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Shree Ganesh
Sri Ganesha presents Pãrvatiputra Ganpati Gajãnan in all hue and colour magnificently and magestically, as it deals with all the aspects of the most revered God of the Hindus, who start every Puja or Ritual with the invocation to Lord Ganesha. Sri Ganesha gives not only 108 mantras for meditation on and through this Vighnahurtã God but also discusses in detail his 32 forms and the symbolical significance and meaning of everything attached to and associated with the Mangalkartã, Siddhidãtã, Vinãyak Sri Ganesha.
This book offers a translation of the seven thousand verses of the second book of the medieval Hindu text, the Ganesa Purana, one of two Puranas dedicated to the important elephant-headed god. In this book the reader is given many narratives about Ganesas ascent to earth in order to kill demonic figures who threaten to overthrow the correct world order. In addition, these narratives contain myths about Ganesa's birth and family as well as some extended and quite humorous myths about ideal devotees of the god.The translation is preceded by a long introduction offering a geographical and historical context for the GanesaPurana. Following the translation are very extensive notes which bring our points of philological interest, but focus mainly on the literary structure of the text and the methods used to present the many myths and narratives in a coherent and fully integrated manner.
In Vedic Sciences, the Sanskrit word Puja means honoring of a force more powerful than yourself for inner gains and the word Ganesh means the Remover of Obstacles or resistance. In this book a simulated version of the Universe is constructed, and a simulated trip is made to request Lord Ganesh to grant a prosperous, happy and satisfactory life by removing all obstacles to your progress.
Ganesha, the elephant-headed god, is easily the most recognizable and loveable of Hindu deities. But pinpointing his various attributes is not quite so simple. He is at once the portly, merry, childlike god and the sage, complex philosopher. He is the presiding deity of material wealth and the lord of spirituality. He removes all impediments for his devotees but creates all manner of difficulties for the transgressors, man or god. And associated with every aspect of Ganesha-be it his extraordinary birth, his elephant head, his broken tusk, his vehicle (the mouse), his appetite, his anger-are scores of myths, each more colourful than the other. In this thoroughly researched and delightfully narrated book, Royina Grewal gives us the many stories of Ganesha, exploring their significance and how they reflect the times and the cultures during which they originated.
ÿ"Oh my god! Who else noticed that smoking hot thing in math class?" exclaimed Anjali. "A new boy in middle of the semester?" asked Trisha confused yet exited. "Is his name Blaze by any chance?" As soon as Rhea asked this, seven other girls listening to their conversation nodded vigorously.ÿ "Oh. He sent me a friend request last week." She added casually. Those seven girls almost fainted. Rhea, the ultimate fun loving girlfriend. Aaryan, the ultimate lover material. Different in many ways yet similar, they found their epic love in each other year ago. Did Blaze just have to come and complicate her life! It's so difficult to wait for the right ones in your life when wrong ones are damn attractive. Isn't it? A teenager's love life is nothing less than a rollercoaster ride. And remember, the rollercoaster ride ends right where it starts again! And of course there are her friends who add ten more confusions in her head and make her life spicy and dramatic. After all, what are friends for?ÿ
Place plays a fundamental role in the structuring of the discipline of Art History. And yet, place also limits the questions art historians can ask and impairs analysis of objects and locations in the interstices of established, ossified categories. The chapters in this interdisciplinary volume investigate place in all of its dynamism and complexity: several call into question traditional constructions regarding place in Art History, while others explore the fundamental role that place plays in lived experience. The particular nexus for this collection lies at the intersection and overlap of two major subfields in the history of art: South Asia and the Islamic world, both of which are seemingly geographically determined, yet at the same time uncategorizable as place with their ever-shifting and contested borders. The eleven chapters brought together here move from the early modern through to the contemporary, and span particular monuments and locations ranging from Asia and Europe to Africa and the Americas. The chapters take on the question of place as it operates in more obvious settings, such as architectural monuments and exhibitionary contexts, while also probing the way place operates when objects move or when the very place they exist in transforms dramatically. This volume engages place through the movement of objects, the evocation of senses, desires, and memories and the on-going project of articulating the parameters of place and location.
Filming the Gods examines the role and depiction of religion in Indian cinema, showing that the relationship between the modern and the traditional in contemporary India is not exotic, but part of everyday life. Concentrating mainly on the Hindi cinema of Mumbai, Bollywood, it also discusses India's other cinemas. Rachel Dwyer's lively discussion encompasses the mythological genre which continues India's long tradition of retelling Hindu myths and legends, drawing on sources such as the national epics of the Mahabharata and the Ramayana; the devotional genre, which flourished at the height of the nationalist movement in the 1930s and 40s; and the films made in Bombay that depict India's Islamicate culture, including the historical, the courtesan film and the 'Muslim social' genre. Filming the Gods also examines the presence of the religious across other genres and how cinema represents religious communities and their beliefs and practices. It draws on interviews with film stars, directors and producers as well as popular fiction, fan magazines and the films themselves. As a result, Filming the Gods is a both a guide to the study of film in religious culture as well as a historical overview of Indian religious film.
The book, written with the author's extensive teaching experience at The West Bengal National University of Juridical Sciences, (NUJS) Kolkata and Department of Law, University of Calcutta, attempts to critically analyse Indian High Courts and Supreme Court cases on Code of Civil Procedure. It also evaluates the relationship between statutory procedural law and case law as a subject. The book's presentation of recent Supreme Court and High Court rulings is its primary attraction. These rulings have been examined, along with the critical analysis of the radical and extensive effects of the Code. This book is divided into six parts and is clear and well-structured. Part I develops theoretical foundations of the subject. Part II demonstrates certain important issues on the (i) scope of jurisdiction of civil courts to entertain disputes, (ii) principles governing res sub judice, res judicata and foreign judgment, (iii) nature of powers exercised by civil courts in matters relating to place of suing, institution of suit, transfer of cases, withdrawal and compromise of suits, (iv) necessary conditions for first hearing, interim order, trial as well as special suits, (v) scope and ambit of law relating to pleadings, appearance and non-appearance of parties, discovery, inspection, production of documents, death, marriage, insolvency of parties, judgment and decrees. Part III explores various issues on appeals, reference, review and revision. In this part an attempt has also been made to discuss different facets of law on first appeals, second appeals, appeals from orders, appeals by indigent persons and appeals to the Supreme Court. Part IV discusses various principles on execution. Part V deals with miscellaneous issues on the Law of Civil Procedure. Part VI includes commercial courts and their procedure as well as the law of limitation. Like the first edition, it is intended that this second edition would be helpful to LLB and LLM students, researchers, academicians, jurists, attorneys, judges, and members of civil society. KEY FEATURES OF SECOND EDITION 1. Written with case analysis method. 2. Demonstrates authoritative discussion on appeal, reference, review, and revision. 3. Examines the contemporary significance of inherent powers of the courts. 4. Explores a detailed discussion on the law of limitation including computation of period of limitation. 5. Critically analyses the establishment of commercial courts and highlights the significant changes in the Code of Civil Procedure. TARGET AUDIENCE • Students of LLB and LLM • Researchers, Academicians, Jurists, Attorneys, Judges, and Members of Civil Society.