Good Life and Good Society
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Introduction
1 Introduction A jackal who had fallen into a vat of indigo dye decided to exploit his mar- velous new appearance and declared himself king of the forest. He ap- pointed the lions and other animals as his vassals, but took the precaution of having all his fellow jackals driven into exile. One day, hearing the howls of the other jackals in the distance, the indigo jackal’s eyes filled with tears and he too began to howl. The lions and the others, realizing the jackal’s true nature, sprang on him and killed him. This is one of India’s most widely known fables, and it is hard to imagine that anyone growing up in an Indian cultural milieu would not have heard it. The indigo jackal is as familiar to Indian childhood as are Little Red Rid- ing Hood or Snow White in the English-speaking world. The story has been told and retold by parents, grandparents, and teachers for centuries in all the major Indian languages, both classical and vernacular. Versions of the collec- tion in which it first appeared, the Pañcatantra, are still for sale at street stalls and on railway platforms all over India. The indigo jackal and other narratives from the collection have successfully colonized the contemporary media of television, CD, DVD, and the Internet. I will begin by sketching the history and development of the various families of Pañcatantra texts where the story of the indigo jackal first ap- peared, starting with Pu–rnabhadra’s. recension, the version on which this inquiry is based. -
The Semiotics of Axiological Convergences and Divergences1 Ľubomír Plesník
DOI: 10.2478/aa-2020-0004 West – East: The semiotics of axiological convergences and divergences1 Ľubomír Plesník Professor Ľubomír Plesník works as a researcher and teacher at the Institute of Literary and Artistic Communication (from 1993 to 2003 he was the director of the Institute, and at present he is the head of the Department of Semiotic Studies within the Institute). His research deals primarily with problems of literary theory, methodology and semiotics of culture. Based on the work of František Miko, he has developed concepts relating to pragmatist aesthetics, reception poetics and existential semiotics with a special focus on comparison of Western and oriental epistemes (Pragmatická estetika textu 1995, Estetika inakosti 1998, Estetika jednakosti 2001, Tezaurus estetických výrazových kvalít 2011). Abstract: This study focuses on the verbal representation of life strategies in Vetalapanchavimshati, an old Indian collection of stories, which is part of Somadeva’s Kathasaritsagara. On the basis of the aspect of gain ~ loss, two basic life strategies are identified. The first one, the lower strategy, is defined by an attempt to obtain material gain, which is attained at the cost of a spiritual loss. The second one, the higher strategy, negates the first one (spiritual gain attained at the cost of a material loss) and it is an internally diversified series of axiological models. The core of the study explains the combinatorial variants which, in their highest positions, even transcend the gain ~ loss opposition. The final part of the study demonstrates the intersections between the higher strategy and selected European cultural initiatives (gnosis). 1. Problem definition, area of concern and material field Our goal is to reflect on the differences and intersections in the iconization of gains and losses in life between the Western and Eastern civilizations and cultural spheres. -
Mitrasamprapthi Preliminary
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Favorite Aesop's Fables and More
Favorite Aesop’s Fables and More Storytelling Show Presented by Katie Adams’ Make Believe Theater Welcome to the show! Perseverance… honesty… helping others, Aesop’s Fables show us how to make good choices in life. Storyteller Katie Adams will exercise your imagination with her energetic performance and drawings of The Race of the Tortoise and the Hare, The Lion and the Mouse, The Boy who Cried Wolf, and more fables in this fun, storytelling show. This 45-minute show includes live illustrations, and audience participation. Before the Show Synopsis of the Stories There are five fables in today’s show. Here is a summary of each one. The Race of the Tortoise and the Hare Katie will invite the audience to participate by cheering for the Tortoise and the Hare. This is Aesop’s fable about a fast Hare (rabbit) who liked to make fun of a slow Tortoise. Set in Florida, down at the beach, all the animals are Florida wildlife including Gopher Tortoise. Tired of being teased about his slow pace, Tortoise challenges Hare to a race, with all the nearby animals to cheer them on. Once the race begins, Hare is so sure he will win the race, he stops for a snack, and then for a nap. Meanwhile Tortoise keeps going, keeping his eye on the finish line and letting nothing distract him. Just before Tortoise is about to finish the race, Hare wakes up and with a burst of speed tries to beat Tortoise. But he is too late! Tortoise wins the race. The moral of the story is: Slow and steady wins the race. -
Indian Fables – Panchatantra – Illustrated and Picture Book Versions
INDIAN FABLES – PANCHATANTRA – ILLUSTRATED AND PICTURE BOOK VERSIONS The following list accompanies the Panchatantra Fables chapter to be found in the Allyn & Bacon Anthology of Traditional Literature edited by Judith V. Lechner, Allyn & Bacon, 2003. • Brown, Marcia. The Blue Jackal. Scribner’s. 1977. • Gobhai, Mehlli The Blue Jackal. Prentice Hall, 1968. • Gobhai, Mehlli. Usha, the Mouse Maiden. Hawthorn Books, 1969. • Kajpust, Melissa. The Peacock’s Pride. Illustrated by Anne Kelley. Hyperion, 1997. • Kamen, Gloria The Ringdoves. Atheneum, 1988. • Upadhyay, Asha. Tales From India. Illustrated by Nickzad Nojoumi. Random House, 1971. This is a lively retelling of ten of the stories without the framework. • Tehranchian, Hassan. Kalilah and Dimnah. Illustrations by Anatole Ur. Harmony Books, 1985. 75 p. This is a translation of the Persian version of The Panchatantra. For a beautifully illustrated version see the Smithsonian’s edition of Kalila wa Dimna, 1981, or Jill S. Cowan’s translation of Kalila wa Dimna: An Animal Allegory of the Mongol Court. with Persian illuminations. Oxford University Press, 1989. These two editions are meant for adults. Another collection that includes some “Panchatantra Tales” is: • Kherdian, David. Feathers and Tails: Fables from Around the World. Illustrated by Nonny Hogrogian. Philomel, 1992. • Several of the Panchatantra tales are also available from the India Parenting Web site: http//:www.indiaparenting.com/stories/panchatantra/index.shtml INDIAN FABLES – JATAKA TALES – ILLUSTRATED AND PICTURE BOOK VERSIONS • Demi Buddha Stories. Henry Holt, 1997. Includes ten Jataka tales. • Hodges, Margaret. The Golden Deer. Illustrated by Daniel San Souci. Scribner’s, 1992. • Lee, Jeanne M. I Once Was a Monkey: Stories Buddha Told. -
Article (176.8Kb)
garcin de tassy Origin and Diffusion of Hindustani [translator’s note: Presented here is the translation of a memorandum entitled ìOrigine et Diffusion de líHindoustani Appelé Language Générale ou Nationale de líIndeî (Origin and Diffusion of Hindustani, Called the Common or National Language of India) by Garcin de Tassy (1871) published in the transactions of the Royal Academy of Science, Arts, and Belles-Lettres of Caen, France. Written in the last decade of his life, this brief memorandum contains some of his observations and conclusions based on over half a century of involvement with Indian languagesóespecially Urdu, which was gener- ally called Hindustani during his time. Most of his peer academy members, to whom this communication was directed, probably did not know much about Urdu. Consequently, he includes some explanations and background information that would seem too elementary nowadays. Nevertheless, some of his remarks still seem fresh and surprising. Even his digressionary remarks, which are dispersed throughout the note and which often seem factitious, contain much information about the historical and cultural factors influencing the development of Urdu. The note also reveals de Tassyís passionate at- tachment to Urdu and his angst over the Urdu-Hindi controversy which, he thought, was going to lead to disastrous religious and political strife in India.] We can only make conjectures about the exact dates of Indiaís invasion by the Aryans and the diffusion of their language; the language was called Sanskrit (well-formed), in contrast to the language of the natives and its various dialects that were together given the name Prakrit (ill-formed) by the scornful victors. -
Fables in Human Life International Journal Of
Int. J. Eng.INTERNATIONAL Lang. Lit & Trans. Studies JOURNAL (ISSN:2349 OF ENGLISH-9451/2395 LANGUAGE,-2628) Vol. 4. LITERATUREIssue.2, 2017 (April -June) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS REVIEW ARTICLE Vol. 4. Issue.2., 2017 (April-June) FABLES IN HUMAN LIFE Dr. RAJIVA RANJAN Professor in English [email protected] ABSTRACT Fables often characterize animals that are presented with anthropomorphic features such as the ability to speak and to reason with a basic intention to provide moral lesson. But beneath that there are several layers of intentions; which could be seen in the present paper. Famous fables in the western world include Aesop’s Fables and Uncle Remus/Brer Rabbit series of stories by Joel Chandler Harris whereas in the eastern world especially in India, the most notable fables include the `Panchatantra’, the `Hitopadesa’, the `Kathasaritsagara’ and the `Jataka’. Dr. RAJIVA RANJAN KEY WORDS: Aesop, Fables, purpose, moral lesson Fable is a brief story intended to deliver a moral lesson. It is described either through animals, forces of nature, inanimate objects or plants by giving them human qualities. Fables were first invented with the intention that the languid minds of children could not be roused more quickly by any other way of speaking except it. This might be the reason the most serious and wisest of men have used this kind of teaching. The American psychologist Bruno Bettelheim argues that fables, myths and classic fairy tales such as Jack and the Beanstalk and Snow White deal with important human emotions and interminable ideas such as the battle between good and evil. -
Catalogue of Bengali Printed Books in the Library of the British Museum. By
- ' - .. ' - ^ - . - -- n $m . \ *<H >r, t&OHC*tU> V>IV\T \soafe*. tx ISi, -s^ A SUPPLEMENTAEY CATALOGUE OF BENGALI BOOKS\ IN THB LIBRARY OP THE BRITISH MUSEUM ACQrii:Ki> THK YK.*I;S i886-r.m. COMPILED BY J. F. BLrMHARDT, MA. AJO> OJC BIXDI OF HMDCITAXI, UUTCkB* AXD MKOALI AT CKTrKKSITT COIXEOI, LONDON ; AJTD TCACBBB Of CHUALI AT TIB CNIVBUtTT OF OXFORD. PRINTED BY ORDER OF THE TRUSTEES lonDon : SOLD AT TUB BRITISH MUSEUM; Ar> IT Ac CO.. 39, PATKRXoerai Row; BERNARD QUARITCH, 11, GRAFTO* STRBKT, Niw BOXD W. ; A8HER & BiDromo STBKT, CO., 14, STRMT, Cornrr GAEDKN ; AHD 1IKNRY FROWDE, OXFORD UKIYKMITT PKIM WARKBOUBI, AMEN CORNBR. 1910 [AU rigklt LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, PUKE STREET, STAMFORD STREET, S.E., AXD GREAT WINDMILL STRKET, W. PREFACE. THIS Catalogue of the Bengali Printed Books acquired by the Library of tli- I>riti>h Museum during the years 18861910 has been prepared by Mr. Bliimlmnlt as a supple- of ment to the volume compiled l<y him and published by order the Trustees in 1886. In the present catalogue a classified index of titles has been added; in other respects the methods employed in the earlier volume have been closely followed in this work. I. 1'. BARNETT. ' r cf Ori> "''I/ I'rin-- /.' nut .I/NX. ,i-ii MI-KIM, 1910. AUTHOE'S PEEFACE. THIS Catalogue of Bengali liooks acquired during the last 24 years forms a supplement to the Bengali Catalogue published in 1886. It has been prepared on the .same principle-;, and with the same system of transliteration. -
Indian Children's Literature in Ancient Epoch – a Bird's Eye View
INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY ISSN: 2456-6683 Volume - 5, Issue - 3, Mar - 2021 Monthly Peer-Reviewed, Refereed, Indexed Journal Scientific Journal Impact Factor: 5.743 Received on : 15/03/2021 Accepted on : 26/03/2021 Publication Date: 31/03/2021 Indian Children’s Literature in Ancient Epoch – A Bird’s Eye View Dr.J. Sripadmadevi Assistant Professor, Department of English PSG College of Arts & Science, Coimbatore – 14, Tamilnadu, India. E-Mail Id: [email protected] Abstract: Since India is a land of affluent stories and folktales, a strong verbal tradition vehemently imprints its mark on Children’s literature, which can be traced back to at least ten thousand years in the form of lullabies, cradle songs, tongue twisters, nursery rhymes and fairy tales. Consequently, India can also be termed as the cradle of Children’s literature; and this is mainly because of its rich oral tradition. The orally transmitted stories paved way for the augmentation of this literary domain by having a steady and firm reservoir of stories especially in the primeval times of India. Hence the present paper focusses on the genesis and augmentation of Literature for children in India in the ancient epoch. Keywords: Children’s literature, India, Stories, ancient days. Key Words: 1. INTRODUCTION: Mapping out the development of Children’s literature seems to be equivalent to trace the genesis of literature in India, since in the primordial times, literature is meant for both the adults and young people. Accordingly, the art and literature have been developed for the enjoyment of the entire family. Children’s literature in India, as a separate genus, is a fairly recent phenomenon. -
Evolution of Ayar-E-Danish
EVOLUTION OF AYAR-E-DANISH Md. Marghoob Zia Department of Persian, Jamia Milia Islamia, New Delhi, India ABSTRACT: In the era of Persian literature when we talk about the history and evolution of Persian literary works, Ayar-e-Danish is amongst those famous literary works which has gained its popularity in the entire world. Ayar-e-Danish was written by Shaikh Abul Fazl Allami in 1588 A.d during the reign of Akbar which was considered as the golden period in the history of the Mughals. This literary work is translation of the famous Sanskrit book “Panchatantra” which is an ancient India collection of animal fables and often considered as a common folklore in India. There were many translations of the Panchatantra before Ayar-e-Danish and this article will highlight the various translations of this folklore and later it will elaborate the Ayar-e-Danish in a large scale. HOW THE PANCHATANTRA JOURNEY STARTED IN IRAN? Panchatantra is the famous book written by Pandit Vishnu Sharma. This book was first translated in the Pahlavi language by Hakeem Burzoy in the year 1550 titled as Kartak-wa-Damnak. The Arabic translation of this book was done by Abd- allah ibn al-Muqaffa and it was given the title of Kalilah-wa-Dimnah. In the Kalila wa Dimnah, it is believed he deliberately used characters from other cultural contexts to suggest the need for political reform in the Abbasid period.Rudaki translated the Panchatantra in a poetic form under the order of the Sultan of the Samanid period, Abul Fazl Muhammad Balami. -
The Theology of Jacob Ben El'azar's Hebrew Version Of
Alan VERSKIN Columbia University THE THEOLOGY OF JACOB BEN EL‘AZAR’S HEBREW VERSION OF IBN AL-MUQAFFA‘’S KALILAH WA-DIMNAH1 RÉSUMÉ Kalilah va-dimnah, de Jacob ben Éléazar (mort en 1233), est une version hébraïque du célèbre texte arabe de conseils pour les princes écrit par ‘Abdallah Ibn al- Muqaffa‘ (mort vers 756), qui présente un point de vue sceptique envers la religion organisée et qui glorifie le pouvoir de la raison indépendante — position clairement opposée aux enseignements des rabbins. C’était un des nombreux textes arabes non- juifs qui posaient un problème à deux niveaux aux médiateurs culturels qui voulaient transmettre la littérature arabe aux lecteurs juifs. (1) Les traducteurs de l’arabe vou- laient créer une expression hébraïque qui préserverait l’élan et l’esprit de l’original et montrerait la richesse de la langue hébraïque. Pour atteindre cet objectif, Ben Éléazar employait des réarrangements créatifs de citations bibliques en prose rimée. Quelques-unes des citations ne sont que de l’ornementation littéraire, mais il y en a d’autres qui sont des figures de style intertextuelles dont le sens doit être déterminé à partir de leurs contextes bibliques originaux. (2) Ben Éléazar espérait aussi judaï- ser le contenu de l’œuvre d’Ibn al-Muqaffa‘. Son travail est en fait une réinterpré- tation du texte original. Ben Éléazar formule une réponse complexe et subtile, bien qu’évidemment rabbinique, aux enseignements d’Ibn al-Muqaffa‘, et il offre sa propre théorie de la nature du mal humain, des problèmes de la théodicée, et de la nature du sort décrété par Dieu. -
For Review Purposes Only
DRAFT For Review Purposes Only These draft materials are intended to provide teachers with insight into the content and structure of the Listening & Learning strand of Core Knowledge Language Arts materials. Revised materials produced specifically for NYSED, including materials from the Skills Strand, will be posted on this site in 2013. These new materials will include explicit alignment with Common Core State Standards, additional support for English Language Learners, and images and texts compliant with Creative Commons Licensing. For more information on how to explore these materials, please see the Getting Started resources posted alongside these files on EnagageNY.org. The Core Knowledge Language Arts Program Listening & Learning Strand Tell It Again! Read-Aloud Anthology Fables and Stories Published by the Core Knowledge Foundation www.coreknowledge.org Copyright © 2010 Core Knowledge Foundation All Rights Reserved. PRINTED IN CANADA 10 9 8 7 6 5 4 3 2 1 Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names. No part of this work may be photocopied or recorded, added to an information storage or retrieval system, posted to the Web, or otherwise reproduced or transmitted in any form or by any means, electronic or mechanical, without prior written permission of the Core Knowledge Foundation, unless said reproduction or transmission is expressly permitted by federal copyright law. Inquiries regarding permissions should be addressed to the Core Knowledge Foundation, 801 E. High Street, Charlottesville, VA 22902.