Indian Mythology

Maqolada korrupsiyaning manbalarini shartli ravishda siyosiy, iqtisodiy, institutsional, ijtimoiy-madaniy
manbalarga ajratilishi ko‘rib chiqilgan. Shuningdek, g‘arb va sharq olimlarining turli yondashuvlari, ta’riflari, tadqiqotlari
qiyoslanib korrupsiya aniqlangan jinoyatlar sifatida emas, balki hodisa sifatida ko‘rib chiqish lozimligi to‘g‘risida fikrlar berilgan.

Hozirgi kunda korrupsiya global muammo
sifatida nafaqat ayrim davlatlar, balki jahon hamjamiyatining
barqaror rivojlanishiga tahdid solayotgan illatga aylanib
ulgurdi. Korrupsiya jamiyat taraqqiyotining har bir
bosqichida, turli ijtimoiy-iqtisodiy va siyosiy tuzumlarda
turlicha ko‘rinishlarda namoyon bo‘lib kelgan. Afsuski,
bu hodisa barcha davlatlarga xos bo‘lib, bugungi kunda
ham rivojlangan va rivojlanayotgan mamlakatlarda ham
uchramoqda.
Darhaqiqat, korrupsiya barcha davlatlar uchun jiddiy
muammo hisoblanadi, u iqtisodiy rivojlanishni susaytiradi,
bozor iqtisodiyoti mexanizmlarini ishdan chiqaradi, ijtimoiy
adolat tamoyillarini buzadi va demokratiya asoslarini
yemiradi. Hech bir davlat ushbu illatdan butunlay xalos
bo‘lmagan, biroq ba’zi davlatlar korrupsiya darajasini
sezilarli darajada pasaytirishga erishganlar. Bu jarayonda
albatta, jamiyat siyosiy madaniyati muhim ahamiyat kasb
etadi.
Jamiyat siyosiy madaniyati – bu jamiyatning siyosiy
tizimga bo‘lgan munosabati, uning me’yorlarini qabul qilishi,
siyosiy faollikning turli shakllari, siyosiy faoliyatning ijobiy
va salbiy ko‘rinishlariga munosabatini o‘z ichiga oladi. Shu
jihatdan, siyosiy madaniyatning yuksak darajasi jamiyatning
korrupsiyaga bo‘lgan salbiy munosabati, korrupsiyaga qarshi
kurashdagi faol ishtiroki, shaffoflik va ochiqlikka bo‘lgan
intilishini ta’minlaydi.
Bugungi kunda korrupsiyaga qarshi samarali kurashish
faqat huquqiy mexanizmlarni takomillashtirishnigina emas,
balki jamiyatning siyosiy ongi va madaniyatini yuksaltirishni
ham talab etadi. Chunki siyosiy ong va madaniyat yuksak
bo‘lgan jamiyatda har bir fuqaro o‘zini davlat va jamiyat
ishlarining faol ishtirokchisi deb his etadi, davlat organlari
faoliyatining shaffofligini talab qiladi va korrupsiyaga
mutlaqo yo‘l qo‘ymaydi.
Siyosiy madaniyat tushunchasining mazmun-mohiyatini,
uning jamiyat hayotidagi o‘rni va ayniqsa, korrupsiyaga
qarshi kurashishdagi ahamiyati tahlil qilinadi. Siyosiy
madaniyat – bu nafaqat siyosiy bilim va qarashlar yig‘indisi,
balki fuqaroning siyosiy faoliyatga, davlat boshqaruviga
bo‘lgan munosabati, unga nisbatan mas’uliyat hissi va
ishonch darajasini ifodalaydi. Bugungi globallashuv va tezkor
siyosiy jarayonlar sharoitida siyosiy madaniyat darajasining
yuksak bo‘lishi – davlat va jamiyat o‘rtasida barqaror,
sog‘lom aloqalarni ta’minlovchi muhim omillardan biridir.
Maqolada korrupsiyaning chuqur ildiz otgan
jamiyatlarda siyosiy befarqlik, fuqarolarning huquqiy va
siyosiy ongining pastligi ushbu illatning ildiz otishiga zamin
yaratishini ta’kidlayman. Shu bois, men siyosiy madaniyatni
oshirish – fuqarolarda korrupsiyaga nisbatan murosasiz
qarashni shakllantirish, adolatga intilish va davlat ishlarida
faol ishtirok etish madaniyatini rivojlantirish orqali bu illatga
qarshi kurashishda muhim ahamiyat kasb etishi asoslab
berilgan.
Maqolada O‘zbekiston tajribasi asosida olib
borilayotgan siyosiy va huquqiy islohotlarning fuqarolik
jamiyatini shakllantirishdagi, davlat organlari ochiqligi
va hisobdorligini ta’minlashdagi o‘rni tahlil qilingan.
Korrupsiyaga qarshi kurashda faqat jazoga asoslangan
yondashuv emas, balki ijtimoiy ongni, xususan, siyosiy
madaniyatni yuksaltirish orqali barqaror va samarali
natijalarga erishish mumkinligi ilgari surilgan.

Following the apparent chaos that ensued at Ajan . t . ā during the so-called "period of disruption" in the wake of King Haris . en . a's death (ca. 478-480 CE), local monks and residents in the caves continued to sponsor the donation of what we term "intrusive" images after the late Walter Spink. These new donations consisted of hundreds of Buddha images, a few of which retain today painted or incised dedicatory inscriptions in Sanskrit. Many of these images represent the Buddha preaching and seated in the "auspicious pose" (bhadrāsana) on the conventional lion throne with his legs down. In this article, the author focuses on the images accompanied by inscriptions since they provide a better understanding of the reuse of consecrated caves, and of the nature of this new and brief iconographic development implemented by local Buddhist residents. The sudden appearance of Bhadrāsana Buddhas seems indeed to correlate with a rise to prevalence of Mahāyāna Buddhist practices at Ajan . t . ā during the late Middle Period.

Partea întâi Jinn şi Phyllis petreceau vacanţe minunate în cosmos, cât mai departe de aştrii locuiţi. În epoca aceea călătoriile interplanetare erau cum nu se .poate mai obişnuite iar zborurile inter-siderale nu constituiau de loc o excepţie. Rachetele îi duceau pe turişti spre peisajele feerice de pe Sirius iar pe financiari spre faimoasele Burse de pe Arcturus şi Aldebaran. Dar Jinn şi Phyllis, doi tineri bogaţi şi cu mult timp liber, se remarcau în cosmos prin originalitate si printr-un dram de poezie. Străbăteau universul numai de plăcereîntr-o navă cu pânze. Vasul lor era alcătuit dintr-un fel de sfera al cărei învelişpânzaexcepţional de subţire şi uşor, se deplasa în spaţiu împins de presiunea radiaţiilor luminoase. Un astfel de vehicul, când e lăsat în voie în apropierea vreunei stele (şi totuşi destul de departe de ea, ca forţa de gravitaţie să nu fie prea mare), o ia întotdeauna în linie dreaptă în direcţia opusă acestei stele; întrucât sistemul stelar din care făceau parte Jinn şi Phyllis avea trei sori, relativ nu prea îndepărtaţi unul de altul, ambarcaţiunea lor primea valuri de lumina din trei direcţii diferite. Jinn născocise atunci un procedeu extrem de ingenios pentru a-şi cârmui nava. Căptuşise pânza pe dinăuntru cu un şir de storuri negre pe oare le putea coborî sau ridica după voie, modificând astfel capacitatea de reflexie a unor secţiuni şi, o dată cu ea, rezultanta presiunilor luminoase. Pe lângă aceasta, învelişul elastic se putea dilata sau contracta la o simplă comandă a navigatorului. Astfel, de pildă, când Jinn voia să accelereze viteza navei, sporea la maximum diametrul sferei. Aceasta recepta atunci suflul radiaţiilor pe o suprafaţă enormă şi vasul se năpustea în spaţiu cu o viteză nebună care-i dădea ameţeli prietenei lui, Phyllis; ameţeli care-l cuprindeau apoi şi pe el şi-i aruncau, pătimaşi, unul în braţele celuilalt, cu privirea pierdută în depărtări, spre tainicele abisuri unde-i împingea goana navei. Când, dimpotrivă, voiau să încetineze viteza, Jinn apăsa pe un buton. Pânza îşi micşora într-atât volumul încât se reducea la o sferă în care tocmai bine puteau încăpea amândoi, strânşi unul în altul. Acţiunea luminii devenea neglijabilă şi balonul acesta minuscul, deplasându-se numai în virtutea inerţiei, părea imobil, ca suspendat în vid de un fir invizibil. Cei doi tineri petreceau atunci ore întregi, leneşe şi îmbătătoare, în acest univers redus, clădit pe măsura lor, numai pentru ei, şi pe care Jinn îl compara cu un velier în pană iar Phyllis-cu băşica de aer a păianjenului de apă. Jinn cunoştea şi multe alte şiretlicuri socotite o culme a măiestriei de către corăbierii cosmici. Astfel, de pildă, ştia să folosească umbra planetelor şi a unor sateliţi pentru a executa o voltă, îşi împărtăşea cunoştinţele iubitei sale, Phyllis, care devenise aproape tot atât de iscusită şi adeseori chiar mai temerară decât el. Când se afla ea la drena, o lua uneori razna, străbătând distanţe uriaşe care îi duceau până la hotarele sistemului lor stelar, nesocotind de pildă vreo furtună magnetică ce începea să perturbe undele luminoase; şi să le zguduie luntrea ca o coajă de nucă. în vreo două sau trei rânduri, Jinn, trezit brusc din somn de vijelie, se făcuse foc şi pară înainte de a-i putea smulge cârma din mână şi a pune fără întârziere în funcţiune, pentru a se întoarce cât mai repede la liman, racheta auxiliară pe care no foloseauera o chestiune de onoare pentru eidecât în cazuri de mare primejdie.

This book presents the academic findings of a joint research project conducted at the Institute for Research on Humanities, Kyoto University, over a three-year period from April 2022 to March 2025. The project was entitled "Evolution of the Indian Ontology in the Cyclic Image: Focusing around the Development Process from Ritualistic Thoughts to Philosophical Views" (Publicly Offered Project [Type A1]). During this study, we examined Indian ideas about the existence of the world and living things, particularly those involving a cyclical image. Examples include the belief that "the world repeats its emersion and destruction forever" or that "all living things are in a continual cycle of birth and death". This analysis can be approached in many ways, ranging from religious rituals, which are closely linked to "temporal cycles" such as years and months, to philosophy, literature, art, law and ethics, and so on. This study brought together experts from a variety of relevant disciplines, and through in-depth discussion, a wealth of new insights has been yielded. This volume is the main outcome of the project, bringing together academic papers written by its members. Although nine members of the project contributed to this book, each individual paper is based on their accumulated academic exchanges with other colleagues within the research group. Most of the papers in this volume are based on presentations that the authors gave at monthly research sessions or annual symposia. The comments and information provided by participants at these events helped to improve the quality of the papers. Furthermore, each paper in this volume underwent a rigorous double-blind peer review process, and the reviews were conducted by members of this research project. Thus, this book was produced by making the most of the benefits of a collaborative research team. I would like to take this opportunity to express my deepest gratitude to the Institute for Research on Humanities at Kyoto University, which provided the infrastructure for this research, including financial support, venues and information resources. Lastly, I would like to acknowledge the names of all the colleagues who participated in this project and pay tribute to their contributions.

The cyclical Vedic Yuga calendar-structured in nested cycles of 5 years, 20 years, and 1000 years-traditionally reckoned its commencement around 13322 BCE. By 7322 BCE, six such millennial cycles (Mahāyugas) had been completed, marking a significant chronological and astronomical transition. With the beginning of the seventh Mahāyuga in 7322 BCE, Vedic astronomers are understood to have observed a shift in the position of the winter solstice to the Aśvinī nakṣatra. In response, the zodiacal sequence of the 27 nakṣatras was realigned to begin from Aśvinī.

This book offers a critical study of Koshali/Sambalpuri Folk poet, Padmashri Haldhar Nag’s rendition of four characters from the Rāmāyana, namely Urmilā, Tārā, Mandodari and Shabari, in his three long poems. While doing so, the volume attempts to foreground the Koshali/Sambalpuri folk tradition which has cradled the creative genius of Haldhar Nag.  Among Nag’s many creative feats, synthesizing Indian mythological materials with the Koshali/Sambalpuri folk elements stand out the most. The book argues that given the popular perception of the Rāmāyana being either about the Avatār Purush Sri Rām or the Maryādā Purushottam Sri Rām (where one would normally expect to witness the trials and tribulations of Sri Rām and Mātā Sitā) the very act of making the other female characters the center of one’s poetic world, by itself is a testimony to the democratic vision of the poet. The book hopes to address the curiosity of scholars interested (and invested) in Haldhar Nag’s poetic world and its contribution to Indian literature, Odia literature, Koshali/Sambalpuri writings, folk studies, identity studies and gender studies.

The idol of Mother Bhavani is crafted in an exquisite style, an impeccable expression born from the inner vision of a devout sculptor. This manifestation of the Mother is distinct from other goddesses. The maternal idol is two-armed (di-bhuja) and in a semi-reclining posture on Her left side. The beautiful and elegant gestures (mudras) of Her fingers give the entire idol a unique grace and expression.

This article examines the history, factors of formation, features, rules, and purposes of the equestrian game, which is an integral part of the Turanian culture. The evidence base of the article is historical sources, archaeological finds, wall and monumental paintings, and literary works. The significance of the equestrian game in Uzbek culture, its role in society, and features of the rules of the game are analyzed. In addition, it is revealed that among equestrian games, the equestrian game is an art that contributes to the spread of Turanian culture throughout the world.

There were different creations in the course of history with different manifestations of the Great Goddess. One of them is described in the "Devi Mahatmyam", where the Devi kills Mahishasura and all his satanic armies all alone with Her enormous powers. In this, our Kali Yuga the situations changed. The demons are no longer recognizable as demons, but present themselves as 'messengers of God' who propagate the word of God. As such they have entered into the brains of people. That's why the Great Goddess, Shri Adi Shakti - with the same powers - can't just kill them, because that would mean She also would kill all those who have them in their brain: us.

From the earliest times to the present, epidemics have afflicted human history in myriad ways. The aftermath found expressions in assorted modes of writings across varied nations and cultures and transcripts the precarious experiences. The magnificent literature of epidemics responds to natural disasters and counts on methods to heal and survive. Authored by the Nobel Laureate Jose Saramago, Blindness is regarded as one of the great instances of epidemic writing, and provides the research questions for this paper. The narrative is about a white blindness that interrupted the lives of people in an unfamiliar city like never before, escorting turmoil, misery, despair but also offering an unparalleled insight into life or the world. The outbreak of blindness uncloaked the disguised facets of human nature restrained by the facade of civilization. The study intends to investigate the erratic human behavior, moreover exhibits the best and worst examplar under extreme settings. To examine the frailty of human civilization, moreover features the moral choices that exist in a damaged world and are available to all beings are the prime motive of the article. The study divulges on the theory of survival, the prime nature of all human. Furthermore, Saramago has applied metaphoric blindness to confer an insight to look into things already present around but imperceptible with physical eyes.

Ushbu maqolada jinoyat protsessida dalillardan foydalanishning protsessual-huquqiy asoslari hamda ularni baholash masalalari ilmiy jihatdan tahlil qilingan. Maqolada O'zbekiston Respublikasi Jinoyat-protsessual kodeksining tegishli normalari, xalqaro huquqiy standartlar va sud amaliyoti o'rganilgan. Dalillarni to'plash, tekshirish, baholash va ishda foydalanish bosqichlari batafsil ko'rib chiqilgan. Shuningdek, dalillarning qabul qilinuvchanligi, ishonchliligi va yetarliligi mezonlari tahlil etilgan. Maqola jinoyat protsessida dalillar institutining takomillashtirilishiga doir ilmiy xulosalar va amaliy tavsiyalar bilan yakunlanadi.

Il contributo indaga il motivo della cavalcata estatica nella matière de Bretagne, assumendo la giunzione tra cavaliere e cavallo come figura centaurica, veicolo di potenziamento, alterazione percettiva e attraversamento dell’altrove. A partire dall’immaginario folklorico e sciamanico del cavallo psicopompo – animale del volo, della trance e della mediazione fra i mondi – l’articolo analizza una serie di episodi tratti dalla narrativa arturiana d’oïl e occitanica, tra cui il Lancelot ou le Chevalier de la Charrette, il Conte du Graal, la Deuxième Continuation, il Chevalier à l’épée, il Chevalier aux deux épées, il Meraugis de Portlesguez, il Jaufre e il Vair Palefroi. In queste sequenze, il cavaliere assorto, addormentato in sella, oblioso di sé o immerso in un pensiero assoluto, non appare come un eroe indebolito o distratto, ma come una figura liminare, capace di entrare in stati modificati di coscienza e di affidarsi alla sapienza orientante del destriero. Attraverso l’analisi dei rapporti fra movimento e immobilità, rumore e silenzio, pensiero e azione, il saggio mostra come l’estasi equestre costituisca una vera tecnica narrativa dell’avventura: la sospensione sensoriale del cavaliere prepara il passaggio di soglia, l’accesso all’alterità, il rilancio dell’energia eroica. Il cavallo è corpo del desiderio e del pensiero, guida psicopompa e animale iniziatico, capace di condurre l’eroe lungo i sentieri dell’oltretempo. La cavalcata trasognata si rivela quale una delle forme più dense dell’immaginario arturiano: luogo in cui la cerca esteriore si contrae in avventura interiore e il cavaliere, sospeso tra mondo profano e dimensione mitica, diviene erede del centauro. The article examines the motif of the ecstatic ride in the matière de Bretagne, reading the conjunction between knight and horse as a centauric figure: a vehicle of empowerment, perceptual alteration, and passage into the Otherworld. Starting from the folkloric and shamanic imaginary of the psychopomp horse — an animal of flight, trance, and mediation between worlds — the article analyses a series of episodes drawn from Arthurian narrative in Old French and Occitan, including the Lancelot ou le Chevalier de la Charrette, the Conte du Graal, the Deuxième Continuation, the Chevalier à l’épée, the Chevalier aux deux épées, Meraugis de Portlesguez, Jaufre, and the Vair Palefroi. In these sequences, the absorbed knight, asleep in the saddle, oblivious to himself or immersed in an absolute thought, does not appear as a weakened or distracted hero, but as a liminal figure, capable of entering altered states of consciousness and entrusting himself to the orienting wisdom of the steed. Through an analysis of the relationships between movement and immobility, noise and silence, thought and action, the essay shows how equestrian ecstasy constitutes a genuine narrative technique of adventure: the knight’s sensory suspension prepares the crossing of a threshold, access to alterity, and the renewal of heroic energy. The horse is the body of desire and thought, a psychopomp guide and initiatory animal, capable of leading the hero along the paths of beyond-time. The dreamlike ride thus emerges as one of the densest forms of the Arthurian imaginary: a place in which the outward quest contracts into inner adventure and the knight, suspended between the profane world and the mythical dimension, becomes an heir of the centaur.

Shivaji Sawant's Mrityunjaya: The Death Conqueror remains a seminal work in Indian literature, renowned for dissecting the Mahabharata through the dramatic soliloquies of its protagonists. While the novel primarily deconstructs the tragic life of Karna, the narrative devotes significant space to Kunti, offering a poignant exploration of her psyche. This paper analyzes Kunti's dramatic soliloquy, examining her transformation from the innocent Pritha to the burdened Queen Mother. It argues that Kunti is not merely a victim of circumstance, but a symbol of matriarchal sagacity and stoic endurance. By navigating the dichotomies of biological instinct versus social morality, and personal grief versus political duty, Kunti emerges as a complex figure who exercises agency within the rigid confines of a patriarchal order.

This paper compares the representation of Draupadi in Vyasa's Mahabharata and Chitra Banerjee Divakaruni's The Palace of Illusions through Laura Mulvey's concept of the male gaze and feminist literary criticism. Draupadi's body, in the epic, is repeatedly framed as a site of male rivalry, most starkly in the swayamvara, disrobing, and exile episodes. Conversely, The Palace of Illusions reclaims her agency by granting her narrative voice and agency. While Mulvey's theory explains the mechanisms of Draupadi's objectification, the analysis also situates her voice within postcolonial feminist debates on female agency. The study argues that Divakaruni's retelling challenges the epic's gendered discourse by presenting Draupadi as a subject rather than spectacle, thereby offering a feminist counter-narrative to patriarchal traditions.

This research paper explores the relation of two brothers; Ram and Laxman based on the Amish Tripathi's popular books of Ramchandra Series. Lord Rama, is the most worshipped and celebrated God of Hindu. There thousand of scholars who have written and have talked abou Ram. Unlikely, this paper studies the character of his younger brother Lakshman and his brotherhood for his elder brother who has a subversive role as well as an emotional and ethical foil to the law-bound Ram. Applying the post modern technic of theoretical framework, the paper analyses the character of Laxman. Lakshman's character functions in contrast to supressed feelings of Ram which embodies the very basic feeling of mankind. A sincere study of the novel Scion of Ikshvaku, explore the character of Laxman who represents the practical and principled compensator, who is ready to break decorum to safeguard the hero's existence.

We have looked at building a foundation at Somnath and finding balance at Mallikarjun. We mastered stillness at Mahakaleshwar, found our true self at Omkareshwar, and explored our multi-dimensional flow at Trimbakeshwar. Now, we leave the plains and the forests to ascend. At Kedarnath, we face the challenge of the summit. This is not just about a mountain. It is about the "high-altitude" mindset required when you reach the peak of your career or life. It is about the oxygen of faith and the gravity of responsibility.

Chitra Banerjee Divakaruni is an Indo-American writer whose main concern is to write novels in a mixture of cultural and mythical traditional ways. She presents her works with mysterious narration in a world that engages the human"s curious mind to discover the unknown world of myth. The psychological myth teaches, shapes, and guides human life. Like many women writers, Chitra Banerjee creates memorable characters in her novels, and through the character"s narration, women can understand how they are enacted in their difficult situations.

The Bhagavad Gita, is universally renowned as the precious jewel/ Kohinoor of ancient India's spiritual wisdom that is timeless, classless and formless. It is revered as on zenith of all philosophical texts, that provides insights into human cognition, social reconstruction, ethics of duty, karmic philosophy, human values etc. It serves as a vital catalyst for developing well balanced, emotionally intelligent, spiritually aligned, ethically just and highly spirited teacher educators. With the official announcement and approval of the National Education Policy (NEP) 2020, by the Union Cabinet of India on July 29, 2020. The policy provides different timelines for its various recommendations, with the overall goal of a complete transformation of the education system at all levels by around year 2040 in India. It emphasizes holistic, value-based, multidisciplinary education that is based on ancient Indian knowledge system, revisiting the timeless principles of the Bhagavad Gita becomes particularly relevant in The present paper delves into the relevance of the Bhagavad Gita's philosophy into teacher education programs, enhancing the spiritual, moral and physio-emotional dimensions of future teachers. The Bhagavad Gita offers a evolutionary framework for human growth and development that aligns remarkably well with the three domains of learning identified in modern educational psychology-Cognitive, Affective, and Psychomotor. Its teachings not only promote intellectual clarity but also nurture emotional maturity and disciplined Karma or action, making it deeply relevant to teacher education. It further proposes pedagogical applications based on experiential learning methodology rooted in Gita's teachings and their alignment with modern educational practices based on "Nishkam Karma" or "Action without desire for reward." That emerge from its core ethical teachings on altruistic deeds standing on the strong pillars of righteousness (dharma), selflessness, and spiritual wisdom. It can be meaningfully adapted and applied at all stages of education as per school education structure (5+3+3+4 Model) of NEP 2020. This structure comprised four stages: the Foundational stage for children aged 3 to 8 years, the Preparatory stage for those aged 8 to 11 years, the Middle stage for learners aged 11 to 14 years, and the Secondary stage for adolescents aged 14 to 18 years.

31st January, 2026. Presented a paper titled “Knowing Pralaya amid the Polycrisis: Toward an Ecosophy of Resurgent Epistemologies” (forthcoming publication) on the occasion of the Three-Day ICPR sponsored National Seminar on “Theory of Knowledge: Indian and Western Philosophical Perspectives” (29th, 30th and 31st January, 2026) at Batadraba Sri Sri Sankardev College, Assam, in collaboration with the ICPR. It has been found that narrative portrayals of “great dissolution”, from Puranic imaginaries of pralaya to Biblical accounts, have often framed catastrophe not as terminal collapse but as offering conduits of praxeological transformation. This paper reinterprets pralaya through Care-ful Epistemology, reading such mythic archetypes not as “supernaturalist” accounts but as epistemic insights into nature’s dynamics and their implications for our knowings of belonging.
In the present era of intensifying systemically-induced polycrisis, the animate Earth (dharitri; anima mundi) appears to have entered an unprecedented and seemingly irreversible brahma-rātri, the cosmic liminality of dissolution. Reductionist, top-down epistemologies grounded in cognitive instrumental rationality prove inadequate for apprehending such systemic ontological ruptures. This stems from an artificially instituted rift between ontology and epistemology, rooted in cognitive supremacism. By reinforcing interiority–exteriority divides, such approaches to knowing subvert intimacy with the ecosphere, rendering nature an “object” of control rather than a co-constitutive field of existence.
The paper therefore calls for a resurgence of hitherto suppressed modes of knowing—mythic imagination, embodied affect, and reflexive entanglement through lived trauma and place-based orientations. Drawing on ecosophy, the author advances a framework for re-engaging planetary consciousness. While acknowledging the popular yet linguistically contested reading of the Chinese symbol of crisis wēijī (危机) as danger (wēi) and opportunity (jī), pralaya, or even the Dionysian mahāpralaya, is reframed as a Derridean pharmakon: venom and remediation, where supposed finality becomes the enabling condition for renewal. Michelangelo’s The Last Judgment (1536–1541) is reread as an aesthetic articulation of this simultaneity—imminent collapse as transformation, judgment as always-already genesis.
Crucially, the paper integrates Rabindranath Tagore’s rudra-rūpa-bhāva, recognizing nature’s “fierce” aspects. The paper proposes nisarga-pralaya—nature’s perpetual dissolution—as an epistemic invitation to unlearn extractive domination and relearn co-in-habitation through Gaia’s self-regenerative pulse, advancing an ecosophy of resurgent epistemologies beyond eco-apocalyptic fatalism.
Keywords: Care-ful Epistemology, Ecosophy, Polycrisis, Pralaya, Regenerative Epistemologies, Rudra-Rūpa-Bhāva;

Rhythm occupies a significant place in Indian cultural and religious life, functioning not merely as a musical element but as a symbolic and ritual force. The Mridangam, a principal percussion instrument of South Indian classical music and dances like Bharatanatyam, Kuchipudi, and Mohiniattam, is deeply rooted in sacred traditions and performance practices. This paper examines the representation and significance of the Mridangam and related percussion instruments in Itihasa (Epics) and Puranic literature, particularly in the Valmiki Ramayana, Vyasa Mahabharata, and selected Puranas of Bhagavata and Shiva. Through textual analysis of narrative contexts in which percussion instruments are mentioned, the study explores their ritual, aesthetic, and symbolic roles in sacred storytelling. The paper explains that references to the Mridangam and its proto-forms such as dundubhi, bheri, muraja, and panava reveal an early conception of rhythm as an organizing principle of cosmic and social order. These instruments appear in diverse contexts, including divine celebrations, royal ceremonies, sacrificial rituals, and battlefield proclamations, indicating their multifaceted function in sacred narratives. Beyond their practical role, percussion instruments are portrayed as carriers of auspiciousness, power, and spiritual resonance. By tracing these literary representations, the study establishes a continuity between mythic soundscapes and later classical music traditions. It further demonstrates how rhythm operates as a narrative device that enhances dramatic tension, ritual meaning, and devotional expression. The paper thus contributes to understanding the cultural history of the Mridangam and highlights the importance of sacred literature as a source for reconstructing early Indian musical thought.

Mazkur maqolada urush yillarida bolalarga ko‘rsatilgan ijtimoiy
himoya, ularning oziq-ovqat mahsulotlari bilan ta’minlash, ko‘chirib keltirilgan
bolalarni joylashtirish hamda ularni moddiy jihatdan ta’minlash yuzasidan amalga
oshirilgan ishlar bilan bir qatorda yuzaga kelgan xato va kamchiliklar tahlil qilingan

Gender encompasses the culturally constructed characteristics associated with males, females, young males and young females. This social construct is variable from one culture to another, and it evolves through time and space. The concept of LGBTQ is not new to our land, and our ancient mythological traditions have answers which will shed the cloud of ignorance and embrace the freedom of choices on sexuality. Rigid ideas of gender can be detrimental to every individual. Shikhandi has been a character of power and rage and played a crucial role in turning the tables in the epic war of the Mahabharata. Ashwini Shenoy's novel Shikhandini not only focuses on the quest for identity for the protagonist but also explores the scientific possibilities of the physical changes that she goes through to establish her gender identity. Our land has never alienated the concept of transgender; Shikhandi is always seen as a strong individual who is also given a place in the war. Today, we are looking at these concepts differently and asking for validation. We are reminded by authors like Ashwini of our rich cultural narratives, which have a place for every individual. Some see the gender reversal as magical, but the author here talks about the medical advances in ancient times, which helped Shikhandini to feel more adapted to her body and mind. Hindu philosophy has always distinguished between body and soul. The soul is a divine presence, and the physical attributes are distinct from the soul. Every soul comes from the same divine source of energy, and thus every individual deserves equal recognition and dignity, irrespective of their sexual orientation.

The Study investigates how three significant female characters in the Mahabharata resist patriarchy while showing their personal strength. A feminist social work analysis of these women's experiences investigates their ways of handling dharma as a cultural and legal system which commonly establishes gender-based restrictions and social norms. Through her determined actions Amba establishes herself as a being who fights back against male power structures and searches for justice that reaches beyond the cultural limitations of her generation. The silent strength displayed by Gandhari along with her moral steadfastness demonstrates how passive resistance brings about widespread effects. Through her decision to seek love and independence Hidimbi rejects the standard social roles that women should uphold. These characters demonstrate that dharma transforms through time because individuals can evaluate and reshape its principles. This research examines past battles to demonstrate links between ancient conflicts and present-day arguments about gender rights together with personal freedom against male rule systems. The analysis demonstrates that the laws of justice and resistance together with moral decision-making power from the Mahabharata stand strong in contemporary feminist discourse about social justice.

The integration of digital pedagogical technologies has transformed modern medical education by introducing innovative approaches to teaching and learning. The use of digital tools enables educational institutions to enhance instructional quality, promote studentcentered learning, and support the development of clinical competencies. This article examines the effectiveness of digital pedagogical technologies in medical education, with a focus on their impact on improving learning outcomes, practical skill acquisition, and learner motivation. The study highlights various digital solutions, including online learning systems, simulation-based instruction, virtual learning environments, and mobile educational applications. Furthermore, the article examines existing challenges and outlines future directions for the development of digital pedagogy in medical training.

The Shiva Parivar shows us how to bring opposite forces together. Our world is often split by polarised narratives of forced choices of binary selection. Shiva and his Parivar (family) offer a toolkit for inclusivity. By looking at the contradictions in Shiva, the nature of his family, and the peace among their companions, we find a manual for a living civilisation.

The basic idea behind rewriting myth might be to establish the concept that all gods were once normal human beings. This concept, when expressed as a rewriting of myth, will automatically create interest in old myths. This concept, which had been considered blasphemous in the years past, is now well received. Both Longfellow and Amish speak the god figures with =================================================================================

This essay investigates the text Bhūtaḍāmara Tantra, examining a philosophical tension: “How does a tantra so deeply embedded in ritual coercion reconcile itself with the language of liberation?” The analysis of this issue is conducted through the central deity, Krodha Bhairava, interpreted as Ferocious Consciousness—an expression of Consciousness that subjugates not only spirits but also the fundamental structure of ‘otherness’ within awareness. An examination of the key practices described in the text, viewed through the lens of Trika doctrine, suggests that an effort is made to establish non-contradiction to non-dual liberation through the fierce realisation of Consciousness.

This paper studies how Kali's imagery varies according to different districts of West Bengal-Bardhaman, Birbhum , Bankura,i.e , how her Iconography, rituals are perceived in those regions where scholars understand Bengal as one single region of Shaktism. Also this paper tries to involve modern interpretations of Kali worship. Primary texts like Kalika Purana, Devi Mahatmya are the sources of worship of the Bengal goddess, the fact that stays above, Kali is always worshipped according to changing society. Here, the main focus remains on Birbhum's Tantra practice, Bishnupur's (Bankura) teracotta panels and Zamindari Patronage of Bardhaman, i.e, the regions adjust the same deity according to prevailing social needs.

Abstract.  In India the peacock was domesticated and exported to Sumer as early as at the times of the Indus Valley Civilization. We learn about mythological ideas connected with this bird from its representations on the funerary urns of the “Late Harappan” Cemetery H culture; peacocks are depicted as birds conducting souls to the other world. The peacock's ability to kill and eat serpents but remain immune to poisoning, gave rise to the idea of its link with immortality and the rebirth. Pre-Aryan mythology of the peacock was inherited by the archaic worldview of early Indo-Aryans. The spread of soteriological religions placing the highest value on the cessation of any kind of rebirth, moved the image of the peacock as a psychopomp to the periphery of Indian culture. In Classical poetry of India, a link between the peacock and the rain season comes to the fore, the peacock's "dance" being associated with renewal of life, fertility and the seasonal awakening of sexual desire. In Vishuism, the peacock is a constant witness of Krishna's love games, it is always present both in Vaikuntha, the heavenly paradise, and in Vṛndavana, the earthly one. In the middle of the 1st millennium CE the peacock moved to Greece via Persia, and later, to Rome. The mythology of the peacock forming in the world of ancient Greece and Rome shared the basic motifs with the archaic mythology of India. The peacock became the sacred bird linked with the ideas of metemphsychosis and the immortality of the soul. In Roman empire the peacock was the bird of the empress, while the eagle – a symbol of the emperor. After the empress' death the peacock was thought to carry her away to heaven. Christianity turned the image of the peacock into an important symbol linked with the immortality of the soul, resurrection, the mystery of communion and the bliss in paradise. In the present paper we aim at establishing factors that might have contributed to the formation of similar peacock mythologies in different regions of the world even in a case when any direct borrowing can be excluded.

Keywords:  peacock, psychopomp, paradise, Indian mythology, comparative mythology

This article explores the cultural, judicial and spiritual significance of the Nyodu (the tiger's jaw in Galo language) in the traditional belief system of the Galo community of Arunachal Pradesh. Imbued with tiger's ferocious spirit, Nyodu is considered as a sacred object in Galo society that helps regulate social order. The article traces the kinship between man and tiger and examines the consequences of killing a tiger among the Galo community. It documents the purification rituals and taboos following a tiger killing. The article further analyses the practice of Nyodu Ngammi Hinam (the ritual of tiger jaw biting), along with the social prohibitions and spiritual consequences it entails. The study highlights the Nyodu's role as a powerful intersection of spirituality, morality, customary justice and social order in Galo society.

This paper is for anyone who has ever felt that shiver-that inexplicable opening in the chest-when a voice pitches up in song. What is that feeling? Where does it come from? The Hindu tradition has been asking these questions for thousands of years. This paper takes you on a journey through that tradition: from the ancient Sama Veda to the celestial musicians Narada and Tumburu, from the demon Ravana singing under a Kaisala (Abode of Lord Shiva) to the saints who poured their love into songs, from the great philosopher Shankara who couldn't stop writing poetry to the modern voice of M.S. Subbulakshmi. Along the way, we ask one question: is devotion the fire that ignites music, or is music the fuel that devotion burns? By the end, you might just find that the question answers itself.

Max Arthur Macauliffe, a renowned senior British administrator and prolific scholar, who was encountered by sacred hymns recited at Darbar Sahib, Amritsar during his visit at Diwali night. Irrespective of knowledge and understanding about hymns the spiritual-musical tune entered his soul, which sparked his curiosity to learn and write about the religion. He was second in line after Ernest Trumpp, who translates the Sikh scripture into English.

Sri Guru Granth Sahib abounds in mythological references and popular beliefs. By understanding their usage perspective and background, we can understand Bani's discourse. These references are taken from the prevalent mythology of the time, which was an integral part of the then-folk psyche. Sikh Gurus, Bhagats, and Bhatts widely use myth and folklore to instruct people on the right path of self-realization. This paper includes English translations of mythical references used by the Ninth Guru, Guru Tegh Bahadur Ji in his hymns.

The translation of scriptures is a vital endeavour that allows individuals from diverse linguistic and cultural backgrounds to access and comprehend sacred texts. Translating scriptures involves the meticulous process of capturing the original meanings, nuances, and cultural context while conveying them into another language. The goal of scripture translation is to bridge the gap between the source text and the target audience, enabling them to engage with the profound teachings, wisdom, and spiritual insights contained within. Translators face the challenge of preserving the essence, intent, and cultural nuances of the original scriptures while adapting them to the linguistic and cultural norms of the target language. The process often requires a deep understanding of the source language, culture, and religious traditions, as well as expertise in the target language. In this paper English translation history of Guru Granth Sahib has been discussed.

12 October 1967), identifies the two segregations, in terms of caste and sex, as primarily responsible for the decline of the spirit, and the ending of "all capacity for adventure and joy" in Indian people. While exploring the cultural sociology of India, Lohia finds that these two segregations are deeply rooted in the Indian social structure. He believes that the people of India are "the saddest people on the earth" due to the prolonged existence of these two segregations. The true spirit of Indians can be unleashed only by dismantling them.

O sacrifício de Dakṣa (métrica: āru-cīrk-kaḷi-neṭil āciriya viruttam) 166. Os doze ṛtvik, os onze, os sete, os oito, os oito guardiões das direções, os habitantes das regiões nevadas, os kinnaras, os kimpuruṣas, os siddhas, os yakṣas, os deuses, os grandes sábios, os que habitam nas ramagens, os montes, o senhor Rāvaṇa, o Senhor Viṣṇu, as belas apsarás, as apsarás das flores, todos alegres e reunidos, desprezando o Senhor que está diante deles (Śiva), Dakṣa realizou o grande sacrifício que não podia ser concluído. A ida de Śrī Pārvatī ao sacrifício 167. Disse o Pai (Himavān): "Ó rainha das palavras doces! Vai ver o sacrifício que teu pai realiza." A Deusa respondeu: "Ele me desprezou com sua mente obscurecida." Ele então disse: "Suporta-me, pois vou pedir a ele." Rindo, ele a enviou: "Vai e volta rápido." A deusa de cabelos como flores de jasmim dirigiu-se ao local onde o pai realizava o sacrifício. 168. Viu o pai, prostrou-se a seus pés; ele não a abraçou. Ela então prostrou-se diante de seu tio (Dakṣa) que era ígneo; ele também a desprezou. Vendo aquela ofensa, ela, como se fosse um fantasma ou um cadáver, nasceu com falhas, abandonou aquela vida e desapareceu com suas palavras cruéis. O Senhor de olhos que conhecem o coração (Śiva) soube disso. O surgimento dos Vīrabhadras (métrica: kali viruttam) 169. "Pode o jasmim do pântano crescer sem a luz da lua? Quando a grande ira do Senhor se acumulou, ele, na testa onde ardia a chama, chamou; o céu tremeu, a terra tremeu, e o herói (Vīrabhadra) surgiu.

The stories of Råmåyaµa (Rmn) and Mahåbhårata (Mbh) are always viewed differently from the other Hindu mythological stories as they are categorized as 'itihåsa' or Epics, implying that they contain some historical facts. The authors of such Epics generally tended to make liberal use of philosophy, yogá, numerology and Vedic themes, often obscuring the original historical event (if any) 1. In the past, Rmn has been subjected to in depth analysis to find out to what extent the story depicted in Rmn is historical in nature (for a review, see: Goldman 1984; Brockington, 1984, 2000). However, the problem is compounded by the presence of three early versions of the Rmn: the Vålmðki Rmn; the Råmôpåkhyåna of the Mbh and the 'Da›aratha Jåtaka ' (DJ), (the Buddhist version), each of them differing from the other considerably. Also, these versions seem to have undergone a lot of modification (especially the Hindu versions), before they were handed over to us in their final form 2,3. Under these circumstances, keeping in mind the religious purpose behind all this literary activity, it is difficult to pinpoint the original story. From all the available literary evidence, it appears that the Epic Rmn was compiled between 300BC-200AD, although the core story could be as old as 500BC (Winternitz, 1996, Goldman 1984; Brockington, 1984, 2000). The main story as depicted in the Hindu version of Rmn (which is the subject of present discussion), if historical, can not be older than the kingdom of Kosala as the story revolves around it, and hence, cannot be given a date prior to ~700 BC. Some historians date the event between 800-600 BC and the scene of the battle (La ¶kå) to be Chota-Nagapur region in India (Sankalia, 1971; Thapar, 1987); while others view the battle as part of an aggressive Aryan colonization of Southern India (Kosambi, 1999; Mudaliar, 1983) and the modern Srilanka to be the place where the great battle took place. Some orthodox scholars place the event of Rmn even prior to the historical period of Mbh, but unfortunately the Mbh that we know today appears to be a dramatized version of 'the battle of ten kings' described in RV and, as such, has no historicity of its own (Murthy, 2003). Some absurd dates have also been suggested in order to establish monkeys in the Epic Rmn, as the missing links in the evolution of human beings.

In ancient mythology and epic, there was a belief that Eve was the first God-created woman in the world. Likewise in Indian Literature Draupadi was the first God-created woman because she was born from fire. The fire was considered a symbol of purification and could destroy things using its flames depending upon how the people used it. Likewise, Draupadi was born from fire to symbolise purification, and her father cursed her during her birth. So that curse played a significant transition in her life. This paved the way for the reason behind Draupati's real suffering and her dejection towards life happenings. Though she faced many miseries she was a strong woman with a willful desire towards a positive approach to her life. She was humiliated in the palace of Hastinapur by the Duhshasana for obeying the order of Duryodhana. They wanted to attack Pandava so they sketched a trap for them. And they all fell into it because of Yudhisthira's play for dice with Shakuni. Shakuni was a wicked man who posed the magic in Dice before playing it. It was because of Shakuni's influential mind which made Pandava fell under his trap. This research paper sheds importance on how Draupadi's mind was affected by the inhumane nature of men and the drastic happenings which turned her life upside down. This research paper also rejuvenates Draupadi's Feminine sensibility.

The worship of Sapta-mātrikas is familiar in India and almost all the northern and southern dynasties contributed much to its cult development.  The sculptures of Sapta-mātrikas were carved either in relief or as individual images.  As believed by many scholars, these deities are of folk origin and were later amalgamated into the orthodox Hindu pantheon as Tantric deities.  In Tamilnadu, the Sapta-mātrikas are called Kannimārgal or Eḻukannigal and are worshipped either individually or in a group. While in a group they generally called Sapta Māthargal or Eḻu Kannimar, but when worshipped individually they called by different names like Ambika, Selliyamman, Ellaiyamman, Pidariamman, Kattuselli, etc.  In this paper, we are going to discuss how the folk form of Sapta-mātrikas syncretised with the major Indian religions like Hindu, Buddhist and Jain, their imagery and how they worshipped.  Unlike the other cult synchronisations that occurred because of rivalry among their followers, the worship of the seven mothers was uniformly adopted by all the sects.  Their names and forms may vary but, in most cases, they reflect the same qualities that they possessed when created. The syncretistic icons of these Sapta-mātrikas found in the major religions of India denote their importance in the worship by the common folk.

A merénylet visszatérő elem Kṛṣṇa életrajzaiban. Kaṃsát, Jarāsaṃdhát és Śiśupālát nem csupán Kṛṣṇa iránt tanúsított gyűlöletük kötötte össze, hanem az is, hogy kivétel nélkül merénylet áldozatai lettek. Írásomban a róluk szóló három merénylettörténetet vizsgálom meg, és a köztük felfedezhető párhuzamok alapján lehetséges magyarázatot próbálok adni a ma ismert Kṛṣṇa-mondakör formálódására.

The novel 'Karna's Wife: The Outcast Queen' embarks on an epic journey that scrutinises the deeply ingrained patriarchal systems of gender and caste in the historical and cultural context of ancient India. Through the viewpoints of Urvi and Karna, Kané constructs a world in which power dynamics shape every discourse. This paper critically examines how the novel redefines patriarchy in the context of gendered beliefs and challenges traditional storytelling, engaging the reader in a profound analysis of caste and gender. Kané centres the story on Uruvi's marriage to Karna, a union between a Kshatriya woman and a Suta man, to illustrate how social rules influence personal freedom and moral values. Uruvi's later marginalization highlights how women's autonomy is restricted by caste. Karna's ongoing fight for acceptance, despite his virtues, reveals how moral arguments often justify caste exclusion. Drawing on ideas from feminist theory, caste studies, and postcolonial criticism, this paper argues that 'Karna's Wife' challenges the epic's simplistic view of virtue and sin by exposing the more profound inequalities that underlie it. Kané's version gives voice and agency to characters who were left out of the original story. The search for belonging-whether in love, caste, or duty-is shown as a political struggle shaped by power. By focusing on these overlapping issues, Kané's story contributes to the conversation about rewriting myths to revive silenced voices in history and social order.