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Acculturation and Transition in Religious Beliefs and Practices of the Bodos
International Journal of Advanced and Innovative Research (2278-7844) / # 1/ Volume 6 Issue 11 Acculturation and Transition in Religious Beliefs and Practices of the Bodos Dinanath Basumatary1, AlakaBasumatary*2 1Department of Bodo, Bodoland University Kokrajhar, 783370, Assam, India *Department of Bodo, Bodoland University Kokrajhar, 783370, Assam, India [email protected] Abstract:The traditional religion of the Bodos, a tribe of north- these changes take place due to the internal dynamics of the east India, has been under massive transition due to its concerned societies, whereas many are seemed to be governed increasing contact with the religion and culture of more by dynamics external to them. With the world becoming one advanced group of people of the country and abroad. It has been "global village," it has become easier for different cultures to under constant pressure from the major organized religions that come in contact with each other, yielding an evolution in a comes from the process of integration within a national political culture. Acculturation has become an inevitable process for and economic system. The religion, called Bathouism, that can be placed under naturalism category, after passing through societies, more and more people are experiencing different stages, is now under threat of losing its principal acculturation nowadays. philosophy. The en masse accommodation of religious beliefs and Bodo is one of the oldest aboriginal tribes of the state practices of more organised religions into it through of Assam in India, possessing distinct language, culture and acculturation has started to pose a question on its distinctiveness. religion. Although Bodos are mainly concentrated in the The religion has split into many branches, its new versions northern part of the Brahmaputra Valley along the foothills of becoming more popular than original version, indicating that Bhutan kingdom, they are distributed over all parts ofAssam, people want reformation of their traditional religion. -
Circassian Religion.Pdf
Circassian Religion and Beliefs Circassian Religion and Beliefs A Descriptive Account Amjad Jaimoukha 2009 1 Circassian Culture & Folklore First published 2009 by © 2009 Amjad Jaimoukha Typeset in Printed and bound in by All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. A catalogue record for this document is available from ( ) ISBN 2 Contents Introduction 5 1. Time-line of Faith 7 2. Ancient Native Religion & Mythology 9 The Circassian Pantheon 10 List of Circassian Deities 13 Tenets of Polytheism 16 Rites & Ceremonies 17 Oaths & Vows 20 Holidays & Festivals 21 Augury & Astrology 27 Rites of Devotion to Specific Deities 29 Hentsegwasche 29 Sozeresh 33 Zchegwpathe 38 Theghelej 39 Lords of the hunt: Mezithe and Dawischjerjiy 40 Lhepsch 41 Beliefs & Cults 44 Immortality of the soul 44 Ancestor worship 45 Cult of the hero 45 Pyrolatry 45 The Circassian hearth: The inner sanctum 47 Tree worship 48 Entreaties & toasts 50 Death & life after life 52 Magic numbers: ‘Seven’ and ‘three’ 57 Magic & witchcraft 58 Superstitions, jinxes, omens & black cats 59 3 3. Related Religions 60 Circassian & Abkhaz Pantheons 60 Connection with Hattian Religion 62 4. Christianity 64 Christian Festivals 69 Christmas 69 Easter 72 ‘Night of the Wolf-burrow’ and the Assumption of Our Lady 72 5. Spread of Islam 75 6. Contemporary Religion 77 Religion under Communism 77 Glasnost & Post-Soviet Period 78 Religion Today 80 Appendices 84 1. -
Love for All My Children, Jesus
1 The Girl of My Will in Jesus Love for All My Children, Jesus Volume 5 – Part B Les Éditions FJ 2 INTRODUCTORY NOTE The launch of this book took place in Saint-Jean-sur-Richelieu, Canada, on January 18, 2015. It was translated into English, from its original French version, by Giovanna Clementi, with the assistance of Monique Pepin. In accordance with the wishes of Jesus — manifested through his instrument, The Girl of My Will in Jesus —, this document is made available to all interested per- sons free of charge, while remaining under the protection of the law governing cop- yrights. It may be read directly from the computer or copies may be printed, but with the express condition that it not be printed with a commercial purpose and that nothing be changed in the texts, including the punctuation. It may also be obtained in its original format, that is to say in book form, which may be purchased at a mod- erate price at the following address: Distribution : Librairie Médiaspaul 250 St. François North Sherbrooke Qc Canada J1E 2B9 Tel. : 819-569-5535 Fax : 819-565-5474 [email protected] Web site of The Girl of My Will in Jesus : www.lafilleduouiajesus.org DECREE As a testimonial of respect and obedience to the decree of the Supreme Pontiff Urbanus VIII, we declare that the facts expressed in this book merit the faith attributed to any human testimony. We also declare that the judgements expressed do not intend to anticipate those of our holy Mother the Church to whom the author submits devoutly. -
Gods, Heroes, and Mythologists: Romantic Scholars and the Pagan Roots of Europe's Nations
UvA-DARE (Digital Academic Repository) Gods, Heroes, and Mythologists Romantic Scholars and the Pagan Roots of Europe’s Nations Leerssen, J. DOI 10.1086/685061 Publication date 2016 Document Version Final published version Published in History of Humanities Link to publication Citation for published version (APA): Leerssen, J. (2016). Gods, Heroes, and Mythologists: Romantic Scholars and the Pagan Roots of Europe’s Nations. History of Humanities, 1(1), 71-100. https://doi.org/10.1086/685061 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 Gods, Heroes, and Mythologists: Romantic Scholars and the Pagan Roots of Europe’s Nations Joep Leerssen, University of Amsterdam ABSTRACT This article traces the scholarly interest in Europe’s non-Classical mythologies, from the rise of Edda studies in late eighteenth-century Denmark to the appropriation of Celtic origin myths in Spanish Galicia, and the flourish of overlapping Baltic mythol- ogies between Tallinn and Vilnius, in the decades before 1900. -
Slavic Pagan World
Slavic Pagan World 1 Slavic Pagan World Compilation by Garry Green Welcome to Slavic Pagan World: Slavic Pagan Beliefs, Gods, Myths, Recipes, Magic, Spells, Divinations, Remedies, Songs. 2 Table of Content Slavic Pagan Beliefs 5 Slavic neighbors. 5 Dualism & The Origins of Slavic Belief 6 The Elements 6 Totems 7 Creation Myths 8 The World Tree. 10 Origin of Witchcraft - a story 11 Slavic pagan calendar and festivals 11 A small dictionary of slavic pagan gods & goddesses 15 Slavic Ritual Recipes 20 An Ancient Slavic Herbal 23 Slavic Magick & Folk Medicine 29 Divinations 34 Remedies 39 Slavic Pagan Holidays 45 Slavic Gods & Goddesses 58 Slavic Pagan Songs 82 Organised pagan cult in Kievan Rus' 89 Introduction 89 Selected deities and concepts in slavic religion 92 Personification and anthropomorphisation 108 "Core" concepts and gods in slavonic cosmology 110 3 Evolution of the eastern slavic beliefs 111 Foreign influence on slavic religion 112 Conclusion 119 Pagan ages in Poland 120 Polish Supernatural Spirits 120 Polish Folk Magic 125 Polish Pagan Pantheon 131 4 Slavic Pagan Beliefs The Slavic peoples are not a "race". Like the Romance and Germanic peoples, they are related by area and culture, not so much by blood. Today there are thirteen different Slavic groups divided into three blocs, Eastern, Southern and Western. These include the Russians, Poles, Czechs, Ukrainians, Byelorussians, Serbians,Croatians, Macedonians, Slovenians, Bulgarians, Kashubians, Albanians and Slovakians. Although the Lithuanians, Estonians and Latvians are of Baltic tribes, we are including some of their customs as they are similar to those of their Slavic neighbors. Slavic Runes were called "Runitsa", "Cherty y Rezy" ("Strokes and Cuts") and later, "Vlesovitsa". -
Bihu Dances. the Performances Include a Range of Other Theatrical Shows; Other Dance Forms Performances, Solo Singer Concerts and Stand up Comedy
Bihu dances. The performances include a range of other theatrical shows; other dance forms performances, solo singer concerts and stand up comedy. the stage Bihu form have become so popular that different Bihu organizers have extended the celebrations to Bohagi Bidai, which is celebrated for bidding adieu to the festive Bohag month. Instruments used in Bihu : Dhol Bihu celebration is insignificant with the traditional instruments of Assam. There are a variety of instruments which are used during Bihu performances, Bihu geets and dances. Some of Taal Gagana them are : Dhol : The Dhol is an important instrument of Xutuli Assamese culture. It is a percussion instrument Pepa similar to a drum. The Dhol is made of a wooden barrel. It is played with a stick and the palm on each side. The beat of the Dhol is the life of the Toka Assamese culture. A beat from the Dhol makes one swirl and dance to the rhythmic flow. Baanhi Taal : It is a small cymbal instrument. There are different types of Taal. This Bihu is characterized with a feeling of Pepa : Pepa is a flute like musical instrument solemnity as the granaries are almost empty during used in Bihu. It is a small stem capped with buffalo this season. On this Bihu, people light earthen horn. The sound of the Pepa is striking and lamps in front of tulsi plant, the granary, garden mesmerizing. and the paddy fields. The cattle are also fed with Other instruments used are the Toka, Gagana, pithas. Xutuli and Baanhi (flute). Kati or Kongali Bihu has a different flavor as Bohag Bihu is celebrated in different states of there is less merriment and the atmosphere has a India in different names, eg. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 10, Issue-V, October 2019 ISSN: 0976-8165 Ban Theatre of Tezpur and the Development of Modern Assamese Theatre Dipankar Saikia PhD Scholar, Dept. of MIL & LS, Gauhati University. & Dr. Sukdev Adhikari Principal, LOKD College, Assam Research Supervisor, Dept. of MIL & LS, Gauhati University. Article History: Submitted-27/09/2019, Revised-05/11/2019, Accepted-10/11/2019, Published-20/11/2019. Abstract: Modern Assamese theatre is basically amateur in nature and the permanent playhouses erected by various amateur theatre societies of Assam played the pivotal role in the development of western-style Assamese dramaturgy. Ban Theatre of Tezpur in the Sonitpur district of Assam occupied the central place in the development of modern Assamese theatre. The playhouse gave birth to the greatest Assamese dramatist Jyotiprasad Agarwala and raised stellar performers like Bishnu Rabha and Phani Sarma. It introduced the first theatrical orchestra in the State, standardised native Assamese songs and music and employed innovative styles of playwriting and play-production. The present study makes an analytical attempt to trace the history of performance at Ban Theatre and situate its vibrant tradition of theatre practice in the context of the development of modern Assamese theatre. -
Sl.No. Festival Time Write up Photo1 Photo2 01 Rabhahajongchandubi
Sl.No. Festival Time Write up Photo1 Photo2 01 RabhaHajongChandubi January RabhaHasong Autonomous Council Festival organises the Chandubi Festival, which is held on the bank of ChandubiBeel in Kamrup every year. Rabha and Hajong are main communities of the region. They showcase their ethnic culture in the festival. Performing dance by Rabha tribe people. Chandubi lake during festival time. 02 JunbeelMela January From 15 th Centaury AD, the JunbeelMela is organised at DayangBeguri at Jonbeel. JunbeelMela is one of the most attractive unique festivals of Assam. It is the only fair in India where barter system is alive. 03 Me -dam -me -phi January Me -dam -me -phi is celebrated by the Ahom people on 31 January every year in memory of the departed. It is the manifestation of the concept of ancestor worship that the Ahoms share with other peoples originating from the Tai-Shan stock. It is a festival to show respect to the departed ancestors and remember their contribution to society. 1 Sl.No. Festival Time Write up Photo1 Photo2 04 Karbi Youth Festival February Karbi Cultural Society organises Karbi Youth Festival at Diphu every year, where showcases Karbi ethnic culture. Performing dance by Karbi youths Publicity material of the festival 05 Ali -Aye -Lrigang, February - It is the main festival of the ethnic Mishing Dhemaji March Community of the region, in which they perform traditional rituals and dances. This festival is celebrated on the first Wednesday of the Phagun month, which starts from mid-February. 06 AajanPirDargah, February 22 Km away from the Sivasagar at Sibsagar, Urus SaraguriChapori on the river Dikhow. -
Convergence 2010 Programming Guide – Low Resolution
The purpose of this Programming Guide is to tell you the where-and-when of things happening throughout the convention weekend. The more condensed Programming Grid has been separated out into its own pocket- sized book. You can find more detailed information about our Guests of Honor, Performers, CONvergence Convention10011010010100 Committee, and our parent organization CONvergence Events, Inc. in our Souvenir Book. Programming Guide 100100110100101Contents Hours of Operation and Locations 2 Special Events 4 CVG ASL 6 Art Show & Auction 7 Artists Alley 7 Cinema Rex Movie Room 8 CoF2E2 Free Coffee Shop 11 Connie’s Space Lounge 11 Connie’s Quantum Sandbox 12 ConSuite 14 Dorian Gray Memorial Literary Lounge 15 Gaming 17 Harmonic CONvergence 20 Krushenko’s 22 MainStage 24 Theater Nippon Anime Room 26 Parties and Cabanas 30 Volunteers / Volunteers’ Den 35 GPS at CONvergence 36 Guests of Honor Appearances 37 Former GoH in Attendance 39 Panels and Programming 40 Panels and Programming – Thursday 40 Panels and Programming – Friday 44 Panels and Programming – Saturday 53 Panels and Programming – Sunday 61 Maps 66 Contact Information Convergence Events Inc. 1121 Jackson Street, Suite 106 Minneapolis, MN 55413 24-hour Voicemail: 612/234-2845 CONvergence eMail: [email protected] Convention Website: http://www.convergence-con.org Organization Website: http://www.convergenceevents.org The CONvergence 2010 Programming Guide was designed by Christopher Jones and Kristin Lerwick for CONvergence Publications. Cover artwork by Christopher Jones. All other artwork, unless otherwise noted, is by Christopher Jones. Special thanks go to Roger Pavelle, Hal Bichel, Beth Scudder, Danielle McKay, CONvergence Department Heads, the CONvergence Directors, and to everyone who provided content, for their assistance with this publication. -
Mimetic Desire, Institutions, and Shūsaku Endō's Loving Gaze On
Persecutor’s Remorse: Mimetic Desire, Institutions, and Shūsaku Endō’s Loving Gaze on Persecutors A Thesis Submitted to The Faculty of the College of Arts and Sciences In Candidacy for the Degree of Master of Arts in English By Jirayu Smitthimedhin 1 May 2019 Smitthimedhin 2 Liberty University College of Arts and Sciences Master of Arts in English Student Name: Jirayu Smitthimedhin ______________________________________________________________________________ Thesis Chair: Dr. Stephen Bell Date ______________________________________________________________________________ First Reader: Dr. Karen Swallow Prior Date ______________________________________________________________________________ Second Reader: Professor Nicholas Olson Date Smitthimedhin 3 “Man is a splendid and beautiful being and, at the same time, man is a terrible being as we recognised in Auschwitz —God knows well this monstrous dual quality of man.” -Shūsaku Endō “We are of the same spiritual race… and from childhood we were accustomed to examine our hearts, to bring light to bear on our thoughts, our desires, our acts, our omissions. We know that evil is an immense fund of capital shared among all people, and that there is nothing in the criminal heart, no matter how horrible, whose germ is not also to be found in our own hearts.” - François Mauriac “The principal source of violence between human beings is mimetic rivalry, the rivalry resulting from imitation of a model who becomes a rival or of a rival who becomes a model” (I See Satan, 2). - René Girard “Ordinary men are usually part of a social and moral network that helps them maintain their humanity toward others and prevents them from becoming involved in inhuman acts. In order to socialize them into becoming murderers, they have to be insulated from their original social network and an alternative network has to be created for the potential killers, composed of men like themselves, led by a genocidal authority. -
Ape Chronicles #035
For a Man! PLANET OF THE APES 1957 The Three Faces of Eve ARMY ARCHERD WHO IS WHO ? 1957 Peyton Place FILMOGRAPHY 1957 No Down Payment 1958 Teacher's Pet (uncredited) FILMOGRAPHY (AtoZ) 1957 Kiss Them for Me 1963 Under the Yum Yum Tree Compiled by Luiz Saulo Adami 1957 A Hatful of Rain 1964 What a Way to Go! (uncredited) http://www.mcanet.com.br/lostinspace/apes/ 1957 Forty Guns 1966 The Oscar (uncredited) apes.html 1957 The Enemy Below 1968 The Young Runaways (uncredited) [email protected] 1957 An Affair to Remember 1968 Planet of the Apes (uncredited) AUTHOR NOTES 1958 The Roots of Heaven 1968 Wild in the Streets Thanks to Alexandre Negrão Paladini, from 1958 Rally' Round the Flag, Boys! 1970 Beneath the Planet of the Apes Brazil; Terry Hoknes, from Canadá; Jeff 1958 The Young Lions (uncredited) Krueger, from United States of America; 1958 The Long, Hot Summer 1971 Escape from the Planet of the Apes and Philip Madden, from England. 1958 Ten North Frederick 1972 Conquest of the Planet of the Apes 1958 The Fly (uncredited) 1959 Woman Obsessed 1973 Battle for the Planet of the Apes To remind a film, an actor or an actress, a 1959 The Man Who Understood Women (uncredited) musical score, an impact image, it is not so 1959 Journey to the Center of the Earth/Trip 1974 The Outfit difficult for us, spectators of movies or TV. to the Center of the Earth 1976 Won Ton Ton, the Dog Who Saved Really difficult is to remind from where else 1959 The Diary of Anne Frank Hollywood we knew this or that professional. -
Satras and Namghars in Assam
Role of Traditional Institutions in Peacebuilding: A case Study of the Satras and Namghars in Assam A Thesis submitted To Sikkim University In Partial Fulfillment of the Requirement for the Degree of Doctor of Philosophy By Jayanta Madhab Tamuly Department of Peace and Conflict Studies and Management School of Social Sciences June, 2016 Gangtok 737102 India ACKNOWLEDGEMENT I offer my sincere thanks to my supervisor Dr.Sanghamitra Choudhury, Assistant Professor, Department of Peace and Conflict Studies and Management, Sikkim University for her keen interest in guiding my research. I am able to complete my work only with the help of her scholarly suggestions and cooperative approach. A deep sense of gratitude is owed to my teachers Dr.Nawal K.Paswan, the Head of the Department and Dr.Salvin Paul. Their occasional suggestions and friendly approaches helped easing my work. I am also grateful to Sir Ishwarjeet, Sir Newton, Madam Indira, Sir Komal, Sir Abhijeet,Sir Rahul, Madam Nirmali, Madam Jeuti, Prof.Gassa and Sir Shailendra who have helped me in different time with their valuable suggestions. My sincere thanks go to all the officials of the Satras and Namghars of Majuli. All of them helped me by sparing their valuable time, providing information, offering explanation and suggestions. The entire research was possible only because of their spontaneous cooperation in conducting the interviews and discussions. They have helped me in staying in the respective places, knowing the ins and outs of the diverse aspects of the institutions and their mechanisms. I offer my humble gratitude for all the help they have offered during my stays and visits to the field.