Aghoreshwar Bhagawan Ram and the Aghor Tradition
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Unique Interest Based Departures Creative Travel Has a Network of Sales Teams Around the World to Assist You in Your Region
To make a reservation or for additional information on these journeys or planning a custom option, please email us at [email protected] Excellence in input, discretion in planning, subtlety in delivery - these have defined experiential travel at Creative Travel since 1977. We are proud to be family owned, and professionally managed with over 200 family members across our network. Globally awarded & recognised, with a network all over India, Nepal, Bhutan, Sri Lanka, Tibet & the Maldives, we offer experiences matched by few. Our relationships across the sub-continent that make up this labyrinth of a destination allow us to get priority over the others. Our 40+ year family legacy of fine service has made us the most awarded Destination Management Company in South Asia, a responsibility we take very seriously, today making us South Asia’s largest privately owned destination management company in our industry. Tel 91 124 4567777 Email [email protected] Web www.creative.travel, www.junglesutra.com unique interest based departures Creative Travel has a network of sales teams around the world to assist you in your region. For details please visit www.creative.travel/contacts the essence Unique itineraries - exclusive, carefully crafted interest-based Journeys. All special journeys are led by an expert resource, celebrated in their field of expertise. Small intimate groups of like minded people from across the world. Never more than12 couples in each journey. Guaranteed journey operation with minimum 2 guests. Comprehensive inclusions including cultural interaction with real locals & authentic local cuisine experiences. C O N T E N T S Accommodation in personally selected deluxe properties. -
Indian History
Indian History Ancient History 1.Which of the following ancient Indian Kings had appointed Dhamma Mahamattas? [A] Asoka [B] Chandragupta Maurya [C] Kanishka [D] Chandragupta-II Correct Answer: A [Asoka] Notes: Dhamma Mahamattas were special officers appointed by Ashoka to spread the message of Dhamma or his Dharma. The Dhamma Mahamattas were required to look after the welfare of the people of different religions and to enforce the rules regarding the sanctity of animal life. 2.Who was the first Saka king in India? [A] Moga [B] Rudradaman [C] Azes [D] Ghatotkacha Correct Answer: A [ Moga ] Notes: An Indo-Scythian king, Moga (or Maues) was the first Saka king in India who established Saka power in Gandhara and extended supremacy over north-western India. 3.Who was ‘Kanthaka’ in the context of Gautam Buddha? [A] Charioteer [B] Body-guard [C] Cousin [D] Horse Correct Answer: D [ Horse ] Notes: Kanthaka was the royal horse of Gautama Buddha. 4.What symbol represents birth of Gautama Buddha? [A] Bodh tree [B] Lotus [C] Horse [D] Wheel Correct Answer: B [ Lotus ] Notes: Lotus and bull resembles the symbol of birth of Gautama Buddha. 5.What symbol represents nirvana of Gautama Buddha? [A] Lotus [B] Wheel [C] Horse [D] Bodhi Tree Correct Answer: D [ Bodhi Tree ] Notes: Bodhi Tree is the symbol of nirvana of Gautama Buddha. On the other hand, Stupa represents the symbol of death of Gautama Buddha. Further, The symbol ‘Horse’ signifies the renunciation of Buddha’s life. 6.During whose reign was the Fourth Buddhist Council held? [A] Ashoka [B] Kalasoka [C] Ajatsatru [D] Kanishka Correct Answer: D [ Kanishka ] Notes: The Fourth Buddhist Council was held at Kundalvana, Kashmir in 72 AD during the reign of Kushan king Kanishka. -
Die Wurzeln Des Yoga Haṭha Yoga Teil 2
Die Wurzeln des Yoga Haṭha Yoga Teil 2 as tun wir eigentlich, wenn wir Âsanas üben? WWie begründen wir, dass die Praxis einer bestimmten Haltung Sinn macht? Worauf können wir uns stützen, wenn wir nach guten Gründen für das Üben eines Âsanas suchen? Der Blick auf die vielen Publikationen über Yoga zeigt: Bei den Antworten auf solche Fragen spielt – neben dem heutigen wissenschaftlichen Kenntnisstand – der Bezug auf die lange Tradition des Yoga immer eine wichtige Rolle. Aber sind die Antworten, die uns die alten mündlichen und schriftlichen Traditionen vermitteln, befriedigend, wenn wir nach dem Sinn eines Âsanas suchen? Was können wir von der Tradition wirklich lernen und was eher nicht? Eine transparente und nachvollziehbare Erklärung und Begründung von Yogapraxis braucht eine ernsthafte Reflexion dieser Fragen. Dafür ist ein auf Fakten gründender, ehrlicher und wertschätzender Umgang mit der Tradition des Ha†hayoga unverzichtbar. Dabei gibt es einiges zu beachten: Der physische Teil des Ha†hayoga beinhaltet keinen ausgewiesenen und fest 6 VIVEKA 57 Die Wurzeln des Yoga umrissenen Kanon bestimmter Âsanas, auch wenn bis heute immer wieder von „klassischen Âsanas“ die Rede ist. Auch gibt es kein einheitliches und fest umrissenes Konzept, auf das sich die damalige Âsanapraxis stützte. Vielmehr zeigt sich der Ha†hayoga als Meister der Integration verschiedenster Einflüsse und ständiger Entwicklung und Veränderung. Das gilt für die Erfindung neuer Übungen mit ihren erwarteten Wirkungen wie auch für die großen Ziele der Yogapraxis überhaupt. Um die Tradition des Ha†hayoga zu verstehen reicht es nicht, einen alten Text nur zu zitieren. Es bedarf vielmehr eines Blickes auf seine Entwicklung und Geschichte. -
Uhm Phd 9519439 R.Pdf
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality or the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. MI48106·1346 USA 313!761-47oo 800:521-0600 Order Number 9519439 Discourses ofcultural identity in divided Bengal Dhar, Subrata Shankar, Ph.D. University of Hawaii, 1994 U·M·I 300N. ZeebRd. AnnArbor,MI48106 DISCOURSES OF CULTURAL IDENTITY IN DIVIDED BENGAL A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE DECEMBER 1994 By Subrata S. -
Yoga and the Five Prana Vayus CONTENTS
Breath of Life Yoga and the Five Prana Vayus CONTENTS Prana Vayu: 4 The Breath of Vitality Apana Vayu: 9 The Anchoring Breath Samana Vayu: 14 The Breath of Balance Udana Vayu: 19 The Breath of Ascent Vyana Vayu: 24 The Breath of Integration By Sandra Anderson Yoga International senior editor Sandra Anderson is co-author of Yoga: Mastering the Basics and has taught yoga and meditation for over 25 years. Photography: Kathryn LeSoine, Model: Sandra Anderson; Wardrobe: Top by Zobha; Pant by Prana © 2011 Himalayan International Institute of Yoga Science and Philosophy of the U.S.A. All rights reserved. Reproduction or use of editorial or pictorial content in any manner without written permission is prohibited. Introduction t its heart, hatha yoga is more than just flexibility or strength in postures; it is the management of prana, the vital life force that animates all levels of being. Prana enables the body to move and the mind to think. It is the intelligence that coordinates our senses, and the perceptible manifestation of our higher selves. By becoming more attentive to prana—and enhancing and directing its flow through the Apractices of hatha yoga—we can invigorate the body and mind, develop an expanded inner awareness, and open the door to higher states of consciousness. The yoga tradition describes five movements or functions of prana known as the vayus (literally “winds”)—prana vayu (not to be confused with the undivided master prana), apana vayu, samana vayu, udana vayu, and vyana vayu. These five vayus govern different areas of the body and different physical and subtle activities. -
Health Providers in India
Downloaded by [University of Defence] at 01:14 24 May 2016 Health Providers in India Downloaded by [University of Defence] at 01:14 24 May 2016 (ii) Blank Downloaded by [University of Defence] at 01:14 24 May 2016 Health Providers in India On the Frontlines of Change Editors Kabir Sheikh and Asha George Downloaded by [University of Defence] at 01:14 24 May 2016 First published 2010 By Routledge 912–915 Tolstoy House, 15–17 Tolstoy Marg, New Delhi 110 001 Simultaneously published in UK by Routledge 2 Park Square, Milton Park, Abingdon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2010 Kabir Sheikh and Asha George Typeset by Bukprint India B-180A Guru Nanak Pura, Laxmi Nagar, Delhi 110 092 Printed and bound in India by Sanat Printers 312 EPIP Kundli, Haryana 131 028 All rights reserved. No part of this book may be reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage and retrieval system without permission in writing from the publishers. Downloaded by [University of Defence] at 01:14 24 May 2016 British Library Cataloging-in-Publication Data A catalogue record of this book is available from the British Library ISBN: 978-0-415-57977-3 Advance Praise for the Book This excellent collection of new work begins to fill a major gap in our understanding of key features of the Indian health system: Who fill its positions, formal and informal, public and private sector, trained and untrained? What are their motivations, their ideals, and the everyday realities of their experiences? And how do these accommodate to, coalesce with, or conflict with major national health goals? Sheikh and George are to be congratulated for their initiative in stimulating contributors to such a well- constructed volume — one that will undoubtedly set the agenda for health-related policy-relevant research in India over the next decade. -
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. -
Com 23 Draft B
Community Issue 23 - Page 1 Autumn 2005 / 2548 The Upāsaka & Upāsikā Newsletter Issue No. 23 Dagoba at Mahintale Dagoba InIn thisthis issue.......issue....... InIn peoplepeople wewe trusttrust ?? TheThe Temple at Kosgoda The wisdom of the heartheart SicknessSickness——A Teacher AssistedAssisted DyingDying MakingMaking connectionsconnections beyond words BluebellBluebell WalkWalk Community Community Issue 23 - Page 2 In people we trust? Multiculturalism and community relations have been This is a thoroughly uncomfortable position to be in, as much in the news over recent months. The tragedy of anyone who has suffered from arbitrary discrimination can the London bombings and the spotlight this has attest. There is a feeling of helplessness that whatever one thrown on to what is called ‘the Moslem community’ says or does will be misinterpreted. There is a resentment has led me to reflect upon our own Buddhist that one is being treated unfairly. Actions that would pre- ‘community’. Interestingly, the name of this newslet- viously have been taken at face value are now suspected of ter is ‘Community’, and this was chosen in discussion having a hidden agenda in support of one’s group. In this between a number of us, because it reflected our wish situation, rumour and gossip tend to flourish, and attempts to create a supportive and inclusive network of Forest to adopt a more inclusive position may be regarded with Sangha Buddhist practitioners. suspicion, or misinterpreted to fit the stereotype. The AUA is predominantly supported by western Once a community has polarised, it can take a great deal converts to Buddhism. Some of those who frequent of work to re-establish trust. -
The Place of Performance in a Landscape of Conquest: Raja Mansingh's Akhārā in Gwalior
South Asian History and Culture ISSN: 1947-2498 (Print) 1947-2501 (Online) Journal homepage: https://www.tandfonline.com/loi/rsac20 The place of performance in a landscape of conquest: Raja Mansingh’s akhārā in Gwalior Saarthak Singh To cite this article: Saarthak Singh (2020): The place of performance in a landscape of conquest: Raja Mansingh’s akhārā in Gwalior, South Asian History and Culture, DOI: 10.1080/19472498.2020.1719756 To link to this article: https://doi.org/10.1080/19472498.2020.1719756 Published online: 30 Jan 2020. Submit your article to this journal Article views: 21 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsac20 SOUTH ASIAN HISTORY AND CULTURE https://doi.org/10.1080/19472498.2020.1719756 The place of performance in a landscape of conquest: Raja Mansingh’s akhārā in Gwalior Saarthak Singh Institute of Fine Arts, New York University, New York, NY, USA ABSTRACT KEYWORDS In the forested countryside of Gwalior lie the vestiges of a little-known akhārā; landscape; amphitheatre (akhārā) attributed to Raja Mansingh Tomar (r. 1488–1518). performance; performativity; A bastioned rampart encloses the once-vibrant dance arena: a circular stage dhrupad; rāsalīlā in the centre, surrounded by orchestral platforms and an elevated viewing gallery. This purpose-built performance space is a unique monumentalized instance of widely-prevalent courtly gatherings, featuring interpretive dance accompanied by music. What makes it most intriguing is the archi- tectural play between inside|outside, between the performance stage and the wilderness landscape. -
South-Indian Images of Gods and Goddesses
ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Romeo Y Julieta 1 Romeo Y Julieta
Romeo y Julieta 1 Romeo y Julieta Romeo y Julieta Representación de la famosa escena del balcón de Romeo y Julieta. Pintura de 1884, por Frank Dicksee. Autor William Shakespeare Género Tragedia Tema(s) Amor prohibido Idioma Inglés [1] Título original The Most Excellent and Lamentable Tragedie of Romeo and Juliet País Inglaterra Fecha de publicación 1597 (Q1) 1599 (Q2) 1609 (Q3) 1622 (Q4) 1637 (Q5) Formato En cuarto[d] Romeo y Julieta (1597) es una tragedia de William Shakespeare. Cuenta la historia de dos jóvenes enamorados que, a pesar de la oposición de sus familias, rivales entre sí, deciden luchar por su amor hasta el punto de casarse de forma clandestina; sin embargo, la presión de esa rivalidad y una serie de fatalidades conducen al suicidio de los dos amantes. Esta relación entre sus protagonistas los ha convertido en el arquetipo de los llamados star-crossed lovers.[2] [a] Se trata de una de las obras más populares del autor inglés y, junto a Hamlet y Macbeth, la que más veces ha sido representada. Aunque la historia forma parte de una larga tradición de romances trágicos que se remontan a la antigüedad, el argumento está basado en la traducción inglesa (The Tragical History of Romeus and Juliet, 1562) de un cuento italiano de Mateo Bandello, realizada por Arthur Brooke, que se basó en la traducción francesa hecha por Pierre Boaistuau en 1559. Por su parte, en 1582, William Painter realizó una versión en prosa a partir de relatos italianos y franceses, que fue publicada en la colección de historias Palace of Pleasure.