KSETRAKSETRAJNA VIBHAGA YOGA Index
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Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48
FOR IMMEDIATE RELEASE Media contacts: March 23, 2016 Chalena Cadenas 310.360.1981 [email protected] Mauli Singh [email protected] Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48 Lab Recognizes and Supports Six Emerging Independent Filmmakers from India Los Angeles, CA — Sundance Institute and Drishyam Films today announced the artists and creative advisors selected for the second Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48. The Lab supports emerging filmmakers in India, as part of the Institute’s sustained commitment to international artists, which in the last 25 years has included programs in Brazil, Mexico, Jordan, Turkey, Japan, Cuba, Israel and Central Europe. Now in its second year, the fourday Lab is a creative and strategic partnership between Drishyam Films and Sundance Institute, and gives independent screenwriters the opportunity to work intensively on their feature film scripts in an environment that encourages innovation and creative risktaking. The Lab is centered around oneonone story sessions with creative advisors. Screenwriting fellows engage in an artistically rigorous process that offers lessons in craft, a fresh perspective on their work and a platform to fully realize their material. Leading the Lab in India is Drishyam founder, Manish Mundra. He said, “A beautiful heritage city in my hometown of Rajasthan, Udaipur forms an ideal writers retreat, and is the perfect environment for a diverse group of emerging writers and renowned mentors to have a refreshing and productive exchange. Our goal is that the six selected Indian projects, after undergoing a comprehensive mentoring process, will quickly move from script to screen and make their mark globally. -
Baghawad Gita, Class 184: Chapter 14, Verses 19 to 14
Baghawad Gita, Class 184: Chapter 14, Verses 19 to 14 Shloka # 14. 9: 14.9 O scion of the Bharata dynasty, sattva attaches one to happiness, rajas to action, while tamas, covering up knowledge, leads to inadvertence als Continuing his teachings Swamiji said today, in the last few classes, we saw that our higher nature known as the sakshi svarupam is ever nirgunam and therefore is free from the influence of the three gunas; but our vyavaharika nature, our lower nature, which is called ahamkara is a mixture of the body-mind complex, as well as the reflected consciousness. And till the ahamkara consists of the body-mind complex and till the body-mind complex is born out of prakrti, the ahamkara can never escape from the three gunas. And therefore, our body-mind complex is made up of three gunas and the ahamkara which consists of this body-mind complex is the necessarily made up of these three gunas, and therefore, we can never escape from them. We have to live with this saguna ahamkara. And once we are forced to live with this ahamkara, it is better that we understand the ahamkara well, so that we know how to handle it properly. Science is able to handle the nature more and more only because science has been able to know nature more and more. Knowledge gives the capacity for better handling. And therefore Sri Krishna says: you have to understand your own ahamkara very well. For that, you must know what type of ahamkara you have; which guna is dominant, which guna is in middle; the second place, and which guna is the lowest; better you understand and you also know how these gunas influence your vyavaharika life; both material life, as well as the spiritual life. -
Philosophy of Bhagavad-Gita
PHILOSOPHY OF BHAGAVAD-GITA T. SUBBA BOW THE PHILOSOPHY OF THE BHAGAVAD-GITA Copyright Registered All Rights Reserved Permission for translations will be given BY THEOSOPHICAL PUBLISHING HOUSE Adyar, Madras, India THE PHILOSOPHY OF THE BHAGAVAD-GITA BY T. STJBBA ROW Four Lectures delivered at the Eleventh Annual Convention of the Theosophical Society, held at Adyar, on December 27, 28, 29 and 30, 1886 (Second Edition") THEOSOPHICAL PUBLISHING HOUSE ADYAR, MADRAS, INDIA 1921 T. SUBBA ROW AN APPRECIATION MY acquaintance with T. Subba Row began at the end of 1884, when I came here to Madras and settled down with the intention of practising in the High Court. It was at the Theosophical Convention of 1884 that I first met him, and from the very first moment became so deeply attracted to him as to make it difficult for me to understand why it was so. My admiration of his ability was so great that I began to look upon him almost from that time as a great man. He was a very well-made robust man, and strikingly intellectual. When H. P. B. was here, he was known to be a great favourite of hers. It was said that he first attracted " her attention by a paper called The Twelve Signs of the Zodiao ", which was afterwards published. At the Convention, there was much talk on various topics, and he always spoke with decision, and his views carried great weight. But he spoke little and only what was necessary. There was then a small committee of which Colonel Olcott was the Presi- dent. -
Women at Crossroads: Multi- Disciplinary Perspectives’
ISSN 2395-4396 (Online) National Seminar on ‘Women at Crossroads: Multi- disciplinary Perspectives’ Publication Partner: IJARIIE ORGANISE BY: DEPARTMENT OF ENGLISH PSGR KRISHNAMMAL COLLEGE FOR WOMEN, PEELAMEDU, COIMBATORE Volume-2, Issue-6, 2017 Vol-2 Issue-6 2017 IJARIIE-ISSN (O)-2395-4396 A Comparative Study of the Role of Women in New Generation Malayalam Films and Serials Jibin Francis Research Scholar Department of English PSG College of Arts and Science, Coimbatore Abstract This 21st century is called the era of technology, which witnesses revolutionary developments in every aspect of life. The life style of the 21st century people is very different; their attitude and culture have changed .This change of viewpoint is visible in every field of life including Film and television. Nowadays there are several realty shows capturing the attention of the people. The electronic media influence the mind of people. Different television programs target different categories of people .For example the cartoon programs target kids; the realty shows target youth. The points of view of the directors and audience are changing in the modern era. In earlier time, women had only a decorative role in the films. Their representation was merely for satisfying the needs of men. The roles of women were always under the norms and rules of the patriarchal society. They were most often presented on the screen as sexual objects .Here women were abused twice, first by the male character in the film and second, by the spectators. But now the scenario is different. The viewpoint of the directors as well as the audience has drastically changed .In this era the directors are courageous enough to make films with women as central characters. -
Drishyam 2016: 2 Bokaro International Film Festival Concludes at DPS
October 23, 2016 Drishyam 2016: 2ndBokaro International Film Festival concludes at DPS Bokaro A 2 day festival of films concludes with edu-tainment “Films provide impetus to creativity of students and promote appreciation for classic films of the world of cinema” –Dr. Hemlata S. Mohan, Director & Principal, DPS Bokaro “Movies are the best source of social learning” - Mr. Atul Srivastava, ED( P&A), BSL th “Films have largely influenced the mass population in 20 century” - Mr. Prahlad Agarwal, Renowned Film Historian and Writer “Films are the best forms of art and expression” - Dr. Satyadeva Tripathi, Noted Film & Theatre Critic October 23, 2016 „Drishyam 2016‟ – The Second Edition of Bokaro International Film Festival a pioneering educational initiative in Jharkhand organized during October 22-23, 2016 in the KaliDas Kala Bhawan of the learners‟ paradise-DPS Bokaro. The festival was graced by Mr. Atul Srivastava, ED P&A, BSL, Pro-Vice Chairman, DPS Bokaro, as the Chief Guest of the occasion. The other dignitaries who were also present were - Dr. G. N. Sahoo, Director, Bokaro General Hospital, (B.G.H.) and Mr. S. K. Jha, G.M., B.S.L. Celebrities from the film fraternity participated in the ceremony. The eminent personalities present this year were - Mr. Prahlad Agarwal, the renowned film historian and the script writer, Dr. Satyadev Tripathi, creative maestro in the film world Dr. Vijay Sharma, Educationist, Author, Script and Short Story Writer and Mr. Abhishek Kashyap, Director of Bokaro International Film Festival. Mr. Prahlad Agarwal has written biographies on two great filmmakers of all time in Hindi Cinema - Raj Kapoor and Guru Dutt like ‘Raj Kapoor – Aadhi Haqeeqat Aadha Phasana’, ‘Pyaasa: Chir Atript Gurudutt’, ‘Kavi Shailendra – Zindagi ki Jeet Ka Yakeen’,' O Re Majhi: Bimal Raika Cinema,‘Reshmi Khawabonki Dhoop Chhaon: Yash Chopra ka Cinema’, ‘Baazar ke Baazigar: Ekkiswi Sadika Cinema’,‘Jug Jug Jiye Munna Bhai: Chhaviyon Ka Mayajaal’, ‘Uttaal Umang: Subhash Ghai ki Film Kala’ and ‘Hindi Cinema: Beeswi Sadi se Ekkiswi Sadi Tak’. -
Brahma Sutra
BRAHMA SUTRA CHAPTER 1 1st Pada 1st Adikaranam to 11th Adhikaranam Sutra 1 to 31 INDEX S. No. Topic Pages Topic No Sutra No Summary 5 Introduction of Brahma Sutra 6 1 Jijnasa adhikaranam 1 a) Sutra 1 103 1 1 2 Janmady adhikaranam 2 a) Sutra 2 132 2 2 3 Sastrayonitv adhikaranam 3 a) Sutra 3 133 3 3 4 Samanvay adhikaranam 4 a) Sutra 4 204 4 4 5 Ikshatyadyadhikaranam: (Sutras 5-11) 5 a) Sutra 5 324 5 5 b) Sutra 6 353 5 6 c) Sutra 7 357 5 7 d) Sutra 8 362 5 8 e) Sutra 9 369 5 9 f) Sutra 10 372 5 10 g) Sutra 11 376 5 11 2 S. No. Topic Pages Topic No Sutra No 6 Anandamayadhikaranam: (Sutras 12-19) 6 a) Sutra 12 382 6 12 b) Sutra 13 394 6 13 c) Sutra 14 397 6 14 d) Sutra 15 407 6 15 e) Sutra 16 411 6 16 f) Sutra 17 414 6 17 g) Sutra 18 416 6 18 h) Sutra 19 425 6 19 7 Antaradhikaranam: (Sutras 20-21) 7 a) Sutra 20 436 7 20 b) Sutra 21 448 7 21 8 Akasadhikaranam : 8 a) Sutra 22 460 8 22 9 Pranadhikaranam : 9 a) Sutra 23 472 9 23 3 S. No. Topic Pages Topic No Sutra No 10 Jyotischaranadhikaranam : (Sutras 24-27) 10 a) Sutra 24 486 10 24 b) Sutra 25 508 10 25 c) Sutra 26 513 10 26 d) Sutra 27 517 10 27 11 Pratardanadhikaranam: (Sutras 28-31) 11 a) Sutra 28 526 11 28 b) Sutra 29 538 11 29 c) Sutra 30 546 11 30 d) Sutra 31 558 11 31 4 SUMMARY Brahma Sutra Bhasyam Topics - 191 Chapter – 1 Chapter – 2 Chapter – 3 Chapter – 4 Samanvaya – Avirodha – non – Sadhana – spiritual reconciliation through Phala – result contradiction practice proper interpretation Topics - 39 Topics - 47 Topics - 67 Topics 38 Sections Topics Sections Topics Sections Topics Sections Topics 1 11 1 13 1 06 1 14 2 07 2 08 2 08 2 11 3 13 3 17 3 36 3 06 4 08 4 09 4 17 4 07 5 Lecture – 01 Puja: • Gratitude to lord for completion of Upanishad course (last Chandogya Upanishad + Brihadaranyaka Upanishad). -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Interpreting Sati: the Omplexc Relationship Between Gender and Power in India Cheyanne Cierpial Denison University
Denison Journal of Religion Volume 14 Article 2 2015 Interpreting Sati: The omplexC Relationship Between Gender and Power In India Cheyanne Cierpial Denison University Follow this and additional works at: http://digitalcommons.denison.edu/religion Part of the Ethics in Religion Commons, and the Sociology of Religion Commons Recommended Citation Cierpial, Cheyanne (2015) "Interpreting Sati: The ompC lex Relationship Between Gender and Power In India," Denison Journal of Religion: Vol. 14 , Article 2. Available at: http://digitalcommons.denison.edu/religion/vol14/iss1/2 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Denison Journal of Religion by an authorized editor of Denison Digital Commons. Cierpial: Interpreting Sati: The Complex Relationship Between Gender and P INTERPRETING SATI: THE COMPLEX RELATIONSHIP BETWEEN GENDER AND POWER IN INDIA Interpreting Sati: The Complex Relationship Between Gender and Power In India Cheyanne Cierpial A recurring theme encountered in Hinduism is the significance of context sensitivity. In order to understand the religion, one must thoroughly examine and interpret the context surrounding a topic in Hinduism.1 Context sensitivity is nec- essary in understanding the role of gender and power in Indian society, as an exploration of patriarchal values, religious freedoms, and the daily ideologies as- sociated with both intertwine to create a complicated and elaborate relationship. The act of sati, or widow burning, is a place of intersection between these values and therefore requires in-depth scholarly consideration to come to a more fully adequate understanding. The controversy surrounding sati among religion schol- ars and feminist theorists reflects the difficulties in understanding the elaborate relationship between power and gender as well as the importance of context sen- sitivity in the study of women and gender in Hinduism. -
A Reflection on the Challenges for Hindu Women in the Twenty-First
A Reflection on the Challenges for Hindu Women in the Twenty-first Century1 Neelima Shukla-Bhatt Introduction T the turn of the 21st century, it is clear that religion is not an insti- Atution of the past; it continues to be a powerful force in societies across the world. For this reason, some purely secularist and sociologi- cal theories of religion of the early twentieth century, which led to a wide spread view that religion was on the decline in the modern times, have proved to be limited, even though they are helpful in examining the social aspects of religious life.2 As Brian Hatcher suggests in a recent article, a major shortcoming of the secularist approaches to religion has been a purely dichotomous view of faith vs reason and tradition vs modernity. Instead of the demise of religion, Hatcher finds transforma- tion of religion with changing times, as proposed by sociologist Damiele Hervieu-Leger a more helpful way to understand religious phenomena (Hatcher 2006: 54–55). An aspect of religion that is widely debated with regard to need for transformation is treatment of women. In most organized religions of the world, women have not enjoyed equal rights with men. The norms assigned to them by male religious authorities have subjected them to various forms of marginalization. A major challenge for religious communities across the world today is to ensure that their religious practices and values are compatible with the ideal of gender equality as an aspect of the ideology of social justice, which is being widely upheld across the globe. -
Homeokinetic Mind and Equanimity (Sthita-Prajnata)
1 Homeokinetic Mind: Equanimity (Sthita-Prajnaa) and Self-Renewal Vinod D Deshmukh, MD PhD [email protected] Abstract Homeokinetics is an extension of the concept of homeostasis. „Homeo‟ means the same; „stasis‟ means a steady state and „kinetic‟ means a dynamic movement. Homeostasis is defined as a tendency toward a relatively stable internal environment in organisms through interacting physiological processes. It implies maintenance of an internal steady state of an organism by means of self-regulation. It also includes a stable psychological condition of an individual with respect to opponent psychodynamic forces like drives, desires, emotions, and motivations. Homeokinetics emphasizes a tendency toward relatively stable rate of change of internal environment of an organism and its mental activity. Organisms, including humans, are complex self-organizing systems, which are governed by thermodynamic principles with transportation of molecules, energy, and information across its biophysical and cognitive border to maintain their functional form, self-integrity, and behavior. A river represents a typical homeokinetic system. It is not static but a dynamic process. It consists of ever-fluctuating water molecules, „atomisms‟ at one level of observation, and a collective and continuous form, „continuum‟ at another. The river is both, ever-new, and ever-the-same, depending on one‟s perspective. Most of the complex living systems, like organism, mind, and society, are homeokinetically organized in a nested hierarchy. The mind (Antah-karana) in Vedanta is considered to be the internal organ of action (Karma), cognition (Jnaana), and experience (Bhoga). It includes four hierarchical components: sense of self with intentionality (Aham-bhava), memory (Chitta), discriminating intelligence (Buddhi), and thought-emotion (Manas). -
Rudram Chamakam Pdf in Kannada
Rudram chamakam pdf in kannada Continue prayato brahmak ar suklav as dev abhimukhah. In addition, the PDF files on this site needs Adobe Reader 9.0 or higher. A collection of spiritual and devoted literature in various Indian languages in Sanskrit, Samscrehame, Hindi, Telugu, Cannada, Tamil, Malayalam, Gujarati, Bengal, Oriya, English scripts with pdf Sri Rudram namak-chamakam: Lyrics (Sanskrit) Sri Rudrum (ी म्), is a Hindu stotra (hymn) dedicated to Rudra (expression of Lord Shiva) It is also called Rudradhyaya, Sri Rudraprasna, zatarudraya. A collection of spiritual and devoted literature in various Indian languages in Sanskrit, Samskrit, Hindi, Telugu, Kannada, Tamila, Malayalam, Gujarati, Bengal, Aurier, English scripts with pdf Kashyap from SAKSI (Sri Aurobindo Kapalitry Sas Institute of Vedic Culture), Bangalore, India. Rudram Chamakam Kannada - Free download as a PDF file (.pdf), text file (.txt) or view presentation slides online. Sri Rudram talks about Siva's fame. Sri Rudram is a Vedic hymn that describes several aspects of Mr. Siwa, such as Sri Rudram Chamakam as Kannada Vidik Vinyanam. Scribd is the world's largest social reading and publishing site. Sri Rudram takes place in the 4th Place in the 4th Hand of Krishna Yadjour Samhita. Sri-Rudram-Namakam-In-Kannada.pdf - Free download as PDF file (.pdf), text file (.txt) or read online for free. The collection of spiritual and dedicated literature in various Indian languages in Sanskrit, Samscretam, Hindi, Telugu, Kannada, Tamil, Malayalam, Gujarati, Bengal, Aurier, English scripts with pdf Scribd is the world's largest social site for reading and publishing. Sri Rudram with meaning. Page 2 of 13 bl? Search Search with m / Aaej?I /sh?m / Aai?I bala×a maa oya×ka me saha×ca ma'i'i me Let my action bodies be strong and courageous. -
The Debate on Sati in Colonial India Author(S): Lata Mani Source: Cultural Critique, No
Contentious Traditions: The Debate on Sati in Colonial India Author(s): Lata Mani Source: Cultural Critique, No. 7, The Nature and Context of Minority Discourse II (Autumn, 1987 ), pp. 119-156 Published by: University of Minnesota Press Stable URL: http://www.jstor.org/stable/1354153 Accessed: 30-08-2015 20:14 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/1354153?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to Cultural Critique. http://www.jstor.org This content downloaded from 128.103.149.52 on Sun, 30 Aug 2015 20:14:41 UTC All use subject to JSTOR Terms and Conditions Contentious Traditions: The Debate on SATI in Colonial India Lata Mani he abolition of sati by the British in 1829 has become a founding moment in the history of women in moder India.' The legisla- tive prohibition of sati was the culmination of a debate during which 8,134 instances of sati had been recorded mainly, though not ex- clusively, among upper caste Hindus, with a high concentration-63 percent-in the area around Calcutta City.2The debate, initiated pri- marily by colonial officials, is regarded as signifying the concern for the status of women that emerges in the nineteenth century.