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The Mahabharata
^«/4 •m ^1 m^m^ The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071123131 ) THE MAHABHARATA OF KlUSHNA-DWAIPAYANA VTASA TRANSLATED INTO ENGLISH PROSE. Published and distributed, chiefly gratis, BY PROTSP CHANDRA EOY. BHISHMA PARVA. CALCUTTA i BHiRATA PRESS. No, 1, Raja Gooroo Dass' Stbeet, Beadon Square, 1887. ( The righi of trmsMm is resem^. NOTICE. Having completed the Udyoga Parva I enter the Bhishma. The preparations being completed, the battle must begin. But how dan- gerous is the prospect ahead ? How many of those that were counted on the eve of the terrible conflict lived to see the overthrow of the great Knru captain ? To a KsJtatriya warrior, however, the fiercest in- cidents of battle, instead of being appalling, served only as tests of bravery that opened Heaven's gates to him. It was this belief that supported the most insignificant of combatants fighting on foot when they rushed against Bhishma, presenting their breasts to the celestial weapons shot by him, like insects rushing on a blazing fire. I am not a Kshatriya. The prespect of battle, therefore, cannot be unappalling or welcome to me. On the other hand, I frankly own that it is appall- ing. If I receive support, that support may encourage me. I am no Garuda that I would spurn the strength of number* when battling against difficulties. I am no Arjuna conscious of superhuman energy and aided by Kecava himself so that I may eHcounter any odds. -
Numbers in Bengali Language
NUMBERS IN BENGALI LANGUAGE A dissertation submitted to Assam University, Silchar in partial fulfilment of the requirement for the degree of Masters of Arts in Department of Linguistics. Roll - 011818 No - 2083100012 Registration No 03-120032252 DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGE ASSAM UNIVERSITY SILCHAR 788011, INDIA YEAR OF SUBMISSION : 2020 CONTENTS Title Page no. Certificate 1 Declaration by the candidate 2 Acknowledgement 3 Chapter 1: INTRODUCTION 1.1.0 A rapid sketch on Assam 4 1.2.0 Etymology of “Assam” 4 Geographical Location 4-5 State symbols 5 Bengali language and scripts 5-6 Religion 6-9 Culture 9 Festival 9 Food havits 10 Dresses and Ornaments 10-12 Music and Instruments 12-14 Chapter 2: REVIEW OF LITERATURE 15-16 Chapter 3: OBJECTIVES AND METHODOLOGY Objectives 16 Methodology and Sources of Data 16 Chapter 4: NUMBERS 18-20 Chapter 5: CONCLUSION 21 BIBLIOGRAPHY 22 CERTIFICATE DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGES ASSAM UNIVERSITY SILCHAR DATE: 15-05-2020 Certified that the dissertation/project entitled “Numbers in Bengali Language” submitted by Roll - 011818 No - 2083100012 Registration No 03-120032252 of 2018-2019 for Master degree in Linguistics in Assam University, Silchar. It is further certified that the candidate has complied with all the formalities as per the requirements of Assam University . I recommend that the dissertation may be placed before examiners for consideration of award of the degree of this university. 5.10.2020 (Asst. Professor Paramita Purkait) Name & Signature of the Supervisor Department of Linguistics Assam University, Silchar 1 DECLARATION I hereby Roll - 011818 No - 2083100012 Registration No – 03-120032252 hereby declare that the subject matter of the dissertation entitled ‘Numbers in Bengali language’ is the record of the work done by me. -
Mentor Ward List English Hons Ii Year Ms. Jennifer
MENTOR WARD LIST ENGLISH HONS II YEAR MS. JENNIFER MONTEIRO 1. Simran Rai 2. Divya Chaitanya 3. Vaishnavi 4. Shreeja 5. Anusha 6. Indrani Devi 7. Khushkeerat Kaur Mand 8. Anoushka Negi 9. Pavani Thapar 10. Sharon John 11.Nikita Arun 12. Ann Teresa 13. Riya Sapra 14. Lima Adwitee 15. Nayubi 16. Qayanat 17. Rakshita 18. Sameeksha Khera MR. JOBIN THOMAS 1. Bidiya 2. Vanshika 3. Jolynne 4 radhika 5. Reji 6.Jemima 7. Aparna 8. Disha 9.Meha Mariyam Jijo 10. Rhea D'souza 11. Akshara George 12. Tanirika Singh 13. Annu Thomas 14. Srishti 15. Tulip 16. Hargun 17. Muskaan Balhara DR. SANDHYA D. NAMBIAR 1. Devyani 2. Ameera 3. Hiteshi 4. Srija 5. Richa 6. Shivangi 7. Anekha 8. Prisha 9. Avanthika 10. Gaurie 11.Khyati 12. Khushi 13. Aysha 14. Elizabeth Benny 15. Ruth Sara Shajan 16. Aleena 17. Sheryl BA PROG ELECTIVE ENGLISH Mentor: Ms. Kashish Dua, Assistant Professor, Department of English BA (P) EE-HS (III Year) 1. Afreen Hyder 2. Akshaya Bhatti 3. Alisha Elizabeth Shaji 4. Angelina Maria Moni 5. Ankita Kujur 6. Ann Merry T. Jacob 7. Annie Bennet 8. Anisha Tigga 9. Arunima Ruth Singh 10. Asha Priya Tirkey 11. Dorothy Stefney Robins 12. Jesty Benny 13. Merin George 14. Sharon Sara 15. Shreya Singh Bais Mentor: Ms. Varnika Singh, Assistant Professor, Department of English BA(P) EE-FR (III Year) 1) Amrit Joseph 2) Ananya Jodha 3) Angel Varghese 4) Anuvarsha 5) Ashlin Robert Sunil 6) Ashima Singh 7) Astha Vishwakarma 8) Charisma Ann Jiju 9) Cynthia Paul 10) Ipshita Mehta 11) Jennifer Ageidius 12) Karuna Chhimed 13) Kashish Mehra 14) Krishna Dawar 15) Mehak Wadhwa 16) Mishi Doshi 17) Neha k Sebastian 18) Nissy S. -
EXIGENCY of INDIAN CINEMA in NIGERIA Kaveri Devi MISHRA
Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema. -
SAVITRI AS the YOGA of the EARTH Ananda Reddy
SAVITRI AS THE YOGA OF THE EARTH Ananda Reddy Photo credit: Sri Aurobindo Ashram In my recent studies, when I was preparing for a workshop in Germany, I came across a message of the Mother. Although it seemed by chance, surely it was not just by chance. It was definitely by her Grace, for in fact in this message She has given the quintessence of Savitri. You may have read many comments from the Mother and many letters from Sri Aurobindo aboutSavitri , but in this small message she has given the entire theme and content of Savitri, and I could easily hold a whole workshop on this theme. The Mother writes that Savitri is : 1. The daily record of the spiritual experiences of the individual who has written. 2. A complete system of yoga, which can serve as a guide for those who want to follow the integral yoga. 3. The yoga of the earth in its ascension towards the divine. 4. The experiences of the divine Mother in her effort to adapt herself to the body she has taken and the ignorance and the falsity of the earth upon which she has incarnated. (Collected Works of the Mother (CWM), 13:24) April 2012 Vol. XIII – II 4 NEW RACE These are the four essential strands in Savitri, and each one of them can be developed in its fullness. Each of these could be given a subtitle for our convenience. For example the first one,“The daily record of the spiritual experiences of the individual who has written” could be called “Savitri as the Record of Yoga of Sri Aurobindo and the Mother.” The second one, “A complete system of yoga …” could be subtitled “Savitri as the Yoga of Self-Perfection”. -
Special Double Issue on Sri Aurobindo's Savitri, a Legend and A
Summer & Fall 2011 Journal of the Integral Yoga of Sri Aurobindo and the Mother Vol. 36, Nos. 1-2 Special double issue on Sri Aurobindo’s Savitri, A legend and a symbol Summer & Fall 2011 Collaboration • 1 About the cover “Creation of the gods.” This is a grayscale copy of a painting by Shiva Vangara done in Alkyds, Table of contents the most advanced colors from Winsor and Collaboration, vol. 36, nos. 1-2, Summer & Fall 2011 Newton, London. Throughout this issue we fea- ture Shiva’s fine paintings, many of which are based on Savitri. These paintings and others can be viewed in all their exquisite colors on From the office ofCollaboration his blog: http://visionsoncanvas.blogspot.com. Notes on this issue ............................................................Larry Seidlitz 3 The authors and poets Current affairs Anurag Banerjee is the founder and chairman of the Overman Foundation (see http://overman- Sri Aurobindo Learning Center .................................................... Swaha 4 foundation.wordpress.com). His email address is: Auromesa Center ........................................................... Tizia O'Connor 5 [email protected]. The Passing of Amal Kiran (K.D. Sethna) ...................Anurag Banerjee 6 Arabinda Basu, a member of the Sri Aurobindo Ashram, is a philosopher and scholar of Integral Briefs .................................................................................................. 710 7 Yoga, and editor of the journal Gavesana (Quest for Light). He has taught and lectured on comparative philosophy and religion internationally. AV almanac Kalpana Bidwaikar (kalpanacb@rediffmail. About Savitri Bhavan ......................................................Muriel Ghion 8 com) is an Assistant Professor of English at the Col- lege at Bilaspur (Chattisgarh State). She also lec- tures on the vision and works of Sri Aurobindo and Chronicles the Mother in Chattisgarh and Delhi. -
Reinventing Sati and Sita: a Study of Amish Tripathi's Central Women Characters from a Feminist Perspective Abstract
ADALYA JOURNAL ISSN NO: 1301-2746 Reinventing Sati and Sita: A Study of Amish Tripathi’s Central Women Characters from a Feminist Perspective T.V. Sri Vaishnavi Devi [email protected] 9043526179 Assistant Professor and Research Scholar Department of English (UG Aided) Nallamuthu Gounder Mahalingam College Pollachi. Dr. A.Srividhya 9894086190 [email protected] Assistant Professor and Research Supervisor Department of English (UG Aided) Nallamuthu Gounder Mahalingam College Pollachi. Abstract In the age old mythical narratives, women were seen from the androcentric perspective and were portrayed as creatures that are inferior to men by all means. The customs and traditions created by the patriarchal world suppressed women to an extent where she become a dumb doll, unable to express her talents and capabilities. Revisioning myth interprets the myth from a new angle. Revisioning mythmaking is one of the emerging trends in literature at present. The critical discourse of revisionist mythmaking attempts to revision, reinterpret and reconstruct the age-old myth from a feminist perspective. It gives voice to the voiceless beings and challenges the patriarchal notions of feminine identity. Amish Tripathi, India’s first literary pop star and a contemporary Indian myth maker, rereads and rewrites the ancient Indian epics by utilizing the strategy of revisionist myth-making. This paper examines the way Amish Tripathi has subverted the androcentric mythical narratives by creating a new identity for the mythical woman characters, Sati and Sita. It traces the challenges faced by these central women characters and highlights bravery and efficacy as leaders which help them to undermine the power structures of male-dominated society. -
11-Master-Gita-Chapter-10.Pdf
VIBHUTI YOGA Index S. No. Title Page No. X. Chapter 10 : Vibhuti Yoga 1. Summary 1683 2. Introduction 1684 3. Verse 1 1693 4. Verse 2 1696 5. Verse 3 1700 6. Verse 4 1705 7. Verse 5 1712 8. Verse 6 1721 9. Verse 7 1725 10. Verse 8 1735 11. Verse 9 1738 12. Verse 10 1742 13. Verse 11 1757 14. Verse 12 1769 [i] S. No. Title Page No. 15. Verse 13 1771 16. Verse 14 1773 17. Verse 15 1775 18. Verse 16 1778 19. Verse 17 1785 20. Verse 18 1788 21. Verse 19 1794 22. Verse 20 1796 23. Verse 21 1803 24. Verse 22 1807 25. Verse 23 1827 26. Verse 24 1830 27. Verse 25 1833 28. Verse 26 1839 29. Verse 27 1842 [ii] S. No. Title Page No. 30. Verse 28 1844 31. Verse 29 1847 32. Verse 30 1849 33. Verse 31 1852 34. Verse 32 1856 35. Verse 33 1859 36. Verse 34 1865 37. Verse 35 1869 38. Verse 36 1873 39. Verse 37 1875 40. Verse 38 1878 41. Verse 39 1881 42. Verse 40 1883 43. Verse 41 1885 44. Verse 42 1887 45. Concluding Verse 1889 [iii] Chapter 10 Vibhuti Yoga – 42 Verses (One in Many – Immanance) 2 Topics Verse 1 - 19 Verse 20 - 42 Introduction Elaboration - Vibhutis - Glories - Ishvara – Jagat Verse 20 Verse 25 Verse 33 Karanam Chapter 7 & 9. - Self in All beings - Vedic Yagyas - Alphabets - Material Cause + - Japa Yagya - A - Kara Intelligent cause. - Verse 5 + 6 Verse 22 Verse 32 Verse 35 - 1st : Lord created world (Intelligent - Vedanam - Vedic Mantras cause). -
B.A. English Sem. III
www.aisectuniversityjharkhand.ac.in | Follow us on: INDIA WRITING IN ENGLISH (B.A. English Sem. III) Contact us: 8252299990 8404884433 AISECT University, Hazaribag Matwari Chowk, in front of Gandhi Maidan, Hazaribag (JHARKHAND) 825301 www.aisectuniversityjharkhand.ac.in [email protected] Savitri: A Summary of Sri Aurobindo’s Epic Poem Because of the importance of Sri Aurobindo’s epic poem Savitri among his works, and because of the numerous references the Mother makes to it especially in Mother’s Agenda, (“Everything is in Savitri“, she says), we thought readers would find it helpful to have a summary of the poem. Dr Tyberg who prepared what follows several years ago, was the founder of the East-West Cultural Center in Los Angeles and its guiding light for years until her death in 1980. She is the author of several articles and two books on Sanskrit, First Lessons in Sanskrit and Language of the Gods] The Drama of Integral Self-Realisation—The Spiritual Message of Savitri Sri Aurobindo’s Savitri is an epic poem of high spiritual challenge in the Yoga or Divine Union or Goal of Self-Realisation it presents. Its spiritual conception is so all-embracing, so integral that it gives birth to a power which transforms life on earth to a life of divine activity rather than leading to an escape from life. The epic is a mantric expression of this great Seer-sage’s inner findings and conquests, leading to his vision of an age of truth-consciousness and immortality. It portrays in living drama the daring climb within of a king-soul through progressive states of consciousness to Nirvanic heights and beyond to summits never reached before. -
Balabhavan Class
BALABHAVAN NEWSLETTER VEDIC CULTURAL AND SPIRITUAL CENTER OF SAN DIEGO November 2014 Balabhavan Coordinators SATI ANASUYA BBC Announcements: Anasuya was the wife of Atri Maharishi, a great sage and one of the Sapta Rishis. She (1) MANDATORY ANNUAL Lalitha Krishnamoorthy was the daughter of Sage Kardama and his wife PARENT MEETING: Sushma Natarajan Devahuti. She was very pious, and always Parents are REQUIRED to Kumar Gowda practiced austerities and devotion. “Anasuya” [email protected] attend at least ONE of two has 2 parts; “An” [“No”] and “Asuya” meetings, either November [“jealous”] meaning; “one who is free from 8th or November 15th from 4 jealousy or envy". She performed penance for a – 5 pm, in the MPR. Please Class Coordinators very long time in order to beget sons equal to be punctual. the Gods Brahma, Vishnu and Siva. In order to Super-Senior Class: grant her wish, Tri-Murtis (Brahma, Vishnu and (2) Bala Bhavan Lavanya Kadiyala Siva) took the form of Sanyasis and asked her Registration, 2015: [email protected] to serve Nirvana Bhiksha, that is, to give them Please re-register for the Senior Class: food in a naked condition. Anasuya meditated Bala Bhavan 2015 program. Radhika Chari on the form of her husband, took refuge in Please send the coordinators Vandana Santhanam his feet and sprinkled few drops of water over an email if you havent the three Sanyasis. The Tri-Murtis were received the email [email protected] converted into 3 children. instructions to re-register. Junior Class: She thought that those children were Rajashri Balaji her own and fed them with her milk. -
Mathematical Ideas in Ancient Indian Poetry
Proceedings of Bridges 2013: Mathematics, Music, Art, Architecture, Culture Mathematical Ideas in Ancient Indian Poetry Sarah Glaz Department of Mathematics University of Connecticut Storrs, CT 06269, USA E-mail: [email protected] Abstract Modern mathematics owes a big debt to India’s contributions to the subject. Of particular importance is the decimal, place value number system that appeared in India during the Vedic period or soon after, circa 1300 BC to 300 AD, and made its way to Europe during the Middle Ages. That period of time in India also produced a heady mixture of poetic works: poems, songs, grand epics, biographies and books of instruction in verse covering millions of pages. Mathematical ideas are interwoven into the metaphysical, religious and aesthetic fabric of many of these works. This article brings a selection of poems from that time period that provides a taste of ancient India’s mathematical preoccupations in their cultural and esthetic context. They also highlight India’s mathematical accomplishments of the period, and uncover instances where seeds of future mathematical concepts made their first appearance. The concluding remarks touch lightly on current Indian-inspired uses of mathematical poetry as a pedagogical tool. The Vedas and Supplementary Texts: Calendrical Calculations and Geometry The most ancient Indian literary works are the four Vedas. Controversially dated around 1300 BC, the oldest of the four, the Rig Veda, is a collection of 1028 hymns written in classical Sanskrit. Mathematical ideas involving astronomy and time reckoning appear in a number of the hymns, particularly those describing the creation of the world. -
Dr. Babasaheb Ambedkar Writings & Speeches Vol. 4
Babasaheb Dr. B.R. Ambedkar (14th April 1891 - 6th December 1956) BLANK DR. BABASAHEB AMBEDKAR WRITINGS AND SPEECHES VOL. 4 Compiled by VASANT MOON Dr. Babasaheb Ambedkar : Writings and Speeches Vol. 4 First Edition by Education Department, Govt. of Maharashtra : October 1987 Re-printed by Dr. Ambedkar Foundation : January, 2014 ISBN (Set) : 978-93-5109-064-9 Courtesy : Monogram used on the Cover page is taken from Babasaheb Dr. Ambedkar’s Letterhead. © Secretary Education Department Government of Maharashtra Price : One Set of 1 to 17 Volumes (20 Books) : Rs. 3000/- Publisher: Dr. Ambedkar Foundation Ministry of Social Justice & Empowerment, Govt. of India 15, Janpath, New Delhi - 110 001 Phone : 011-23357625, 23320571, 23320589 Fax : 011-23320582 Website : www.ambedkarfoundation.nic.in The Education Department Government of Maharashtra, Bombay-400032 for Dr. Babasaheb Ambedkar Source Material Publication Committee Printer M/s. Tan Prints India Pvt. Ltd., N. H. 10, Village-Rohad, Distt. Jhajjar, Haryana Minister for Social Justice and Empowerment & Chairperson, Dr. Ambedkar Foundation Kumari Selja MESSAGE Babasaheb Dr. B.R. Ambedkar, the Chief Architect of Indian Constitution was a scholar par excellence, a philosopher, a visionary, an emancipator and a true nationalist. He led a number of social movements to secure human rights to the oppressed and depressed sections of the society. He stands as a symbol of struggle for social justice. The Government of Maharashtra has done a highly commendable work of publication of volumes of unpublished works of Dr. Ambedkar, which have brought out his ideology and philosophy before the Nation and the world. In pursuance of the recommendations of the Centenary Celebrations Committee of Dr.