Showing 11–20 of 47 results
Since the inception of Creation, woman has always been adored as a symbol of strength (Shakti) and beauty (Saundarya). In reality, the importance of woman begins in the foremost ancient text of the Rigveda in its Vak Sukta. Upanishads also mention Usha Devi as eternally young woman. This trend continues in Puranas too. History of ancient India has been described in Puranas, and sanskriti (culture) shown therein is the sanskriti of a comman man. Markandeya Purana, one of the eighteen Mahapuranas, consists a collection of thirteen chapters in 700 shlokas named Durgasaptashati, depicting that form of Goddess Bhagavati, the Universal Mother, which explores womans dignity with its constructive power.
In the same tone, Saundaryalahari mentions about Bhagavati who is simply Kundalini, and her depiction as aesthetically beautiful woman is manifested by Shankaracharya. This scripture reveals that the worshipping power inspires us for continuous creation, and discusses about philosophical (Tantric), cultural and literary trinity. In this deliberation antiquity manifests itself into modernity and ultimately into science. When meaningfulness of word-Brahman takes divine form, then it becomes humanity and there itself we realize the concept of Shiva-Shakti. The light of Brahman exists in this world. This exact realisation of Brahma is the subject-matter of this book.
The sources of Indian culture are found in Darshan and Tantra. This expounds the expression of Tantra philosophy in the comparative appreciation of Durgasaptashati and Saundaryalahari. This book appreciates poetry, culture and literature and at the same time, there is also beautiful assimilation of aesthetic sense, Tattva-Darshan and literature.
Since the inception of Creation, woman has always been adored as a symbol of strength (Shakti) and beauty (Saundarya). In reality, the importance of woman begins in the foremost ancient text of the Rigveda in its Vak Sukta. Upanishads also mention Usha Devi as eternally young woman. This trend continues in Puranas too. History of ancient India has been described in Puranas, and sanskriti (culture) shown therein is the sanskriti of a comman man. Markandeya Purana, one of the eighteen Mahapuranas, consists a collection of thirteen chapters in 700 shlokas named Durgasaptashati, depicting that form of Goddess Bhagavati, the Universal Mother, which explores womans dignity with its constructive power.
In the same tone, Saundaryalahari mentions about Bhagavati who is simply Kundalini, and her depiction as aesthetically beautiful woman is manifested by Shankaracharya. This scripture reveals that the worshipping power inspires us for continuous creation, and discusses about philosophical (Tantric), cultural and literary trinity. In this deliberation antiquity manifests itself into modernity and ultimately into science. When meaningfulness of word-Brahman takes divine form, then it becomes humanity and there itself we realize the concept of Shiva-Shakti. The light of Brahman exists in this world. This exact realisation of Brahma is the subject-matter of this book.
The sources of Indian culture are found in Darshan and Tantra. This expounds the expression of Tantra philosophy in the comparative appreciation of Durgasaptashati and Saundaryalahari. This book appreciates poetry, culture and literature and at the same time, there is also beautiful assimilation of aesthetic sense, Tattva-Darshan and literature.
The book is a meticulous research work based on field study that delves deep into the need for the empowerment of the aged while analysing the factors that lead to disempowerment in the old age as also the social role of old-age homes in mitigating the difficulties of the aged.
The book emphasises on a deeper understanding of ageing in the society of today, viewing it as a precarious process, both at the individual and at the societal level. It takes into consideration the position of the aged within the family and in the society, and the changes that have come about over the last few decades. Effects of globalization, break-up of the joint-family system, and the growing materialism and commercialization of society make the elderly viewed only from the ßeconomicû perspective.
The book examines certain theories on gerontology, pointing out that the workable theories should focus more on application so that the aged can benefit from such theories. It analyses the literature on the old: how different scholars and specialists have viewed ageing and its different aspects like the impact of genetic influences and the environment on ageing. Based on a field study, involving elderly from all castes and religious groups both in urban and rural areas, it delves deep into the need for empowerment of the aged. It argues that religion, community and the institutional stay have a direct correlation with the empowerment and disempowerment process, which has more impact on the upper than the lower castes. It undertakes case studies and comes up with interesting and significant observation. Personal income is considered the main source of empowerment. It significantly views institutional care of the old in the context of empowerment and disempowerment, analysing factors that force the old to choose to live in the old-age homes.
The volume is a meticulous research work that will prove extremely relevant to scholars and students as a sociological study on ageing and the elderly especially in the Indian context.
The book is a study of Indian art, iconography and sculptures representing devotion, love, human moods and sentiments, especially in its depiction of female sculptures on ancient temples covering famous temple of Khajuraho, Bhubaneswar, Pura, Konark, Nagda, Belur, Halebid, Ajanta and Ambarnath of various dynasties.
The book is a study of Indian art representing devotion, love, human moods and sentiments, especially in its depiction of female sculptures on ancient temples. It begins with a discussion on Indian art as synthesis of the sublime in nature and the human physical form that conveys the sublime. With numerous illustrations of art, iconography and sculptures from different regions of India, it examines a breath-taking variety of female forms of divinities, celestial nymphs and others symbolising youth, beauty and sensuousness. Referring to features of art of different periods under various dynasties, like the Gupta art, it focuses on representation of female forms and couples particularly erotic realisations in art, i.e. nude figures and mithuna scenes. It studies the figures carved on various materials and in different styles, highlighting the salient features of each one of them. The influence of religious traditions, as Tantrism, on the art depicted is painstakingly traced. Giving examples from famous temples of Khajuràho, Bhubaneswar, Purã, Koõàrk, Nàgdà, Belår, Haëebid, Ajantà and Ambarnàth, the work examines expressions, postures and attitudes of figures to show that they reflect physical bliss, emotional and psychological expressions, and the spiritual state. The book will be useful for scholars of art and art historians in particular who are keen on understanding the aesthetics of Indian art.
The work examines adoption of handicrafts as an occupation by artisan women of Kashmir to contribute significantly to their families and the society in spite of problems of earning livelihood in a patriarchal society. Based on empirical data, it deals with their socio-economic background, the way they cope with their duties at home and those of their profession, and their aspirations and rights.
The contribution of women to sustenance and survival of cultures and civilization, as such, has assumed new proportions in the last century or so, with women engaging themselves in a range of activities for livelihood in urban centres. Their contributions have, however, largely gone unacknowledged due to various factors. This study attempts to address this aspect by focusing on the role of urban women in the handicrafts sector in Kashmir. Dr. Salima Jan examines how the artisan women, in spite of difficulties of earning livelihood in a patriachal society, have adopted handicraft as a household occupation and are contributing immensely to family and society. Based on empirical data obtained from survey and presenting case studies, the work examines the socio-economic and educational background of artisan women before delving into aspects, such as, the nature of work done by them, their wages in different handicrafts, their control over these and the conditions under which the women have opted for the role. It analyses the manner in which the women cope with their dual roles involvement in household chores as well as employment in handicrafts and deals with their individual aspirations and rights in this context i.e., their say in decision-making in families and their perceptions of job satisfaction and changing role of women. This research effort would be useful to researchers and scholars engaged in a range of sociological disciplines but, particularly, associated with sociology of work and gender studies.
This anthology raises, discusses and debates issues, aesthetics and techniques connected with the Indian theatre in the backdrop of political, social and moral values of women in theatre. Unearthing the dynamics of gender, it fills up the vacuum of scholarly literature on the role of women in theatre.
This book explores the presence and contribution of women to the recorded history of Indian theatre. It provides a platform to raise, discuss and debate issues, aesthetics and techniques connected with the Indian theatre in the backdrop of political, social and moral values of women in theatre. An attempt to fill up the vacuum of scholarly literature on the role of women in theatre, this book expects to create enough academic value and interest. Its content unearths the dynamics of gender in the history of theatre. It extensively deals with the theoretical and practical aspects of women’s theatre.
This anthology also addresses the various social issues associated with gender inequality through essays, play-texts and interviews. In a similar vein, it delves deep into the relationship among theatre, public/private sphere and gender. This work purports to address a variety of needs of feminist researchers and laymen who are not conversant with the contribution of women to theatre and its obvious political and transformative intent.
This collection also intends to see how the theatrical space could unsettle the gendered binaries regulating women’s presence in public space, and proposes to see why and how relevant feminist politics is in re-imagining a vibrant and inclusive concept of gender fairness and justice in contemporary India. It extends high referral value for researchers, students and even laymen with interest in the role of women in theatre.
The book explores the ancient Indian art from the perspective of gender and delves into the development of engendered representation in art, with the emergence of aesthetic and sexual archetypes and stereotypes of women: goddesses, mothers, wives, nuns, semi-divine yakshis, ogresses and others by giving insights into the intention, agency and patronage patterns in early Indian art.
The book is an exploration of ancient Indian art from the perspective of gender. It focuses on the period from 181 bce to ce 320 a period of great turmoil in the politico-economic, socio-cultural and religious spheres that gave rise to contesting ideologies and gender complexities in ancient India. It delves into the development of engendered representation in art, with the emergence of aesthetic and sexual archetypes and stereotypes of women: goddesses, mothers, wives, nuns, semi-divine yaksis, ogresses and others. It examines the nature of the stereotypes and archetypes that were constructed on the basis of gender roles rather than on sex and how these were reflected by various attributes of the representations nudity or its absence, ornamentation, gestures, direction of gaze and context. It gives interesting insights into the intention, agency and patronage patterns in early Indian art.
The volume with its scholarly approach, providing fresh insights into early Indian art, will prove useful to scholars, students and researchers of Indian art and history alongwith the cognoscenti.
The book examines the joint family system in India — its roots in Vedic times, its evolution and relevance and practicality in the present times, the changing social norms, value systems and human behaviour over time, the position and status of the aged with the decline of the system, etc.
The joint family system has ancient roots in India, being traceable to the Vedic times when four generations lived together. The tradition helped in maintaining strong bonds of kinship and keeping alive customs and traditions of the past. This book seeks to examine the joint family system in India: its evolution and relevance and practicality in the present times. It deals with the changing social norms, value systems and human behaviour over time and views the role of religion in promoting human values and fellowship which are an essential ingredient of joint family norms. With case studies, it explores aspects of the Indian family like its cultural and ritualistic traditions, the importance and role of the woman as the backbone of the Vedic society, the position and status of the aged with the decline of the joint family system, and the importance of the joint family as a vehicle for accumulating wealth — both material and in terms of serving and benefiting all. The volume will prove a useful contribution for scholars and students in the field of Indian social and cultural studies.
The Indian society has yet to appreciate the strength of its women populace and treat them as quintessentials in nation-building. The objectives of this journal from Banaras Hindu University’s Centre for Women’s Studies and Development, are both academic and social. It expects to change the present attitude and values in society regarding women’s roles and rights to one of equal participation in all social, economic and political processes.
India has been labelled as a land of gender inequality and a challenging place for a woman to live. For centuries, social reformers were fighting for women rights and thus taking the country out of this social stigma and injustice, and they invested a lot on educating and empowering women. But they have met with only partial success. The numerous cases of female infanticides, sex-selective abortions and atrocities on women endorse this fact. We have yet to undergo a sea change in our attitude towards the dignity, education, employment and empowerment of women. The society has to appreciate their strength and treat them as quintessentials in nation-building.
There is no society in the world in which women do not experience some gender inequality, be it in political, economic, social, or legal fronts. But in many countries, the gender inequality is really acute. Therefore these important issues Þ the invisibility, dstortion and marginalization of gender as a category of analysis in mainstream disciplines and their canonozation Þ need serious deliberations.
The objectives of Journal of Gender and Justice are both academic and social. It expects to change the present attitude and values in society regarding women’s roles and rights to one of equal participation in all social, economic and political processes. It is designed to help in bringing a culture shift in attitudes and values in society regarding women’s roles and rights. This ßannualû journal from the stable of Banares Hindu University’s Centre for Women’s Studies and Development, Varanasi, will also target at fulfilling a special responsibility to teachers, who are aware of the need of non-sexiest education, who would pick up the challenge to promote value of equality, including the gender equality.
This is a comprehensive work on the Kamakhya temple complex in Assam: the complex processes of the deitys Sanskritization and the temples role in integrating the people of this region with the mainland. It makes a detailed study of the temple rituals, festivals and personnel and socio-cultural life and includes an account on spread of Saktism in the region.
This is a comprehensive work on the Kamakhya temple complex in Assam: the complex processes of the deity’s sanskritization and the temple’s role in integrating the people of this region with the mainland. Incorporating details from interviews with temple priests and other temple staff and from literary materials on the temple, it deals with the socio-cultural life at the temple complex with respect to rites of passage relating to marriage, birth and death, arts and crafts, food, dress and folk medicine. With illustrations of the temple structure and sculptures and religious and cultural activities, the text makes a detailed study of the temple rituals, festivals and personnel their kinds and functions and changes in the body of the temple staff with time. Importantly, it provides a background to the study by examining the spread of shaktism over different periods in the Eastern Indian region and specifically Assam.
It analyses, for the first time, each of Sri Lalitas thousand names, through themes like the Goddesss anthropomorphic forms, abodes and ritualistic worship. It underscores the importance of Lalita-Sahasranama in philosophy, tantra, yoga, sahasranama literature, etc.
In the Hindu sacred literature, Sahasra-namas: the texts embodying literally “the Thousand Names” of a deity, constitute a genre in their own right. And Lalita-Sahasranama (LS) is a veritable classic in the traditional writings of the kind — a classic widely acknowledged for its lucidity, clarity and poetic excellence. A medieval work of unknown authorship eulogising Shakti: the Mother Goddess, this Sahasranama is not just a masterly exposition of Shri Lalita’s cult, but also sets out the deity’s diverse epithets — like, for instance, Kundalini, Nirguna, Saguna, Parashakti or Brahman — which continue to evoke reverence as mantras with ‘mystic powers’. Also included among these names are the goddess’s other panegyric descriptions that have come to have profound, esoteric connotations in tantric practices — epitomizing, thus, the fundamental tenets of tantrashastra. Here is a brilliant critical edition of Lalita-Sahasranama meticulously analysing, for the first time, each of Shri Lalita’s thousand names — by a variety of themes, like the Goddess’s conceptual representations, anthropomorphic forms, disposition, abodes, kinships/consorts, ritualistic worship, and her supremacy in pantheonic hierarchy. Also explaining and interpreting anew these thousand names on the basis of time-honoured commentaries, Dr. Joshi under-scores the high importance of Lalita-Sahasranama in philosophy, tantra, yoga, sahasranama literature, and rituals of various descriptions. The book includes the original Sanskrit text of LS, its romanised transliteration and, additionally, an Appendix listing Sri Lalita’s thousand names in the A-Z sequence.
| There are no products |