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Namdev is a central figure in the cultural history of India, especially within the field of bhakti, a devotional practice that has created publics of memory for over eight centuries. Born in the Marathi-speaking region of the Deccan in the late thirteenth century, Namdev is remembered as a simple, low-caste Hindu tailor whose innovative performances of devotional songs spread his fame widely. He is central to many religious traditions within Hinduism, as well as to Sikhism, and he is a key early literary figure in Maharashtra, northern India, and Punjab. In the modern period, Namdev appears throughout the public spheres of Marathi and Hindi and in India at large, where his identity fluctuates between regional associations and a quiet, pan-Indian, nationalist-secularist profile that champions the poor, oppressed, marginalized, and low caste. Christian Lee Novetzke considers the way social memory coheres around the figure of Namdev from the sixteenth century to the present, examining the practices that situate Namdev's memory in multiple historical publics. Focusing primarily on Maharashtra and drawing on ethnographies of devotional performance, archival materials, scholarly historiography, and popular media, especially film, Novetzke vividly illustrates how religious communities in India preserve their pasts and, in turn, create their own historical narratives.
Originally published as The Continuum Companion to Hindu Studies, this Companion offers the definitive guide to Hinduism and study in this area. Now available in paperback, The Bloomsbury Companion to Hindu Studies covers all the most pressing and important themes and categories in the field - areas that have continued to attract interest historically as well as topics that have emerged more recently as active areas of research. Specially commissioned essays from an international team of experts reveal where important work continues to be done in the field and, valuably, how the various topics intersect through detailed reading paths. Featuring a series of indispensible research tools, including a detailed list of resources, chronology and diagrams summarizing content, this is the essential tool for anyone working in Hindu Studies.
This book traces the genealogy and historical memory of the twelfth-century ruler Prithviraj Chauhan, remembered as the 'last Hindu Emperor of India'.
The Vārī to Pandharpur is one of the most significant pilgrimages in Maharashtra and India. It is a living tradition and attracts millions of pilgrims annually from across the Marathi-speaking region and beyond. This book highlights the structure, organization, symbolism, and wide range of social interactions during the Vārī pilgrimage through the dindis and pālkhī processions. Vārkarī Sampradāya is a community of devotees unequivocally associated with the Varī pilgrimage. While understanding and analyzing the Vārī pilgrimage, the book also discusses the Varkarī Sampradāya, its ethos, philosophy, santa tradition, literary canon, and how it has contributed to shaping Maharashtrian culture. It is argued that the Vārkarī bhakti ethos is circulated through various public means of bhakti, and the Vārī pilgrimage is the most prominent site of this circulation. Though the Vārī pilgrimage is considered mainly a spiritual and religious phenomenon, an attempt is made to highlight its social, political, and cultural dimensions. Vārī is a site that enables the negotiation of social and cultural power relations. The book argues that the Vārī is an inclusive and open platform. In the process of the Vārī pilgrimage, a particular kind of public emerges that acquires a Vārkarī identity without necessarily transcending social identities and power structures attached thereto.
The book presents a rich and surprising account of the recent history of the north Indian city of Banaras. Supplementing traditional accounts, which have focused upon the city’s religious imaginary, this volume brings together essays written by acknowledged experts in north Indian culture and history to examine the construction of diverse urban identities in, and after, the British colonial period. Drawing on fields such as archaeology, literature, history, and architecture, these accounts of Banaras understand the narratives which inscribe the city as having been forged substantially in the experiences of British rule. But while British rule transformed the city in many respects, the essays also emphasize the importance of Indian agency in these processes. The book also examines the essential ambiguity of modernization schemes in the city as well as the contingency of elements of religious narrative. The introduction, moreover, attempts to resituate Banaras into a wider tradition of urban studies in South Asia. The book will be of interest to not only scholars and students of north Indian culture and urban history, but also anyone looking to gain a deeper appreciation of this remarkable, and complex, city.
Anjali Nerlekar's Bombay Modern is a close reading of Arun Kolatkar's canonical poetic works that relocates the genre of poetry to the center of both Indian literary modernist studies and postcolonial Indian studies. Nerlekar shows how a bilingual, materialist reading of Kolatkar's texts uncovers a uniquely resistant sense of the "local" that defies the monolinguistic cultural pressures of the post-1960 years and straddles the boundaries of English and Marathi writing. Bombay Modern uncovers an alternative and provincial modernism through poetry, a genre that is marginal to postcolonial studies, and through bilingual scholarship across English and Marathi texts, a methodology that is currently peripheral at best to both modernist studies and postcolonial literary criticism in India. Eschewing any attempt to define an overarching or universal modernism, Bombay Modern delimits its sphere of study to "Bombay" and to the "post-1960" (the sathottari period) in an attempt to examine at close range the specific way in which this poetry redeployed the regional, the national, and the international to create a very tangible yet transient local.
This book explores a traumatic event known throughout India as Operation Bluestar. During the Operation, the Indian army entered one of Sikhism’s most sacred shrines, the Darbar Sahib in the city of Amritsar, to dislodge militants who had taken shelter within. Among the many who died during Operation Bluestar was the militant leader, Jarnail Singh Bhindranwale, who is now remembered and commemorated as a martyr. Sikhs revere their martyrs. Images and religious souvenirs of martyrs share space with posters and portraiture of the ten Sikh Gurus. The visual idiom is a key form of remembering the modern martyrs of Operation Bluestar. Despite the emotive imagery, a tension exists between the need to forget the violence of militancy and remembrance of martyrs. It is this tension that shapes accounts of “what happened” in the city of Amritsar in 1984 before and after Operation Bluestar. But “what happened” is an account that changes over time and between storytellers. Each account might have a little omission, a small part that is overlooked, ignored, or sometimes laid to rest. Memory has the quality of bringing the past into the present, but with deletions that suit the storyteller and audience. This book traverses the terrain of memory, hollowed out by little bits of forgetting.
Objects of worship are an aspect of the material dimension of lived religion in South Asia. The omnipresence of these objects and their use is a theme which cuts across the religious traditions in the pluralistic religious culture of the region. Divine power becomes manifest in the objects and for the devotees they may represent power regardless of religious identity. This book looks at how objects of worship dominate the religious landscape of South Asia, and in what ways they are of significance not just from religious perspectives but also for the social life of the region. The contributions to the book show how these objects are shaped by traditions of religious aesthetics and have become conceptual devices woven into webs of religious and social meaning. They demonstrate how the objects have a social relationship with those who use them, sometimes even treated as being alive. The book discusses how devotees relate to such objects in a number of ways, and even if the objects belong to various traditions they may attract people from different communities and can also be contested in various ways. By analysing the specific qualities that make objects eligible for a status and identity as living objects of worship, the book contributes to an understanding of the central significance of these objects in the religious and social life of South Asia. It will be of interest to students and scholars of Religious Studies and South Asian Religion, Culture and Society.
Every year, the Indian pilgrimage town of Pushkar sees its population of 20,000 swell by two million visitors. Since the 1970s, Pushkar, which is located about 250 miles southwest of the capital of New Delhi, has received considerable attention from international tourists. Originally hippies and backpackers, today's visitors now come from a wide range of social positions. To locals, though, Pushkar is more than just a gathering place for pilgrims and tourists: it is where Brahma, the creator god, made his home; it is where Hindus should feel blessed to stay, if only for a short time; and it is where locals would feel lucky to be reborn, if only as a pigeon. In short, it is their paradise. But even paradise needs upkeep. In Guest is God, Drew Thomases uses ethnographic fieldwork to explore the massive enterprise of building heaven on earth. The articulation of sacred space necessarily works alongside economic changes brought on by tourism and globalization. Here the contours of what actually constitutes paradise are redrawn by developments in, and the agents of, tourism. And as paradise is made and remade, people in Pushkar help to create a brand of Hindu religion that is tailored to its local surroundings while also engaging global ideas. The goal, then, becomes to show how religion and tourism can be mutually constitutive.
This book investigates the history of a popular genre of Sanskrit devotional poetry in Kashmir: the stotra, or hymn of praise. Focusing on literary hymns from the eighth century to the twentieth, it studies the close link between literary and religious expression in South Asia--the relationship between poetry and prayer.