquired the name Leelasuka because of his becoming immersed in the leela of KrishNa and describing it in detail like Sukabrahmarshi. -
Krishnanattam- Glances Across the Screen an Analysis of the Divine Dance Drama Under the Rubric of Cultural Economics
2017/2364 (3) 211 IF : 4.176 | IC Value : 78.46 VOL- (3) ISSUE 211 ISSN 2017/2364 Culture KRISHNANATTAM- GLANCES ACROSS THE SCREEN AN ANALYSIS OF THE DIVINE DANCE DRAMA UNDER THE RUBRIC OF CULTURAL ECONOMICS Prof.K X Joseph || Department of Economics University of Calicut Dr John Mathai Centre Aranattukara Thrissur. Kerala has a composite and cosmopolitan culture which was the contribution of several people and races. When we analyse the cultural history of Kerala we can see the importance of temple art forms. These art forms cater the entertainment of upper castes, mainly Brahmins and Kshatriyas. Kuthu , Krishnanattam, Kathakali and Koodiyattam were the products of this culture. This cultural phenomenon reflects the style of life of the people and it also affects the ‘economic culture’ of the people of Kerala. Krishnanattam- Glances across ,the screen An analysis, of the Divine Divine Dance, Drama under ,the Rubric ,of Cultural Economics. INTRODUCTION on eight successive nights. On the ninth day ‘Avatharam’ was to be presented again and to end the series auspiciously. The importance of this art form in Guruvayoor temple has been attributed to the fact that, it is considered as a prime form of offering Krishnanattam under the rubric of Cultural Economics: by the devotees to the ‘God Krishna’ for the fulfillment of their As Du Mount states, there is a definite relationship between caste and wishes. Krishnanattam, though it owes its origin to ‘Koodi- yattam’, occupation, eventually contributed to the stability of caste system the earliest art form of the dance drama traditions of Kerala, is which is a major hazard in the way of social mobility. -
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DAILY EXCELSIOR, JAMMU TUESDAY, NOVEMBER 12, 2019 (PAGE 5) Tributes paid to Rajouri martyrs Samoon reviews installation of Entire country rejoicing dilution Excelsior Correspondent land. While paying tearful tributes of Article 370: Naidu RAJOURI, Nov 11: The road safety equipment, RADMS to those martyrs Vibodh said NEW DELHI, Nov 11: Observing that Article 370 Balidan Bhavan Committee, Excelsior Correspondent directed the concerned officials to that as a result of the sacrifices was supposed to be a “temporary Rajouri organised a 'prayer meet' complete the project in a time of those people, Rajouri will Vice President Venkaiah transitory measure”, Naidu said it to pay tributes to the martyrs of JAMMU, Nov 11: Principal bound manner. He said the project always be remembered as a land Naidu on Monday said the entire was not part of the Accession Rajouri who voluntarily sacri- Secretary Transport Department, will prove a great milestone in of sacrifice and unsung heroes. country is rejoicing dilution of Agreement reached between ficed their lives defending the Dr. Asgar Samoon today reviewed upgrading the traffic system in Gupta further said that the Article 370 relating to special Maharaja Hari Singh and the motherland from invaders of the implementation of Road J&K. valour shown by our ancestors status of the erstwhile Jammu government at the time. Pakistan on this day in 1947. Accident Data Management Dr. Samoon also took a has no parallel in the history of and Kashmir state as it was done “It was inserted later as a tem- The Balidan Bhavan System (RADMS) and installa- detailed review of the project the world and appealed every- through a democratic process, porary transitory provision.. -
Times-NIE-Web-Ed-AUGUST 14-2021-Page3.Qxd
CELLULAR JAIL, ANDAMAN & BIRLA HOUSE: Birla House is a muse- NICOBAR ISLANDS: Also known as um dedicated to Mahatma Gandhi. It ‘Kala Pani’, the British used the is the location where Gandhi spent CELEBRATING FREEDOM jail to exile political prisoners at the last 144 days of his life and was SATURDAY, AUGUST 14, 2021 03 this colonial prison assassinated on January 30, 1948 CLICK HERE: PAGE 3 AND 4 Pre-Independence slogans and its relevance in India today Slogans raised by leaders during the freedom movement set the mood of the nation’s revolution for its independence. They epitomised the struggle and hopes of millions of Indians. Author and former ad guru ANUJA CHAUHAN revisits these powerful slogans and explains their history and relevance in a contemporary India SATYAMEV JAYATE QUIT INDIA LIKE SWARAJ, KHADI IS (Truth alone triumphs) HISTORY: This slogan is widely associ- OUR BIRTH-RIGHT ated with Mahatma Gandhi (what he HISTORY: Inscribed at the base of started was the Quit India Movement India’s national emblem, this phrase is from August 8, 1942, in Bombay (then), a mantra from the ancient Indian scr- but the term ‘Quit India’ was actually ipture, ‘Mundaka Upanishad’, which coined by a lesser-known hero of was popularised by freedom fighter India’s freedom struggle – Yusuf Pandit Madan Mohan Malaviya during Meherally. He had published a booklet India’s freedom movement. titled ‘Quit India’ (sold in weeks) and got over a thousand ‘Quit India’ badges to give life to the slogan that Gandhi also started using and popularised. ‘YOUNGSTERS, DON’T QUIT INDIA’: Quit India was a powerful slogan and HISTORY: Mahatma Gandhi’s call to as a slogan) was written by Urdu the jingle of an epic movement meant use khadi became a movement for poet Muhammad Iqbal in 1904 for to drive the British away from our the indigenous swadeshi (Indian) children. -
Chapter Iv Traces of Historical Facts From
CHAPTER IV TRACES OF HISTORICAL FACTS FROM SANDESAKAVYAS & SHORT POEMS Sandesakavyas occupy an eminent place among the lyrics in Sanskrit literature. Though Valmiki paved the way in the initial stage it was Kalidasa who developed it into a perfect form of poetic literature. Meghasandesa, the unique work of Kalidasa, was re- ceived with such enthusiasam that attempts were made to emulate it all over India. As result there arose a significant branch of lyric literature in Sanskrit. Kerala it perhaps the only region which produced numerous works of real merit in this field. The literature of Kerala is full of poems of the Sandesa type. Literature can be made use of to yield information about the social history of a land and is often one of the main sources for reconstructing the ancient social customs and manners of the respective periods. History as a separate study has not been seriously treated in Sanskrit literature. Apart form literary merits, the Sanskrit literature of Kerala contains several historical accounts of the country with the exception of a few historical Kavyas, it is the Sandesakavyas that give us some historical details. Among the Sanskrit works, the Sandesa Kavya branch stands in a better position in this field (matter)Since it contains a good deal of historical materials through the description of the routes to be followed by the messengers in the Sandesakavyas. The Sandesakavyas play an impor- tant role in depicting the social history of their ages. The keralate Sandesakavyas are noteworthy because of the geographical, historical, social and cultural information they supply about the land. -
MA Syllbus 2014 Revised 17 8 14
SYLLABUS FOR M.A. PROGRAMME IN SANSKRIT SAHITYA (2014 June onwards) The syllabus of M.A. programme in Sanskrit Sahitya (Course Credit and Semester System) is being restructured in order to satisfy the contemporary requirements on the basis of the recent developments in the academic field. To provide an interdisciplinary nature to the courses, some areas of studies are developed, changed and/or redefined. M.A. programme is consisted of four semesters. Total number of courses is 20. Each course is having 4 credits. Thus the student has to acquire a minimum total of 80 credits for completing the programme. Among the 20 courses of the PG programme, 7 are electives/optionals out of which 5 should be from the parent department(Internal Electives) and the remaining two must be, from any other departments(multidisciplinary electives). There will be five courses in each semester and five hours are distributred for each course. There will be 3 core courses and two elective/optional course in each semester. In the first and fourth semesters, elective/optional courses are to be taken from within the parent department from the internal electives given in the list and in the second and third, it has to be from other departments. Students of other departments can opt the multidisciplinary elective courses offerd by the Department of Sanskrit Sahitya in the second and third semesters and the students may write answers either in Sanskrit, or in English or in Malayalam The Course 20, ie, ProjectCourse No:1 (Dissertation) will be in the form of the presentation of seminar and a project work done by each and every student. -