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David Bottoms, Poet Laureate of Georgia Featured at Georgia Poetry Society 118Th Quarterly Meeting
GEORGIA POETRY SOCIETY: SERVING GEORGIA’S POETS SINCE 1979 Volume 30, Number 2: Summer 2008 DAVID BOTTOMS, POET LAUREATE OF GEORGIA FEATURED AT GEORGIA POETRY SOCIETY 118TH QUARTERLY MEETING Come enjoy another exciting Other program highlights include the ever-popular program on Saturday, July 19, 2008 at member readings. Dr. Robert Simon will read from his new Kennesaw State University (KSU). We book of poetry, Jill Jennings will provide a workshop and the thank Dr. Robert Simon, faculty member Dr. Robert Lynn will unveil the GPS 2008 anthology, The at KSU and to the Department of Foreign Reach of Song. Languages and the College of Humanities Simon is Assistant Professor of Spanish at KSU. He has and Social Sciences for their support. taught both Spanish and Portuguese languages and has It is our good fortune to have as our investigated the presence of Surrealism, Mysticism and featured reader, David Bottoms, Poet Laureate of Georgia. postmodernism in Contemporary Peninsular Literature. He Bottoms was born in Canton Georgia in 1949. His first book, is widely published in several journals (The Reach of Song, Shooting Rats at the Bibb County Dump, was selected by The American Poetry Journal and The New York Quarterly) Robert Penn Warren as winner of the 1979 Walt Whitman and has a book of poetry, New Poems from the Airplane and Award of the Academy of American Poets. Bottoms’ poems Graveyard. He explains his poetry as “an exploration of the have been published in a wide variety of magazines that intimate connection between love, death, and the languages includes The Atlantic, The New Yorker, Harper’s, The Paris that harness and define me as both a poet and a scholar.” Review and Poetry, and more than four dozen anthologies Jennings has won top awards from several poetry and and textbooks. -
The Vijayanagar Empire (1336-1646 A.D.)
26 February, 2021 Inscription on Krishnadevraya’s death (of Vijayanagar) discovered The first-ever epigraphical reference to the date of death of Vijayanagar king Krishnadevaraya has been discovered at Honnenahalli in Tumakuru district. As per the inscription, Krishnadevaraya, one of the greatest emperors of India who ruled from the South, died on October 17, 1529, Sunday, and incidentally this day was marked by a lunar eclipse. The inscription (written in Kannada) is engraved on a slab kept on the north side of the Gopalakrishna temple at Honnenahalli in Tumakuru district. It records the demise of K?ish?ad?var?ya — (V?rak?ish?ar?ya mah?r?yalu y? tath? tithiyalu astamayar?galu)_ in ?aka 1451, Vir?dhi, ?u. 15, lunar eclipse, which corresponds to 1529 AD, October 17, Sunday, according to Prof. Munirathnam. The inscription also registers gift of village Honnenahalli in Tumakuru for conducting worship to the god Veeraprasanna Hanumantha of Tumakuru. The Vijayanagar Empire (1336-1646 A.D.) Harihara and Bukka are the founders of the Vijayanagar City in 1336 A.D. on the southern banks of Tungabhadr. They made Hampi as the capital city. Hampi is on the banks of Tungabhadra River. They served under Vira Ballala III, the Hoysala King Vijayanagar Empire was ruled by four important dynasties and they are: Sangama, Saluva, Tuluva, Aravidu and Harihara I. In 1336 A.D. Harihara I became the ruler of Sangama Dynasty. He captured Mysore and Madurai. In 1356 A.D. Bukka-I succeeded him Krishnadeva Raya (1509-1529 A.D.) Krishnadeva Raya of the Tuluva dynasty was the most famous king of the Vijayanagar Empire According to Domingo Paes, a Portuguese traveller “Krishnadeva Raya was the most feared and perfect king there could possibly be”. -
Praktiser De Menneskelige Værdier Af Bhagavan Sri Sathya Sai Baba
Dato : 22. november 2006. Sted : Prasanthi Nilayam. Anledning : Åbningstale på Sathya Sai’s internationale sportscenter. Ordliste : De danske ord der er understreget i teksten, er at finde i ordlisten. Disse danske ord er oversættelser af sanskrit-ord, som også nævnes i ordlisten. Dette giver læseren mulighed for selv at undersøge sanskrit-ordenes dybere betydning. Praktiser de menneskelige værdier af Bhagavan Sri Sathya Sai Baba Nu til dags føler mennesket sig stolt over, at han behersker mange grene inden for viden, og at han har studeret mange emner. Men mennesket forsøger ikke at forstå uddannelsens inderste væsen. I vore dage er lærdom begrænset til blot at omfatte fysiske og verdslige aspekter, og moralske, etiske og åndelige aspekter tilsidesættes. I dag gør forældre sig ihærdige anstrengelser for at skaffe deres børn en uddannelse. Men ingen prøver at forstå uddannelsens sande betydning. Folk tror, at de der kan tale meningsfuldt og sigende, og som har studeret mange bøger, er yderst veluddannede. Men sandheden er, at det blot viser, at de har viden om alfabetet og intet andet. Ren og skær viden om alfabetet kan ikke kaldes uddannelse. Udover at have kendskab til bogstaver, er man nødt til at kende betydningen af de ord og sætninger, som bogstaverne sammensætter. Idet han var klar over denne sandhed, indkaldte kong Krishnadevaraya til et stort møde. Han rejste et spørgsmål over for de forsamlede digtere og lærde. Til stede i denne forsamling var også otte berømte digtere fra Krishnadevaraya’s hof. De var kendt som Aashta diggajas. De var: Allasani Peddana, Nandi Thimmana, Madayyagari Mallana, Dhurjati, Ayyalaraju Ramabhadrudu, Pingali Surana, Ramarajabhushanudu og Tenali Ramakrishna. -
Sri Sathya Sai Speaks, Vol 39 (2006) Divine Discourses of Bhagawan Sri Sathya Sai Baba
Sri Sathya Sai Speaks, Vol 39 (2006) Divine Discourses of Bhagawan Sri Sathya Sai Baba Index Of Discourses 1. Discharge your duties with a sense of surrender to God ...................................... 2 2. Control of Senses is the Real Sadhana ................................................................. 13 3. Limit not the all-pervading Brahman with Names and Forms ......................... 26 4. Atma is the Nameless, Formless Divinity ............................................................. 39 5. Experience the Sweetness of Rama's Name ......................................................... 51 6. Happiness Is Holiness ............................................................................................ 63 7. Do Not Burden Yourself With Limitless Desires ................................................ 74 8. Mother's love has immense power ....................................................................... 84 9. Attain enlightenment by renouncing desires ....................................................... 95 10. Selfless service to society is true sadhana .......................................................... 105 11. The youth should follow the path of sathya and dharma ................................. 113 12. Develop Broad-mindedness and Live in Bliss ................................................... 122 13. Give up selfishness and strive for self-realisation ............................................. 132 14. Love of God is True Education .......................................................................... -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Sidney Keyes: the War-Poet Who 'Groped for Death'
PINAKI ROY Sidney Keyes: The War-Poet Who ‘Groped For Death’ f the Second World War (1939-45) was marked by the unforeseen annihilation of human beings—with approximately 60 million military and civilian deaths (Mercatante 3)—the second global belligerence was also marked by an Iunforeseen scarcity in literary commemoration of the all-destructive belligerence. Unlike the First World War (1914-18) memories of which were recorded mellifluously by numerous efficient poets from both the sides of the Triple Entente and Central Powers, the period of the Second World War witnessed so limited a publication of war-writing in its early stages that the Anglo-Irish litterateur Cecil Day-Lewis (1904-72), then working as a publications-editor at the English Ministry of Information, was galvanised into publishing “Where are the War Poets?” in Penguin New Writing of February 1941, exasperatedly writing: ‘They who in folly or mere greed / Enslaved religion, markets, laws, / Borrow our language now and bid / Us to speak up in freedom’s cause. / It is the logic of our times, / No subject for immortal verse—/ That we who lived by honest dreams / Defend the bad against the worse’. Significantly, while millions of Europeans and Americans enthusiastically enlisted themselves to serve in the Great War and its leaders were principally motivated by the ideas of patriotism, courage, and ancient chivalric codes of conduct, the 1939-45 combat occurred amidst the selfishness of politicians, confusing international politics, and, as William Shirer notes, by unsubstantiated feelings of defeatism among world powers like England and France, who could have deterred the offensive Nazis at the very onset of hostilities (795-813). -
ICICI Bank Organizes 'Spandan'- a Fusion Music Night
ICICI Bank Limited ICICI Towers Bandra Kurla Complex IIICC Bank Mumbai 400 051 Press Note August 3,2002 ICICI Bank organizes ‘Spandan’- a fusion music night. Exclusive music evening for its corporate clients ICICI Bank, India’s largest private sector bank, today organised ‘Spandan’, an exclusive evening of fusion music for its corporate clients in Mumbai. ‘Spandan’, which means Heartbeat in Sanskrit, was a melange of five different musical performances by well known artistes like Shankar Mahadevan as the vocalist, Anandan Sivamani on the drum, Niladri Kumar playing the sitar; Vikku Vinayakram on the Ghatam; V.Selvaganesh on the Kanjira; Fazal Qureshi on the Tabla and Bhawani Shankar on the Pakhawaj and Tabla. Together they promise to blend the world of music with the pulse beats of every individual present there. The programme started with the invocation prayer followed by an enticing Madhalaya performance. The tempo of the music slowly increased to a breathtaking percussion item followed by a Jam session. The highlight of the concert was the grand finale, a symphony of sound that left audience asking for more. The programme, organized in Mumbai, attracted a wide audience of industrialists and top executives of the corporate world and noted celebrities including Javed Akhtar, Bhupendra and Mitali, Roopkumar and Sonali Rathod, Raageshwari, and Dipti Naval. Said Mr. Nachiket Mor, Executive Director, ICICI Bank, “It was a pleasure to see so many of our clients enjoying the performance and having a relaxed time this evening. We are delighted to meet them outside the work purview and share some lighter moments together." For any further query please contact Madhvendra Das at (022) 6536124 or e-mail at [email protected] ******* Except for the historical information contained herein, statements in this News Release which contain words or phrases such as 'will', 'would', and similar expressions or variations of such expressions may constitute 'forward-looking statements'. -
Indian Scholar
ISSN 2350-109X Indian Scholar www.indianscholar.co.in An International Multidisciplinary Research e-Journal THE RISE AND GROWTH OF CHILDREN’S POETRY IN MALAYALAM LITERATURE Kavya. T Guest Lecturer in English MPMMSN Trusts College, Shoranur It is a quintessential human nature to compare, contrast and weigh the value of anything in the world. Perhaps it is our need to put order into an otherwise chaotic life that drives us to categorize everything. Our culture, tradition, art and literature are not exempted from this grading process. Thus it is quite natural that children’s literature got relegated to the peripheries of mainstream literature. This marginalization is universal and Malayalam literature too avoided it as trivial and childish. But now a days Children’s literature is gaining popularity in academic circles with many a scholars opening up new areas of researches in the field. Thus it would be meaningful to trace the trajectory of poems for children in Malayalam literature. A child’s acquaintance with poetry starts from the womb itself. This grows into much stronger relation as he/she is tucked into sleep with sweet lullabies by mother. Thus poetry is the first literature presented to a child.Offering comfort and happiness in rhythm and sounds these verses prepare the developing minds to receive longer forms of literature. But still there are debates regarding the characteristics of verses that can be categorized as children’s poems. Sheila aEgoff in Thursday’s Child questions “Is poetry for children a separate territory, or is -
The Publishing of a Poet: an Empirical Examination of the Social Characteristics of Canadian Poets As Revealed in Small Press Literary Magazines
The Publishing of a Poet: An Empirical Examination of the Social Characteristics of Canadian Poets as Revealed in Small Press Literary Magazines by Diane Monique Barlee B.A., University of Victoria, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Sociology ! Diane Monique Barlee, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee The Publishing of a Poet: An Empirical Examination of the Social Characteristics of Canadian Poets as Revealed in Small Press Literary Magazines by Diane Monique Barlee B.A., University of Victoria, 2008 Supervisory Committee Dr. Richard Ogmundson (Department of Sociology) Supervisor Dr. Peyman Vehabzadeh (Department of Sociology) Departmental Member Dr. Iain Macleod Higgins (Department of English) Outside Member iii Abstract Supervisory Committee Dr. Richard Ogmundson (Department of Sociology) Supervisor Dr. Peyman Vehabzadeh (Department of Sociology) Departmental Member Dr. Iain Macleod Higgins (Department of English) Outside Member This thesis is an exploratory examination of the social characteristics of 139 poets featured in a selection of five small press Canadian literary journals. The investigation charts and analyzes the demographics of 64 poets who were published in 1967, and 75 poets who were published in four small press literary magazines in 2010. The 2010 magazines were purposely sampled as representatives of specific geographical areas in Canada (i.e., the West Coast, the Prairies, Central Canada, and the East Coast). The results indicate that in 1967 female poets were less likely to be published; however, 43 years later, this bias has been rectified. -
English Literature STANDARD XII
Higher Secondary Course Part III English Literature STANDARD XII GOVERNMENT OF KERALA DEPARTMENT OF EDUCATION 2015 PLEDGE THE NATIONAL ANTHEM India is my country. All Indians Jana-gana-mana-adhinayaka, jaya he are my brothers and sisters. I love Bharata-bhagya-vidhata. my country, and I am proud of Punjab-Sindh-Gujarat-Maratha its rich and varied heritage. I shall Dravida-Utkala-Banga always strive to be worthy of it. Vindhya-Himachala-Yamuna-Ganga I shall give my parents, teachers Uchchala-Jaladhi-taranga. and all elders respect, and treat Tava shubha name jage, everyone with courtesy. Tava shubha asisa mage, To my country and my people, I Gahe tava jaya gatha, pledge my devotion. In their Jana-gana-mangala-dayaka jaya he well-being and prosperity alone Bharata-bhagya-vidhata. lies my happiness. Jaya he, jaya he, jaya he, Jaya jaya jaya, jaya he! Higher Secondary Course - English Literature Optional - Part III Standard XII Prepared by: State Council of Educational Research & Training (SCERT) Poojappura, Thiruvananthapuram -12, Kerala. E-mail: [email protected] Typesetting by: SCERT Computer Lab Printed at: Kerala State C-apt, Thiruvananthapuram, Ph: 0471-2365415 © Government of Kerala Department of Education 2015 Dear learners The English Literature Coursebook for Standard XII has been designed with a view to developing literary taste, critical reading skills, skills in expressing your ideas both in the spoken and written forms and reference skills. The learning of any language inevitably involves the learning of its rich and varied literature. The selections in this book represent authors from different cultures ranging from W B Yeats to Sugathakumari and Salwa Bakr to Leopoldo Lugones. -
Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula
Oral Tradition, 4/1-2 (1989): 174-88 Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula Simon Jargy Historical Background As far back as we can go in the past history of the Arabs and Arabia, we fi nd poetry present as a huge memorial to their real and imaginary heroic exploits, as a witness to their way of life and feelings, and most of all as an expression of the deepest roots of their soul. Being essentially oral in its origins and developments, this poetry, with its rhythms, intonations, accents, and long or short syllables fi tted in quite naturally with music. In the old classical Arabic terminology, poetry (Shicr) identifi es with song (Nashīd): reciting it is synonymous with singing it (Anshada al-Shicr). This bond between Shicr (poetry) and Inshād (chant or recitative) still has the same meaning in the spoken Arabic of the Peninsula and the Gulf region where Nishīda (song) is synonymous with Giṣīda (poem). In pre-Islamic Arabia, Inshād likely had a dual function: religious and social. Both stem from the rhythmical syllables of the Arabic language (rhymed prose: Sajc, and metrical poetry: Shicr), as well as from rhythmical movements of camels. Coming from ancient times, this is the Ḥidā’ (literally “stimulating the camel’s step”) that the Bedouin sings following the steps of his camel and for his own entertainment. It has survived in the actual form we call “recitative” or “cantilena,” as the common Ḥadwā still designates, in the spoken Bedouin dialect of the Gulf, the folk songs of both the desert and the sea. -
Born in a Family of Musicians, Music Is a Divine Blessing to Pravin
! ! GURU AND EARLY TUTELAGE: Born in a family of musicians, music is a divine blessing to Pravin. He hails from Dharwad, a place which has given to the world many great musicians like Pt Bhimsen Joshi, Gangubai Hangal and Pt Kumar Gandharva. He is fortunate to have his father Pandit VENKATESH GODKHINDI, an eminent vocalist and Bansuri arCste of the country, as his first and only Guru for Flute. Pravin started toying with a small flute at the tender age of 3 and since then it has been his best companion. His passion for Flute could hardly be matched with anything else even during his childhood. With such a passion blended with early hours of rigorous Riyaz under the able guidance of his guru, Pravin started exhibiCng the glimpses of a genius in the making. Pravin gave his first public concert at the age of 6 years and held the audience spellbound. His quest for deeper knowledge about LAYAKAARI brought him to his Guru, Vidwan ANOOR ANANTH KRISHNA SHARMA a reputed Mridangam arCste who is providing able guidance to Pravin on the deeper aspects of LAYA and LAYAKAARI. TWO DIFFERENT STYLES OF PLAYING: His father has taught him Hindustani BANSURI in KIRANA GHARAANA GAYAKI STYLE. But Pravin added the GATKAARI or TANTRAKAARI STYLE by his own efforts and succeeded in it. He is adept in both the styles. Sonorous blowing, control over the breath, elaboraCons of Raga with its aestheCc appeal, extraordinary and skillful rendiCon of Layakaari are but a few salient features of his flute recital. He has been ably balancing both tradiConal and creaCve music.