DOCSLIB.ORG

Component-I (A) – Personal Details

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Component-I (A) – Personal Details 1 Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R Thiagarajan Presidency College, Chennai. Dr. V. Premalatha Sri Venkateswara University, Tirupati. Prof Ritha Rajan, Music Academy Chennai 2 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Early Composers of South India Module Id I C/ IAFA/ 23 Pre requisites an interest to know about the famous composers of South Indian Classical music belonging to the period, 12th century to 17th century. Objectives to give an account of the biographical details and the contribution of some great music composers of South India who lived during 12th - 17th centuries Keywords Jayadēva, Gītagōvinda, Annamācārya, Nārāyaṇa Tīrtha, Kṛṣṇalīlā taraṅgiṇi, Bhadrācala Rāmadāsa, Purandaradāsa, Kṣētrayya, Padam, Aṣṭapadi, Dēvaranāma E-text (Quadrant-I): Introduction Indian Music has a rich tradition and in the previous modules, we had learnt about the various aspects of the classical music forms of India and the popular instruments used in the North and the South Indian Systems. In this module, we shall learn about a few early composers of music of South Indian music. These great masters are considered as the pathfinders and pioneers of the classical and devotional streams. 3 1. Jayadēva 1.1 Biography Jayadēva was a Sanskrit poet of the early 13th century, born in a village called Kenduli in Odhisha to Bhōjadēva and Ramadēvi. He was married to Padmāvati, a dancer who was an ardent devotee of Lord Puruṣōttama. He was the earliest of the Oriya poets. He was also one of the gems who adorned the court of King Lakshmanasena of Navadvipa in Bengal. He composed the Gīta Gōvinda. 1.2 Gītagōvinda Gītagōvinda is a Śṛṅgāra mahākāvya composed in 12 sarga-s and consists of 24 songs. Each song contains eight sections or stanzas and hence is called Aṣṭapadi. They belong to the realm of sacred music but are sung in concerts of art music as well. The Aṣṭapadi hymns are the earliest examples of regular musical compositions. Each song is being set to a specific rāga and tāla. Rādha (nāyaki or Jīvātma), Kṛṣṇa (nāyaka or Paramātmā) and Sakhī (the friend or preceptor who leads the devotee on to the path of mukti or liberation) are the prominent characters figuring in this work. The first Aṣṭapadi describes the ten incarnations of Lord Viṣṇu, which begins with the words, 1) pralaya-payodhi-jale dhṛtavān asi veda vihita-vahitra-caritram akhedam ke ava dhṛta-mīna- arīra jaya jagadī a hare (2) kṣitir iha vipulatare tiṣṭhati tava pṛṣṭhe dharaṇi-dhāraṇa-kiṇa-cakra-gariṣṭhe ke ava dhṛta-kūrma- arīra jaya jagadī a hare 4 https://www.youtube.com/watch?v=DCwfVCS9T88 The Aṣṭapadi -s are beautiful examples of flowery metrical sāhitya-s. The Gītagōvinda may be described as the nucleus, which provided the inspiration for the development of the classical opera and dance drama a few centuries later. The cult of Rādhā-Kṛṣṇa derived its inspiration principally from Gītagōvinda. The place where Jayadēva began and completed the hymns has since been known as Jayadēvapura. Annual festivals in memory of Jayadēva are held every year in Kenduli. The whole of Gītagōvinda is sung during the festival. 1.3 The dar aṇa Aṣṭapadi There are so many interesting anecdotes in Jayadēva’s life. While writing Gītagōvinda when he came to the 10th sarga, in 19th Aṣṭapadi, he felt he did some disrespect to Lord Kṛṣṇa while writing two lines. He scored off those two lines and went to take bath leaving the manuscripts with his wife. After sometime his wife, Padmavati saw him coming back with oil smeared all over his body and asked for the manuscripts. He rewrote those two lines and went back to take bath. In reality, it was only Lord Sri Kṛṣṇa who had come in the guise of Jayadēva. When the real Jayadēva came back and took the manuscript to continue the work, he was astonished to find that the same two lines, which he had scored off, were again written there. He asked his wife about this and she said that “My Lord, did you not yourself come and write these lines?”. This incident was an eye opener to Jayadēva and he praised the spiritual greatness of his wife because only she had the supreme fortune to see the Lord, a fortune denied to himself. He immortalized the event by referring to himself as "Padmavatiramana Jayadēva Kavi” (i.e Padmavati's husband, Jayadēva) in the last caraṇa of 19th Aṣṭapadi. This Aṣṭapadi has been widely and frequently sung even today and is called as dar aṇa Aṣṭapadi and Sañjīvanī Aṣṭapadi. The mudra found in the Aṣṭapadi-s is “Jayadeva”. In the famous temple of Lord Jagannath at Puri, even now one or two Aṣṭapadi -s are sung every evening after the pūjā. In the recent times Aṣṭapadi-s are sung and danced widely. 5 2. Tālappākkam Annamācārya 2.1 Biography Tālappākkam Annamācārya is a very prominent and significant composer among the vāggēyakāra-s (composers) of the medieval period. He was born in 1408, in Tālappākkam, a village in Kadapa district of Andhra Pradesh. He was described as a saint singer and Kīrtanācārya. His parents were Narayana Soori and Lakshmi. He left his home at the age of 16 and went to Tirupati hills. On the way he is believed to have got the dar aṇa of Goddess Alamelumanga, who offered him the divine prasāda and then he composed a atakam in praise of Lord Venkateswara which consists of 100 lōka-s. He is believed to have composed nearly 20000 compositions. In the Tirupati temple, he was given the charge of conducting the Kalyāṇōtsavam, which made him the father in law of Lord himself. It is believed that whatever he said were actually poems or verses and many of these were later on converted as Kīrtana-s attaining popularity and fame. The scholars of Vijayanagara also considered Annamācārya as the incarnation of Tumburu and Narada. The King Chaluva Narasimha jailed him as he refused to compose in praise of the King. The sufferings he had while in jail are described in the kīrtana, “ākaṭi vēlala” in Mukhāri Rāga. The king hearing this composition begged the pardon of Annamācārya and ordered his release. 2.2 His compositions The medium of language in the compositions of Annamācārya is simple Telugu, the language of laymen. It is enjoyable and understood by the masses of classes. Being a Telugu poet, his kīrtana-s outpoured both love and devotion. His compositions depicted high level of philosophical thoughts like the one see below: 6 Brahmamokaṭē para brahmamokaṭē kanduvagu hīnādhikamu lindulēvu andariki rī harē antarātmā indulō jantukulam intā okaṭē andariki rī harē antarātmā The meaning of this song goes thus: There are no differences, such as low and high within the creations of God. In front of HIM, all are one and the Supreme Lord dwells in all the living beings. In an other song, beginning with, “Nānāṭi baduku nāṭakamu, he says, puṭṭuṭayu nijamu pōvuṭayu nijamu naṭṭa naḍimi pani nāṭakamu yeṭṭana duḍagaladī prapañcamu kaṭṭakaḍapaṭidi kaivalyamu Meaning:- Birth and death are real in this world. The work that is done in between these two is a drama. We are able to see the whole world that is in front of us, but we are unable to see beyond that. That is where the liberation or salvation is. He has composed compositions describing the various temple rituals of Tirupati like, “tiruvīdula tirigē dēva dēvuḍu, “kṣīrābdi kanyakagu” etc. “Kolani dōpariki gobillu” is a folk melody which is usually sung for a specific kind of dance called gobbillu, where young girls dance, clapping their hands. He has composed Śṛṅgāramañjari, Saṅkīrtana Lakṣaṇamu. Other composers like Purandara Dasa and Kshetrajña have been influenced by Annamācārya, largely. It is evident from some of their compositions, which followed the same style of Annamācārya. Annamācārya’s compositions spread the philosophy of Vaiṣṇavism and its significant Bhakti. It is believed that he laid down the guidelines for an ideal Kīrtana, which served as a model for later composers and he was considered as the Mārgadar ī by later vāggēyakāra-s. After living for a period of 95 years, he passed away in the year 1502. Some of his compositions are preserved in copper plates at Shri Venkateswara Swamy temple, Tirumala. 7 3. Purandaradāsa Purandaradāsa was the only son of a very wealthy merchant father Vardappa Naik and Kamalamba. He was named after the Lord of the seven hills, Srinivasa. Born in affluent circumstances the child was brought up with great care and affection and with all comforts. He was married to Sarasvati Bai in his 16th year. After the death of his father, he expanded the business and soon became wealthier. With the increase of his fortune, his miserliness also increased. 3.1 A Business-man becomes a bhakta One day a Brahmin came to Purandaradāsa’s shop requesting some help to conduct the upanayanam of his son. Purandaradāsa told him to come the next day. The next day also he replied the same and this continued for the next few days. The Brahmin felt disgusted and went to Purandaradāsa’s wife. She was a saintly woman and without any hesitation, she gave away her nose screw and told the Brahmin to sell it and conduct the upanayana. The Brahmin took this ring to her husband’s shop. Purandaradāsa who was an expert in assessing precious stones became doubtful and sent a messenger to his wife to get his wife’s nose ring. When the messenger came and asked Sarasvati for the ring, she was seized with a shudder.
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
    [Show full text]
  • The Journal of International Communication Film Remakes As
    This article was downloaded by: [Mr C.S.H.N. Murthy] On: 08 January 2015, At: 09:46 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Journal of International Communication Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rico20 Film remakes as cross-cultural connections between North and South: A case study of the Telugu film industry's contribution to Indian filmmaking C.S.H.N. Murthy Published online: 13 Nov 2012. To cite this article: C.S.H.N. Murthy (2013) Film remakes as cross-cultural connections between North and South: A case study of the Telugu film industry's contribution to Indian filmmaking, The Journal of International Communication, 19:1, 19-42, DOI: 10.1080/13216597.2012.739573 To link to this article: http://dx.doi.org/10.1080/13216597.2012.739573 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
    [Show full text]
  • The Absent Vedas
    The Absent Vedas Will SWEETMAN University of Otago The Vedas were first described by a European author in a text dating from the 1580s, which was subsequently copied by other authors and appeared in transla- tion in most of the major European languages in the course of the seventeenth century. It was not, however, until the 1730s that copies of the Vedas were first obtained by Europeans, even though Jesuit missionaries had been collecting Indi- an religious texts since the 1540s. I argue that the delay owes as much to the rela- tive absence of the Vedas in India—and hence to the greater practical significance for missionaries of other genres of religious literature—as to reluctance on the part of Brahmin scholars to transmit their texts to Europeans. By the early eighteenth century, a strange dichotomy was apparent in European views of the Vedas. In Europe, on the one hand, the best-informed scholars believed the Vedas to be the most ancient and authoritative of Indian religious texts and to preserve a monotheistic but secret doctrine, quite at odds with the popular worship of multiple deities. The Brahmins kept the Vedas, and kept them from those outside their caste, especially foreigners. One or more of the Vedas was said to be lost—perhaps precisely the one that contained the most sublime ideas of divinity. By the 1720s scholars in Europe had begun calling for the Vedas to be translated so that this secret doctrine could be revealed, and from the royal library in Paris a search for the texts of the Vedas was launched.
    [Show full text]
  • Chapter Ii Vizianagaram
    CHAPTER II VIZIANAGARAM - THE LOCAL ENVIRONMENT 33 VIZIANAGARAM - THE LOCAL ENVIRONMENT Vizianagaram is situated half way between Calcutta and Madras, 507 miles from Calcutta and 522 from Madras. It was in the Vizagapatam District of the then Madras state with an area of more than 18,000 square miles and a population of 2,610,000.' Vizianagaram is situated in latitude 18°.2" North, and longitude 83° 32" east; at twelve miles distance from the sea. The garrison at this time consists of one Regiment of Native Infantry. At the distance of one mile from the cantonment, which is placed on ground sloping gently to the northward, are the fort and town, and laying midway is a large tank (Pedda Cheruvu), which contains water at all seasons of the year. The fort is entirely occupied by the palace and buildings of the Maharaja. The station contains about twenty officers' houses; the compounds are very prettily laid out with gardens, and surrounded with trim hedges. There is a small church; a chaplain is allowed for the station, but he is required to visit Bhimlipatam and Chicacole, two Sundays each month.^ Climate: Generally the climate of the time is nonnal, without extreme atmospheric variations. But at some seasons in an year, especially in the wintry months it is a bit less. To the north of the town there are hills and hillocks at a distance of about six miles that connect the Eastern Ghats. There 34 are few patches of shrub jungles nearby. The best season with average climate IS from September to March, Summer sets in April when the weather becomes hot and the hot winds commence blowing from the middle of the month.
    [Show full text]
  • Editors Seek the Blessings of Mahasaraswathi
    OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi
    [Show full text]
  • Sri Annamacharya - Poems
    Classic Poetry Series Sri Annamacharya - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Sri Annamacharya(9 May 1408 – 23 February 1503) Sri Tallapaka Annamacharya (Telugu: ???? ???????? ???????????) (or Annamayya) was the official songmaster of the Tirumala Venkateswara Temple, and a Telugu composer who composed around 36000 keertana songs, many of which were in praise of Venkateswara, the presiding deity of the temple. The musical form of the keertana songs that he composed have strongly influenced the structure of Carnatic music compositions, which are still popular among Carnatic music concert artists. Sri Annamacharya is remembered for his saintly life, and is honoured as a great Bhakta/devotee of Bhagwaan Govinda by devotees and saintly singers. He is believed to have been the reincarnation of the precious sword of lord Vishnu ( Nandakam ). He is widely regarded as the Pada-kavita Pitaamaha (grand old man of song-writing) of the Telugu language. <b>Personal Life</b> Annamacharya was born on Vaisakha Suddha Pournami in the year Sarwadhari in Tallapaka, a village in current day Kadapa district of Andhra Pradesh, India. His wife, Thimmakka, had written Subhadra Kalyanam, and is considered the first female poet in Telugu literature. He was born into a Telugu Brahmin family. Their son, Pedda Tirumalacharya, and grandson, Tallapaka Chinnayya, were also composers and poets. The Tallapaka compositions are considered to have dominated and influenced the structure of Carnatic music compositions. Annamacharya lived for 94 years until Phalguna Bahula Dwadasi (12th day after full moon) in the year Dhundhubhi. <b>Literary Career</b> Annamacharya is said to have composed as many as 36,000 sankeertanas (songs) on Bhagwaan Govinda Venkateswara, of which only about 12,000 are available today.
    [Show full text]
  • The Artifice of Brahmin Masculinity in South Indian Dance
    5 Longing to Dance Stories of Kuchipudi Brahmin Women The Hyderabad-based Kuchipudi dance teacher Balatripurasundari learned to dance in secret. As the youngest daughter of internationally acclaimed Kuchipudi dance guru Vempati Chinna Satyam, Baliakka (as she is commonly called) was never encouraged by her father to dance. In fact, she was overtly discouraged from dancing on the basis that it might diminish her marriage prospects in the future and cause unnecessary hardships. Nonetheless, Baliakka learned by watching her father train hundreds of girls in his Madras-based dance institution, the Kuchipudi Art Academy (KAA). Likening herself to Ekalavya, the outcast student of Drona from the epic Mahābhārata, who learned archery in secret, Baliakka would sneak into the back of her father’s dance classroom, practice facial expressions in front of the bathroom mirror, and fashion Kuchipudi gestures (mudras) underneath her blanket at night. Baliakka longed to dance like the other girls at her father’s dance school, but her desire never won her father’s approval because, according to Kuchipudi sāmpradāyam (tradition), brahmin girls from the Kuchipudi village cannot and do not dance. This chapter focuses on the narratives of brahmin women belonging to heredi- tary Kuchipudi village families who have been overtly excluded from the embod- ied labor of performance. Unlike the brahmin men of the Kuchipudi village who are all associated with dance in some capacity, Kuchipudi brahmin women have no such performative roles to play. Kuchipudi brahmin women’s bodies are deemed unsuitable for the labor of Indian dance and are, therefore, proscribed from the “sweat, blood, tears, slipping or stained saris, callused feet, missteps, or familiar gestures” that dance entails (Srinivasan 2012, 8).
    [Show full text]
  • Village Survey Monographs, 3 Thimmanaykenpalayam, Part IV
    CENSUS OF INDIA VOLUME XXV PONDICHERRY STATE PART IV ·VILLAGB SURVEY MONOGRAPHS 3. THIMMANAYAKENPALAYAM P. K.-NAMBIAR- OF THE INDIAN ADMINISTRATIVE SERVICE SUPERINTENDENT OF CENSUS OPERATIONS, MADRAS AND PONDICHERRY "AND A. K. VIJAYA BHANU OF THE MADRAS CIVIL SERVICE DEPUTY SUPERINTENDENT OF CENSUS -OPERATIONS 1966 CENSUS OF INDIA 1961 o[CeDS1lS R.eport-Vol. XXV will relate to PolMlidlerry State. UDder tbis series will be, issued the 101l0"iDg Publications] Part 1 ..... General Report 011 Census Part II-A ... ...~ 'General Population Tables D Economic Tables C Cultural Tables D Migration Tables Part III-A Household Economic Tables B Housing and Establishment Tables C Scheduled Caste Tables Part IV .... Village Survey Monographs (Five numbers in five volumes) Part V .... Crafts and Artisans of P.ond,i,~herry State Part VI Fairs and Festivals (Temples) Part VII Administration Report ,(For official use only) Part VllI District Census Handbook FOREWORD Apart from laying the f"oundations of demography in this sub-contiaeilt;- a hundred year~' of the Indian Census has also produced 'elaborate and scholarly acC~lIDts of thy ~r.ie!tat~d ahenomena of Indian life-sometimes with no statistics attached. b';t usually ~w1thjju\t endttgh statistics to- give empirical underpinning to 'their conclusions'. In a country, largely illiterate.: where statistical or numerical comprehension of even such a simple thing as age, wu liable ,t-Q;_ be ' inaccurate, an understanding of the social structure was essential. It was more neC~iS~ry'" i6 attain a broad understanding of what was happening around oneself than to wrap'·ooeself up in 'statistical ingenuity' or • mathematical manipulation' .
    [Show full text]
  • The Artifice of Brahmin Masculinity in South Indian Dance
    Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Ahmanson Foundation Endowment Fund in Humanities. Impersonations Impersonations The Artifice of Brahmin Masculinity in South Indian Dance Harshita Mruthinti Kamath UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Harshita Mruthinti Kamath This work is licensed under a Creative Commons CC-BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: Kamath, H. M. Impersonations: The Artifice of Brahmin Masculinity in South Indian Dance. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.72 Library of Congress Cataloging-in-Publication Data Names: Kamath, Harshita Mruthinti, 1982- author. Title: Impersonations : the artifice of Brahmin masculinity in South Indian dance / Harshita Mruthinti Kamath. Description: Oakland, California : University of California Press, [2019] | Includes bibliographical references and index.
    [Show full text]
  • Pandit Iyothee Thass, Tamil Buddhism, and the Marginalized in South India Gajendran Ayyathurai
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons Foundations of Anti-caste Consciousness: Pandit Iyothee Thass, Tamil Buddhism, and the Marginalized in South India Gajendran Ayyathurai Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 2010 Gajendran Ayyathurai All rights reserved Abstract Foundations of Anti-caste Consciousness: Pandit Iyothee Thass, Tamil Buddhism, and the Marginalized in South India Gajendran Ayyathurai This dissertation is about an anti-caste movement among Dalits (the oppressed as untouchable) in South India, the Parayar. Since the late 19th century, members of this caste, and a few others from Tamil-speaking areas, have been choosing to convert to Buddhism based on conscience and conviction. This phenomenon of religious conversion-social transformation is this study’s focus. By combining archival research of Parayar’s writings among Tamil Buddhists, as these Parayar, settled in Tamil Nadu and Karnataka, are called, I have attempted to understand this movement ethno-historically. In pre-colonial times, though the sub-continent’s societies were hierarchical, the hierarchies were fluid and varied: i.e., the high-low or self-other dichotomies were neither fixed nor based on a single principle. The most significant effect of the encounter of British Colonialism and India was to precipitate an unprecedented master-dichotomy of singular and absolute form of self and other, as colonizer and the colonized. This had three consequences. (a) India was itself seen as singular and served as the Self to the colonial Other in an absolute dichotomy; (b) the role of essentializing the Indian Self was assumed by the brahmin; (c) this in turn resulted in an internal dichotomy between the—brahmin—essential self and the—non- brahmin—non-essential other.
    [Show full text]
  • Research Journal of English(RJOE) Vol-1,Issue-2,2016 an International Peer-Reviewed English Journal ISSN: 2456-2696 ______
    Oray’s Publications Research Journal Of English(RJOE) Vol-1,Issue-2,2016 www.rjoe.org.in An International Peer-Reviewed English Journal ISSN: 2456-2696 __________________________________________________________________________________ POLITICS OF DICTIONARY PRODUCTION IN COLONIAL SOUTH INDIA _____________________________________________________________ Dr. N. Manohar Reddy Assistant Professor, NALSAR University of Law, Hyderabad,Telangana,India ___________________________________________________________________________ Abstract: In this essay, I have tried to show that dictionary production in British India was not an “objective” and “neutral” exercise as it is generally understood to be but was directly connected with the perpetuation of colonial rule in India. The colonial state required to introduce new words to its subjects in the fields of education, law, administration, and so on, so that state could govern them efficiently. Thus, the English-Telugu dictionary produced by the Charles Philip Brown was instrumental in this hegemonic project. However, I will also try to show that the dictionary had to be structured in such a way that the difference between the rulers and subjects was explained. Since, Brown employed Brahmin pundits to compile the dictionary, it appears that their caste prejudices against muslims and the lower castes have crept in. Therefore, the question of representation becomes important. These issues have been analyzed through some selected words and the meanings assigned to them. However, English words were not
    [Show full text]
  • Kanchi Paramacharya Page 1
    Kanchi Paramacaharya Telugu original: R. Sreeramulu Translation : V. V. B. Rama Rao Kanchi Paramacharya Page 1 CONTENTS 1. Kanchipuram 2. Early life of saint-sage 3. The Swami in Chidambaram 4. The Swami in Srisailam and Triveni sangam 5. in Varanasi 6. In Midnapur 7. Difficulties in travel to Tatanagar 8. The Swami in Puri 9. Kumbabhishekam to Goddess Kamakshi 10. Travels in Tamil Region 11. Wide Travels in Andhra 12. Pilgrimages on foot for six years 13. Return to Kanchi 14. The final four decades in the Paramacharya’s life 15. Tanjaore Bruhadeeswara temple 16. The equality of all 17. Affection for Andhra 18. Singing Thiruppavai Thiruvembavi 19. The first western visitor Paul Brunton 20. Bhagavan Ramana and The Paramacharya 21. Appearance in dreams 22. Experiences of Neelamraju 23. Experiences of Chavali Sastri 24. Household God of Kautas 25. The ways of Preaching 26. Mother’s Abode 27. Prayer for universal peace 28. The pranks of the great ones 29. Visits of Foreigners 30. The splendour of the country 31. Deliverance from the body 32. Personal experiences of the writer Kanchi Paramacharya Page 2 Felicitation In explaining the glory and the grandeur of the ancient Vedic dharma and elucidating clearly that modern culture is not disparate or different from the ancient faith the Swami, Kanchi Paramayacharya is the one who won people’s hearts all over. The Paramacharya was extraordinarily skilled in the use of seventeen languages. The sage, saint and divine are without pride, ego, or any lapse. He is totally devoted to the deity. He is ever joyful never wavering or changeful.
    [Show full text]