Sociology of Law

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Oxford in India Readings in Sociology and Social Anthropology GENERAL EDITOR T.N. MADAN SOCIOLOGY OF LAW Edited by INDRA DEVA OXFORD UNIVERSITY PRESS Contents Introduction 1 I. FUNCTIONING OF THE LEGAL SYSTEM 41 1. UPENDRA BAXI Colonial Nature of the Indian Legal System 45 2. J. DUNCAN M. DERRETT Administration of Hindu Law by the British 60 3. V.R. KRISHNA IYER Law and the People 73 4. KRISHNA KUMAR Patterns of Criminal Justice amongst Some Tribes 82 5. J.S. GANDHI Law as an Instrument of Change in India 98 II. THE LEGAL PROFESSION 112 6. SAMUEL SCHMITTHENER Development of the Legal Profession in India 114 7. K.L. SHARMA Legal Profession and Society: A Study of Lawyers and their Clients 131 8. CHARLES MORRISON Social Organization at the District Courts: Colleague Relationships among Indian Lawyers 144 III. LAW AND RELIGIOUS IDENTITY 154 9. DONALD EUGENE SMITH Religion, Law, and Secularism 158 10. JOHN H. MANSFIELD Personal Laws or a Uniform Civil Code? 174 viii Contents 11. DIETER CONRAD The Personal Law Question and Hindu Nationalism 194 12. KAVITA R. KHORY The Shah Bano Case: Some Political Implications 213 IV. LAW AND 'EHE DISADVANTAGED GROUPS 227 13. MARC GALANTER Pursuing Equality in the Land of Hierarchy 232 14. M.P. SINGH Jurisprudential Foundation of Reservations 250 15. RAM JETHMALANI Mandal Revisited 261 16. S.P. SATHE Empowerment of Women: Legal Strategies 266 V. SOCIETAL ROLE OF JUDICIARY 289 17. V.R. KRISHNA IYER Towards an Indian Jurisprudence of Social Action and Public Interest Litigation 292 18. MAHABALESHWAR N. MORJE Public Interest Litigation 310 VI. UW r AND SOCIAL CHANGE 320 19. INDRA DEVA AND Growth of Traditional Legal SHRIRAMA System: The Perspective of Change through the Ages 324 20. YOGENDRA SINGH Law and Social Change . in India 337 21. PETER G. SACK Constitutions and Revolutions 352 Contributors 362 Index 365.

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Hymn to Brahma Score, 7-7-2014
Hymn to Brahma ancient Sanskrit temple chant arranged for choir by David Nelson Miller Program notes Three traditional melodies from India are brought together in this choir arrangement, sometimes without accompaniment, sometimes accompanied by keyboard, and sometimes accompanied by the recorded sounds of tanpuras. A tanpura is a traditional Indian string instrument which typically drones on 3 notes. One possible translation of the Sanskrit text is below. The text beginning “Brahmanandam…” is sung to two different melodies, at the beginning and end of the arrangement. The central section is a setting of the traditional chant Twameva Mata, sung in Sanskrit and English. Guru Brahma, Guru Vishnu, Guru is Brahma, Guru is Vishnu, Guru Deva Maheshwara, Guru is the Maheshwara (Shiva), Guru sakshyat, parabrahma, Truly Guru is the supreme spirit – Tasmai Sri Guruve namaha. Salutations therefore to the Guru. Brahmanandam parama sukhadam, Full of transcendental bliss, giving supreme joy, Kevalam gyana murtim, The sole Image of Wisdom, Dwandwa titum gagana sadrisham, Beyond duality, clear as the heavens, Tattwam asyadi lakshyam. Whose motto is: “Thou Art That.” Ekam nityam vimalam achalam, One, permanent, pure, immovable, Sarvadhi sakshi bhutam, The everlasting Seer of all things, Bhawa titum triguna rahitam Beyond thought, free from the three qualities – Sadgurumtam namami. My good Guru, I bow to Thee. Twameva mata cha pita twameva, You truly are my mother and my father, Twameva bandhu cha sakha twameva, You truly are my friend and my beloved companion, Twameva vidya dravinam twameva, You truly are my knowledge and my wealth, Twameva sarvam mama deva deva. O Supreme Lord, You truly are everything to me.
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Brahmadeva Sutta
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Bhagavata Purana
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Vidulaku- Mrokkeda-Raga.Html Youtube Class: Audio MP3 Class
Vidhulaku Mrokkedha Ragam: Mayamalavagowlai {15th Melakartha Ragam} https://en.wikipedia.org/wiki/Mayamalavagowla ARO: S R1 G3 M1 P D1 N3 S || AVA: A N3 D1 P M1 G3 R1 S || Talam: Adi Composer: Thyagaraja Version: M.S. Subbulakshmi (https://www.youtube.com/watch?v=llsETzsGWzU ) Lyrics Courtesy: www.karnatik.com (Rani) and Lakshman Ragde http://www.geocities.com/promiserani2/c2933.html Meaning Courtesy: https://thyagaraja-vaibhavam.blogspot.com/2007/03/thyagaraja-kriti-vidulaku- mrokkeda-raga.html Youtube Class: https://www.youtube.com/watch?v=hWszTbKSkm0 Audio MP3 Class: http://www.shivkumar.org/music/vidulaku-class.mp3 Pallavi: vidulaku mrokkEda sangIta kO Anupallavi: mudamuna shankara krta sAma nigama vidulaku nAdAtmaka sapta svara Charanam: kamalA gaurI vAgIshvari vidhi garuDa dhvaja shiva nAradulu amarEsha bharata kashyapa caNDIsha AnjanEya guha gajamukhulu su-mrkaNDuja kumbhaja tumburu vara sOmEshvara shArnga dEva nandi pramukhulaku tyAgarAja vandyulaku brahmAnanda sudhAmbudhi marma Meaning Courtesy: https://thyagaraja-vaibhavam.blogspot.com/2007/03/thyagaraja-kriti-vidulaku- mrokkeda-raga.html Pallavi: Sahityam: vidulaku mrokkEda sangIta kO Meaning: I salute (mrokkeda) the maestros (kOvidulaku) of music (sangIta). Sahityam: mudamuna shankara krta sAma nigama vidulaku nAdAtmaka sapta svara Meaning: I joyously (mudamuna) salute - the masters (vidulaku) of sAma vEda (nigama) created (kRta) by Lord Sankara and the maestros (vidulaku) of sapta svara – nAda embodied (Atmaka) (nAdAtmaka). Sahityam:kamalA gaurI vAgIshvari vidhi garuDa dhvaja
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Hymns to the Mystic Fire
16 Hymns to the Mystic Fire VOLUME 16 THE COMPLETE WORKS OF SRI AUROBINDO © Sri Aurobindo Ashram Trust 2013 Published by Sri Aurobindo Ashram Publication Department Printed at Sri Aurobindo Ashram Press, Pondicherry PRINTED IN INDIA Hymns To The Mystic Fire Publisher’s Note The present volume comprises Sri Aurobindo’s translations of and commentaries on hymns to Agni in the Rig Veda. It is divided into three parts: Hymns to the Mystic Fire: The entire contents of a book of this name that was published by Sri Aurobindo in 1946, consisting of selected hymns to Agni with a Fore- word and extracts from the essay “The Doctrine of the Mystics”. Other Hymns to Agni: Translations of hymns to Agni that Sri Aurobindo did not include in the edition of Hymns to the Mystic Fire published during his lifetime. An appendix to this part contains his complete transla- tions of the ﬁrst hymn of the Rig Veda, showing how his approach to translating the Veda changed over the years. Commentaries and Annotated Translations: Pieces from Sri Aurobindo’s manuscripts in which he commented on hymns to Agni or provided annotated translations of them. Some translations of hymns addressed to Agni are included in The Secret of the Veda, volume 15 of THE COMPLETE WORKS OF SRI AUROBINDO. That volume consists of all Sri Aurobindo’s essays on and translations of Vedic hymns that appeared ﬁrst in the monthly review Arya between 1914 and 1920. His writings on the Veda that do not deal primarily with Agni and that were not published in the Arya are collected in Vedic and Philological Studies, volume 14 of THE COMPLETE WORKS.
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Vedic Conception of God
www.ved-yog.com 41 CHAPTER IV THE VED1C CONCEPTION OF GOD In this chapter, we propose to throw some light on the Vedic conception of God. The Vedas teach the worship of One God who is Omnipresent, Omniscient and Omnipotent Lord of the universe. The Vedic conception of God put in a nutshell is expressed clearly in the following well-known verse of the Yajur Veda 40-8. l i¸;ZxkPNqØedk;eoz.kekLukfoj ~¡'kq)eikifo)e~A dfoeZuh"kh ifjHkw% Lo;EHkw;kZFkkrRFk;rks·FkkZu~ O;n/kkPNk'orhH;% lekH;%µ ;tq0 40-8µ It means........ God is All-pervading, Radiant and formless, free from physical wound as He is without sinews, most Holy, Unpierced by any sin. Omniscient, Knower of the mind of all, All conquering and Self-existent. .He has created the objects of the world for His eternal subects (immortal souls). According to the Vedas, such an Omnipresent, Omnipotent and Omniscient God is One and He alone is to be worshipped by all with pure heart and noble deeds. The Vedas declare...... ; ,d bÙkeq "Vqfg Ï"Vhuka fop"kZf.k%A ifrtZKs o`"kØrq%µ _X0 6-48-16µ O man ! Praise God who is One and One only and who is the Omniscient and Omnipotent Lord of all beings. ,d ,o ueL;ks fo{ohM~;%µ vFkoZ0 2-2-1µ One God alone is to be worshipped by all people. He is Adorable. www.ved-yog.com 42 ,d ,o ueL;% lq'ksok%µ vFkoZ0 2-2-2µ One God alone who is the Giver of true happiness and bliss is to be worshipped by all.
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BOOK REVIEW Growth of Legal System in Indian Society by Indra Deva and Srirama; Allied Publishers Private Limited New Delhi, 1980, Pp
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The Glory of God: a Summary of the Srimad Bhagavata Mahapurana
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Hinduism: a Supplemental Resource for Grade 12 World of Religions: A
Change and Evolution Diversity of Hinduism Modern Hinduism can in part be traced to indigenous Indian practices several thousands of years old. What we now call Hinduism was once known as—and in many places is still preferred to be known as—Sanatan Dharma. Sanatan means eternal. Dharma may be translated as religion, law, order, duty, or ethics. Sanatan Dharma may be thought of as meaning the eternal path or way of life. Sanatan Dharma was impacted upon by the arrival of Proto Indo-European speaking tribes from the Middle East and north, approximately four thousand years ago. Due in part to its long life, the historical record surrounding Hinduism is not only complex and multi-faceted, but also fragmented and a matter of continuing debate. Many Hindus focus less on attempting to work out accurate historical reconstructions than on the challenges and opportunities posed by the interaction of their Figure 13: Shiva Bhagavad Gita beliefs and faith in the world today. God and Gender in Hinduism In Hinduism, god is conceptualized in different ways with respect to gender. For many, their focus is upon an impersonal Absolute (Brahman) which is genderless. Some Hindu traditions see god as being androgynous, having both female and male aspects. Alternatively a supreme god may be seen to be either male or female while embracing gender henotheism; that is without denying the existence of other gods in either gender. The Shakti tradition conceives of god as a female. Other Bhakti traditions of Hinduism have both male and female gods. In ancient and medieval Indian mythology, each masculine Deva (god) of the Hindu pantheon was partnered with a feminine Devi (god).
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Vishnu Saharanama Stothram
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(CC by 4.0) Agni, the Sacred Fire, Was Present Throughout the India
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