Indian Epics

, was founded in 1958 as the Central Institute of English (CIE). Giving shape to Pandit Jawaharlal Nehru's (India's first Prime Minister) vision to set up an institution to impart quality training in English for teachers, the mandate of the University is to advance and disseminate "instructional, research and extension facilities in the teaching of English and foreign languages and literatures in India" as well as "to take appropriate measures for interdisciplinary studies and research in literary and cultural studies, and to develop critical intercultural understanding of civilizations." In addition to regular teacher training programmes, CIE set benchmarks through its various conferences, refresher courses, and syllabus design ventures. During this time, the Institute also initiated indigenous English education programmes by producing school textbooks and later radio lessons. Gradually the Institute extended the scope of its goals, viz. to improve the standard of teaching of English; to undertake relevant research; and, Convener

Indian mythology is a rich and alluring tapestry of ancient tales, gods, and goddesses, as well as epic conflicts that have influenced the nation's cultural and spiritual environment for millennia. Investigating these fictitious worlds provides a window into the rich symbolism and wisdom ingrained in Indian culture. The researcher explores Indian Mythology in this study and offers a collection of the six greatest Indian Mythology tales for modern males. The publication provides a portal for young people to a cosmos teeming with Gods, heroes, demons, and Divine sages, ranging from the age-old stories of the Mahabharata and Ramayana to lesser-known folklore & regional mythology. Prepare to embark on a mesmerizing journey through the six tudes for today's dudes A 3 MSG from character sketch of Mahabharata & Ramayana. Objective: The researchers have set the following primary objectives and the current study investigates 2 broad research questions: 1. To identify the persona behaviours from the character sketch of Mahabharata & Ramayana. 2. To evaluate Attitude, Aptitude, Altitude, Magnitude, Solitude, and Gratitude (A 3 MSG) from the character sketch of Mahabharata & Ramayana. Design/Methodology/Approach: The study is supported by both primary and secondary evidence. The hypotheses are presented for the chosen variables, and they are then examined to support or refute them without making any mistakes. Findings/Results: The researcher identifies A 3 MSG play relations and all these were related to character sketches of Mahabharata & Ramayana & there were significant relationships observed for persona behaviour development like self-awareness, self-esteem, emotional issues, thinking patterns & handling emotions. Research Limitations/Implications: A 3 MSG are crucial aspects of the human psyche that have an impact on learning, performance, behaviour, and how one adjusts to their environment. Tudes talk about how we do things; while A 3 MSG indicates the things we are capable of doing. Therefore, A 3 MSG, are a highly effective tool for our job performance, our successful integration and our well-being within a team when they are correctly designed. Contrary to popular belief, employers nowadays are not simply searching for talents. They frequently seek out steady-minded, career-focused people who "understand their own path" and "know what they want in a career." Companies "recruit for A 3 MSG and "train for skills," according to a common saying. A 3 MSG directly affects how individuals function and perform at work. A 3 MSG are equally crucial to succeeding in a certain area. It is the proper blending of the two inherited and acquired traits that go hand in hand in defining the wins and losses in a person's life and help shape the progression of one's life in a varied nation like India.

This paper explores how Sita is portrayed in The Forest of Enchantments by Chitra Banerjee Divakaruni, providing a postcolonial analysis that questions conventional interpretations of Sita's submissiveness and obedience. In this narrative, Sita-often seen as the embodiment of virtue and obedient wifehood-is recast as a strong, self-aware woman whose journey exemplifies the fortitude and autonomy of colonised people. By examining how Divakaruni's narrative reclaims her voice, wants, and conflicts as essential components of her story, this research dismantles the myth of Sita's obedience. The study shows how Sita's tale symbolises the complexity of female agency under repressive frameworks, the reclaiming of identity, and the resistance of suppressed voices through the prism of postcolonial philosophy. Presenting Sita's decisions as deliberate acts of autonomy. In her search for identity and independence, The Forest of Enchantments redefines obedience as a form of agency and challenges readers to reevaluate her as a postcolonial figure of resistance. Introduction: Sita from the Ramayana is typically considered the epitome of obedience, loyalty, and purity in Indian mythology. However, Sita is reimagined in Chitra Banerjee Divakaruni's The Forest of Enchantments in a contemporary, feminist manner, showing her as a woman with agency and personal values. Divakaruni challenges readers to reimagine Sita's path as one characterised by inner power and autonomy rather than passive submission by revealing layers of resistance behind her seeming compliance through her perspective. This essay uses postcolonial critique to examine how Sita's tale undermines the idea of obedience and demonstrates how resilient she is in the face of social norms and patriarchal expectations. Obedience Reimagined: Subversion of Traditional Narratives Sita has always been portrayed in the popular account of her life as an example of an idealised lady who complies with social norms of submission and devotion to her husband, Ram. However, by portraying Sita's decisions as displays of self-assertion, The Forest of Enchantments casts doubt on this idea. Divakaruni gives her choices depth rather than presenting them as mindless acquiescence, implying that Sita's obedience is a sophisticated reaction to her situation rather than a straightforward act of surrender. For example, Sita's decision to go into exile with Ram has frequently been seen as an obedient act. But in Divakaruni's version, Sita deliberately chooses to do this in order to maintain her identity and marriage while also wanting to see life outside the royal gates. Thus, her behaviour is reframed

The foremost objective of the Arthaśāstra (AŚ, 50 BCE – 300 CE) is teaching the king or a prince (i.e., a king in the making) how to successfully do his job: Ruling a country and securing its survival and prosperity. As part of this task, it is the ruler’s responsibility to be prepared to deal with all kinds of calamities – in the interest of his own security, of his subjects on the individual level, of certain professions, as well as socially and religiously defined segments of society, and of the whole kingdom. To this end, the work contains a whole book (AŚ 8) on the assessment of various defects (vyasana) of the constituents of a kingdom, including a chapter (AŚ 8.4) on great dangers (mahābhaya), threats like fires, floods, droughts, and epidemics. Additionally, there is one more chapter enumerating practical countermeasures for natural and other disasters (AŚ 4.3), and, scattered all over the work, many suggestions and exemption clauses, that shall facilitate survival of the subjects in times of distress.
This study focuses on the modes of reaction that were available to the king according to the Arthaśastra. What measures could he fall back to in the event of crisis? Which red lines must not be crossed under any circumstances? What fell in the king’s own responsibility and which tasks could he delegate? Which experts were available and could be consulted or mobilised? Were there certain taboos, or people and powers that should not be made use of in solving the crisis? How far does the alleged utilitarianism of the Arthaśāstra go when faced with calamities?

This article deals with descriptions of disturbances of mind and behavior in Homer's Iliad and Odyssey and in the Indian poems Mahābhārata and Rāmāyaṇa. We collect and examine Homeric scenes in which the poet depicts the human mind as being negatively affected by various factors, and in which such mental events are related to a behavior that is significantly deficient, and conduct a parallel analysis of the two Sanskrit epics. We first present these scenes according to our classification of 11 types of disturbed behavior, and on this basis we tackle our main question, which concerns the kind of relation between the negative event affecting the mind and the disturbed behavior. We conclude that this relation is basically conceived of as causal, and we present the main ways in which the Greek and the Indian poets construct and express this relation. Finally, we point to the main similarities and differences between the two traditions in this regard.

The "greatness" of the Mahābhārata, its mahat/mahā quality, refers primarily to its intended dynamism as a powerful engine generating the spread of Brahminic teaching throughout the world, casting "heathen" (nāstika) teachings and their patrons into shadow for all time. The Brahmin authors worked to accomplish this end in two main ways. First, they devised a tremendously engaging tale that depicted the decisive victory of a king (Yudhiṣṭhira Pāṇḍava) who accepted Brahmin claims to deserve monopoly-control over teaching the norms of society. Second, they made this tale an extensive magisterium of Brahmin ideology and philosophy, affording to all in society, women and śūdras as well as Aryan men, encouragement to seek the forgiveness of past wrongs at tīrthas and access to the teachings of mokṣa without Vedic initiation .

This paper is an attempt to present the positions of women in Hindu civilization within the context of justifying the purity of women in Vālmīki's celebrated epic poem 'Rāmāyaṇa' and prominent contemporary Indian writer Premchand's story 'Nirvāsan'. Even though the date of composing the 'Rāmāyaṇa' is not certain, it is estimated that it took place in literature between the 4th and 2nd centuries BC. On the other side, 'Nirvāsan' belongs to the date in more recent times as late 19th and early 20th centuries AD. This shows us clearly that the traditions and customs have never changed throughout the centuries. Literary intersections demonstrate how to transfer culture from generation to generation. Patriarchal social structure in India will be discussed with the method of radical feminist theory. Women can be seen as in the second plan compared to the men according to this feminist theory argument. Moreover, women are exposed to physical and psychological violence because of the patriarchal system. Patriarchal society is a structure in which men are superior to women in every sense and women are forced to live under the domination of the men. In this social structure, the authoritarian male has a more respectable position in the family and in social life than the woman. Women can be perceived as the object of men's power and authority. This study aims to provide an insight to the people about Indian culture through the texts by analyzing above mentioned literary works.

PBL is known among its practitioners as a didactic method that greatly boosts students' efficiency in learning to learn. It allows for a shift of the center of gravity from knowledge content to skills. Despite its long university career, it is not as widely widespread in human studies as, e.g. in social sciences or in medical studies for which it had been created.

ଆର୍ଟିଫିସିଆଲ ଇଣ୍ଟେଲିଜେନ୍ସର ବୃହତ ଭାଷା ମଡେଲ ଗୁଡ଼ିକ ମଧ୍ୟରୁ, ଆଜି ସବୁଠାରୁ ବ୍ୟାପକ ହେଉଛି ChatGPT, ଏବଂ ଏହାର ସଂସ୍କରଣ 4o ପୂର୍ବରୁ ବିଶ୍ୱସନୀୟ ଜ୍ଞାନର ଗ୍ୟାରେଣ୍ଟି ଦେଇଛି, ସଂସ୍କରଣ 3 ଏବଂ 4 ର "ହାଲୁସିନେସନ୍" ପରିବର୍ତ୍ତେ, କିନ୍ତୁ ଏହା ନିଶ୍ଚିତ ଭାବରେ 5 ସଂସ୍କରଣ ପାଇଁ ଆଡଜଷ୍ଟ କରାଯାଇପାରିବ, ଯାହା ଗ୍ରୀଷ୍ମ 2024 ସୁଦ୍ଧା ପ୍ରତିଶ୍ରୁତି ଦିଆଯାଇଛି। ଏହିପରି, ଏହାର ପ୍ରଶିକ୍ଷଣ ଏବଂ ଇଣ୍ଟରନେଟର ବିଷୟବସ୍ତୁକୁ ସିଧାସଳଖ ଆକସେସ୍ ମାଧ୍ୟମରେ, ChatGPT ସଠିକ୍ ପ୍ରଶ୍ନ ପଚାରିବା ପରେ ସେକେଣ୍ଡରେ ଦୁନିଆରେ ଜମା ହୋଇଥିବା ଅଧିକାଂଶ ଜ୍ଞାନ ପ୍ରାପ୍ତ କରିପାରିବ । ବୈଜ୍ଞାନିକ ଗବେଷଣା ର ଅର୍ଥ ହେଉଛି ଜ୍ଞାନର ସୀମାରେ କାମ କରିବା, ଅର୍ଥାତ୍ ଏକ ନିର୍ଦ୍ଦିଷ୍ଟ ଗବେଷଣା କ୍ଷେତ୍ରରେ ସଞ୍ଚିତ ଜ୍ଞାନର ନିର୍ଦ୍ଦିଷ୍ଟ ଦିଗଗୁଡ଼ିକର ମାଲିକାନା କରିବା ଏବଂ ଏହା ଆଧାରରେ, ନୂତନ ପରିପ୍ରେକ୍ଷୀ ବିଷୟରେ ପ୍ରଶ୍ନ ପଚାରିବା ଏବଂ ସୃଜନଶୀଳ ଆଭିମୁଖ୍ୟ ସହିତ ଏଥିପାଇଁ ସୂଚନା ହାସଲ କରିବା । ଏହିପରି ଭାବରେ ଚାଟ୍ଜିପିଟି ଏବଂ ଏହାର ସାଥୀମାନେ ବିଶ୍ୱର ସମସ୍ତ ଜ୍ଞାନ ଅଧିକାର ମାଧ୍ୟମରେ ସିଧାସଳଖ ଜ୍ଞାନର ସୀମାରେ ଅଛନ୍ତି ଏବଂ ଏଥିପାଇଁ ବର୍ତ୍ତମାନ ପର୍ଯ୍ୟନ୍ତ ଆବଶ୍ୟକ କାର୍ଯ୍ୟକଳାପରେ ସାମ୍ନାକୁ ଆସିଛି ।  ପ୍ରାକୃତିକ ଏବଂ ବୈଷୟିକ ବିଜ୍ଞାନରେ ଗବେଷକଙ୍କ କାର୍ଯ୍ୟକଳାପ ଉପରେ ଏହି ପରିବର୍ତ୍ତନ ଏକ ଭିନ୍ନ ପ୍ରଭାବ ପକାଇଥାଏ, ଯେଉଁଠାରେ ଅନୁଭୂତିମୂଳକ ପରୀକ୍ଷାଗାର କାର୍ଯ୍ୟ ପ୍ରାୟତଃ ଫୋକସ୍ ହୋଇଥାଏ, ଏବଂ ସାମାଜିକ ବିଜ୍ଞାନରେ, ଯେଉଁଠାରେ ସାମାଜିକ କାର୍ଯ୍ୟକଳାପର ସମ୍ପର୍କପ୍ରକାଶ କରୁଥିବା ପୁସ୍ତକ ଏବଂ ଅଧ୍ୟୟନରେ ସଂଗୃହୀତ ଜ୍ଞାନ ଆଧାରରେ ବୈଜ୍ଞାନିକ ଗବେଷଣା କରାଯାଏ ଏବଂ ସେମାନେ ଜ୍ଞାନ ହାସଲ କରିବାକୁ ଚେଷ୍ଟା କରନ୍ତି ଯାହା ସେମାନଙ୍କୁ ଖଣ୍ଡନ କରିପାରେ ଏବଂ ନୂତନ ସଂଯୋଗ ପ୍ରକାଶ କରିପାରେ । ତେଣୁ ଆର୍ଟିଫିସିଆଲ ଇଣ୍ଟେଲିଜେନ୍ସ ଉପରେ ଆଧାରିତ ବଡ଼ ଭାଷା ମଡେଲର ଅତ୍ୟାଧୁନିକ ସଂସ୍କରଣ ସାମାଜିକ ବିଜ୍ଞାନ କ୍ଷେତ୍ରରେ ବଡ଼ ପରିବର୍ତ୍ତନ ଆଣିପାରେ ଏବଂ ସେଥିପାଇଁ ଆମେ ଏହି କ୍ଷୁଦ୍ର ପ୍ରବନ୍ଧରେ ଏହାକୁ ଧ୍ୟାନରେ ରଖିଛୁ । ବୃହତ ଭାଷା ମଡେଲର ଏକ ସୀମା ଭାବରେ ଆଗୁଆ କହିବା ଜରୁରୀ ଯେ ସେମାନଙ୍କ ପ୍ରଶିକ୍ଷଣ ଏବଂ ଅନଲାଇନ୍ ଜ୍ଞାନର ପ୍ରତ୍ୟକ୍ଷ ଉପଲବ୍ଧତା ମାଧ୍ୟମରେ, ସେମାନେ ପୂର୍ବରୁ ବିଦ୍ୟମାନ ସାମାଜିକ ବୈଜ୍ଞାନିକ ଜ୍ଞାନର ସମ୍ପୂର୍ଣ୍ଣତା ହାସଲ କରିପାରିବେ, କିନ୍ତୁ ସେମାନେ ସୃଜନଶୀଳ ଭାବରେ ନୂତନ ବୈଜ୍ଞାନିକ ଜ୍ଞାନ ସୃଷ୍ଟି କରିପାରିବେ ନାହିଁ ।

The novel Karna's Wife is mainly a retelling of the epic The Mahabharata which is the world-famous treasure for the human welfare anda saga of all kindof conduct, performances, behavior. One scrutinizes its various characters to understand one's surroundings. Its various retelling stories open up various ways to give room to its minor characters. The character of Karna has always been controversialand had been widely discussed and criticized for various valid reasons. As it is also there are some flaws in other major characters of The Mahabharata which have never been perfectly answered, analyzed and judicially criticized.

The postmodernist approach of reinterpretation provides many interesting ways to explore the ancient treasure and present the same stories to the sensible readers in a new lense. The great mythological epics till now are shared more with the didactic role or entertainment purpose but these present interpretations allow readers to provide insight into the ideals and societies of ancient culture. This paper explores the non-normative side of the protagonist Duryodhana as a human being leaving behind the fix notion of black and white binaries. Exploring his character in the light of developmental psychology, the modern reinterpretations provide a bipartite concept of self and society and ill effects of peer victimization, it also dos away with popular normative views and reviews how the insecurities and ill treatment by the society disconnect an individual from his essential core provoking him to become a fallacious and insecure personality.

The prosperity and development of ethnic culture can not be departed with females especially in oral. With the trend of modernization, the inheritance of Dai's poetry is changing in both Dai areas with characters and areas without characters. Through field investigation, this thesis finds females play an important role in inheriting and developing poetry.
少数民族文化的繁荣发展,是离不开女性的。其中,口头传统文化更是如此。傣族以其浩瀚的诗歌著称,有自己的诗歌传承人。在现代化的潮流冲击下,无论是在有文字的傣族地区,还是没有文字的红河流域的傣族地区,傣族诗歌的传承方式正在发生着改变。通过田野调查,发现女性在传承和发展诗歌方面发挥着越来越重要的作用。

中国的傣族,以至于跨境居住在东南亚国家的傣—泰民族,可以分属于两个大的文化圈:一个是信仰佛教的傣一泰民族文化圈,一个是持原始宗教的傣一泰民族文化圈。前者包括中国西双版纳、德宏、孟连、景谷在内的大多数傣泐、傣讷、傣卵等支系,国外包括缅甸的掸族,泰国的泰北人,老挝的泐族;后者包括中国境内元江、红河流域和金平县内的各"花腰傣"族群,国外有越南西北部的泰族,老挝北部的"布傣"族群等。第一个文化圈内的傣—泰民族,他们信仰南传佛教,创立了文字,过着传统的泼水节(宋干节),其诗歌受到佛教和印度文化的深刻影响;第二个文化圈内的傣—泰民族,由于多姿多彩的服饰,在中国他们被简单地统称为"花腰傣"。他们普遍信仰天神、祖先神灵及其他山川河谷的原始宗教。他们不过泼水节,却过春节、中秋节、中元节等。除了金平傣族曾在历史上创立"金平傣文"并小范围内使用之外,其他"花腰傣"各群体都没有自己的文字,其文学几乎都是口头传承。由于使用文字与否,不同文化圈里的傣一泰民族,他们传承史诗、叙事诗的方式就不同。第一个文化圈的傣泐、傣讷、傣润、傣卯等支系,使用文字并将诗歌记录传承下来,很早就走上了口头和书面诗歌共同发展的道路。同时,那些"花腰傣"各支系由于没有文字,依然发展和传承着古老的口头诗歌。虽然两个文化圈的史诗传统发展情况不同,但不管是口头传承的,还是书面化的诗歌,它们都遵循共同的诗歌韵律。其诗歌中普遍的韵律格式,就是"腰脚韵"。也许这就是所有傣—泰民族诗歌共享的基因。

中国的傣族,至跨境居住在东南亚国家的傣-泰民族,可以分属于两个大的文化圈,一是信仰佛教的文化圈,一个是持原始宗教的文化圈。只有信仰佛教的傣-泰民族才过泼水节(东南亚各国称为"宋干节")。过泼水节的族群中,关于泼水节的起源神话大同小异,但是对泼水节的认识和定位并不相同,有的将泼水节视为新年,而有的仅视为重要的传统节日之一。无论是从泼水节的起源神话故事,还是从"采花取水"和"放高升"等节日环节都可以发现,泼水节本质上是服务于稻作农业生产的祈雨仪式,反映出人们征服干旱、火灾等自然力的朴素愿望。

我国南方民族中信仰南传佛教的有傣族、布朗族、德昂族、佤族和阿昌族，他们聚居的区域以西双版纳、德宏、孟连为轴向周边辐射连成一个云南境内狭长的南传佛教文化带。他们使用傣文书写的佛经，具有与傣族相似的南传佛教习俗传统。傣族的贝叶经流入到周边民族地区进而影响了他们的文学，同时傣族也吸收了这些民族文化中的养分，形成了“你中有我，我中有你”的区域性贝叶文学现象。通过比较傣族史诗《创世纪》与德昂族史诗《达古达楞格莱标》，布朗族叙事诗《朗三飘》与傣族的《三尾螺》《三时香》等篇目，可以发现这些史诗、叙事诗有着内容重合的地方，具有相似的“佛经叙事+本土叙事”结构，共享着许多相同的故事范型。这种区域性的文学现象反映了傣族与周边民族长期的族际交往和文化交融的历史和现状。

文章以《巴塔麻嘎捧尚罗》为例，从三个角度阐述我国傣族创世叙事中所具有的印度神话元素：一是介绍傣族创世叙事中的大量梵语、巴利语借词，包括专有名词、神祇名、度量衡和数字等元素；二是通过分析史诗中英叭、帕雅英诸神的神格及其叙事，探讨其与印度神祇之间的关联；三是阐述傣族创世叙事在何种程度上吸收印度神话中的多层宇宙观、以须弥山为中心的世界结构以及火水风“三劫”等叙事元素，进而形成世界毁灭又重生的循环时间观。以《巴塔麻嘎捧尚罗》为样本进行剖析可以检视傣族文化的多元文化形态，并为南传佛教如何涵化傣族文化提供一个研究案例。

Albert Hoffstädt was the architect of a unique cooperation between Brill publishers and the Leiden Department of Comparative Indo-European Linguistics, a cooperation that has so far resulted in a series of twelve etymological dictionaries and an online publication of fifteen etymological databases (<https://dictionaries.brillonline.com/iedo>). In all the years that Albert was directly involved in the Indo-European Etymological Dictionary project, we often had discussions about languages and cultures of long-gone civilizations and about the linguistic methodology for reconstructing them. It is therefore my pleasure to offer in his honor some considerations about the language of an intriguing new civilization, relatively recently discovered in Central Asia. The Russian archaeologist V.I. Sarianidi has localized dozens of settlements on the territory of former Margiana and Bactria and has proven that they belong to the same archaeological culture, which he labeled "Bactria-Margiana Archaeological Complex" (BMAC). At the end of the 1970s he managed to find the probable capital of this culture, a settlement called Gonur-depe. Gonur is located in the old delta of the Murghab River, on the border of the Karakum desert. The city was most likely founded around 2300 bce and experienced its heyday between 2000 and 1800. Somewhere around 1800, the riverbed of the Murghab began to move eastwards, which eventually led to the city being abandoned by its inhabitants. Already very soon the whole BMAC civilization started to decline, and we see few traces of it after 1600 bce. At the beginning of the second millennium, Gonur was one of the largest cities in the world. The citadel alone with its royal palace, temples and surrounding buildings occupies an area of ten hectares. The city also included a separate temple complex (the so-called Temenos), a 1.5 sq. km necropolis with about three thousand burials, water reservoirs, squares, hundreds of artisan's houses, etc. Since there was no stone nearby and hardly any wood, the whole city was built of unbaked bricks: clay was mixed with straw, put into special forms and dried in the sun.

This paper argues that not only fairy tales, but also myths are subversive in nature and the recent genres of mythological fiction and graphic/ mythological picture books are able to exploit this aspect of myths through their innovative narrative. Writers of these genres exploit the subversive potential of myths and the great epics and this has gained momentum in the last two decades. Resorting to myths, legends and history might reinstate cultural values, but it also brings into question the linearity, singularity, and the authority of the “grand text.” There is re-invention of myths and fresh interpretation to suit the times of present generation. Therefore, values and worldliness, insight and adherence, virtuosity and practicality, sensitivity and intellect, traditional frame and modern understanding are not only juxtaposed, but also brought into terms with one another. Devdatt Pattanaik is one of the leading exponents in this group who has retold epics for children and invented modern
mythology, allusions and allegories to discuss the issues of identity, gender, inequality, balance in life, decision-making and spiritual conflicts. Pattanaik’s A Secret River, Kama-v/s-Yama and The Girl Who Chose and The Boys Who Fought raise questions on the limited human perceptions and narrow understanding of the world. Sometimes questioning the
wrongs, other times asserting new values and judgments, he attempts to submit to or subvert the established cultural myths provoking the readers for a revival, to give a second thought and to think how the normative or mythic reality merely occurs as a social construct.

Dgongs pa rab gsal Dbu ma la 'jug pa'i rgya cher bshad pa dgongs pa rab gsal (Tsong kha pa blo bzang grags pa): Zhol ed. Ma. Tohoku No. 5408. Dag yig gsar bsgrigs Dag yig gsar bsgrigs, dag bcos ma. Xining: Mtsho sngon mi rigs dpe skrun khang. 2014. Blo sbyong bkrol ba Blo sbyong don bdun ma'i snyan brgyud kyi tshig rnams yi ge nyung ngu'i sgo nas bkrol ba (Rgyal sras thogs med bzang po). In Blo sbyong nyer mkho phyogs bsgrigs (pp. 172-202). Lanchow: Kan su'i mi rigs dpe skrun khang. 2003. Zhabs dkar mgur 'bum Zhabs dkar ba'i mgur 'bum (Zhabs dkar tshogs drug rang grol): Bya btang tshogs drug rang grol gyis rang dang skal ldan gdul bya la mgrin pa gdams pa'i bang mdzod nas glu dbyangs dga' ston 'gyed pa (stod cha). Xining: Mtsho sngon mi rigs dpe skrun khang. 1987. Zla 'od Byang chub sems dpa'i spyod pa la 'jug pa'i 'grel pa byang chub kyi sems gsal bar byed pa zla ba'i 'od zer (Bu ston rin chen grub): The Collected Works of Bu-ston. Dza. Tohoku No. 5178. Ā dar sha Rang gi byung ba brjod pa rang gsal ā dar sha (Dbu dge bsam gtan rgya mtsho). In Rje btsun bsam gtan rgya mtsho dpal bzang bo'i gsung 'bum, pod dang po. Chengdu: Si khron mi rigs dpe skrun khang. 2009.

While epics are a part of cultural identity, they are an important source in transferring values, moral principles, social and religious teachings from generation to generation, ensuring cultural unity and understanding historical events. In this respect, Indian epics form an important part of Indian mythology and culture. In both Rāmāyaṇa and Mahābhārata, these epics contain complex characters, moral lessons, mythological elements and dramatic events. In this study; An in-depth analysis of the female characters in Rāmāyaṇa, thought to be India's first epic, and Mahābhārata, the longest epic, has been made within the framework of social norms. Ancient Indian literature and mythology can generally be considered as Vedic and Epic periods. The Vedic period covers the period in which Vedic texts were written, and the Epic period covers the period of epics. Since the Epic period bears traces from the Vedic period, it will not be sufficient to consider these two periods independently of each other when evaluated in terms of this study. Unlike other Vedic period women's studies in the literature, the female figures that came to life in these epics written in the post-Vedic period were comparatively classified, analyzed and interpreted. When evaluated in terms of the female characters mentioned in the epics and the identities they represent; in terms of their physical characteristics, it has been seen that there are women, demon women, mythological women and demons who are friends of humans and gods, female saints, women in goddess incarnation and goddesses. When the female figures in the Rāmāyaṇa and Mahābhārata epics were examined more closely according to the category we created, it was determined that some female characters had multiple identities. The stories, virtues and strengths of Sītā and Draupadī, the female protagonists in these epics in private, are emphasized and their importance in the cultural heritage of India is evaluated in line with the purpose of the epics.

The story of Ram and later the acknowledgment of Ram as an incarnation of Vishnu was quite old; but somehow the practice of bhakti to Him started quite late with Ramanand (13 th cent.), a follower of Ramanuja (12 th cent.) tradition. All through Krishna was the favoured Deity of the practitioners of bhakti. Tulsidas made Ram bhakti popular. Tulsi's presentation of Ram as both a Maryada-purushottam (epitome of peace and self-restraint) and of compassion is the most ennobling concept of a Deity. Ram in popular religion is both the Ram of Ayodhya , as also a simple name for the Supreme Divine. Therefore the present day assertion that Ram is the only God, when He is understood as the Ram born in a particular spot falsifies the original tenet which declares that the Truth (Sat) is one though the sages call it by many names. Moreover, the Ram of Ayodhya has now been conceived in two ways-as a warrior with an angry expression and bow drawn to destroy; and as Ram Lalla (child Ram). The article argues how both pictures of Ram are against the traditional , popular idea of Ram. As to bhakti of Ram, there is no indication of it, as Ram is being used for political interests, and bhakti means total rejection of the ego and its interests.

On the Crow’s Story in the Rāmcaritmānas Once Again

In the most prominent of the Hindi Rāmāyaṇas, the sixteenth-century Rāmcaritmānas by Tulsīdās (1532–1623), the word communicated by the poet adopted the metaphorical form of the waters of Lake Mānas. The whole structure of the poem serves to construct this metaphor—its seven
books (kāṇḍ) are visualized as the seven stairs (sopān) of the embankments (ghāṭ) leading to the lake, while the embankments themselves are identified with four structural dialogues, through
which the story of Rāma’s deeds (rāmkathā) is conveyed. One of the four characters conducting one of these dialogues, one of the narrators of rāmkathā, is a mysterious crow named Bhuśuṇḍi, who tells his story to Garuḍa, the king of birds. This paper attempts to discuss the place of ‘Bhuśuṇḍi’s Rāmāyaṇa’ in the structure of the Rāmcaritmānas, its specific function of a rāmkathā metastory and offers its interpretation. The discussion refers to previous research focusing on the textual relationships between the Yogavāsiṣṭha Rāmāyaṇa, the Bhuśuṇḍi Rāmāyaṇa and the Rāmcaritmānas. The analysis of the role of Bhuśuṇḍi
as one of the poem’s narrators is aimed at broadening our understanding of the meaning of the four-dialogue-based text structure. It corroborates that this very structure is a carefully designed comprehensive tool, catering for the different needs of Rāma’s believers and allowing them to reach the core of the story’s mystery. The poem’s composition appears to be thoughtful and homogeneous, thus not giving much support to the concept of separate stages of its composition.
Keywords: Bhuśuṇḍi, Bhuśuṇḍi Rāmāyaṇa, Lake Mānas, Rāmcaritmānas, rāmkathā, Tulsīdās

About the book
How often have you been advised to follow the teachings of Krishna but wondered what those teachings were? This book brings forth eleven of the most important lessons delivered by Krishna at critical junctures in the Mahabharata. These practical lessons are different from the spiritual wisdom imparted to Arjuna in the celebrated Bhagavad-Gita.
Krishna’s role in the Mahabharata is not just as a knower of dharma (dharmajna) but also as its upholder and institutor (dharma-samsthapaka). Therefore, unlike other great works on niti, Krishna’s instructions are not theoretical but have an immediate relation to the situation at hand.
In Krishna-Niti: Timeless Strategic Wisdom, the authors draw upon their extensive research into the Mahabharata to present a unique gem of nitishastra that is distilled from the quintessential Itihasa of India. They analyse Krishna’s practical wisdom through his interventions on numerous occasions. Rooted in the vision of the epic, the book paints the authentic picture of Krishna as a statesman—an enduring image
that is deeply relevant to our times.

About the authors
Kushagra Aniket is an economic and management consultant based in New York. He graduated with highest honours from Cornell University as a Tata scholar with degrees in economics, mathematics, and statistics. He completed his MBA in finance with Dean’s Honours as a fellow from Columbia University. Kushagra has received multiple awards in India and the U.S. for his poetry and prose in English, Hindi, and Sanskrit. He is known as an āśukavi (extempore poet) in Sanskrit and has presented his compositions at several institutions in India and abroad. Kushagra is a scholar-in-residence at Indic Academy, where he focuses his efforts on showcasing Sanskrit poetry as a living tradition on the international stage.
Nityananda Misra is a Mumbai-based finance professional in the investment banking industry. He specialises in quantitative finance, equity market microstructure, algorithmic trading, and execution consulting. He has an alumnus of IIM Bangalore (2007) and a gold medallist from Gujarat University (2004). Nityananda has a multifaceted personality—a Sanskrit scholar, a polyglot, a grammarian, a litterateur, an instrumentalist, a musicologist, a researcher, an editor, an author, and a book designer. He has authored twelve books, including several bestsellers. He is also a professional onomastician specialising in Sanskrit names. Nityananda is passionate about Indic culture, literature, music, and arts.

Book details
Title:  Krishna-Niti
Subtitle: Timeless Strategic Wisdom
Authors: Kushagra Aniket and Nityananda Misra
Publisher: BluOne Ink Pvt Ltd, Noida
Printer: Nutech Print Services
Type: Perfect Paperback
Publication date: April 2024
Book size: 129mm × 198mm
Number of pages: 234 (vi + xx + 206)
Typesetting: Typeset in LuaLaTeX using Chanakya Sanskrit and Charis SIL by Nityānanda Miśra
Cover design: Syed Dilshad Ali
Cover illustration: Shivani Attri
ISBN-13: 978-93-92209-88-8
ISBN-10: 93-92209-88-6
Price: ₹ 499

Order on Amazon India: https://www.amazon.in/dp/B0D1CPDY3N

Buddha Smiles and Other Stories Instruction to authors Bijay Biswaal Cover page Invitation of articles for Srujan: The Creativity Journal This is an effort to put together a journal with the choicest creative articles in Odia Literature and creativity in other fields of artistic expressions linked to Odisha for an international readership; with an aim of propagating, promoting Odia literature and creativity worldwide. Articles ('poem, short story, art, and other creative forms') are invited for the Srujan: The Creativity Journal. Please send your selected articles only. Submit one article at a time; for poems you can send up to 3 small poems. Do not send essays and critiques. This is a multilingual journal accepting creative articles of translations from and to Odia from different languages; along with article from Odia people writing in other languages. The journal considers pre-published articles if you have the copyright or the written permission from the original publishers. Selection of all the submitted articles is done by a peer group, except the invited ones. Please refer to the 'Instruction to authors' for more information about submission. All the articles should be submitted in Word file, (Unicode font, preferably Kalinga), author's name, address (place and state/country), bio in 100 words, email are essential. Submit to the email below. The article should be the authors' own creation. Authors will remain responsible for any conflicts about their submission. Editorial board or the publishers will not have any liability.

This comprehensive study integrates Life Cycle Assessment (LCA) with the environmental concerns mentioned in the Shrimad Bhagavad Gita to uncover the intricate layers of the Mahabharata. Examined are moral dilemmas, prophecies, and Arjuna's moral and spiritual journey guided by Lord Krishna. It explores the "life cycle" of the Mahabharata and offers potential outcomes through conceptual life cycle analysis (LCA), revealing intricate relationships between justice and diplomacy.
Interpreting Lord Krishna's insistence on warfare, the research acknowledges it as a heavenly drama that advances cosmic development. This research provides ideas for environmental preservation and ethical living, bridging the gap between traditional wisdom and contemporary problems.

Ober das relativ hohe Alter wenigstens der ~iltesten Teile der Bhagavadgitd scheint sich die Forschung weitgehend einig zu sein, 1 nicht dagegen fiber die Frage, ob diese ~ltesten Teile yon Anfang an dem Mahdbhdrata angeh6rt haben, oder ob die Bhagavadgitd ein Einschub sei, der zuvor als selbsffmdiges Werk existiert hat. ~ Es scheint also nicht ganz fiberflfissig, noch einmal zu untersuchen, ob sich nicht textkritische Anhaltspunkte

This exploration delves into the profound influence of Indian epics, particularly the Ramayana and Mahabharata, on traditional attire and fashion. Woven within Sanskrit literature, these epics shape cultural symbolism, historical aesthetics, and societal values reflected in clothing. Sanskrit intricately crafts the textures of attire, delving into symbolic meanings and connecting societal values with the characters' attire through the philosophy of "Purushartha." The impact on Indian textiles, rituals, ceremonies, and identity continuity is discussed, showcasing the indelible mark left by the epics on traditional clothing. Emotional and cultural influences on traditional Indian attire highlight garments as vessels for emotional connection and cultural identity. This mindful connection is explored in therapeutic interventions, personal development, social cohesion, education, community celebrations, and sustainable fashion practices. Traditional attire becomes a conduit for cultural mindfulness, weaving stories, values, and traditions, extending beyond fashion to touch upon mindfulness, cultural identity, social bonds, education, therapy, and sustainability. Garments serve as conduits of well-being, cultural richness, and mindful living, seamlessly intertwining tradition with contemporary psychology.

This Paper deals with the Narrative Rāmāyaṇa Sculptures at the Kumbakōṇam Nāgēśvara temple. It starts with a brief introduction to the temple, followed by a discussion on the architectural features of the vimāna and maṇḍapa, location of narrative sculptures, number of sculptures available for study today etc. The overall layout of the Rāmāyaṇa story as seen in the narrative is presented, followed by a study of every individual Rāmāyaṇa panel constituting the narrative. A summary of the Chapter lists all the salient features of the narrative at Kumbakōṇam.

The present essay is an attempt to analyse the act of deceit performed by Yudhi ¶¢hira (as found in Mahåbhårata). All the moral responses to the act of deceit found in the text have been presented including that of Yudhi ¶thira himself. Bh∂ ¶ma's advice to Yudhi ¶thira has been interpreted in the light of contemporary discourse on the failure of rule-guided morality. Bh∂ ¶ma's scepticism of rule-guided morality could be validated by Kripke's presentation of Wittgensteinian sceptic who suspects the very idea of rule following. Looked at this way, Bh∂ ¶ma could be regarded as championing the idea of a virtuous life as a whole and not keen on dissecting an individual moral situation in terms of a universal moral rule.

War positions societies, as well as individuals, in the transitional moments between the past and the future, between life and death as well as the spaces beyond, between the known and the unknown – both in the socio-political and the devotional and/or theological sense. According to Victor Turner’s classical definition, this means that during wars they enter the liminal phase, that «interval, (...) when the past is momentarily negated, suspended, or abrogated, and the future has not yet begun, an instant of pure potentiality when everything, as it were, trembles in the balance». In my analysis, based on Tulsīdās’s Rāmcaritmānas (1574), I focus on the elements of time, space, actors and artefacts that structure the imagery of Laṅkā battlefield as the liminal space, the “betwixt and between”. Different functions performed by these elements in the narrative of the poem are also addressed.

Shri Rama, the hero of Suryavamsha in the Ramayana, was born with divine intervention and superhuman abilities to combat evil. His birth, marked by the Putrakameshti Yajna, is a significant event symbolizing the emergence of royal blood through sacred flames. This birth sets the stage for creating heroic and divine legacies, mirroring Rama's virtuous and righteous path.

This paper features the first complete collection of the Sanskrit names of the rainbow. After listing them, the paper divides such names into onomasiologic fields following Mario Alinei's model and through a selection of Vedic and epic passages as well as of passages from classical Indian poetry chosen for their peculiarly emblematic value. Three lexical strata are evidenced: one referring to the totemic stage, one referring to pagan anthropological imagery (the so-called 'bow of Indra'), and, finally, one referring to neutral and descriptive denominations. The second stratum is the one with the largest predominance throughout the linguistic history of India.

Although it is rare to find a comparative treatment of Greek and Sanskrit drama as thoughtful and passionate as this one, students of classical Indian theater will recognize a familiar topic in the title. It is natural to want to see how two great ancient cultures that produced both a body of dramatic theory and a limited number of extant plays can shed light on each other. When the comparative study comes from the Indian side, or from a cultural fellow-traveler (such as myself), there is often an additional motivation. When colonial administrators introduced the