Path Dependence, Multiple Equilibria, and Adaptive Efficiency in Forest Regimes in India
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South-Indian Images of Gods and Goddesses
ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh. -
1481186712P4M12TEXT.Pdf
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement. -
Introduction to Old Javanese Language and Literature: a Kawi Prose Anthology
THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES THE MICHIGAN SERIES IN SOUTH AND SOUTHEAST ASIAN LANGUAGES AND LINGUISTICS Editorial Board Alton L. Becker John K. Musgrave George B. Simmons Thomas R. Trautmann, chm. Ann Arbor, Michigan INTRODUCTION TO OLD JAVANESE LANGUAGE AND LITERATURE: A KAWI PROSE ANTHOLOGY Mary S. Zurbuchen Ann Arbor Center for South and Southeast Asian Studies The University of Michigan 1976 The Michigan Series in South and Southeast Asian Languages and Linguistics, 3 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Library of Congress Catalog Card Number: 76-16235 International Standard Book Number: 0-89148-053-6 Copyright 1976 by Center for South and Southeast Asian Studies The University of Michigan Printed in the United States of America ISBN 978-0-89148-053-2 (paper) ISBN 978-0-472-12818-1 (ebook) ISBN 978-0-472-90218-7 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ I made my song a coat Covered with embroideries Out of old mythologies.... "A Coat" W. B. Yeats Languages are more to us than systems of thought transference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. "Language and Literature" Edward Sapir Contents Preface IX Pronounciation Guide X Vowel Sandhi xi Illustration of Scripts xii Kawi--an Introduction Language ancf History 1 Language and Its Forms 3 Language and Systems of Meaning 6 The Texts 10 Short Readings 13 Sentences 14 Paragraphs.. -
Menaka's Choice As a Feminist Revisionist Mythological
Journal of Critical Reviews ISSN- 2394-5125 Vol 7, Issue 9, 2020 MENAKA’S CHOICE AS A FEMINIST REVISIONIST MYTHOLOGICAL LITERATURE Ayuta Mohanty1, Dr. S. D. Chaudhuri2 1PhD Scholar, School of Humanities & Social Sciences, KIIT UNIVERSITY 2Assistant Professor, School of Humanities & Social Sciences, KIIT UNIVERSITY Received: 24.03.2020 Revised: 22.04.2020 Accepted: 25.05.2020 Abstract In patriarchal societies, mythological literature are generally composed by male authors. As a result, it almost always concentrates on the male protagonist and his adventures. The role that women play in these epics can be grouped into the following three categories: a) passive onlookers, b) receivers of the male action, and c) causes of the troubles faced by the male protagonists/ characters. Such biased depiction affects the mentality of our society as these values get embedded within our psyche and shapes our thoughts and perspectives and ultimately becomes a social tradition. Partially in an attempt to change this outlook, some Indian women writers have started a fresh and subversive trend by recreating mythological texts from the point of view of the female characters. These recreations or retellings help us to understand these epics from quite a dissimilar perspective, because when the perception of the narrator changes, the way a reader perceives a narrative is bound to change as well. This paper focuses on one such novel, Menaka’s Choice by Kavita Kane, that focuses on the perspective of Menaka and highlights her strengths and weakness that led her to make certain decisions that changed her course of life as well as that of others related to her. -
Institutions of Change: Kathak Dance from Courts to Classrooms
The Chitrolekha Journal on Art and Design (E-ISSN 2456-978X), Vol. 2, No.1, 2018 DOI: https://dx.doi.org/10.21659/cjad.21.v2n104 PDF URL: www.chitrolekha.com/ns/v2n1/v2n104.pdf Institutions of Change: Kathak dance from Courts to Classrooms Suman Bhagchandani Ph.D. scholar of English at Jamia Milia University, Delhi. Orcid: 0000-0001-9525-2697. Email: [email protected] Abstract: This paper is a study of the progress of Kathak from the erstwhile courtesan culture to the contemporary classroom, structured practice. It aims to highlight the works of contributors like Nirmala Joshi and Sumitra Charat Ram as the pioneers of institutional Kathak that completely divorced its cultural past in the Mughal courts. Amidst all this cleansisng of Kathak history, Madame Menaka, one of the first female Kathak dancers to perform on the proscenium stage and to legitimise her presence by her association with insitutions of Kathak stands out. Madame Menaka truly deserves more attention in dance history and this paper aims to celebrate her life and works in Kathak. These artists and art entrepreneurs have never come together on the same platform for their contributions in the field of art and culture as they do in this paper. Their works lie scattered in biographies and articles that perform a discrete study on each of them. This paper is therefore an attempt to draw a linear development of Kathak through the works of female art contributors. Keywords: Kathak, Madame Menaka, Mughal courts, courtesan culture Introduction Kathak recognised by the Sangeet Natak Akademy as one of the eight classical dances of India is known for its precision in foot-work, fast pirrouttes, fine expressions, and its story-telling tradtion. -
Giving Voice to the Voiceless: a Clash of Dominant and Divergent Idea in Sita’S Sister and Menaka’S Choice by Kavitha Kane
Quest Journals Journal of Research in Humanities and Social Science Volume 6 ~ Issue 12 (2018)pp.:06-09 ISSN(Online):2321-9467 www.questjournals.org Research Paper Giving Voice To The Voiceless: A Clash Of Dominant And Divergent Idea In Sita’s Sister And Menaka’s Choice By Kavitha Kane Lavanya R.Mohan Research Scholar Mar Thoma College, Thiruvalla M.G University, Kottayam Corresponding Author: Lavanya R.Mohan ABSTRACT: Literature always have the provision for taking different themes and subjects which tend to establish certain ideologies. Such ideologies sometimes establish a deep connection with the everyday rendering of society with an ability to influence them. In modern times such ideologies make a connection with both similar and contradictory concepts which are prevalent in the society and draw divergent ideas out of both similarities and differences. Indian literature also has that provision which derive themes and idea from both the modern and ancient periods. Sometimes they render a re-reading of ancient myths and tales and present them in modern context. Through this, they put forth a particular ideology which contradict the dominant ideology and create divergent ideology from them. My paper aims to study such a rereading in Indian English literature through the examination of the novels Sita’Sister and Menaka’s Choice by Kavitha Kane, which are published in the years 2014 and 2015 respectively. The novels portray the women characters who were left with no choice except to obey the norms established by the male dominated society. Both the novels explore the voice of the female characters Urmila and Menaka, who are placed within the margins of patriarchal society where ideas were determined by men, which emerged as dominant, as seen in ancient scriptures like Ramayana and Mahabharatha. -
Anasuya-Priyamvada Charitkatha the Story So Far: Shakuntala, the Adopted Daughter of Rishi Kanva and the Real Daughter of Menaka
Anasuya-Priyamvada Charitkatha The Story So Far: Shakuntala, the adopted daughter of Rishi Kanva and the real daughter of Menaka and Visvamitra, was separated from her husband, King Dushyanta, due to the curse of Rishi Durvasa who was quite infamous for his temper and curses. During this separation, she was carrying the child of King Dushyanta and their son, Bharat, would one day lead the Puru Kingdom and would also initiate the dynasty of Bharat. They did meet after the curse was lifted (most curses had an escape clause). What happened when Shakuntala left the ashram of Kanva: Shakuntala had left the ashram with some escorts. Her close friends, Anasuya and Priyamvada, were left behind. They were roughly of the same age and were quite beautiful themselves. Anasuya: O dear Priyamvada, Shakuntala has managed it quite well. Hooked a husband who is a big king; she is also carrying his child. She is all set. Priyamvada: Anasuya, we should be happy for her. Shakuntala got a head-start, no doubt there, but we too need to set up ourselves. Anasuya: What do you plan to do? Do we stand there below the Big Banyan tree and anoint ourselves with sandal-paste and other stuff? Good husband material is rare (it holds true even today, same goes for good wife material too). Unknown to them both two brothers - broad shouldered, learned and of royal heritage - were heading towards the ashram of Rishi Kanva. Indrasen, the elder of the two, was a very learned person. He was tall, a little dark but was very handsome. -
Ayodhya Supreme Court Verdict Date
Ayodhya Supreme Court Verdict Date Requitable Mikael still twiddles: pertinacious and sideling Rusty decolorising quite atomistically but revetting her bahuvrihis implausibly. Leon outlaw blushingly while winding Tirrell outspeaking fatalistically or havocking gleefully. Sometimes unlaboured Hammad measuring her wahoos despotically, but thermolabile Thaddius buying doubtless or westernizing thenceforth. It will remain with the idea of court ayodhya Get unlimited access to TIME. He states in his memoir that the statue stands in the capital of Kosala then called Shravasti, midst ruins of a large monastery. Authenticity of the mythological text has been questioned several times. There is some structure under the mosque. Bhartiya Janta Party official website. District police and Station House Officers have been directed to raise police visibility and patrolling in communally sensitive areas. The second describes, through the character of Rama, the desire for liberation and the nature of those who seek such liberation. Hindu tradition of multiplicity: Any place that is truly important is important enough to be duplicated and sited in multiple places. Director: Which century was Lord Ram born in? These two books are known for emphasising free will and human creative power. The court held that who could become a judge was a matter of fact, and any person had a right to question it. The country is lagging in its vaccination plans amid a delayed delivery of doses. Sometimes, the sparse empathy accorded to Muslims in the opinion comes across the strongest in the pregnant silences. Babri Masjid dispute lies in the belief that Lord Ram was born in a room located under what was the central dome of the Babri Masjid. -
Apsaras - the Dancing Damsels of Indra's Court
Newsletter Archives www.dollsofindia.com Apsaras - The Dancing Damsels of Indra's Court Copyright © 2019, DollsofIndia The interesting and entertaining tales of Indian mythology talk about not only Gods and Goddesses, but also about celestial beings of all kinds; especially those working in tandem with the Devas and Devis; loyally serving them; many times, actually being the catalysts of change, bringing about transformation for the good of all beings in all the three worlds. Such is the tale of the enchanting Apsaras of the court of Indra, the God of the Devas. Apsaras Apsaras are celestial nymphs, who dance in the court of Indra, the King of the Devas. Quite a few in number; they are considered to be extremely beautiful, charming, seductive and greatly talented in both music and dance. Apsara - Temple Sculpture from Belur, Karnataka, India (Photo Print) Etymology The word "Apsara" originates from the Sanskrit "Apsaras". It could loosely be defined as "the one going in the waters or between the waters of the clouds". There are two types of Apsaras, namely, laukika (wordly) and daivika (divine). Thirty-four nymphs are specified of the first type and ten of the second type. These celestial beings are also known as vidyadhari or tep apsar in Khmer, acchara in Pali, bo sa la tu in Vietnam, bidadari in Indonesia and Malaysia, widadari in Java and aapson in Thailand. The most famous Apsaras in Indian mythology are Rambha, Menaka, Urvashi, Tilottama and Ghritachi. The Puranas also mention other minor nymphs such as Mishrakesi, Vapu, Viprachitti, Purvachitti, Sahajanya, Karnika, Punjikasthala, Viswachi, Rithisthala, Umlocha, Pramlocha, Swayamprabha,Janapadi, and Adrika. -
RAMAYANA Retold by C
RAMAYANA retold by C. Rajagopalachari (Edited by Jay Mazo, American Gita Society) Contents 1. The Conception 39. A Second Father Dies 2. Sage Viswamitra 40. Left Eyelids Throb 3. Trisanku 41. He Sees Her Jewels 4. Rama Leaves Home 42. Sugriva's Doubts Cleared 5. Rama Slays The Monsters 43. The Slaying Of Vali 6. Sita 44. Tara's Grief 7. Bhagiratha And The Story Of 45. Anger And Reconciliation Ganga 46. The Search Begins 8. Ahalya 47. Son Of Vayu 9. Rama Wins Sita's Hand 48. The Search In Lanka 10. Parasurama's Discomfiture 49. Sita In The Asoka Park 11. Festive Preparations 50. Ravana's Solicitation 12. Manthara's Evil Counsel 51. First Among The Astute 13. Kaikeyi Succumbs 52. Sita Comforted 14. Wife Or Demon? 53. Sita And Hanuman 15. Behold A Wonder! 54. Inviting Battle 16. Storm And Calm 55. The Terrible Envoy 17. Sita's Resolve 56. Hanuman Bound 18. To The Forest 57. Lanka In Flames 19. Alone By Themselves 58. A Carnival 20. Chitrakuta 59. The Tidings Conveyed 21. A Mother's Grief 60. The Army Moves Forward 22. Idle Sport And Terrible Result 61. Anxiety In Lanka 23. Last Moments 62. Ravana Calls A Council Again 24. Bharata Arrives 63. Vibhishana 25. Intrigue wasted 64. The Vanara's Doubt 26. Bharata Suspected 65. Doctrine Of Surrender And Grace 27. The Brothers Meet 66. The Great Causeway 28. Bharata Becomes Rama's Deputy 67. The Battle Begins 29. Viradha's End 68. Sita's Joy 30. Ten Years Pass 69. Serpent Darts 31. -
Transcendental Personalism by Suhotra Swami
Transcendental Personalism by Suhotra Swami About This Book My previous book, *Substance and Shadow*, focused a number of basic problems of philosophy and dealt with them from the standpoint of Vedic knowledge as I've learned it from my spiritual master, His Divine Grace A.C. Bhaktivedanta Swami Prabhupada. This book, *Transcendental Personalism--Vedic Answers for the Human Situation*, focuses on just one question that Western philosophy beginning with Socrates terms "a beautiful risk".* The question is: "What does it mean to be a person?" Now, why is it a risk to seek an answer to this question? For one thing, for someone to ask why he or she is a person is to admit that one finds no meaning in life. Dr. Charles Tart, a distinguised professor of psychology at the Davis Campus of the University of California, reports that in the 1950s, psychotherapists began to see a new type of client: the "successful malcontent." This type of person is normally successful by contemporary social standards, has a reasonable job, income, family life, and enjoys acceptance and respect in the community. All these rewards are supposed to bring happiness in our society, and the successful malcontent knows that by these standards, one ought to have no problems. But nevertheless he or she finds life to empty. The successful malcontent goes to a psychologist and asks, "Isn't there more to life than money, career, consumer goods, social life? Where is the *meaning?*" Conventional therapy, based on conventional theories about the nature of humans and personality, is of little value to these people. -
Courtesans and Choreographers: the (Re)Placement of Women in the History of Kafhak Dance*
I Courtesans and Choreographers: The (Re)Placement of Women in the History of Kafhak Dance* MARGARET WALKER In the move from feudal empire to British colony to independent nation in less than 300 years, India's traditions have needed to constantly adapt to changing politics, patronage, and philosophies. The trajectory of change through the first half of the twentieth century combined re-invention with rediscovery, as multiple facets of Indian culture met each other in the heady environment surrounding the struggle for and achievement of independence in 1947. During the years leading up to independence, a flowering of interest in music and dance led to a period described as a "Renaissance" or the "Neo- Classical" period of Indian music and dance. These terms, which sug- gest a reclaiming of ancient or lost traditions after a period of decline, underline the crucial role that the reclamation of the performing arts as the rich and worthy cultural inheritance of an independent people played in the raising of national consciousness and pride during the struggle against the colonial Raj. Yet, scholars also analyze the mid-twentieth century as a period of modernity when the newly independent India broke with the colonial past and re-invented itself as an autonomous nation-state. Most histor- ies of music and dance written in the twentieth century combine this modernist sense of rupture with the nationalist need for an ancient Hindu past, offering telescoped pasts that leap from Vedic to modern times in a few giant steps (Devi 1972; Banerji 1982; Narayan 1998; Sinha 2000; Walker 2004 among many others).