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Gender and Story in South India presents exciting ethnographic research by Indian women scholars on Hindu and Muslim women-centered oral narratives. The book is unique for its geographic and linguistic focus on South India, for its inclusion of urban and rural locales of narration, and for its exploration of shared Hindu and Muslim female space. Drawing on the worldviews of South Indian female narrators in both everyday and performative settings, the contributors lead readers away from customary and comfortable assumptions about gender distinctions in India to experience a more dialogical, poetically ordered moral universe that is sensitive to women's material and spiritual lives.
Over 1,100 alphabetically arranged entries examine the history, geography, people, government, economy, art, and religions of Sri Lanka.
Cave paintings at Lascaux, France and Altamira, Spain, fraught with expression thousands of years later; point to an early human desire to form a cultural identity. In the Oxford Companion to World Mythology, David Leeming explores the role of mythology, or myth-logic, in history and determines that the dreams of specific cultures add up to a larger collective story of humanity. Stopping short of attempting to be all-inclusive, this fascinating volume will nonetheless be comprehensive, opening with an introduction exploring the nature and dimensions of myth and proposing a definition as a universal language. Briefly dipping into the ways our understanding of myth has changed from Aristotle and Plato to modern scholars such as Joseph Campbell, the introduction loosely places the concept in its present context and precedes articles on influential mythologists and mythological approaches that appear later in the Companion. The main body of Leeming's work consists of A-Z entries covering all aspects of mythology, including substantial essays on the world's major mythological traditions (Greek, Native American, Indian, Japanese, Sumerian, Egyptian), mythological types and motifs (Descent to the Underworld, the Hero, the Trickster, Creation, the Quest), mythological figures (Odysseus, Zeus, Osiris, Spider Woman, and Inanna) as well as numerous interrelated subjects such as fairly tales and legends. The Companion also locates myth in our lives today, relating it to language patterns, psychology, religion, politics, art, and gender attitudes. Many of the better-known and more significant myths are vividly retold in this volume that will be illustrated with maps, more than 70 black and white images, and eight pages of color highlighting the central role art has often played in the transmission and perpetuation of myth. Following the entries, a rich section of appendices will include family trees of the major pantheons, equivalency charts for the gods of Greece and Rome, Babylon and Sumer, as well as other traditions, an extensive bibliography, and an index.
Winner of the 2009 Ananda Kentish Coomaraswamy Book Prize, sponsored by the Association for Asian Studies The medieval Rajput queen Padmini - believed to have been pursued by Alauddin Khalji, the Sultan of Delhi - has been the focus of numerous South Asian narratives, ranging from a Sufi mystical romance in the sixteenth century to nationalist histories in the late nineteenth century. The Many Lives of a Rajput Queen explores how early modern regional elites, caste groups, and mystical and monastic communities shaped their distinctive versions of the past through the repeated refashioning of the legend of Padmini. Ramya Sreenivasan investigates these legends and traces their subsequent appropriation by colonial administrators and nationalist intellectuals, for varying different political ends. Using Padmini as a means of illustrating the power of gender norms in constructing heroic memory, she shows how such narratives about virtuous women changed as they circulated across particular communities in South Asia between the sixteenth and early twentieth centuries. This book will interest historians of memory, gender, community, culture, and historywriting in South Asia. Illustrating how enduring legends emerged out of particular precolonial repositories of "tradition," the book also addresses the nature of colonial transitions and precolonial historical consciousness.
Discourses on the Wisdom of Kapila Muni from Swami Akhandananda Saraswati Ji Maharaj of Vrindavan.
This is the story of Madhavanala and Kamakandala. Madhav, a handsome and accomplished young man, is asked to leave his city of Pushpavati: his looks and singing so distract women that they neglect their work, and cityfolk create an uproar about it. Exiled, Madhav reaches the court of King Kama Sena, the ruler of Kamavati, where he meets the bewitching courtesan Kama. The two fall in love but royal ire ensures that the lovers part. A heartbroken Madhav takes shelter in a temple at Ujjain, the city of King Vikramaditya. What can the great ruler do to assuage Madhav’s pain? Can he reunite the lovers? This lively and colourful tale has startling metaphors, a candid narration of love and an ending that matches its evocative language. In circulation since the twelfth century AD, Madhav and Kama has been translated from the original Sanskrit text for readers in English for the first time.
This beautifully illustrated book explores the opinions of artists, critics and others involved with arts or crafts, arguing for a theory that considers the different discursive formations and related strategic practices of an art world. Focusing on Orissan patta paintings in India the author examines the local, regional and national discourses involved. In so doing, the text demonstrates that, while painters' local discourses are characterised by pragmatism, the discourses of regional and especially national elites are concerned with the exegesis of local paintings and their association with the great Sanskrit tradition A central theme of the study focuses on the awards given for skill in craft making and their changing significance as they pass from national and regional elites to local painters. It is shown how certain key actions by local painters result from a clash between local discourses on the one hand and regional and national discourses on the other.