DOCSLIB.ORG

Aghoreshwar Bhagawan Ram and the Aghor Tradition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aghoreshwar Bhagawan Ram and the Aghor Tradition Syracuse University SURFACE Maxwell School of Citizenship and Public Anthropology - Dissertations Affairs 12-2011 Aghoreshwar Bhagawan Ram and the Aghor Tradition Jishnu Shankar Syracuse University Follow this and additional works at: https://surface.syr.edu/ant_etd Part of the Archaeological Anthropology Commons Recommended Citation Shankar, Jishnu, "Aghoreshwar Bhagawan Ram and the Aghor Tradition" (2011). Anthropology - Dissertations. 93. https://surface.syr.edu/ant_etd/93 This Dissertation is brought to you for free and open access by the Maxwell School of Citizenship and Public Affairs at SURFACE. It has been accepted for inclusion in Anthropology - Dissertations by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract Aghoreshwar Mahaprabhu Baba Bhagawan Ram Ji, a well-established saint of the holy city of Varanasi in north India, initiated many changes into the erstwhile Aghor tradition of ascetics in India. This tradition is regarded as an ancient system of spiritual or mystical knowledge by its practitioners and at least some of the practices followed in this tradition can certainly be traced back at least to the time of the Buddha. Over the course of the centuries practitioners of this tradition have interacted with groups of other mystical traditions, exchanging ideas and practices so that both parties in the exchange appear to have been influenced by the other. Naturally, such an interaction between groups can lead to difficulty in determining a clear course of development of the tradition. In this dissertation I bring together micro-history, hagiography, folklore, religious and comparative studies together in an attempt to understand how this modern day religious-spiritual tradition has been shaped by the past and the role religion has to play in modern life, if only with reference to a single case study. My study is about Aghoreshwar Bhagawan Ram Ji’s life, a biography gleaned from books published by the society he established, but given flesh, blood and continuity by the stories narrated to me during fieldwork, and by comparative analysis with practices found in other long-standing traditions of spirituality in India. It is also about his viewpoints on the nature and subject of worship, humanism, nationalism, universalism, and an astute manner of communicating ideas with efficacy. Such a study not only illuminates the rigors of the life of an Aughaṛ ascetic, but also gives new insight into the workings of this tradition, as well as into what being a monk or a saint means to followers of this tradition in this age of modernity. AGHORESHWAR BHAGAWAN RAM AND THE AGHOR TRADITION by Jishnu Shankar B.A., Delhi University, 1983 M.A., Delhi School of Economics, Delhi University, 1986 M.A., Syracuse University, 1989 Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology. Syracuse University December 2011 Copyright © Jishnu Shankar 2011 All Rights Reserved Table of Contents Chapter Page Number Statement of Diacritics and Spellings v Acknowledgments vii 1. Baba Bhagawan Ram Ji and the Aghor Tradition 1 2. Situating Aghor: A Historical and Literary View 78 3. The Buddha and the Aghoreshwar – Sādhanā and Philosophy 190 4. Sarkar Baba’s Language: Colloquialism, Universalism and Guru Particularism 261 5. Mysticism, Nationalism, and Civil Society 383 6. Concluding Summation 470 7. References Cited 481 8. Glossary 502 9. Vita 528 iv Statement on Diacritics and Spellings The style for my thesis is based on the AAA Style Guide. 1. a) Diacritics are not used in proper names such as Shiva, Vishnu, Kashi, Banaras, unless they occur within quotes and cited text. b) Diacritics are used for proper names from classical Sanskrit and Buddhist texts such as Viśvāmitra, Vāmadeva, Vaśiṣṭha, Cuṛālā, Vikramāditya, Hariścandra, Aghorācārya, Bhairavācārya etc. 2. Diacritics are not used for proper nouns such as Shakti, Vaishnava, Baba, ashram, sadhu that can be found in Merriam-Webster Dictionary. 3. Diacritics are used for uncommon proper nouns, not found in Merriam-Webster Dictionary, such as Aughaṛ, Sādhanā. 4. Spellings of Hindi names which are common in English, are given in English, such as Ganges instead of Ganga. 5. All named texts have full diacritics, such as Rāmāyaṇa. 6. In the bibliography authors for Hindi/Sanskrit texts are first listed without diacritics, and then, with them. 7. All Hindi (Bhojpuri) quotes are in italics, and with full diacritics. 8. When quoting an author, the original style used by the author is represented. Note on transliteration: v Certain terms are used interchangeably by interviewees as well as authors, which may create confusion for the readers, because the meaning of the words may be slightly different in each case. Such cases are illustrated below – 1. Aghor, Aghora, Aughaṛ, Auḍhar, Aghori, Avadhūt. The words Aghor, Aghora, Aughaṛ, Auḍhar, Aghori and Avadhūt can be used both as adjectives and as nouns. The word Aghor is a noun in that it derives from the name of the fifth face of Shiva, the Aghor face. It forms a compound noun with the word tradition, thus becoming “Aghor tradition.” It can be used as an adjective to qualify distinctions of philosophy, such as Aghor philosophy, or ascetic practices, such as Aghor Sādhanā. Followers of the Aghor tradition are typically referred to as Aughaṛ in Bihar, Uttar Pradesh and Madhya Pradesh states of India, and Aghori more commonly in Bengal. Aghora is an English variant of the spelling and can be used as a noun, except when it is used in a Sanskrit scriptural sense, where the addition of an “a” at the end feminizes the noun. Auḍhar is a less common variant of Aughaṛ, and is used mostly as an adjective, as in “Baba Auḍhar - dānī.” Avadhūt is the term given to accomplished ascetic practitioners who have achieved enlightenment following the Aghor path. I use the word Aghor to qualify ascetic practices and philosophy. To denote an ascetic of this path I prefer to use the term Aughaṛ. Note on Translation: All translations, unless specified otherwise, are mine from the original Hindi or Bhojpuri text. vi Acknowledgments I feel this dissertation cannot be regarded as complete till I have expressed my deepest gratitude and thanks to the many people who have actively helped or solidly stood by me even as my life meandered during the course of finishing this dissertation. First, I have to thank Prof. Susan S. Wadley, my advisor and dissertation committee member, who not only never held back from helping me during my academic career with all varieties of advice and support, but also never gave up on me during the course of the two decades it has taken me to reach this point. Her experience in academic administration and her faith in the ultimate abilities of her students were instrumental to my completion of this dissertation. My gratitude and thanks go to Professors Ann and Dan Gold for their friendship as well as concern. Ann, always gentle and encouraging, not only reinforced faith in my ability to write academically, she also reminded me of the importance of the doctoral dissertation in the academic field. Dan, with his quiet concern but with a view to push me along, never hesitated in asking me at the many conferences and workshops where our paths crossed if I had finished the dissertation yet! Their encouragement has a lot to do with the final form of this dissertation. The administration of the department of Anthropology, especially Professor Christopher DeCorse and Kristina M. Ashley were instrumental in getting my paperwork restored after two decades of changes they had gone through. But for the hours of time Chris devoted to comparing and calculating the changes that the departmental policies had gone through over the years, I might still be wondering if I qualify to write the vii dissertation. My unqualified thanks to both Chris and Kristina for making it happen. Equally invaluable are the suggestions and comments my dissertation committee members have given me, to all of whom I remain indebted. There are far too many people at the various ashrams and in cities scattered throughout North India to name them individually, who were ready and willing to share their stories with me and to help me with my project. My heartfelt thanks go to all of them. At UT Austin, I am grateful to my friend and colleague Oliver Freiberger who has always been ready to help me with the dissertation, and Professor Patrick Olivelle who graciously agreed to help me with Sanskrit translations. My final acknowledgement is to Sarkar Baba himself whose inspiration, insight and knowledge spurred me to feel strongly enough to write about him. Sarkar Baba devoted his life for others, I hope this dissertation may help others in their lives too. viii Chapter 1 Baba Bhagawan Ram Ji and the Aghor Tradition A Visit by Sarkar Baba I have a very vivid recollection of a week from my childhood. It was the month of April and I was in fourth grade at school. Within a few days my final exams were due and I was worried about mathematics. While I loved language and literature, geography and biology, mathematics had always been my nemesis. I had gone to a friend’s house to study, and when I returned home around one o’ clock in the afternoon, I found the house abuzz with activity. I noticed there was a pile of shoes lying outside the doorway. It was hot, and I was hungry. As I entered the coolness of the doorway, the exhilarating aroma of eggplant and tomatoes roasted with garlic on a charcoal fire, fresh ground cilantro leaves mixed with lime juice and chopped green chilies seemed to pervade the air tantalizingly. I headed straight for the kitchen saying namaste to unknown folks sitting in the living room and found Ma sitting on the kitchen floor on a pīṛhā (a wooden slab used as a seat) peeling the skin off the roasted eggplant in preparation for baiṃgan-bhartā (roasted, pureed eggplant and tomatoes with garlic, cilantro and chopped green chilies).
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]