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The book is an attempt to critically examine the cardinal doctrines of logical positivism as expounded in the writings of A.J. Ayer. Logical positivism has provided us with the tools to analyse the concepts of philosophy.
The book Logical Positivism Revisited is an attempt to expound and critically examine the cardinal doctrines of logical positivism. The logical rigour with which the followers of this school of thought analysed the issues concerning language, knowledge and truth shows that the problems of philosophy can only be solved by resorting to logical analysis. The view that problems of philosophy surface because of our misunderstanding or loose correlation of our language has provided a new dimension to our philosophical thinking. Moreover, logical positivism’s anti-metaphysical stance highlights its taste for logic, mathematics and science and its distaste for speculative thinking in philosophy. Such an attempt in philosophy is viewed by the logical positivists as a revolution in philosophy.
The book unravels the glorious past of Kashmir, discussing its importance as the centre of Sanskrit learning in the bygone eras. It highlights the regions achievements in music, dance, drama, sculpture, language and literature, and philosophy marked by the artistic and literary contributions of Jayaditta, Bhatta, Jayadhara, Pingala and Abhinavagupta, and many others.
The Land of Kashmir, celebrated as paradise on earth for its scenic beauty, has an equally enchanting historical and cultural past: this is the place symbolising Indias cultural unity, where different cultures have prospered at different times, where scholars from all over India and the distant lands of Mesopotamia, Persia and China converged to imbibe learning in ancient times. The author, S. Sapru here unravels the glorious past of Kashmir; he discusses its importance as the centre of Sanskrit learning in the bygone eras; its achievements in music, dance, drama, sculpture, language and literature, and philosophy marked by the artistic and literary contributions of eminent men like Jayaditta, Bhatta, Jayadhara, Pingala and Abhinavagupta. Referring to various historical works and combining facts with legend, folklore and impressions from oral traditions, he presents a graphic picture of life and times in the valley in the past that deals with a range of themes like the lands mythology, statecraft, trade links, urban centres, tax system, system of crime and punishment and an ancient tourists impressions of the valley. Through a smooth?flowing narrative that makes the book extremely readable, the author points out that there is more to Kashmir than the present?day spate of violence; the land and its people have an essential Indianness common to other people of India and Kashmirs links with the rest of India cannot be severed.
Love is God and God in love; it is universal and knows no limits. This work of 100 valuable and carefully chosen quotes with aesthetic illustrations defines the virtues of love in its aestheic dimensions in a crisp and concise manner and projects it as the nature’s most prized gift to the mankind.
Love is God and God in love; it is universal and knows no limits. This work of 100 valuable and carefully chosen quotes with aesthetic illustrations defines the virtues of love in its aestheic dimensions in a crisp and concise manner and projects it as the nature’s most prized gift to the mankind.
This book is essentially a poetic/spiritual treatment of poetic and spiritual themes. It presents a breadth of understanding that illuminates the text, and extends the meaning of the text through both personal and universal experience.
Developed from Guru Nityas talks given at the Stanford and Portland State Universities, the book represents a study in the universal force of love in two major examples of sacred and prophetic literature : Jayadevas Gita Govindam and the poetry of St. John of the Cross. The foundation of Guru Nityas approach lies in an exciting, at once original unification of Eastern meditation practices and Western humanistic psychological theory. The outcome is his Love and Devotion, highlighting how the erotic mysticism of Jayadeva and St. John of the Cross exemplify as the two different expressions of the perception of God. Unlike most works of literary criticism, Nityas book presents a breadth of understanding that illuminates the text, and then extends the meaning of the text in terms of both personal and universal experience. It is essentially a poetic and spiritual treatment of poetic and spiritual themes, for Love and Devotion is itself a treatise on spirituality.
This volume, while discussing the poetic genius of Banamali, portrays the varied forms of pata paintings, associated with the painters of Puri. Though the Rasalila of Krishna and the gopis is their favourite, the topic of dashavatara is very common in pata painting, displaying a special liking for navagunjara painting.
The heart of Odishan arts lies in the villages of Odisha. The songs and dances, the wall paintings and patachitras, fabrics and textiles, all are rooted in the rural sensibility of Odisha. When its people sing the love songs of Krishna or paint his leelas and kridas, they recreate Vrindavana in their on village square. Krishna sharingara reflects and echoes in each leaf and flower, and song and dance of Odisha. It is more vibrant in the verses of the eighteenth century Banamali Das, who wrote a moving Krishna poetry. He celebrated the many leelas and kridas of Krishna and in doing so he experiences every hue and shade of Krishna shringara. He reminds one of the works of Jayadeva and Vidyapati, and enters the mind and heart of Radha more than any other poet. Grounded on the theology of Chaitanya, he bountifully uses words such as ujjala rasa, mohajana and ashta sakhi, firmly establishing him as part of the Gaudiya tradition.
This volume, while discussing the poetic genius of Banamali, portrays the varied forms of pata paintings, associated with the painters of Puri. Though the Rasalila of Krishna and the gopis is their favourite, the topic of dashavatara is very common in pata painting, displaying a special liking for navagunjara painting. It also contains a conversation with Sujata Mohapatra, an accomplished Odissi dancer, who dances to the compositions of Banamali Das.
Love Songs of Narsinh Mehta is a commentary on the love songs of Narsinh, adi-kavi of Gujarat. Narsinh sings the glory of Krishna in total devotion as if Krishna is sitting in front of him. For him, Krishna is divine and human, both at the same time. Being Krishnas love, he brings in all emotions and cues of devotional love to his poetry.
Love Songs of Narsinh Mehta is a commentary on Narsinh Mehtas love songs. Narsinh (1408-65), a Vaishnava bhakti poet of medieval India, is considered as the adi-kavi of Gujarat. He is also regarded as a shringara kavi, a poet of romance. The quintessence of his bhakti is prem and his prem has inherent bhakti, and therefore his poetry is regarded as shringara bhakti kavya. Essentially shringara is the romantic celebration of the other, and when Narsinh’s other is none other than Krishna, his shringara kavya becomes Krishna bhakti, where Krishna is both divine and human, at the same time. Singing for Krishna, Narsinh celebrates his swami through amorous verses and divine surrender like Jayadeva.
He sat in a temple and relentlessly sang for his Lord, living through absolute poverty. Nothing made him more jovial than singing the glory of his Krishna. The only man for Narsinh is Krishna, and for the latter Narsinh is a woman at heart. Narsinh, through his songs, brings in the cue of all romantic feelings and moments, recreates the idyllic Vrindavana in ones mind, and he returns that Vrindavana a Vaikuntha with the footfalls of his Krishna.
Through this commentary, the author Harsha V. Dehejia introduces one to the fullness of Narsinhs poems, thereby making one known to Narsinh in and out.
This impressively illustrated volume brings forth the evergreen spirit of a Muslim ruler of Awadh, Nawab Wajid Ali Shaw (1822-87), in composing love poetry taking a cue from the amorous Krishna leela and assimilating and practising the same in personal life. A trained Kathak dancer himself and a dedicated patron of poetry, painting and performing arts, Wajid Ali Shah immersed in the rasa of dance, music and drama, and got deeply indulged in the many an expression of shringar, while administering the political affairs of his state.
Recalling the different facets of Nawab Wajid Ali’s life, the book explores the state and fame of Lucknow, of his times, where the Nawab lived a life of refinement and pomp, and attracted the best talents in arts and crafts. It also portrays how were dance and music enjoying pride of place during his reign.
While presenting a penetrating account of Ali Shah’s poetry, the book revisits his musical scholarship, history of his times and presents his poems with English translation. It as well showcases the best paintings centring around his personal and cultural life, and guides one go through the religious and cultural harmony prevailed in Awadh where a lot of factors were at play effecting acculturation between the Hindus and the Muslims, popularly known as the Ganga-Jamuni tehzeeb.
This impressively illustrated volume brings forth the evergreen spirit of a Muslim ruler of Awadh, Nawab Wajid Ali Shaw (1822-87), in composing love poetry taking a cue from the amorous Krishna leela and assimilating and practising the same in personal life. A trained Kathak dancer himself and a dedicated patron of poetry, painting and performing arts, Wajid Ali Shah immersed in the rasa of dance, music and drama, and got deeply indulged in the many an expression of shringar, while administering the political affairs of his state.
Recalling the different facets of Nawab Wajid Ali’s life, the book explores the state and fame of Lucknow, of his times, where the Nawab lived a life of refinement and pomp, and attracted the best talents in arts and crafts. It also portrays how were dance and music enjoying pride of place during his reign.
While presenting a penetrating account of Ali Shah’s poetry, the book revisits his musical scholarship, history of his times and presents his poems with English translation. It as well showcases the best paintings centring around his personal and cultural life, and guides one go through the religious and cultural harmony prevailed in Awadh where a lot of factors were at play effecting acculturation between the Hindus and the Muslims, popularly known as the Ganga-Jamuni tehzeeb.
Love Songs of Rasakhan is one among the numerous works of medieval Muslim Vaishnava poets. His original name was Said Ibrahim. On seeing a picture of Shrinathji, Said Ibrahim instantly fell in love with Krishna. His love for Krishna made him yearn for a vision of Krishna.
Love Songs of Rasakhan is one among the numerous works of medieval Muslim Vaishnava poets. A sixteenth-century poet, Rasakhan was born in a Pathan Muslim family at Pihani in Uttar Pradesh. His original name was Said Ibrahim. On seeing a picture of Shrinathji, Said Ibrahim instantly fell in love with Krishna. His love for Krishna made him yearn for a vision of Krishna. He stayed with Krishna devotees in Braj, but could not get a vision of Krishna. He unsuccessfully tried his luck at the Gopalpura Shrinathji Temple and finally went to Govindkund and lay there three days without food and water. Pleased, Shrinathji gave him darshan and this made him to move on the Pushtimarg with the guidance of Gosain Vittalnath.
He spent his entire life in Brij composing songs of the many lilas of Radha and Krishna with the pen-name, Rasakhan. Touched by the sensuality of the love of Radha and Krishna, he produced many mellifluous and melodic songs, celebrating their love.
Other than his poetic genuis, this bilingual illustrated volume contains the stories of 252 Vaishnavas, articles on Rasakhan: A Poet and His Poetry; Medieval Muslim Vaishnava Poets; Rasakhan and the Fluidity of Identity; The Mind of Rasakhan; Muslim Vaishnavas of Bengal; and Poets, Painters & Patrons, being Krishnalal Sharma; Narmada Prasad Upadhyaya; Vidya Rao; Harsha V. Dehejia; Sumanta Banerji; and Harsha V. Dehejia as respective authors.
This portfolio, based on the ten Maithili love songs of Vidyapati, presents lovely paintings on the varied love moods of Radha: her sensuous charm, innocence, longing for Krishna, surrender to love, etc.
Vidyapati (c. 13521448), called second Jayadeva in his lifetime, is immersed, charged and inspired by the love of Radha and Krishna. He wrote emotionally-intensive love songs in Maithili, for the queens of Shiva Simha, his patron, and the common folk. Though drawn inspiration from Jayadeva, more than him, Vidyapati presents in his poetry a rare, tender and sensitive understanding of Radhas psyche. In his love songs Radha, not Krishna, is in the centre stage and through his nayika Vidyapati is reaching out to each and every woman in Mithila.
Vidyapati presents his songs from a womans heart, and describes his nayikas slowly awakening youth, her sensuous beauty, her coyish charm, her naïve innocence, her surrender to love and her anguish on being neglected. She is invariably sensual, spiritual, physical and emotional. Though she did not inspire painters of the time, she ruled the hearts of the people of Mithila. Vidyapatis love songs are written in honeyed words and are sung with mellifluous notes in homes, fields, chowks and havelis, across eastern India. And thus he still rules their heart.
This portfolio, based on the ten love songs of Vidyapati, presents lovely paintings on the varied love moods of Radha, the love queen. In doing so, different artists have displayed their dexterity in Jaipur, Caurapancashika, late Mughal, Manaku, Kishangarh, Jain, Kangra and Basohli styles.
From time immemorial a family Þ consisting of father, mother, son, his wife, and their childern Þ has been accepted as a sacred institution in all societies Þ urban, rural, tribal or uncivilized, or even among animals to a certain extent. In the family, besides love and affection, the main factors cementing the bond between members are some virtues and morals like obedience, faithfulness, honesty, and, above all, chastity, not only for women but also for the men. In Hindu thought Lord Shiva and Goddess Parvati are considered the ideal parents as well as the ideal couple. In four books Þ Pita, Maa, Pati and Patni Þ pleasingly embellished with self-explaining paintings, Mr K.N. Kogata and Mrs Lalita Kogata have extolled the roles, activities, and moods of these important members of the first family with charming and delightful verses.
Sree Maatre Namah Pranaams to mother. With these words starts Latitaa Sahasranaam, or the 1,000 names of Devi. The privilege you can take with your mother, you cannot take even with your father. During the nine months a baby is inside the mother, the mother gives her own food, blood and nourishment to the unborn foetus so that it could develop into a fullgrown baby. During the nine months and during child-birth, the amount of fasts, hardships, worries, discomfort, sleeplessness, and pain a mother undergoes even if you give her the whole world it is no compensation at all. Our epics, Puranas, Upanishads, etc. all extol the highest importance of a mother in society. Mother is equally revered in all cultures throughout the world. In Annapoornaashtakam, Shankaracharya says annapoorne sadhaaporne. . . maataa cha parvati devi, pitaa devo maheshwara. . . . That means, Shankaracharya sees Parvati as the universal mother and lord Shiva as the universal father. In a similar way, the Kogatas have seen Parvati and Shiva, and have beautified this book with pleasing illustrations of both of them in different activities and moods, followed by charming and delightful verses.
Diabetes is a malice threatening the very existence of the modern society. This book educates one how to diagnose type 1 and type 2 diabetes, how to test them, what all precautions are needed, how to deal with diabetes during pregnancy, what is diabetic foot and how to care it, the available medicines and their effects, what all exercises one should do to control diabetes, diet specifications, precautions to be taken while travelling, among many other pieces of information, that help a diabetic to lead a normal life.
India is under the grip of a malady called Diabetes. According to WHO and International Diabetes Federation (IDF), India is all set to become the diabetic capital of the world. Of the 31 crore estimated diabetic patients all over the world, India has more than six crore people affected with this disease. This book addresses many an issue faced by the diabetic patients, both type 1 and type 2. It thus provides detailed information on the genesis, restraints and cure, short- and long-term effects of diabetes. It also addresses a number of challenges associated with diabetes.
In a wide spectrum, the book talks about this silent killer and its symptoms, diagnosis, monitoring of blood glucose, its treatment, desired exercises to keep diabetes under control, changes needed in lifestyle to combat diabetes, diet on special occasions, sugar tablets, herbal medicines, insulin therapy, how to face emergency situations in diabetes, complications due to diabetes, relationship between diabetes and (1) heart disease, (2) eyesight problems, and (3) kidney disorders. It also delves deep into the implications of diabetic foot, fluctuations in body weight due to this disease, other common ailments in diabetics, targets of controlling diabetes, pregnancy and diabetes, travelling with diabetes, need of routine diabetic examination and tests, impact of alcohol on a diabetic, diabetes in children and the aged, guidelines for fasting, etc.
The book also educates one on what to eat and what not, to keep diabetes under control. A detailed diet chart with calorie calculation is also given for a diabetic to follow in day-to-day life. In addition, it provides quite a lot of data related to our physical fitness, be it weight, height, food recommendations for non-veg people, or calorie value conversion of different food items. In a nutshell, this guidebook is a must-need for a diabetic and must-read for his family members as there is no permanent cure available for diabetes as yet, and its management is equally important like its treatment.
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