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The Plurality of Draupadi, Sita and Ahalya
Many Stories, Many Lessons: The Plurality of Draupadi, Sita and Ahalya Benu Verma Assistant Professor, USHSS Guru Gobind Singh Indraprastha University Dwarka, Delhi Abstract: The relationship between life and literature is a dialogic one. Life inspires literature and literature in turn influences life. Various genres in which literature is manifested reflect on the orientation, significance as well as the place of the text in its social environment. Mikhail Bakhtin proposes that genres dictate the reception of a text. Yet the same text could be interpreted differently in different times and contexts and be rewritten to reflect the aspirations of the author and her/his times. The many life stories of the feminine figures from the epics of Ramayana and Mahabharata assert not only the inconclusive nature of myth and the potency of these epics, they also tell us that with changing political and social milieu the authors reinterpret and record anew given stories to contribute to the literature of their times. Draupadi as the epic heroine of Mahabharata has been written about popularly and widely and in each version with a new take on the major milestones of her life like her five husbands and her birth from fire. The motifs of her disrobing and her hair have been employed variedly to tell various stories, sometimes of oppression and at others of liberation, each belonging to a different time and space. Each story reflected the political stance and aspiration of its author and read by readers differently as per their times and contexts. Through an examination of various literary renditions of the feminine figures from the epics, like Draupadi, Sita, and Ahalya, this paper discusses the relationship between life and literature and how changing times call for changing forms of literature. -
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. -
Strategies for Combating the Culture of Dowry and Domestic Violence in India
pdfMachine by Broadgun Software - a great PDF writer! - a great PDF creator! - http://www.pdfmachine.com http://www.broadgun.com "Violence against women: Good practices in combating and eliminating violence against women" Expert Group Meeting Organized by: UN Division for the Advancement of Women in collaboration with: UN Office on Drugs and Crime 17 to 20 May 2005 Vienna, Austria Strategies for Combating the Culture of Dowry and Domestic Violence in India Expert paper prepared by: Madhu Purnima Kishwar Manushi, India 1 This paper deals with the varied strategies used by Manushi and other women’s organizations to deal with issues of domestic violence, the strengths and limitations of approaches followed hitherto and strategies I think might work far better than those tried so far. However, at the very outset I would like to clarify that even though Manushi played a leading role in bringing national attention to domestic violence and the role dowry has come to play in making women’s lives vulnerable, after nearly 28 years of dealing with these issues, I have come to the firm conclusion that terms “dowry death” and “dowry violence” are misleading. They contribute towards making domestic violence in India appear as unique, exotic phenomenon. They give the impression that Indian men are perhaps the only one to use violence out of astute and rational calculations. They alone beat up women because they get rewarded with monetary benefits, whereas men in all other parts of the world beat their wives without rhyme or reason, without any benefits accruing to them. Domestic violence is about using brute force to establish power relations in the family whereby women are taught and conditioned to accepting a subservient status for themselves. -
Fairs and Festivals, (20 Nalgonda)
PRG. 179.20 (N) 750 NALGONDA CENSUS OF INDIA 1961 VOLUME II ANDHRA PRADESH PART VII-B (20) • ."" ( 20. Nalgonda District) A. CHANDRA SEKHAR OF THE INDIAN ADMINISTRATIVE SERVICE Superintendent of Census Operations, Andhra Pradesh Price: Rs. 5.25 P. or 12 Sh. 4d. or $ 1.89 c. 1961 CENSUS PUBLICATIONS, ANDHRA PRADESH ( All the Census Publications of this State bear Vol. No. II ) PART I-A General Report PART I-B Report on Vital Statistics PART I-C Subsidiary Tables PART II-A General Population Tables PART II-B (i) Economic Tables [B-1 to B-IV] PART II-B (ii) Economic Tables [B-V to B-IX] PART ll-C Cultural and Migration Tables PART III Household Economic Tables PART IV-A Report on Housing and Establishments (with Subsidiary Tables) PART IV-B Housing and Establishment Tables PART V-A Special Tables for Scheduled Castes and Scheduled Tribes PART V-B Ethnographic Notes on Scheduled Castes and Scheduled Tribes PART VI Village Survey Monographs (46) PART VII-A (1) I I Handicrafts Survey Reports (Selected Crafts) PART VIT-A (2) J PART VII-B (1 to 20) Fairs and Festivals (Separate Book for each District) PART VIII-A Administration Report-Enumeration I I (Not Jor sale) PART VIII-B Administra tion Report-Tabulation J PART IX State Atlas PART X Special Report on Hyderabad City District Census Handbooks (Separate Volume Jor each District) :2 SlJ..... (l) I ,......; () » ~ <: ~ ~ -.(l) "'<! ~ 0 tl'l >-+:I ~ ~ K'! I") ~ :::.... a.. (JQ . -..: . _ ~ ~ ~ . (JQ ~ ~I") ;:::; v.,~ SlJ .,CI:l to -. ::r t-- C ~ ::s ~ !J.9 . -
Ganga As Perceived by Some Ganga Lovers Mother Ganga's Rights Are Our Rights
Ganga as Perceived by Some Ganga Lovers Mother Ganga’s Rights Are Our Rights Pujya Swami Chidanand Saraswati Nearly 500 million people depend every day on the Ganga and Her tributaries for life itself. Like the most loving of mothers, She has served us, nourished us and enabled us to grow as a people, without hesitation, without discrimination, without vacation for millennia. Regardless of what we have done to Her, the Ganga continues in Her steady fl ow, providing the waters that offer nourishment, livelihoods, faith and hope: the waters that represents the very life-blood of our nation. If one may think of the planet Earth as a body, its trees would be its lungs, its rivers would be its veins, and the Ganga would be its very soul. For pilgrims, Her course is a lure: From Gaumukh, where she emerges like a beacon of hope from icy glaciers, to the Prayag of Allahabad, where Mother Ganga stretches out Her glorious hands to become one with the Yamuna and Saraswati Rivers, to Ganga Sagar, where She fi nally merges with the ocean in a tender embrace. As all oceans unite together, Ganga’s reach stretches far beyond national borders. All are Her children. For perhaps a billion people, Mother Ganga is a living goddess who can elevate the soul to blissful union with the Divine. She provides benediction for infants, hope for worshipful adults, and the promise of liberation for the dying and deceased. Every year, millions come to bathe in Ganga’s waters as a holy act of worship: closing their eyes in deep prayer as they reverently enter the waters equated with Divinity itself. -
6. Yes to Sita, No to Ram-24.8.06.Pmd
wish to clarify at the outset that I am going to focus primarily on the ISita of popular imagination rather than the Sita of Tulsi, Balmiki or any other textual or oral version of the Yes to Sita, No to Ram! Ramayan. Therefore, I deliberately refrain from detailed textual analysis. The Continuing Popularity of Sita in India I have focused on how her life is inter- preted and sought to be emulated in today’s context. Madhu Kishwar However, there is no escaping the fact that in north India the Sita of popu- lar imagination has been deeply influ- enced by the Sita of Ramcharit Manas study carried out in Uttar Pradesh, 500 was a 1957 survey. However, Sita con- by Tulsi. In most other versions of boys and 360 girls between the ages tinues to command similar reverence the Ramayan, close companionship of 9 and 22 years were asked to select even today, even among modern edu- and joyful togetherness of the couple the ideal woman from a list of 24 names cated people in India. This paper is a are the most prominent features of the of gods, goddesses, heroes, and hero- preliminary exploration into why Sita Ram-Sita relationship rather than her ines of history. Sita was seen as the continues to exercise such a powerful self-effacing devotion and loyalty ideal woman by an overwhelming pro- grip on popular imagination, especially which have become the hallmark of portion of the respondents. There among women. the modern day stereotype of Sita. were no age or sex differences.1 That The medieval Ramayan of Tulsi marks A Slavish Wife? the transition from Ram and Sita being I grew up thinking of Sita as a presented as an ideal couple to pro- much wronged woman — a slavish wife jecting each of them as an ideal man without a mind of her own. -
The Ramayana by R.K. Narayan
Table of Contents About the Author Title Page Copyright Page Introduction Dedication Chapter 1 - RAMA’S INITIATION Chapter 2 - THE WEDDING Chapter 3 - TWO PROMISES REVIVED Chapter 4 - ENCOUNTERS IN EXILE Chapter 5 - THE GRAND TORMENTOR Chapter 6 - VALI Chapter 7 - WHEN THE RAINS CEASE Chapter 8 - MEMENTO FROM RAMA Chapter 9 - RAVANA IN COUNCIL Chapter 10 - ACROSS THE OCEAN Chapter 11 - THE SIEGE OF LANKA Chapter 12 - RAMA AND RAVANA IN BATTLE Chapter 13 - INTERLUDE Chapter 14 - THE CORONATION Epilogue Glossary THE RAMAYANA R. K. NARAYAN was born on October 10, 1906, in Madras, South India, and educated there and at Maharaja’s College in Mysore. His first novel, Swami and Friends (1935), and its successor, The Bachelor of Arts (1937), are both set in the fictional territory of Malgudi, of which John Updike wrote, “Few writers since Dickens can match the effect of colorful teeming that Narayan’s fictional city of Malgudi conveys; its population is as sharply chiseled as a temple frieze, and as endless, with always, one feels, more characters round the corner.” Narayan wrote many more novels set in Malgudi, including The English Teacher (1945), The Financial Expert (1952), and The Guide (1958), which won him the Sahitya Akademi (India’s National Academy of Letters) Award, his country’s highest honor. His collections of short fiction include A Horse and Two Goats, Malgudi Days, and Under the Banyan Tree. Graham Greene, Narayan’s friend and literary champion, said, “He has offered me a second home. Without him I could never have known what it is like to be Indian.” Narayan’s fiction earned him comparisons to the work of writers including Anton Chekhov, William Faulkner, O. -
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 -
Ramayan Ki Kathayen, Pandemic and the Hindu Way of Life and the Contribution of Hindu Women, Amongst Others
Hindu Sevika Samiti (UK) Mahila Shibir 2020 East and South Midlands Vibhag FOREWORD INSPIRING AND UNPRECEDENTED INITIATIVE In an era of mass consumerism - not only of material goods - but of information, where society continues to be led by dominant and parochial ideas, the struggle to make our stories heard, has been limited. But the tides are slowly turning and is being led by the collaborative strength of empowered Hindu women from within our community. The Covid-19 pandemic has at once forced us to cancel our core programs - which for decades had brought us together to pursue our mission to develop value-based leaders - but also allowed us the opportunity to collaborate in other, more innovative ways. It gives me immense pride that Hindu Sevika Samiti (UK) have set a new precedent for the trajectory of our work. As a follow up to the successful Mahila Shibirs in seven vibhags attended by over 500 participants, 342 Mahila sevikas came together to write 411 articles on seven different topics which will be presented in the form of seven e-books. I am very delighted to launch this collection which explores topics such as: The uniqueness of Bharat, Ramayan ki Kathayen, Pandemic and the Hindu way of life and The contribution of Hindu women, amongst others. From writing to editing, content checking to proofreading, the entire project was conducted by our Sevikas. This project has revealed hidden talents of many mahilas in writing essays and articles. We hope that these skills are further encouraged and nurtured to become good writers which our community badly lacks. -
Ramayana: a Divine Drama Actors in the Divine Play As Scripted by Bhagawan Sri Sathya Sai Baba
Ramayana: A Divine Drama Actors in the Divine Play as scripted by Bhagawan Sri Sathya Sai Baba Volume I Compiled by Tumuluru Krishna Murty Edited by Desaraju Sri Sai Lakshmi © Tumuluru Krishna Murty ‘Anasuya’ C-66 Durgabai Deshmukh Colony Ahobil Mutt Road Hyderabad 500007 Ph: +91 (40) 2742 7083/ 8904 Typeset and formatted by: Desaraju Sri Sai Lakshmi Cover Designed by: Insty Print 2B, Ganesh Chandra Avenue Kolkata - 700013 Website: www.instyprint.in VOLUME I No one can shake truth; no one can install untruth. No one can understand My mystery. The best you can do is get immersed in it. The mysterious, indescribable power has come within the reach of all. No one is born and allowed to live for the sake of others. Each has their own burden to carry and lay down. - Bhagawan Sri Sathya Sai Baba Put all your burdens on Me. I have come to bear it, so that you can devote yourselves to Sadhana TABLE OF CONTENTS FOR VOLUME I PRAYERS 11 1. SAMARPANAM 17 2. EDITORIAL COMMENTS 27 3. THE ESSENCE OF RAMAYANA 31 4. IKSHVAKU DYNASTY-THE IMPERIAL LINE 81 5. DASARATHA AND HIS CONSORTS 117 118 5.1 DASARATHA 119 5.2 KAUSALYA 197 5.3 SUMITRA 239 5.4 KAIKEYI 261 INDEX 321 LIST OF ILLUSTRATIONS FIGURE 1: DESCENT OF GANGA 113 FIGURE 2: PUTHRAKAMESHTI YAGA 139 FIGURE 3: RAMA TAKING LEAVE OF DASARATHA 181 FIGURE 4: DASARATHA SEES THE FATALLY INJURED SRAVANA 191 PRAYERS Vaamaankasthitha Jaanaki parilasat kodanda dandaamkare Chakram Chordhva karena bahu yugale samkham saram Dakshine Bibranam Jalajadi patri nayanam Bhadradri muurdhin sthitham Keyuradi vibhushitham Raghupathim Soumitri Yuktham Bhaje!! - Adi Sankara. -
About Deepawali - the Social Significance
About Deepawali - The Social Significance Deepa means a lamp and avali means a row. The word literally means a row of lights. We normally think that Deepawali is about a lamplight, a deepa. In fact, Deepawali is not about a single deepa, it is about many. It is about a collective, an organization, a formation of lamps. It is about the relationship between one lamp and the rest of the lamps in the collective. The secret message of deepawali is hidden in its very name. Let us begin with a short prayer that sums up the essence of this remarkable festival. Deepawali Prayer Om Asato Maa Sat Gamaya Tamaso Maa Jyotir Gamaya Mrityor Maa Amritam Gamaya Sat means the truth and a-sat is its negation or falsehood. So the first line means: lead me from Falsehood to Truth. Tamas is darkness or ignorance. And jyoti is light. So the second line means: lead me from darkness or ignorance to light or knowledge. The third line means lead me from death (mtriyu ) to immortality (amrita). Deepawali is the festival of lights symbolizing the lighting of the lamp of knowledge and removing ignorance, in our lives, and in those of others. It is this deeper message of social consciousness behind the glamour of Deepawali that this article attempts to convey. The Diya - Lamp The central theme behind deepawali rests on the concept of the Diya, the lamp. In Hindu tradition Ishwara or God is the "Knowledge principle," the Reality, the source of all knowledge. The light enables one to see the reality that is ever present. -
Tataka Vadh Narrator/Singer: Akash R
Godavari Annual Day 2017-2018 Tataka vadh Narrator/singer: Akash R (any Indian dress) Vishwamitra: Rohan (dress up as a guru with some wooden beads to resemble rudraksha, kamandalu) Ram: Nithin (simple dress as he was in the forest with Vishwamitra, bow and arrows) Lakshman: Siddharth (simple dress as he was in the forest with Vishwamitra, bow and arrows) Tataka: Saishree (Any black dress, black big bindi, some weapons made of cardboard, she can have the same dress for Shabari’s story, can change the bindi) Narrator: Guru Vishwamitra asks king Dasharatha to send Rama and Lakshmana with him to the forest. He wanted them to protect the holy ashramas of the rishis there who were constantly being tortured by the rakshasas. While walking along the river Sarayu look what happens… Vishwamitra: Look at these flowers and trees. Isn’t it beautiful here? Lakshman: Yes gurudev. Nature is wonderful!! Vishwamitra: Kids, close to this place lives a rakshasi,Tataka. She does everything she could to disturb the yagnas and destroy everything in the ashramas. Tataka: (loudly) Ha ha ha. Look who’s here. What will these kids do to me? Oh I’m so scared… You can’t win over me kids, go away! Ram: Tataka, let’s not have false hopes. We should at least try to prove ourselves! Come on. They start fighting fiercely. Narrator: Rama and Lakshmana win the fight. Vishwamitra gives Rama many astaras including the Brahmastra. Sings Ghoratatakaghataka Ram ॥ 9॥ Marichadinipataka Ram ॥ 10॥ Ram Ram Jaya Rajaram Ram Ram Jaya Sitaram (2 times) .