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Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present
UGC MRP - COMICS BOOKS & GRAPHIC NOVELS Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present UGC MAJOR RESEARCH PROJECT F.NO. 5-131/2014 (HRP) DT.15.08.2015 Principal Investigator: Aneeta Rajendran, Gargi College, University of Delhi UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Acknowledgements This work was made possible due to funding from the UGC in the form of a Major Research Project grant. The Principal Investigator would like to acknowledge the contribution of the Project Fellow, Ms. Shreya Sangai, in drafting this report as well as for her hard work on the Project through its tenure. Opportunities for academic discussion made available by colleagues through formal and informal means have been invaluable both within the college, and in the larger space of the University as well as in the form of conferences, symposia and seminars that have invited, heard and published parts of this work. Warmest gratitude is due to the Principal, and to colleagues in both the teaching and non-teaching staff at Gargi College, for their support throughout the tenure of the project: without their continued help, this work could not have materialized. Finally, much gratitude to Mithuraaj for his sustained support, and to all friends and family members who stepped in to help in so many ways. 1 UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Project Report Contents EXECUTIVE SUMMARY 3 1. Scope and Objectives 3 2. Summary of Findings 3 2. Outcomes and Objectives Attained 4 3. -
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars -****- by Tamarapu Sampath Kumaran About the Author: Mr T Sampath Kumaran is a freelance writer. He regularly contributes articles on Management, Business, Ancient Temples and Temple Architecture to many leading Dailies and Magazines. His articles for the young is very popular in “The Young World section” of THE HINDU. He was associated in the production of two Documentary films on Nava Tirupathi Temples, and Tirukkurungudi Temple in Tamilnadu. His book on “The Path of Ramanuja”, and “The Guide to 108 Divya Desams” in book form on the CD, has been well received in the religious circle. Preface: Tirth Yatras or pilgrimages have been an integral part of Hinduism. Pilgrimages are considered quite important by the ritualistic followers of Sanathana dharma. There are a few centers of sacredness, which are held at high esteem by the ardent devotees who dream to travel and worship God in these holy places. All these holy sites have some mythological significance attached to them. When people go to a temple, they say they go for Darsan – of the image of the presiding deity. The pinnacle act of Hindu worship is to stand in the presence of the deity and to look upon the image so as to see and be seen by the deity and to gain the blessings. There are thousands of Siva sthalams- pilgrimage sites - renowned for their divine images. And it is for the Darsan of these divine images as well the pilgrimage places themselves - which are believed to be the natural places where Gods have dwelled - the pilgrimage is made. -
Mahabharata Tatparnirnaya
Mahabharatha Tatparya Nirnaya Chapter XIX The episodes of Lakshagriha, Bhimasena's marriage with Hidimba, Killing Bakasura, Draupadi svayamwara, Pandavas settling down in Indraprastha are described in this chapter. The details of these episodes are well-known. Therefore the special points of religious and moral conduct highlights in Tatparya Nirnaya and its commentaries will be briefly stated here. Kanika's wrong advice to Duryodhana This chapter starts with instructions of Kanika an expert in the evil policies of politics to Duryodhana. This Kanika was also known as Kalinga. Probably he hailed from Kalinga region. He was a person if Bharadvaja gotra and an adviser to Shatrujna the king of Sauvira. He told Duryodhana that when the close relatives like brothers, parents, teachers, and friends are our enemies, we should talk sweet outwardly and plan for destroying them. Heretics, robbers, theives and poor persons should be employed to kill them by poison. Outwardly we should pretend to be religiously.Rituals, sacrifices etc should be performed. Taking people into confidence by these means we should hit our enemy when the time is ripe. In this way Kanika secretly advised Duryodhana to plan against Pandavas. Duryodhana approached his father Dhritarashtra and appealed to him to send out Pandavas to some other place. Initially Dhritarashtra said Pandavas are also my sons, they are well behaved, brave, they will add to the wealth and the reputation of our kingdom, and therefore, it is not proper to send them out. However, Duryodhana insisted that they should be sent out. He said he has mastered one hundred and thirty powerful hymns that will protect him from the enemies. -
The Complete Mahabharata in a Nutshell
Contents Introduction Dedication Chapter 1 The Book of the Beginning 1.1 Vyasa (the Composer) and Ganesha (the Scribe) 1.2 Vyasa and his mother Sathyavathi 1.3 Janamejaya’s Snake Sacrifice (Sarpasastra) 1.4 The Prajapathis 1.5 Kadru, Vinatha and Garuda 1.6 The Churning of the Ocean of Milk 1.7 The Lunar and Solar races 1.8 Yayathi and his wives Devayani and Sharmishta 1.9 Dushyanta and Shakuntala 1.10 Parashurama and the Kshatriya Genocide BOOKS 1.11 Shanthanu, Ganga and their son Devavratha 1.12 Bhishma, Sathyavathi and Her Two Sons 1.13 Vyasa’s Sons: Dhritharashtra,DC Pandu and Vidura 1.14 Kunthi and her Son Karna 1.15 Birth of the Kauravas and the Pandavas 1.16 The Strife Starts 1.17 The Preceptors Kripa and Drona 1.18 The Autodidact Ekalavya and his Sacrifice 1.19 Royal Tournament where Karna became a King 1.20 Drona’s Revenge on Drupada and its Counterblow 1.21 Lord Krishna’s Envoy to Hasthinapura 1.22 The Story of Kamsa 1.23 The Wax Palace Inferno 1.24 Hidimba, Hidimbi and Ghatotkacha 1.25 The Ogre that was Baka 1.26 Dhaumya, the Priest of the Pandavas 1.27 The Feud between Vasishta and Vishwamithra 1.28 More on the Quality of Mercy 1.29 Draupadi, her Five Husbands and Five Sons 1.30 The Story of Sunda and Upasunda 1.31 Draupadi’s Previous Life 1.32 The Pandavas as the Incarnation of the Five Indras 1.33 Khandavaprastha and its capital Indraprastha 1.34 Arjuna’s Liaisons while on Pilgrimage 1.35 Arjuna and Subhadra 1.36 The Khandava Conflagaration 1.37 The Strange Story of the Sarngaka Birds Chapter 2 The Book of the Assembly Hall -
Rajaji-Mahabharata.Pdf
MAHABHARATA retold by C. Rajagopalachari (Edited by Jay Mazo, International Gita Society) Contents 39. The Wicked Are Never Satisfied 1. Ganapati, the Scribe 40. Duryodhana Disgraced 2. Devavrata 41. Sri Krishna's Hunger 3. Bhishma's Vow 42. The Enchanted Pool 4. Amba And Bhishma 43. Domestic Service 5. Devayani And Kacha 44. Virtue Vindicated 6. The Marriage Of Devayani 45. Matsya Defended 7. Yayati 46. Prince Uttara 8. Vidura 47. Promise Fulfilled 9. Kunti Devi 48. Virata's Delusion 10. Death Of Pandu 49. Taking Counsel 11. Bhima 50. Arjuna's Charioteer 12. Karna 51. Salya Against His Nephews 13. Drona 52. Vritra 14. The Wax Palace 53. Nahusha 15. The Escape Of The Pandavas 54. Sanjaya's Mission 16. The Slaying Of Bakasura 55. Not a Needle-Point Of Territory 17. Draupadi's Swayamvaram 56. Krishna's Mission 18. Indraprastha 57. Attachment and Duty 19. The Saranga Birds 58. The Pandava Generalissimo 20. Jarasandha 59. Balarama 21. The Slaying Of Jarasandha 60. Rukmini 22. The First Honor 61. Non-Cooperation 23. Sakuni Comes In 62. Krishna Teaches 24. The Invitation 63. Yudhishthira Seeks Benediction 25. The Wager 64. The First Day's Battle 26. Draupadi's Grief 65. The Second Day 27. Dhritarashtra's Anxiety 66. The Third Day's Battle 28. Krishna's Vow 67. The Fourth Day 29. Pasupata 68. The Fifth Day 30. Affliction Is Nothing New 69. The Sixth Day 31. Agastya 70. The Seventh Day 32. Rishyasringa 71. The Eighth Day 33. Fruitless Penance 72. The Ninth Day 34. Yavakrida's End 73. -
Kunti, Satyavati's Grand
unti, Satyavati’s grand- Part III: Five Holy Virgins, Five Sacred Myths daughter-in-law, is a remarkable study in K 1 womanhood. Kunti chooses the handsome Pandu in a bridegroom- “One-in Herself” choice ceremony, svayamvara, only to find Bhishma snatching away her Why Kunti Remains a Kanya happiness by marrying him off again immediately to the captivating Madri. Pradip Bhattacharya She insists on accompanying her husband into exile and faces a horripilating situation: her beloved husband insists that she get son after In the first two parts of this quest we have explored two of son for him by others. It is in this 2 the five kanyas, Ahalya and Mandodari of the Ramayana, husband-wife encounter that Kunti’s seeking to understand what makes them such remarkable individuality shines forth. At first she women, as well as describe what special features firmly refuses saying, “Not even in characterise all these kanyas.We are now entering the dense thought will I be embraced by another (I.121.5).” forest of the Mahabharata to discuss Kunti. To help the Her statement is somewhat readers through its thickly interwoven maze of relationships, devious, as already she has embraced I have provided the broad linkages of these characters in a Surya and regained virgin status by separate box (see opposite page).* virtue of his boon after delivering Karna. It is, however, evidence of her and tries to persuade her urging that Shvetaketu’s scriptural directive for resolve to maintain an unsullied (a) she will only be doing what is implicitly obeying the husband’s reputation. -
Part 1: the Beginning of Mahabharat
Mahabharat Story Credits: Internet sources, Amar Chitra Katha Part 1: The Beginning of Mahabharat The story of Mahabharata starts with King Dushyant, a powerful ruler of ancient India. Dushyanta married Shakuntala, the foster-daughter of sage Kanva. Shakuntala was born to Menaka, a nymph of Indra's court, from sage Vishwamitra, who secretly fell in love with her. Shakuntala gave birth to a worthy son Bharata, who grew up to be fearless and strong. He ruled for many years and was the founder of the Kuru dynasty. Unfortunately, things did not go well after the death of Bharata and his large empire was reduced to a kingdom of medium size with its capital Hastinapur. Mahabharata means the story of the descendents of Bharata. The regular saga of the epic of the Mahabharata, however, starts with king Shantanu. Shantanu lived in Hastinapur and was known for his valor and wisdom. One day he went out hunting to a nearby forest. Reaching the bank of the river Ganges (Ganga), he was startled to see an indescribably charming damsel appearing out of the water and then walking on its surface. Her grace and divine beauty struck Shantanu at the very first sight and he was completely spellbound. When the king inquired who she was, the maiden curtly asked, "Why are you asking me that?" King Shantanu admitted "Having been captivated by your loveliness, I, Shantanu, king of Hastinapur, have decided to marry you." "I can accept your proposal provided that you are ready to abide by my two conditions" argued the maiden. "What are they?" anxiously asked the king. -
Hierarchical Classification of Warriors (Human Resources) in Mahabharat War
September 2017, Volume 4, Issue 09 JETIR (ISSN-2349-5162) HIERARCHICAL CLASSIFICATION OF WARRIORS (HUMAN RESOURCES) IN MAHABHARAT WAR 1PROF. DR. S.K.SHARMA, 2SOURABH KRISHNA JOSHI 1Dean, Management Faculty, 2Asst. Prof. Commerce Faculty, 1 2 Jodhpur National University Jodhpur (RAJ), Mahila PG MahaVidyalay, Kamla Nehru Nagar, Jodhpur. Abstract: The war of the Mahabharata was as destructive, the mysterious for today's generation is also a matter of research even after years, and how that battle was fought without the latest technical resources? But it was Yogiraj Lord Yuyutsu, who can be called the father of modern SUPPLY CHAIN MANAGEMENT, fought a war on behalf of Pandavas and judiciously utilized available resources. Krishna's diplomacy that even a relatively small group of less warriors in this crusade demonstrated vitality in front of the more powerful warriors. Today in the war, armies want to avoid fighting face to face, because Massacre is fixed. Nowadays, there are battalions, regiments, squadrons in every country's army, in the same way, in the Mahabharata period; "Akshauhini" was assessed by the army. Akshauhini was called a complete unit of the army. It had four integral components, i.e. foot soldiers, the cavalry i.e. on Elephant, the warrior rider and the charioteer, the warrior rider that was called a smart army. Akshauhini used to be the measure of army in ancient India. This is the Sanskrit word. There are some differences in its number from different sources. According to the Mahabharata, there were 21,870 chariots, 21,870 elephants, 65,610 horsemen and 1,09,350 infantry soldiers. -
Saoli Mitra's Timeless Tales
postscriptum: An Interdisciplinary Journal of Literary Studies Volume 1 Number ii (July 2016) Online – Open Access – Peer reviewed postscriptum.co.in Bhadra, Suranjana. “Retelling the Myth of Kunti: Saoli Mitra’s Timeless Tales” pp. 61-69 Retelling the Myth of Kunti: Saoli Mitra’s Timeless Tales Dr Suranjana Bhadra Assistant Professor in English, MUC Women’s College, Burdwan The author teaches English Literature in the postgraduate department of English of Maharajadhiraj Uday Chand Women’s College, affiliated to the University of Burdwan, where she is an Assistant Professor for more than ten years. Her area of interest is Feminist Theatre. She has some publications in national and international journals. Abstract The stories of the epics have gained a sense of timelessness. They have established the codes of culture and values in the society. The myths are replete with the account of women adhering to ‘pativrata dharma’. Such pseudo queens have become the cultural icons as they safeguard the patriarchal conventions. In the Mahabharata Kunti , the mother and the widow is the symbol of eternal suffering .Though she is much revered and glorified, the epic legitimizes the subjugation and exploitation of a widow caught in the gyres of patriarchy. In performing a signifying function myth hides nothing and flaunts nothing: it distorts; myth is neither a lie nor a confession: it is an inflexion. Referring to Saoli Mitra’s Katha Amritasaman this paper explores the sufferings of Kunti, the widow and the mother. It retells Kunti’s story by unravelling the gaps and silences in the epic. All alone Kunti creates an entity of her own, devises original ways to meet the challenge and the best of all is that, although she respects social norms she is not a slave to them and can override them if necessary. -
Gender Discrimination: a Study on the Mahabharata
Notions Vol. 7 No. 3, 2016 ISSN: (P) 0976-5247, (e) 2395-7239 ICRJIFR IMPACT FACTOR 3.9531 Gender Discrimination: A Study on the Mahabharata D. Naomizara* Assistant Professor Department of English Periyar Government Arts College, Cuddalore The Art of Re-Reading epics with a modernized ideas and ideas of enlightenment like humanity and subjectivity has produced its impact in Indian literature. Recent works based on the ancient epics of India has given new perspectives and new dimensions on understanding the epics in depth. Analyzing these epics of India on the stands of feminism resulted in cementing a clear image of women in the ancient times. The Mahabharata, the world’s most famous epic is half history, half myth and wholly magical. The epic deals about the rivalry in Kaurava dynasty- the Paandavas and the Kauravas. The struggle between the cousins resulted in the bloody battle of Kurukshetra . Apart from Krishna, beloved and inscrutable, an incarnation of Vishnu and mentor to the Paandavas; Bheeshma; Drona, Drupad and Karna, definitely the epic also has powerful, complex women characters that effected the action in major ways. For instance, the widowed Kunti, mother of Paandavas, Gandhari, wife of the sightless Kaurava king, and most of all, Paanchaali also known as Draupadi. But in some way, they remained shadowy figures, their thoughts and motives mysterious, their emotions portrayed only when they affected the lives of the male heroes, their role ultimately subservient to those of their fathers or husbands, brothers or sons. The current paper is to shed light on some of the unrecognized women in the Mahabharata. -
Draupadi and Dhrishtadyumna
דראופדי http://img2.tapuz.co.il/CommunaFiles/34934883.pdf دراوبادي دروپدی द्रौपदी د ر وپد ی http://uh.learnpunjabi.org/default.aspx द्रौपदी ਦਰੋਪਤੀ http://h2p.learnpunjabi.org/default.aspx دروپتی فرشتہ ਦਰੋਪਤੀ ਫ਼ਰਰਸ਼ਤਾ http://g2s.learnpunjabi.org/default.aspx DRUPADA… Means "wooden pillar" or "firm footed" in Sanskrit. In the Hindu epic the 'Mahabharata' this is the name of a king of Panchala, the father of Draupadi and Dhrishtadyumna http://www.behindthename.com/name/drupada DRAUPADI Means "daughter of DRUPADA" in Sanskrit. http://www.behindthename.com/name/draupadi Draupadi - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Draupadi Draupadi From Wikipedia, the free encyclopedia Draupadi (Sanskrit: 6ौपदी , draupad ī, Sanskrit pronunciation: [d ̪ rəʊ pəd̪ i]) is described as the chief female Draupadi protagonist or heroine in the Hindu epic, Mahabharata .[1] According to the epic, she is the "fire born" daughter of Drupada, King of Panchala and also became the common wife of the five Pandavas. She was the most beautiful woman of her time. Draupadi had five sons; one by each of the Pandavas: Prativindhya from Yudhishthira, Sutasoma from Bheema, Srutakarma from Arjuna, Satanika from Nakula, and Srutasena from Sahadeva. Some people say that she too had two daughters after the Upapandavas, Shutanu from Yudhishthira and Pragiti from Arjuna although this is a debatable concept in the Mahabharata. Draupadi is considered as one of the Panch-Kanyas or Five Virgins. [2] She is also venerated as a village goddess Draupadi Amman. Draupadi, -
Indian Archaeology 1987-88 a Review
INDIAN ARCHAEOLOGY 1987-88 —A REVIEW EDITED BY M.C.JOSHI Director General Archaeological Survey of India PUBLISHED BY THE DIRECTOR GENERAL ARCHAEOLOGICAL SURVEY OF INDIA NEW DELHI 1993 Cover : TisseruStupa,Leh,Ladakh Cover layout & design: Raj Nath Kaw 1992 ARCHAEOLOGICAL SURVEY OF INDIA GOVERNMENT OF INDIA Price :Rs. 250.00 PRINTED AT BENGAL OFFSET WORKS, 335, KHAJOOR ROAD, KAROL BAGH, NEW DELHI-1 10005. PHONE: 524200,7510455 PREFACE I am happy to place before the scholars the Indian Archaeology 1987-88—A Review not very long after the publication of the previous issue. We are making efforts to bring the publication of the Review up to date; this, however, would depend on timely submission of material by contributors. It has been our experience that, in many cases, several reminders have to be given for sending material to us for inclusion in the Review which results in delay of its publication. I am sure, with the cooperation of different institutions and the State Departments of Archaeology and Museums and my own colleagues in different Branches and Circles of the Survey it would be possible for us to maintain regularity of its publication. The present issue of the Review is more voluminous than the previous ones and thus reflects also increased activities in different fields of archaeology. Out of several excavations reported in this issue, I may mention the work at Banawali, Thanesar, Sanghol, Hampi, Sannathi, Daulatabad, Lalitagiri, Udaigiri, Fatehpur Sikri, Sravasti, Balikeshwar, Chandel, Harsud, etc. by the Survey, at Kuntasi jointly by the Deccan College, Pune, and the Gujarat State Department of Archaeology, at Mangalkot by the University of Calcutta, at Kotasur by the Visvabharati, Maihar by the Allahabad University, Ganeshwar by the Department of Archaeology and Museums, Rajasthan State and at Shikarpur by the Department of Archaeology, Government of Gujarat.