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Poetry and History: Bengali Maṅgal-Kābya and Social Change in Precolonial Bengal David L
Western Washington University Western CEDAR A Collection of Open Access Books and Books and Monographs Monographs 2008 Poetry and History: Bengali Maṅgal-kābya and Social Change in Precolonial Bengal David L. Curley Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/cedarbooks Part of the Near Eastern Languages and Societies Commons Recommended Citation Curley, David L., "Poetry and History: Bengali Maṅgal-kābya and Social Change in Precolonial Bengal" (2008). A Collection of Open Access Books and Monographs. 5. https://cedar.wwu.edu/cedarbooks/5 This Book is brought to you for free and open access by the Books and Monographs at Western CEDAR. It has been accepted for inclusion in A Collection of Open Access Books and Monographs by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Table of Contents Acknowledgements. 1. A Historian’s Introduction to Reading Mangal-Kabya. 2. Kings and Commerce on an Agrarian Frontier: Kalketu’s Story in Mukunda’s Candimangal. 3. Marriage, Honor, Agency, and Trials by Ordeal: Women’s Gender Roles in Candimangal. 4. ‘Tribute Exchange’ and the Liminality of Foreign Merchants in Mukunda’s Candimangal. 5. ‘Voluntary’ Relationships and Royal Gifts of Pan in Mughal Bengal. 6. Maharaja Krsnacandra, Hinduism and Kingship in the Contact Zone of Bengal. 7. Lost Meanings and New Stories: Candimangal after British Dominance. Index. Acknowledgements This collection of essays was made possible by the wonderful, multidisciplinary education in history and literature which I received at the University of Chicago. It is a pleasure to thank my living teachers, Herman Sinaiko, Ronald B. -
Brahma Sutra
BRAHMA SUTRA CHAPTER 1 1st Pada 1st Adikaranam to 11th Adhikaranam Sutra 1 to 31 INDEX S. No. Topic Pages Topic No Sutra No Summary 5 Introduction of Brahma Sutra 6 1 Jijnasa adhikaranam 1 a) Sutra 1 103 1 1 2 Janmady adhikaranam 2 a) Sutra 2 132 2 2 3 Sastrayonitv adhikaranam 3 a) Sutra 3 133 3 3 4 Samanvay adhikaranam 4 a) Sutra 4 204 4 4 5 Ikshatyadyadhikaranam: (Sutras 5-11) 5 a) Sutra 5 324 5 5 b) Sutra 6 353 5 6 c) Sutra 7 357 5 7 d) Sutra 8 362 5 8 e) Sutra 9 369 5 9 f) Sutra 10 372 5 10 g) Sutra 11 376 5 11 2 S. No. Topic Pages Topic No Sutra No 6 Anandamayadhikaranam: (Sutras 12-19) 6 a) Sutra 12 382 6 12 b) Sutra 13 394 6 13 c) Sutra 14 397 6 14 d) Sutra 15 407 6 15 e) Sutra 16 411 6 16 f) Sutra 17 414 6 17 g) Sutra 18 416 6 18 h) Sutra 19 425 6 19 7 Antaradhikaranam: (Sutras 20-21) 7 a) Sutra 20 436 7 20 b) Sutra 21 448 7 21 8 Akasadhikaranam : 8 a) Sutra 22 460 8 22 9 Pranadhikaranam : 9 a) Sutra 23 472 9 23 3 S. No. Topic Pages Topic No Sutra No 10 Jyotischaranadhikaranam : (Sutras 24-27) 10 a) Sutra 24 486 10 24 b) Sutra 25 508 10 25 c) Sutra 26 513 10 26 d) Sutra 27 517 10 27 11 Pratardanadhikaranam: (Sutras 28-31) 11 a) Sutra 28 526 11 28 b) Sutra 29 538 11 29 c) Sutra 30 546 11 30 d) Sutra 31 558 11 31 4 SUMMARY Brahma Sutra Bhasyam Topics - 191 Chapter – 1 Chapter – 2 Chapter – 3 Chapter – 4 Samanvaya – Avirodha – non – Sadhana – spiritual reconciliation through Phala – result contradiction practice proper interpretation Topics - 39 Topics - 47 Topics - 67 Topics 38 Sections Topics Sections Topics Sections Topics Sections Topics 1 11 1 13 1 06 1 14 2 07 2 08 2 08 2 11 3 13 3 17 3 36 3 06 4 08 4 09 4 17 4 07 5 Lecture – 01 Puja: • Gratitude to lord for completion of Upanishad course (last Chandogya Upanishad + Brihadaranyaka Upanishad). -
APRIL 2021 No
THE UNIVERSAL PRAYER O Adorable Lord of Mercy and Love! Salutations and prostrations unto Thee. Thou art Omnipresent, Omnipotent and Omniscient. Thou art Satchidananda (Existence-Consciousness-Bliss Absolute). Thou art the Indweller of all beings. Grant us an understanding heart, Equal vision, balanced mind, Faith, devotion and wisdom. Grant us inner spiritual strength To resist temptations and to control the mind. Free us from egoism, lust, greed, hatred, anger and jealousy. Fill our hearts with divine virtues. Let us behold Thee in all these names and forms. Let us serve Thee in all these names and forms. Let us ever remember Thee. Let us ever sing Thy glories. Let Thy Name be ever on our lips. Let us abide in Thee for ever and ever. —Swami Sivananda CONTROL OF MIND One of the most common habits of the mind is the wandering habit. It cannot stick to one point as it is of the nature of air. Sri Krishna says, “O mighty armed (Arjuna)! The mind is hard to curb and is restless, but it may be curbed by constant practice and by dispassion.” Destruction of desires and control of Indriyas are the essential steps for the control of mind. It is the desire that makes the mind restless. The Indriyas run after objects and the mind also follows the Indriyas just as a dog follows the master. Therefore, if you want to check this wandering mind, you will have to renounce all sorts of desires and control the Indriyas rst. Then alone will you be successful in the practice of concentration, meditation, will-culture, memory-culture and thought-culture. -
Curriculum Vitae, C.B
The University of Chicago DEPARTMENT OF SOU TH ASIAN LANG UAGES AND CI VILI ZATIO NS Foster Hall 1130 East 59th Street Chicago • illinois 60637 [email protected] http://home.uchicago.edu/~cbs2/ May, 2012 Clinton B. Seely, Professor Emeritus DEGREES: A.B., Biology, Stanford University, 1963 A.M., South Asian Languages and Civilizations, The University of Chicago, 1968 Ph.D., South Asian Languages and Civilizations, The University of Chicago, 1976 DOCTORAL DISSERTATION TITLE: Doe in Heat: A Critical Biography of the Bengali Poet Jibanananda Das (1899-1954) with Relevant Literary History from the Mid-1920's to the Mid-1950's. PROFESSIONAL EXPERIENCE: Professor of Bengali, The University of Chicago, 2004- Associate Professor of Bengali, The University of Chicago, 1983-2004 Assistant Professor of Bengali, The University of Chicago, 1975-83 Assistant Professor of Bengali, University of Minnesota, 1977-78 Instructor in Bengali, The University of Chicago, 1971-75 Instructor in Bengali, University of Illinois, summer 1967 Assistant Language Coordinator, Peace Corps Training Program, The University of Chicago, 1966 Peace Corps Volunteer, East Pakistan, 1963-65 ACADEMIC AWARDS: National Defense Foreign Language Fellowship, The University of Chicago, 1965-68 Foreign Area Fellowship, England, India, East Pakistan, & the US, 1968-71 Fulbright-Hays Faculty Research Abroad Fellowship, Bangladesh, 1981-82 American Institute of Indian Studies, Senior Research Fellowship, India, 1982 U.S. Department of Education, 1983-85 Consortium for Language Teaching and Learning, 1988 Consortium for Language Teaching and Learning, 1989 "Ashoke Kumar Sarkar Memorial" Ananda Prize (Calcutta), 1993 Special Award, 2nd North America Bangla Literature & Culture Convention (Chicago), 1997 Dinesh Chandra Sen Research Society's "4th Annual Award for Excellence in Research in Bengali Literature" (Calcutta), 1999 Distinguished Service Award, Cultural Association of Bengal, presented at the North American Bengali Conference (Baltimore), 2004 A.K. -
Indian Literature I INTRODUCTION
Indian Literature I INTRODUCTION Arundhati Roy’s The God of Small Things Indian author Arundhati Roy poses with a copy of her acclaimed first novel, The God of Small Things (1997). The book, set in southern India, uses vivid, compelling language and imagery to tell the story of a once-prominent family’s decline. The excerpt heard here comes from the beginning of the book, when Rahel, the main character, returns to her childhood home after many years away. Express Newspapers/Archive Photos/"The God of Small Things" written by Arundhati Roy, (c)1997 Arundhati Roy. Courtesy of Harper Perennial, a division of HarperCollins Publishers. (p)2000 Microsoft Corporation. All rights reserved. Indian Literature, writings in the languages and literary traditions of the Indian subcontinent. The subcontinent consists of three countries: India, Pakistan, and Bangladesh. The political division of the area into three nations took place in the 20th century; before that, the entire region was generally referred to as India. For centuries Indian society has been characterized by diversity—the people of modern India speak 18 major languages and many other minor languages and dialects; Urdu is the principal language of Pakistan, and Urdu and Bengali are used in Bangladesh. The people of the subcontinent also practice all the world’s major religions. Throughout its history, India has absorbed and transformed the cultures of the peoples who have moved through the region. As a result, the Indian literary tradition is one of the world’s oldest and richest. Religion has long exercised a strong influence on Indian writing. The major religions of the area have been Hinduism, Buddhism, Jainism, and Islam. -
Ebook Traditional Poetry
Dedicated To Poet Shankha Ghosh Introduction In this book Dr. Khudiram Das traced the evolution of Bengali Poetry from the Medieval Era to the beginning of 19th century. He has beau- tifully shown how the poetry developed through time and at the same time how it delineates the picture of Bengal in those times. Dr. Das has brought out the social life, the religious and cultural beliefs of the Me- dieval era through various quotes and references in his ‘Early Poetry’. The changing political picture in Bengal also significantly impacted the poetry with the ebbing of Tantric Buddhism and the advent of Brahmin aristocracy through Sena Kings. Dr. Das has methodically shown how the Sanskrit poet Jayadeva’s ‘Gita Govinda’ inspired romantic poet- ry particularly in Medieval Bengali poet Chandidas, who is attributed with the creation of ‘ Srikrishna Kirtan’ , a masterpiece in Medieval Bengali literature. In his ‘Translated Poems’ essay he talks about Krit- tibus ,how he translated the Ramayana and why he digressed from the original and introduced new elements into it. Next Dr. Das delves deep into ‘Mangal Poems’ (Mangal Kavyas). With the Mangal Kavyas, he first takes us to a journey into the poem’s theme, its historical and social background, then he shows how Bengali poetry progressed leaps and bounds through Kavikankan Mukunda’s ‘Chandi Mangal’ compo- sition. The excerpts from ’Baramasia’ gives us a very good illustration of the poetic skill of Kavikankan Mukunda . Under ‘The Secular Nar- ratives’, Dr. Das has presented how Persian stories were introduced into Bengali and how they transform over time and how they were of great interest to Hindus and Muslims alike. -
1 BLOCK-1 INTRODUCTION the Indian Philosophical Systems Are Classified According As They Accept the Authority of the Vedas Or No
BLOCK-1 INTRODUCTION The Indian philosophical systems are classified according as they accept the authority of the Vedas or not. The systems of Indian philosophy are classified into two groups: Orthodox Systems and Heterodox Systems. The orthodox systems are: Vaisheshika, Nyaya, Samkhya, Yoga, Purva-Mimamsa, and Uttar-Mimamsa. The orthodox systems form pairs as follows: Nyaya-Vaisheshika, Yoga-Samkhya, Mimamsa-Vedanta. In each of the pairs, the first system is concerned with the practice and the second system focuses on the theoretical aspects. It becomes difficult, sometimes, to name a single founder or a promoter of a system. However, the following are widely acknowledged as proponents of the above systems: Gautama for Nyaya, Kanada for Vaisheshika, Patanjali for Yoga, Kapila for Samkhya, Jaimini for Purva-Mimamsa and Sankara for Uttar-Mimamsa. The present block, consisting of 5 units, introduces Orthodox Systems -I beginning with the Nyaya Philosophy. Unit 1 is on “Nyaya Philosophy.” In this unit, you will learn the Nyāyika’s doctrine of valid sources of knowledge and their arguments on self and liberation. Further, you will also learn the Nayāyika’s views on God. After studying this unit, you should be able to explain different kinds of perception, nature and characteristics of inference, concept of self, views on liberation, and arguments on testimony as a valid source of knowledge Unit 2 highlights the significance of the “Vaiseshika School” in the development of Indian philosophy. In this unit, you will learn the Vaiśeṣika’s arguments on categories, epistemology, God, bondage, and liberation. The School is earlier to Samkhya and contemporary with Jainism and Buddhism. -
5. Upanishad Saram
SrIH UbhayavedAnta granthamAlA Upanishad sAram Translation into English by SrI Oppiliappan Kovil VaradachAri SaThakopan from the Tamil mUlam by SrI u. vE. abhinava deSikan, Uttamur VeeraraghavachAriyar SvAmi Sincere Thanks to: 1) SrI u. vE. Abhinava deSika, UttamUr VeeraraghavachAriyar SvAmi Trust for their gracious permission to translate the Tamil original manuscript into English. 2) SrI Srinivasan Narayanan SvAmi for proof-reading and formatting the English text 3) SrI Srikanth Veeraraghavan for liaison with the Trust authorities regarding the book 4) Smt Jayashree Muralidharan for Cover design and book assembly. 2 CONTENTS About SrI “abhinava dESika” UttamUr Tirumalai “VAtsya” VeerarAghavAchArya SvAmi Introduction by SrI Oppliappan Kovil, V. Sadagopan Introduction by SrI. u. vE. Uttamur Veeraghavachariyar SvAmi The Ten Main Upanishads (daSopanishads) 1. ISAvAsyopanishad 2. Kenopanishad 3. KaThopanishad 4. PraSnopanishad 5. MuNDakopanishad 6. mANDUkyopanishad 7. taittirIyopanishad 8. aitreyopanishad 9. chAndogyopanishad 10. brhadAraNyakopanishad Other Upanishads 11. SvetASvataropanishad 12. atharvaSiropanishad 13. atharvaSikopanishad 14. kaushItaki upanishad 15. Mantrikopanishad 16. subAlopanishad 17. agnirahasyam 18. Mahopanishad 19. ashTAkshara nArAyaNopanishad PurushasUktam 3 About SrI “abhinava dESika” UttamUr Tirumalai “VAtsya” VeerarAghavAchArya SvAmi (Reproduced verbatim from http://www.uttamurswami.org/wordpress/) This Web-Page is dedicated for sharing the biography, special achievements and related issues of one of the great -
Bharatchandra Ray - Poems
Classic Poetry Series Bharatchandra Ray - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Bharatchandra Ray(1712 – 1760) Bharatchandra Ray (Bengali: ?????????? ????) was an 18th century Bengali and Sanskrit poet and song composer. He is mostly known for his poetic work, Annadamangal or Annapurnamangal. He is often referred to simply as Bharatchandra. <b>Early Years</b> Bharatchandra was born to Narendranarayan Ray and Bhavani Devi in Pedo- Bhurshut village (in the presnt-day Howrah district). He had to leave his ancestral home because of property disputes and marriage of his own choice. He roamed from place to place. While living in Ramchandra Munshi's house at Debanandapur in the present-day Hooghly district, he learned Persian and Sanskrit. <b>Court Poet of Maharaja Krishnachandra</b> When Bharatchandra was residing in the house of Indranarayan Chaudhury, the Diwan of the French government at Chandernagore, his talent was noticed by Maharaja Krishnachandra of Krishnanagar and Bharatchandra became his court poet. He was bestowed with the title Raygunakar and received huge amount of land in Mulajore from Krishnachandra. He was the first poet in the Bengali language to be identified as a people’s poet, and lent a new grace and beauty to the language. <b>Works</b> The most notable work of Bharatchandra is Annada Mangal or Annapurnamangal. This work, completed in 1752, is divided in to three parts. The first part, which eulogises the goddess Annapurna is known as Annadamangal. The second part, which narrates the story of Vidya and Sundar is known as Kalikamangal and the third and the final part, which narrates the story of Man Singh I and Bhavananda Majumdar is known as Annapurnamangal. -
Patachitra of Krishna Lila: Myth, Art and Culture
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 19, Issue 12, Ver. IV (Dec. 2014), PP 116-124 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Patachitra of Krishna Lila: Myth, Art and Culture Dr. Gopal Chandra Bayen Assistant Professor in Bengali Language & Literature Pingla Thana Mahavidyalaya (Vidyasagar University), P.O.-MALIGRAM Dist.-Paschim Medinipur, West Bengal. India, Pin-721140 Abstract: In this paper we have tried to discuss about the myth and variety of Patachitra of Krishna Lila and its artistic and cultural significance. We all know that traditional folk-art Patachitra is one of the important folk painting of India like Ricepaste Paintaing or Limestone Paintaing. According to the history of Indian folk painting, Patachitra of Krishna Lila has known as one of the favorite Pata-painting among the Indian people. According to its origin Patachitra of Krishna Lila has considered as Mythological Patachitra like Ram Lila, King Harishchandra, Chandi Mangal, Durgaleela, Sabitri satyaban etc. This type of Patachitra have seen in Puri, Murshidabad, Purulia, Purba Medinipur and Paschim Medinipur. From this type of Patachitra we can understand the actual form and transformation of Krishna Culture in general Bengali people. Key Words: Krishna, Culture, Myth, Krishna Lila, Art, Patachitra, Folklore I. Introduction: Generally the term ‗Patachitra‘ means hand made painting on cloths. It is related with folk-art and artistic thinking of folk people.Truly it is a good kind of folk-art. In general sense folk-art has considered as a branch of folklore. We know that the term ‗art‘ simply means a creative expression or creation of artist. -
OMB Control Number: 1890-0004 BUDGET INFORMATION Expiration Date: 10-31-2007 NON-CONSTRUCTION PROGRAMS
U.S. DEPARTMENT OF EDUCATION OMB Control Number: 1890-0004 BUDGET INFORMATION Expiration Date: 10-31-2007 NON-CONSTRUCTION PROGRAMS Name of Institution/Organization Applicants requesting funding for only one year should complete the column under "Project Year 1." Applicants requesting funding for multi-year grants should complete all applicable columns. Please read all instructions before completing form. SECTION A - BUDGET SUMMARY U.S. DEPARTMENT OF EDUCATION FUNDS Budget Categories Project Year 1 Project Year 2 Project Year 3 Project Year 4 Project Year 5 Total (a) (b) (c) (d) (e) (f) 1. Personnel 2. Fringe Benefits 3. Travel 4. Equipment 5. Supplies 6. Contractual 7. Construction 8. Other 9. Total Direct Costs (lines 1-8) 10. Indirect Costs* 11. Training Stipends 12. Total Costs (lines 9-11) *Indirect Cost Information (To Be Completed by Your Business Office): If you are requesting reimbursement for indirect costs on line 10, please answer the following questions: (1) Do you have an Indirect Cost Rate Agreement approved by the Federal government? ____Yes ____ No (2) If yes, please provide the following information: Period Covered by the Indirect Cost Rate Agreement: From: ___/___/______ To: ___/___/______ (mm/dd/yyyy) Approving Federal agency: ____ ED ____ Other (please specify): __________________________ (3) For Restricted Rate Programs (check one) -- Are you using a restricted indirect cost rate that: ___ Is included in your approved Indirect Cost Rate Agreement? or ___ Complies with 34 CFR 76.564(c)(2)? ED 524 Comprehensive National Resource Center Budget — 2006-2010 University of Chicago South Asia National Resource Center Category and Explanation Rate Title VI Funds References 2006/07 2007/08 2008/09 2009/10 A. -
A Historian's Introduction to Reading Mangal-Kabya
A Historian’s Introduction to Reading Mangal-kabya* Preface *An earlier version of this paper, ‘Rhetoric and the Genre of Mangal-kabya’, was presented for the panel, ‘South Asian Literary Genres in Theory and History’, 32nd Annual Conference on South Asia, University of Wisconsin-Madison, October 25, 2003. I thank the organizer, Indira Peterson, and the other participant, Martha Ann Selby, for helping me to think about issues of genre in a more abstract way than I usually do. The impetus to reconsider the ‘discovery’ of mangal-kabya by Bengali nationalist scholars as part of the imagination of a nationalist past came from conversations with Lakshmi Subrahmanian,Tapati Guha-Thakurta, and Gautam Bhadra, all of whom I thank. Research in Kolkata for this essay in 2000 was funded in part by a grant from the Bureau for Faculty Research of Western Washington University. One fall Chicago day in 1973, sitting in the office of Professor Edward C. Dimock, Jr., I was introduced to questions which gradually opened into the essays of this book. Professor Dimock was ‘Cam’ to his friends but not to me; I was only a graduate student in history, beginning my third year of Bengali, and my first year of studying with him. He suggested that I read an essay of Claude Lévi-Strass1 in connection with thinking about the plot of Candimangal, a type of Bengali verse narrative designed to persuade people to worship the goddess Candi. Professor Dimock was skillfully non-directive. ‘Lots of people seem to be excited by this’, he said; ‘see what you can make of it’.