Indian Mythology

The quest of searching for a true religion had always been prioritized by the clan of humans. Since the civilization had begun people started bifurcating themselves as nobles and commoners. The citadel was built for the noble men and the lower town for the meagre commoners. But eventually when these mystics and philanthropists dwelled into the idea of conceptualizing what true religion means to the humanity, they literally figured a way out for the chaotic community to believe in the Supramental tendency. It indeed had been a pleasure seeking towards a quest of true religion. While we were engrossed in the idea of how to emulsify ourselves into technologically upheaved world and revolutionaries our ideas for becoming the high-tech nations we lost the very essence of humanity. Rabindranath Tagore's one of the major works; the chapters which had been included in the book The Religion of Man comprises of the Hibbert Lectures delivered in Oxford is the glimpse of what Gurudeb thought of Religion and its connectivity to human soul. Not only this work comprises of the major realms of the human life but also it has covered the core structure of spiritual freedom.

The Sabha Parva of the Mahabharata holds one of the most disturbing episodes in Indian epic tradition-Draupadi's public humiliation in the Kuru court. This paper explores how the female body becomes a site of male gaze, political control, and gendered violence within a patriarchal system. By applying feminist theory and visual studies, the essay examines the disrobing episode as more than a myth-it is a gendered spectacle of power, shame, and resistance. The paper also draws on critical voices like Simone de Beauvoir, Laura Mulvey, and Alf Hiltebeitel to interrogate the moral silence of the court and the cultural implications of Draupadi's shame.

This study investigates the diminishment of poetic distinctiveness in the translations of Rabindranath Tagore's Gitanjali 17, focusing on the English renditions by Tagore, Brother James, and William Radice. This research, rooted in Walter Benjamin's concepts of "afterlife" and "fidelity," as well as Lawrence Venuti's ideas of "domestication" and "foreignization," analyses how each translation either maintains or modifies the core of the original Bengali text. The objectives include identifying alterations in poetic structure, cultural elements, and grammatical precision, along with evaluating which translation most faithfully retains the lyrical and philosophical depth of the original text. The study utilises meticulous textual analysis as its primary method, demonstrating that Tagore's translation, while spiritually resonant, sacrifices poetic form and cultural uniqueness for the benefit of accessibility to Western audiences. Radice's translation possesses a lyrical character but often includes superfluous or redundant rhythmic lines, whereas Brother James is the most precise in preserving stanza structure, line count, and semantic fidelity. The research indicates that translation is not a neutral endeavour but a creative and interpretive process. Recognising the translator's clear engagement highlights the importance of culturally and formally sensitive translation that honours the authenticity of the source content.

Aim: This research paper aims to study the innovative narrative techniques employed by Chitra Banerjee Divakaruni in her novels 'Palace of Illusions' and 'The Forest of Enchantments,' focusing on how she navigates traditional literary forms while incorporating indigenous storytelling techniques. These retellings of the Indian epics Mahabharata and Ramayana respectively serve as rich examples of how contemporary authors engage with ancient narratives, infusing them with fresh perspectives and voices. Methodology and Approaches: Using a comparative analysis approach, this paper explores how Divakaruni blends elements of traditional literary forms with indigenous storytelling techniques to craft compelling narratives that resonate with contemporary audiences. Through close textual analysis and examination of narrative structure, characterization, and thematic elements seeking to uncover the unique strategies employed by Divakaruni to reinterpret these timeless tales for modern readers.Her incorporation of indigenous storytelling techniques, such as oral storytelling traditions and mythic symbolism adds depth and authenticity to her narratives, while also challenging conventional literary forms. Outcome: By seamlessly weaving together elements of myth, legend, and history with her own imaginative reinterpretations, Divakaruni creates narratives that are both rooted in tradition and relevant to contemporary concerns. Employing a feminist literary analysis approach, this paper scrutinizes Divakaruni's narrative strategies in reimagining Sita and Draupadi, shedding light on their agency, resilience, and individuality. Conclusions: By exploring Divakaruni's navigation of traditional literary forms and indigenous storytelling techniques in 'Palace of Illusions' and 'The Forest of Enchantments,' this paper offers insights into the dynamic interplay between tradition and innovation in contemporary literature, and underscores the enduring power of ancient narratives to inspire and provoke thought in the modern world.

This paper analyses the role of translingual practices in reshaping language, dialect, and identity within an Afrofuturistic fantasy framework, specifically through "The Magical Negro" by Nnedi Okorafor. Translingualism encourages a transition from these structuralist presuppositions about language to more fluid and extensive contextual and integrated strategies. This research aims to explore the use of translingual aspects in an Afrofuturistic fantasy plot by analyzing the elements of language, dialect, and impact. Changing the trope of the standard fantasy language, which often incorporates dominant ideologies and regional dialects, as well as the relationship between characters' accents and their socio-linguistic backgrounds, helps to subvert the clichés of the series. The theoretical framework included Vershawn A. Young's "code-meshing", where different languages or dialects are used simultaneously in speech or writing. Li Wei develops translanguaging as a practical theory of language, incorporating both sociocultural and cognitive approaches. Using Geneva Smitherman's concept of "Black sociolinguist reality," this article traces the concept of Afrofuturism through speculative fiction as a rhetorical praxis that recognizes Black language practices as processes of invention unique to Black linguistics, constructing the multitudinous nature of Blackness in the future. This paper emphasises the question of power concerning how language, identity, and interaction with people from another culture are interrelated. It thus makes a reader think about the role language plays in the change of
social relations and cultural identification in ‘The Magical Negro’ written by
Nnedi Okorafor.

Volga's The Liberation of Sita is a compelling exploration of the untold stories and voices of women in the epic Ramayana. Within this narrative, the concept of sisterhood emerges as a powerful force, challenging traditional patriarchal norms and giving voice to the suppressed experiences of women. This article delves into the spirit of sisterhood as portrayed by Volga, analyzing the relationships between female characters and their collective journey towards liberation. It delves into Volga's portrayal of Sita's journey as a quest for independence and self-discovery, emphasizing the importance of solidarity among women. It will discuss how the author challenges traditional gender roles and norms, presenting a nuanced exploration of the relationships between female characters. The article will also explore the ways in which sisterhood becomes a source of strength, resilience, and empowerment for the women in the narrative.

Githa Hariharan's The Thousand Faces of Night (1992), a landmark in Indian English literature, weaves a powerful narrative around women's struggles in a patriarchal society. The novel follows Devi, a young woman who navigates an arranged marriage alongside her mother Sita and the family retainer Mayamma. Each of them grapples with societal expectations. The rich use of Indian mythology, particularly stories from the Mahabharata and other traditional tales, sets the fiction apart and shapes the characters' inner lives. These mythical figures like Gandhari, Amba and Damayanti are not mere decorations. They are active forces in the narrative that offer mirrors to Devi's complex journey. By blending myth with reality, Hariharan explores how women "confront tradition and seek selfhood" (Sinha 130). It makes the novel a compelling study of identity and resistance. This paper focuses on Devi's relationship with these mythic figures and proposes a fresh lens to understand her character and the novel's deeper structure. This paper argues that Hariharan constructs Devi as a doppelgänger of mythological women such as Gandhari, Amba, and Damayanti to reflect her fragmented identity. It uses the unsettling effect of these doubles to explore the tension between destiny and personal agency. In literature, a doppelgänger is a mirror-like figure who feels both familiar and strange and reveals hidden aspects of the self. For Devi, Gandhari's passivity echoes her early submission to marriage. Amba's defiance parallels her rebellion. Damayanti's choice foreshadows her eventual independence. This doubling creates an uncanny effect where Devi sees parts of herself in these myths, yet feels alienated by their fated roles. By tracing these parallels, the paper shows how Hariharan uses myth to depict Devi's struggle to unify her fractured self and contrasts her with Sita and Mayamma, who lack such mythic mirrors. This approach reveals the novel's unique way of blending psychology and storytelling to question whether women are bound by fate or can shape their own paths.

The Indian campaigns of Dionysos and Heracles аrе being analyzed for morе than 200 years from the point of view of their identification with certain heroes of ancient Indian religious tradition. In fасt this story was formed following the stereotypes of the ancient Greek ethnographical tradition: the key interest of its re-teller ‒ mostly Megaslhenes ‒ was not the cult of аny particular god in India ‒ but the beginning of Indian history and its first roуаl dynasties. The following circumstances аrе to bе taken into consideration: the way of communication of Megasthenes with his Indian intformants presumed large simplification of the information he received, оnе must strictly distinguish thе data of thе biographers of Alexander the Great from the information of Megasthenes and later contributors. If so, this story must go back tо the corresponding source of information in Indian tradition, but some its basic features could bе found аt thе non-brahmanical peoples of thе North-Western India (e.g. the kafirs). Тtе only possibility tо find it is thе supposition that as such the information оn thе rite of consecration of the Indian kings ‒ rājasūya - was used and оn thе main соnсерt of the rоуа1 power - «vijāya». Тhе story of the first fulfillment of this rite bу Pṛthu was thе foundation of the story аbоut the conquest of India bу Dionysos. The function of the «cultural hero» may bе also traced оn the materia1 of rājasūya: а newly consecrated king had tо introduce the civilized way of life, whose features perfectly coincide with the details of Dionysos’ activity and the image of India before the coming of Dionysos is vеrу similar to what was said аbоut wildness of thе world before the Pṛthu’s consecration in thе rājasūya rite. The establishment of the cult of Dionysos corresponds tо thе restitution of the Vedic sacrifice abolished bу the tугаnt Vena ‒ father of Pṛthu. The conquest of India bу Heracles is tо bе treated as thе fulfillment of this rite bу another king. Тhе арреаrапсе of «Indian Heracles» reflects thе coming tо power of the new dynasty ‒ that of thе Рāṇḍаvаs. If so, the first Indian dynasty in classical tradition would reflect thе following sequence of thе kings: Dionysos-Рṛthu ‒ Spatemba-Soma ‒ Budia-Budha, his son ‒ Kradeva-Kurudeva (not Pururvas, as commonly assumed) ‒ а generalized character, symbolizing the end of the power of the Kauravas ‒ Heracles ‒ the соming to power of the Рāṇḍаvаs.
Аν alternative solution of the problem of τηе «dog-headed» реорlе is proposed. The author pays attention to thе similarity of thе characteristic features of the κυνοκέφαλοι and pandas. Καλύστριοι ‒ аn Indian designation of the «dog-headed people»: the first раrt of this word is tо bе interpreted as coming back to kārūṣa, thе second ‒ either to rāśtrāḥ (thus meaning «kingdom of Karushas») оr tо strī (headed bу women), anyway Καλύστριοι аrе vеrу close tо thе inhabitants of Кleisobora ‒ city of the Karushas, the worshipers of Heracles. Karushas were the people designated bу thе Greeks and Romans as pandes. Κυνοκέφαλοι was nothing more than а nickname of the people whose speaking reminded tо thе Greeks the dogs’ vowing. Thus the country of Heracles falls to the region of the North of Mathura.

Amish Tripathi's The Shiva Trilogy reimagines Hindu mythology through a socio-political lens, presenting the Nagas not as mythological monsters but as deterritorialized agents challenging the hegemonic Somras-Industrial Complex. This paper employs Deleuze and Guattari's concept of nomadology to analyze how the Nagas-ostracized, mobile, and resistant-disrupt the centralized systems of power that control the Somras (the elixir of immortality). By examining their role in exposing exploitation, redistributing knowledge, and ultimately dismantling institutionalized oppression, this study argues that the Nagas embody a postcolonial critique of empire, industrialization, and bio-political control. Through close textual analysis, mythological parallels, and theoretical frameworks, this paper positions the Nagas as revolutionary figures who redefine sovereignty, belonging, and resistance in Tripathi's narrative universe.

The Fierce Black Goddess Kali, has been worshipped in India for over 3,000 years. Kali represents the untamed power of nature's cycles-annihilating ignorance, ego, and demonic forces to pave the way for renewal and spiritual enlightenment. Kali is both a terrifying warrior who dances wildly on battlefields and cremation grounds and a compassionate mother figure (Kali Ma) who empowers devotees to conquer inner fears and achieve moksha, or ultimate freedom from the cycle of rebirth. Revered especially in Tantric traditions, Shaktism, and regions like Bengal where her Kali Puja festival draws millions, she transcends her fearsome iconography to symbolize the triumph over death, the inevitability of change, and the nurturing aspect of the cosmos, reminding worshippers that true power lies in embracing the shadows for profound growth. Historically, Cannabis has appeared as an offering in Kali's Puja festivals, and as a sacramental offering in Tantric rites.

Indian literature, with its deep historical and cultural roots, has continually evolved to reflect the shifting realities of its times. Among the most prominent and enduring motifs in this literary tradition are nature, war, and technology. These themes, while distinct, are often interwoven, offering a multifaceted lens through which Indian writers have examined the world around them. Nature has long served as a powerful muse, both symbolically and literally, in Indian literature. From the Vedic hymns that revered natural elements to contemporary eco-critical narratives, the environment remains central to literary expression. War, on the other hand, has been portrayed not only as a historical reality but also as a psychological and emotional crucible, shaping identities and moral dilemmas. The advent and proliferation of technology, especially in the modern era, have introduced new dimensions to literature-transforming narrative forms, expanding accessibility, and reconfiguring thematic preoccupations. This article explores how these three elements-nature, war, and technology-interact and evolve across different literary periods and genres in Indian writing. It underscores the dynamism of Indian literature in responding to environmental, political, and technological changes, portraying the Indian writer as a chronicler of a civilization in transition. The literary landscape thus becomes both a reflection and an agent of societal transformation.

Annotatsiya: Mazkur maqolada avliyo obrazining agiografik va badiiy adabiyotlarda, xususan, manoqiblar va zamonaviy romanlarda yaratilish prinsiplari tahlil qilinadi. Tadqiqotda diniy-adabiy matnlarda avliyo siymosining talqini hamda badiiy adabiyotdagi obraz yaratish jarayonidagi farqlar ochib beriladi. Sa'dulla Siyoyevning "Ahmad Yassaviy" romanida Yassaviy siymosining tarixiy shaxsdan badiiy obrazga aylanish jarayoni psixologik va falsafiy jihatdan tahlil qilinadi. Maqolada agiografik kanonlar, syujet va fabula tuzilishidagi o'ziga xosliklar, til va badiiy vositalarning qo'llanilishi solishtirma usulda o'rganiladi. Qiyosiy tahlil natijasida an'anaviy manoqiblardagi ideallashtirilgan obraz zamonaviy romanlarda insoniylashtirilgan, falsafiy-psixologik talqinga ega shaklga o'tishi aniqlanadi. Tadqiqot Yassaviy obrazini o'rganishda diniy manbalar va badiiy matnlar o'rtasidagi aloqani yoritib, tasavvuf, adabiyotshunoslik hamda madaniyatlararo aloqalar bo'yicha ilmiy izlanishlarga hissa qo'shadi. Kalit so`zlar: manoqib, jitiye, agiografik kanon, valiy, badiiy talqin, obrazlilik, syujet, motiv. Формирование образа святого в манакыбах и художественной прозе (на примере Ахмада Яссави) Азимова Фотима Яшинбек кизи Исследователь (PhD) Андижанского государственного университета, Узбекистан

This Research paper deals with Ahlaya's power to reclaim the self, ambitious woman who dares to ignore the societal norms with her choices. Androcentric perspective had dominated the mythological narrations, which had consistently shown women characters as an ideal or victim to society. Their voice and contribution remains unheard, their roles are restricted to be ideal, beautiful and docile women. Retellings in postmodern literature had given more power and space to minor characters. Kavita Kané in her book Ahalya's Awakening shows infidelity as Ahalya's choice. Destiny from princess to Rishika is decided by her courage, determination and faith. Her assertion for the self should be embraced by the modern women, they need not to fear from the society nothing remains with them except self-satisfaction. The study highlights struggle of a woman who dared to dream, fulfils her desires by taking decisions for herself by ignoring the patriarchal norms.

Indian literature, with its deep historical and cultural roots, has continually evolved to reflect the shifting realities of its times. Among the most prominent and enduring motifs in this literary tradition are nature, war, and technology. These themes, while distinct, are often interwoven, offering a multifaceted lens through which Indian writers have examined the world around them. Nature has long served as a powerful muse, both symbolically and literally, in Indian literature. From the Vedic hymns that revered natural elements to contemporary eco-critical narratives, the environment remains central to literary expression. War, on the other hand, has been portrayed not only as a historical reality but also as a psychological and emotional crucible, shaping identities and moral dilemmas. The advent and proliferation of technology, especially in the modern era, have introduced new dimensions to literature-transforming narrative forms, expanding accessibility, and reconfiguring thematic preoccupations. This article explores how these three elements-nature, war, and technology-interact and evolve across different literary periods and genres in Indian writing. It underscores the dynamism of Indian literature in responding to environmental, political, and technological changes, portraying the Indian writer as a chronicler of a civilization in transition. The literary landscape thus becomes both a reflection and an agent of societal transformation.

The controversy surrounding form versus content has been hogging literary studies since Plato's time. While the early critical theories revolved around biography, history, even nationalism etc., the 20th century saw the emergence of psychological and realistic theories in evaluating content. On the other side, the Formalists and the New Critics stressed the value of diction in poetry. Come the Marxists and the focus shifts to content mainly in fiction due to their emphasis on social structure and process. Even as the Marxist influence is still strong in academia, not all subscribe to this view as it impinges upon the question of authorial autonomy. Surprisingly, in Indian poetics, much more stress can be seen on the stylistic elements than on the content which is subjected to minimalist guidelines of a generic nature. In these times, it has been observed that literary works which have a uniqueness in terms of form or style have won considerable readership and awards. The focus of the present paper is to examine different specimens of such stylistic works and bring out their uniqueness which makes them win laurels, and also to explore the extent to which form or content influence each other in them.

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From an Attic red-figure crater, 5th cent. B.C. Here Theseus kills the Minotaur with a short sword; this is the usual version in the vase paintings. In the written accounts the hero uses his bare hands. {Collection des vases grecs de M. le Comte de Lamberg, expliquee et publiee par Alexandre de la Borde, Paris, 1813, Plate XXX.) 3. Osiris in the Form of a Bull Transports His Worshiper to the Underworld. From an Egyptian coffin in the British Museum. (E. A.

This paper discusses how feminist mythological retellings reclaim the silenced voices of women through the language used in texts, especially in which the female characters are portrayed, offering a powerful subversion of patriarchal narratives i.e., Atwood's 'The Penelopiad' and examine how Penelope, long confined to the margins of Homer's Odyssey, reclaims her story and repositions herself as both the narrator and critic of the epic tradition and so in the Pat Barker's 'the Silence of the Girls', the focus shifts to Briseis-a woman whose voice is barely present in the original Homeric text. Both retellings, however, disrupt the established literary canon by foregrounding the marginalised female voices by using language as a means of resistance and reclamation. They reorient the myth not towards glorification but critique, reminding the readers that the silence of women in epic narratives is not accidental but structural and that reclaiming voice is a political act. In doing so, texts like-The Penelopiad, and 'The Silence of the Girls' hold multiple narrative voices used in very innovative ways, especially the twelve maids who sing choral and the choral interludes, forcing the reader with questions such as class, injustice, and power. Taking the argument further, Atwood's work not only gives voice to the voiceless, who are historically voicelesswillingly or unwillingly, but also critiques the literary canon's complicity in maintaining hierarchies of gender and class.

In recent years, the conceptual and material entanglements between mythology and multimodal structures have been increasingly recognized. Perhaps most crucially, it has become evident that the ideologies underlying mythic tales particularly those recounted in multimodal structures became an increasingly popular means to reconfigure the intricate boundaries of the human subject and narrative. This article is an attempt to peruse a retelling of the popular classic tale Ramayana in a modern context etched with metaphorical characterization and an enticing color palette to visualize the environmental phenomena that are often difficult to comprehend elsewhere, stretching beyond human perspectives. In an increasingly visual culture, it argues that the present narrative set in a post-apocalyptic world envisions the theme of Anthropocene through multimodal ways of integrating graphic and textual semiotic modalities. I argue that the present graphic novel confronts representational challenges central to the Anthropocene, environmental justice, ecological fragility in particular the mediation between the natural resources and sustainability.

mamă. -Şi tu? Regina se întoarce spre Kahlia şi încerc să ascund orice semn de nelinişte. Dacă mama mi-ar vedea îngrijorarea din priviri, ar fi o altă slăbiciune de exploatat. Kahlia înoată înainte. Are părul dat la o parte de o împletitură de alge, iar unghiile îi sunt încă murdare de bucăţi din regina Adékarosului. Pleacă fruntea în ce ar putea fi considerat un semn de respect. Dar eu ştiu mai bine. Kahlia nu ar putea-o privi pe Regina Mării în ochi, pentru că, dacă ar face-o, mama ar şti exact ce crede verişoara mea despre ea. -Am crezut că doar îl va ucide, zice Kahlia. Nu am ştiut că-i va lua şi inima. Este o minciună şi mă bucur. -Cât de proastă poţi fi, să nu-ţi cunoşti verişoara? Mama o priveşte lacom. -Nu sunt sigură că mă pot gândi la o pedeapsă suficient de neplăcută pentru o asemenea idioţenie. Prind cu mâna tentaculul care îmi strânge talia. -Oricare ar fi pedeapsa, spun, o accept eu. Zâmbetul mamei tresare şi ştiu că se gândeşte la toate felurile în care asta mă face nedemnă să fiu fiica ei. Dar nu mă pot abţine. Într-un ocean de sirene care se gândesc doar la ele, să o protejez pe Kahlia mi-a intrat în reflex. Încă din ziua în care am fost obligate amândouă să o privim pe mama ei murind. Şi în toţi anii care au urmat, pe măsură ce

यह शोध पत्र भारतीय दर्शन के भीतर 'अवतार' की अवधारणा की एक सूक्ष्म व्याख्या प्रस्तुत करता है, इसे सामान्य ईश्वर-अवतरण की धारणाओं से अलग करता है। यह तर्क देता है कि भारतीय ज्ञान परंपरा के अनुसार, सृष्टि को तीन दैवीय अवधारणाओं—ब्रह्मा (रचयिता), विष्णु (धर्ता) और महेश (हर्ता)—के माध्यम से समझा जाता है। परम सत्ता 'ब्रह्म' है, जो सृष्टि का निर्गुण, निराकार और अव्यक्त विधान है। अवतार की अवधारणा सृष्टि के कर्ता (ब्रह्म) से नहीं, बल्कि धर्ता (विष्णु) से जुड़ी है, जिसका कार्य त्रिगुणात्मक सृष्टि में धर्म के संतुलन को बनाए रखना है।
यह लेख 'ब्रह्म-केंद्रित' अद्वैतवादी भारतीय दृष्टिकोण और 'अब्राहमिक' द्वैतवादी दृष्टिकोण के बीच अंतर स्पष्ट करता है। भारतीय विचार में, कर्ता और सृष्टि अभेद हैं, जबकि अब्राहमिक विचार में वे अलग-अलग हैं। 'ईश्वर' को ब्रह्म का सगुण, माया-युक्त रूप माना जाता है जो सृष्टि की रचना, पालन और संहार करता है और उपासना का विषय है। अवतार की अवधारणा त्रिगुणों—सत्त्व, रजस्, और तमस्—से गहराई से जुड़ी हुई है, जो प्रकृति का निर्माण करते हैं। जब कोई मनुष्य रजस् और तमस् पर नियंत्रण पाकर शुद्ध सत्त्व गुण में स्थित हो जाता है, तो वह 'देव पद' प्राप्त कर सकता है और मानवता के लिए एक आदर्श बन जाता है। ऐसा व्यक्ति, जो धर्म को अपने जीवन से स्थापित करता है, उसे सम्मानपूर्वक 'अवतार' कहा जाता है।
इस प्रकार, 'अवतार' स्वयं पूर्ण ईश्वर नहीं है, बल्कि एक विशिष्ट उद्देश्य—धर्म की पुनर्स्थापना, साधुओं की रक्षा और दुष्टों का विनाश—के लिए एक विशिष्ट समय में ईश्वरीय विधान का प्रकटीकरण है। यह ईश्वर (एक कालातीत, सर्वव्यापी सिद्धांत) और अवतार (एक समयबद्ध, कार्यात्मक अभिव्यक्ति) के बीच एक महत्वपूर्ण भेद स्थापित करता है। विष्णु के दशावतार इसके प्रसिद्ध उदाहरण हैं। अंततः, अवतारवाद की अवधारणा ईश्वर की करुणा और धर्म की रक्षा के लिए उसकी सक्रिय भागीदारी को दर्शाती है, जो मनुष्य को अपने भीतर की दिव्यता को पहचानने के लिए प्रेरित करती है।

कानपुर शहर के कुछ प्रगतिशील लोगों ने मिलकर निःशुल्क और अनिवार्य शिक्षा अधिकार कानून का उपयोग करके हजारों गरीब बच्चों की जिंदगी मे शिक्षा का उजाला भरने का प्रयास किया है ।
उनके इस प्रयास मे वर्षों का संघर्ष और परिश्रम लगा है । वे किस तरह की चुनौतियों से लड़ते हुये आगे बढ़ते रहे हैं , और किस तरह अब वे आगे का रास्ता बना रहे हैं , यही सब इस आलेख मे शामिल करने की कोशिश की गई है ।

В предыдущих работах автора (Vassilkov1999; Васильков 2021) был выявлен эпизод, сохранившийся в некоторых рукописях «Махабхараты», но не включенный в основной текст критического издания. В этой сцене девушка, мечтающая о замужестве, приходит в рощу цветущих деревьев ашока, берет в одну руку ветвь ашоки, в другой руке держит зеркало и пытается разглядеть в нем лицо своего будущего супруга. Ранее была поставлена задача обнаружить подобные обряды или, хотя бы, их следы, в индоарийских, а также родственных или смежных этнокультурных традициях. В настоящей статье обряд, описанный в Махабхарате, рассматривается на фоне обрядов дивинации с использованием отражающих поверхностей, засвидетельствованных у многих народов мира. Уделено внимание современным научным экспериментам, вскрывающим психологические основы появления иллюзорных образов при гаданиях по зеркалу. Следы знакомства с практикой гидромантии и катоптромантии обнаруживаются в ведийско-индуистской традиции, начиная с эпохи Брахман (900 – 500 гг. до н.э.). Девичьи гадания по зеркалу о суженом, подобные обряду из Махабхараты, засвидетельствованы у многих народов Европы. В статье предпринимается попытка выявить следы существования в древности подобного обряда у ближайших языковых родственников индоариев – иранцев.

Abstract: Researchers and translators of the Mahābhārata (Mbh) have encountered difficulties interpreting the episode in which the hero, having overcome his enemies, is “drinking glory”. This phrase is usually understood as a metaphor. The article refers to several contexts in the kāvya poetry where the early concept of “drinking glory” is brought into play. At least in one of these contexts the concept is directly connected with celebration of victory. The author suggests that “drinking glory” might initially designate drinking as a ritualistic act performed to glorify the winner in a battle or contest. This suggestion is supported by references to several episodes in the Mbh in which a ‘hero’s goblet’ (vīrakāṃsya) is mentioned. The main heroine of the epic, Draupadī, turns up at her svayaṃvara (the rite of the girl choosing herself a husband from the suitors taking part in the nuptial contest), with a “hero’s goblet” in her hands, which, as we may suggest, she has to proffer to the winner in the contest or to the winner of her heart, her chosen bridegroom. The same object appears in the rite of a warrior's setting off for battle. Apparently, the goblet was offered to the warrior by a girl, and as soon as he touched it, his strength would multiply. The ritual of offering a goblet of alcoholic drink to a victorious hero was practiced by the linguistic relatives of Indo-Aryans in the Indo-Iranian branch of the Indo-European family: Scythians, Ossetians and Nuristanis (Kafirs). The wedding rite of a svayaṃvara type, in which the girl chose herself a husband by offering to one of her suitors a goblet of wine or mead, was probably practiced by the Scythians and is widely represented in the Celtic (mostly Irish) folklore. In both traditions the ritual of wedding was modelled, most probably, on the mythical (and in ritual symbolical) marriage of a king/chieftain to the goddess of his land. The conclusion of the paper is that the image and concept of the “hero’s goblet”, common to the peoples who spoke Indo-Iranian and Celtic languages, can be traced if not to proto-Indo-European antiquity, then to a period when proto-Indo-Iranian and proto-Celtic dialects had some relations and could interact.

The extensive history of the Tritiya-Prakriti community and the associated social stigma present a unique opportunity to explore the influence of this third-gender group on contemporary Indian society. Using the Koovagam festival as a case study, the present contribution explores the ways the Tritiya-Prakriti find a sense of legitimacy within their tangible and intangible heritage and negotiate social identity. The material culture and folklore of the Koovagam festival showcase how tightly the history is entwined and embedded in the group's social identity. It effectively suspends the perpetual discrimination and marginalisation experienced by the Tritiya-Prakriti members, affording them a temporary taste of mainstream living. Once exclusively the symbol of memory and resistance, the festival now serves as a platform for empowerment and social validation of their group identity. This way, as the Tritiya-Prakriti minority intersects with prejudice, folklore practices change and lead to a selective reconstruction of elements from the past, playing a significant role in redefining their new identity boundaries and influencing the preservation of group social values. As such, the contextualised discussion of the Tritiya-Prakriti social identity negotiations will be relevant to scholars studying minorities and heritage at risk from a wide range of epochs.

The Ramayana has traditionally emphasized various qualities of male characters more than those of female characters. Women are generally categorized into two distinct groups: the virtuous and the immoral. Virtuous women are depicted as embodying qualities such as devotion, purity, and moral integrity, while immoral women are characterized by their overt sexuality, curiosity, and promiscuity.Such traits often lead to their being labelled as adulterer(s) or rakshasi(s). Ahalya, regarded as the finest creation of Brahma, has been the subject of numerous reinterpretations due to her intricate and contentious character.She stands out in the Ramayana as a figure of complexity and controversy, prompting various reinterpretations. The debate lies in determining whether she is a victim of her own vulnerabilities or a casualty of Lord Indra's unjust actions. Nevertheless, all interpretations agree on her punishment for infidelity. In 2015, Sujoy Ghosh's fourteen-minute short film Ahalya received widespread acclaim for its narrative and the representation of characters such as Ahalya, Rishi Gautam, and Lord Indra, set against the backdrop of contemporary Kolkata.A distinguishing feature of Ghosh's adaptation is its feminist perspective on this mythological narrative. This paper aims to explore how Ghosh challenges the patriarchal elements and the sexual themes associated with the Ahalya story. It will also examine how Ghosh reinterprets the notion of 'sin' attributed to Ahalya in the 21st century, providing a feminist lens to the tale. Additionally, it seeks to analyse whether only women are subjected to punishment for transgressions and to illuminate the dynamics of good and bad metaphors as depicted in the film, which Ghosh skilfully captures on the cinematic canvas.

Indian women are always coupled up with the clutches of conventional beliefs made by the patriarchal society. A woman in an Indian society can never break away from the social clutches such as marriage. A nuptial which is considered to be as sacred institution, the bond created by marriage plays a significant role both in the life of man and in the life of woman. The lifestyle of man after marriage is often not changed much, whereas when it comes to woman her life is turned topsyturvy. However, in an Indian context, a woman should give up all her dreams after her marriage. In this 21 st Century too they were not allowed to achieve their dream, after marriage there are some women they achieve their goals. The woman turns their own self identity as an abortive self that looses dreams. Here in the novel The Rule Breaker by Preethi Shenoy the female protagonist Veda harbours big dreams for future but she faces a great struggle after marriage to achieve her goal the same is happened with the female protagonist Nimisha Sajajan from the Movie 'The Great Indian Kitchen', this research paper probes into the various exploitation done to the married woman in the Indian society through the life of Veda and Nimisha, who can be considered as representation of every woman in the society.

A king who had everything — power, age, even time itself — yet could not prepare to die.
The tale of Yayati is not about death, but about the illusions that delay our truth.
When desire pretends to be purpose, even a thousand years are not enough.

Nigeria despite being a free country is not yet free. This is reflected from the indepth study of Nigerian author Chika Unigwe's compelling novel On Black Sisters' Street. Although Nigeria has a rich history, culture and natural resources but due to constant subjugation and continuous interference by western colonial powers Nigeria has not achieved what is expected from a free nation. The woes of Nigerian people especially the women are mirrored through Nigerian literature. The novelist Chika Unigwe emerges as a strong voice advocating the case of Nigerian women through the interwoven stories of four helpless and deprived women characters viz. Sisi, Ama, Joyce and Efe. Chika's novel traces the lives of these women who are trafficked to Belgium on the pretext of giving them employment and better economic opportunity for their families. However, on reaching there they find themselves trapped in an endless cycle of economic exploitation, continuous fear and emotional disintegration. They are left with no option but to continue selling their bodies and go through embarrassment at the hands of white men. This research paper examines the horrors of migration and trauma faced by helpless Nigerian young women as narrated by Chika Unigwe. The frameworks of the study are based on trauma studies, postcolonial feminism and migration discourse. The gendered trauma that these women face is actually based on the interviews of Nigerian sex workers working in Belgium. So, the narratives are based on true stories with fictionalized names. This study also employs intersectional analysis to bring out how race, gender, migration and class shape the vulnerabilities of these women. The novel is a literary archive of suffering, black sisterhood, pain and memory of migrant Nigerian women.

Literature from all countries and eras has long drawn inspiration from mythology, a vast
repository of historical stories, gods, and heroes. This study explores the enthralling realm of
mythology in literature, exploring its persistent attractiveness, thematic complexity, and
transformational narrative power. The study opens by recognizing the universality of mythology
and emphasizing how myths and stories have permeated both time and space. It talks about how
mythology often acts as a storehouse for cultural history, representing the accumulated
knowledge, convictions, and values of cultures. The study also examines the many ways that
mythology has been incorporated into writing. It addresses how authors create stories that are
resonant with universal themes like heroism, fate, and the human condition by drawing on
mythical motifs, characters, and archetypes. The study also acknowledges the immense influence
of mythology on the human mind, pointing out how it inspires imagination, awe, and reflection.
It highlights how mythology enables writers to investigate difficult moral and philosophical
issues, often using allegory and symbolism. The study also recognizes the mythology's continued
importance in modern writing, as it continues to influence storylines, spur reinterpretations, and
provide fresh viewpoints on age-old topics. Mythology continues to be a perennial source of
inspiration that gives literary works depth and meaning.

Retelling and rewriting of epics and myths connect the present with the past. It helps us rediscover the relevance of the old texts from contemporary angles. In India the major epics like the Ramayana and the Mahabharata have been rewritten and retold in multiple languages and the epics have reemerged through a process of modification. Whenever a story is told it brings certain changes to the old version. It is because of the use of language and the intention of the story teller. In case of rewriting of epics, the language is of utmost importance. The new version calls for modification of language to make the old text accessible. In a way each rewritten version instills a new interpretation. The newer versions make us look at the characters and plots of the older ones with a questioning attitude. A comparative perspective gets built up through multiple versions of the same stories told again and again. Haldhar Nag's long poem Mahasati Urmila draws attention to the minor character Urmila of the epic. The conventional approach to the Ramayana as the story of Rama and Sita can be reread as the story of Laxmana and Urmila. This freshness of approach does not distort the significance of Sita. It rather places Urmila's character

В статье представлены новейшие археогенетические данные, на
основе которых рассматривается одна из важнейших проблем истории
Армении — происхождение и формирование армянского народа.
Согласно этим данным, независимо от локализации ранней индоевропейской (индо-хеттской) прародины, поздняя индоевропейская прародина образовалась в степных и лесостепных регионах Восточной Европы, от бассейнов Волги до Днестра. Именно оттуда берут начало все нынешние индоевропейские языки. Археогенетические данные убедительно доказывают миграцию людей через Кавказ из восточноевропейских степей на Южный Кавказ и Армянское нагорье с середины III тысячелетия до н. э. Эти переселенцы и их потомки создали триалетиванадзорскую, севан-арцахскую, ван-урмийскую и лчашенско-мецаморскую культуры среднего, позднего бронзового и железного веков.
Вплоть до конца существования царства Урарту (VII–VI вв. до н. э.)
местное население на территории современной Армении (земля
Этиуни урартских источников) все еще имело значительную степную
патрилинейную ДНК (75%). Армянский должен был быть языком
создателей этих культур, и археогенетические данные свидетельствуют в пользу этиунийской гипотезы происхождения армян.
Ключевые слова: археогенетика, индоевропейская прародина,
ранняя археология Армении, предыстория Армении, протоармянский
язык, протоармяне, формирование армянского народа.

This study aims to examine the transformation of Sita's character in the works of Volga and Amish Tripathi, analysing how these authors challenge traditional patriarchal narratives in Indian mythology through the lens of Judith Butler's theory of gender performativity. Butler's concept of gender performativity, which postulates that gender is constructed through repetitive acts and can be subverted through alternative performances, provides the theoretical framework for this analysis. Volga's narrative emphasises female solidarity, portraying Sita's empowerment through interactions with other women. This approach substantiates how collective performative acts can challenge established gender norms. Amish Tripathi reconstructs Sita as a warrior and leader, directly subverting traditional gender roles. This

The hierarchy prevailed in the hegemonic power structure created subalterns also. The three stories in Mahasweta Devi's After Kurukshetra, which is a retelling of Hindu mythology explore the predicament of women in a war-ravaged world and their differential manner in coping up with it. The last story of the collection "Souvali" depicts a Shudra woman who has more strength of character and convictions. She was a dasi woman in the palace of

The aim of this paper is to analyse the culture, religion, rituals and emasculation of Transgenders with reference to Living Smile Vidya's I Am Vidya. Transgender Persons are called with different names; "Aravani, Ali, Hijaras etc, and have been facing the problem of discrimination that results in homelessness." This sense of homelessness pushes them to form a calm or community with people who are like them to counter the marginalization by the parents, relatives and mainstream public and to protect themselves from continuous abuse in the hands of family and mainstream society. The transgender community is bounded by the defined socio-cultural ethos, and commonly shared social norms. They have their own religious belief system, rituals and celebration to perform. The articles and celebration to perform. This article explores the rituals and myth around them which are full of pains and joy.

This article considers the Sravaisnava theologian Vedanta understanding of sabdapramana and deference to sabdapramana that is evident in one of his most important expositions the Tattvamuktakalapa and its commentary the Sarvarthasiddhi. For Desika, deference to sabdapramana is motivated by belief in a particular view of reality. This would be the acceptance of Visnu as the Brahman of the upanisads, his connection to authoritative scripture, and its propagation. Furthermore, to defer to sabdapramana requires membership in a community and the requisite pedagogical training that confers the authority needed to speak for the tradition.

The article talks about professional mobility, which is considered relevant in our society. The importance of the formation and development of professional mobility among young people is emphasized. Opinions are given on the importance of professional mobility in this process. It is emphasized that the focus on acquiring a profession in Uzbekistan is inherited from our ancestors, the phenomenon of professional migration is one of the little-studied areas, especially among young people, the issue of developing professional skills and innovative thinking is being discussed.

Gender as a conceptual and epistemological category for sociological and academic debate has always spurred contestable narratives, which might not be binary in nature. The fact that the category continues to spark the ashes of resistance in itself is a testimony for the need to further these debates and discussions. Indian epics, which are the repository of stories, due to its genre based palimpsest narratives culminate in the silencing of vital voices from within the macro narratives of the text. Further since epics have predominantly focused on the exploits of men. Women charecters in the epics are relegated to the role of the muse and the source of inspiration and strength for the hero. The character of Draupadi is an aberration in this sense of articulation. While her portrayal in the epic has been along the lines of a self-willed, headstrong woman who dragged an entire illustrious race to the decadence of war and annihilation, several character based rewritings of the epic have attempted to create " alternative " narratives or " alter" narratives to contest the biased patriarchal macro narratives which attempt to frame Draupadi as the reason for the genocide of a race. This paper offers a comparative reading of several rewritings and works on Draupadi with specific focus on Prathibha Ray"s Yagnaseni and Chitra Banerjee Divakaruni"s The Palace of Illusions to argue how alternative narratives as showcased in these novels help articulate a new " alter" narrative voice for the gendered subject, through which she is enabled the agency to create new narratives of resistance to combat the macro epistemic narratives created by the larger framework of a patriarchal ecosystem.

The numismatic presence of divinities and deities on Ancient Indian coins has been an interesting and intriguing phenomenon, enjoying a hoary antiquity, at least from 6 th Century BCE onwards. The figuration of a dramatic interplay between deities and kings, exhibited on the numismatic medium became artistically and politically prominent during the consecutive regimes of the Indo-Greeks (c. 190-75 BCE) and the Kuṣāṇas (c.105-226 CE). It continued further in the Indian subcontinent in the coinage issued by the Imperial Guptas. Among them, Kumāragupta I significantly utilised the medium of coins to seek divine favour, or gain luminous legitimisation from his mythological namesake-Kumāra Kārttikeya. This paper seeks to study the political machinations and numismatic renditions that furthered the aims of an ambitious monarch, and delineate the role of Kārttikeya in the numismatic arsenal of Kumāragupta I. It shall also examine the ramifications of a short-lived numismatic and iconographical experiment.

If we look at Kṛṣṇa's earthly career as recounted in the , we can see that he committed assassinations to kill his opponents from time to time. These assassinations typically resulted in war, providing occasions for Kṛṣṇa to demonstrate his heroic virtues after he became somewhat infamous for the murders. Three assassination stories feature prominently in Kṛṣṇa's biography in the Bhāgavata-purāṇa, the ) and the Śiśupāla-myths (10.74.1-54). While these stories were already included in epic sources, the innovation of the Bhāgavata-purāṇa is that it recounts these assassinations in chronological order within a single biography. This is notable, given that the earlier purāṇic texts, such as the Brahma-(181.1-212.95) and the Viṣṇu-purāṇa (5.1.1-38.93), omitted the Jarāsaṃdha and the Śiśupāla-myths, despite showing familiarity with events in the Mahābhārata. This is evident in their recounting of Kṛṣṇa's death as recorded in the Mausalaparvan, the sixteenth book of the epic (Brahma-purāṇa 210.1-211.12, Viṣṇu-purāṇa 5.37.1-70). In this presentation, I will examine the three assassinations committed by Kṛṣṇa, and I attempt to explain why the Jarāsaṃdha-and the Śiśupāla-myths were only included in Kṛṣṇa's biographies after the turn of the first millennium, when the Bhāgavata-purāṇa was composed. The Kaṃsa-myth, the first assassination story, is associated with Kṛṣṇa's youth and is therefore recounted in the Harivaṃśa. According to the traditional view, this text was written as a supplement to the Mahābhārata to provide an account of Kṛṣṇa's early life. While the Mahābhārata (1.58.1-59.6) claims that Viṣṇu descended to Earth to start a great war that would liberate the Earth goddess from the multitude of the kṣatriyas who were causing her suffering, the Harivaṃśa (44.1-45.49) adds an additional objective to Kṛṣṇa's earthly mission, which is the killing of Kaṃsa, the evil king of Mathurā, who is identified in the work as Kālanemi, a powerful demon chieftain defeated by Viṣṇu in the famous Tārakāmaya war between the devas and the asuras. According to the Harivaṃśa (71.1-76.46), Kaṃsa tried to kill Kṛṣṇa after his birth. However, Kṛṣṇa's father, Vasudeva, tricked Kaṃsa by taking the newborn baby to the cowherds living in the neighbourhood of Mathurā. Kṛṣṇa was then brought up in secret among the cowherds. His life was not without trouble, as one demon after another, mostly in animal form, appeared and threatened him.

نویسنده و ناشر تصمیم گرفتند که پی. دی. اف کتاب را برای خوانندگان داخل ایران به رایگان عرضه بکنند.

از پیشگفتار کتاب:
داستان منظوم انترنامه یک همسانسازی است با شاهنامه و در قالب داستانهای عامیانه‌ی کهن همانند هزارویکشب، سمک ایار (عیار)، بختیارنامه، حمزه‌نامه، امیر ارسلان نامدار و دیگران اما تفاوتش با آنها در این است که اگرچه این یک داستان است اما همه‌ی رویدادها و موضوعات آمده در آن مستند است؛ بدین‌معنی که همه‌ی این رویدادها و موضوعات در درازنای چهل و شش سال گذشته در ایران رخ داده‌اند؛ حتا گفته‌های چهره‌های (شخصیتهای) آن. براین‌اساس این یک داستان پژوهشی و مستند تواند بود که تاریخ چهل و شش سال گذشته را بگونه‌ی مستند به انگاره می‌کشد. بااینهمه ازآنجاکه ما نمی‌توانیم در داستان، همانند نوشتنامه‌های (آثار) معمول پژوهشی، برای راستی‌آزمایی (اثبات) گفته‌های خود از نمونه‌های مستند بهره ببریم پس می‌توان این داستان را یک نوشتنامه‌ی مستندنما  دانست. اما درواقع مستندنما بدین‌معنی خواهد بود که ما از روش مستند بهره برده‌ایم نه اینکه نوشتنامه‌ی ما مستند باشد. ازینرو این داستان بیشتر به یک نوشتنامه‌ی مستندگونه (یعنی گونه‌ای از مستند) همانند است؛ بدین‌معنی این یک واقعیت تاریخی است که در قالب یک داستان منظوم گفته می‌شود. در پایان اشاره بکنم به اینکه  درواقع داستان خود لوطی واقعیت دارد که در پیش‌از انقلاب با انترش در یکی از محله‌های جنوب شهر تهران معرکه‌گیری می‌کرد اما در یکی دو سال آغازین انقلاب راهش را تغییر داد و، تا اندازه‌هی، همین راهی را پیمود که در این منظومه آمده است اما داستان انتر او را من ادامه دادم. نمونه‌ای از متن کتاب: «تا که انتر رفت با دایه برون/ مانده شد جان خلیفه از درون// در خیالش انتر و دایه نبود/ چیز دیگر بود کاو را می‌پسود// مانده در رویای بیداری و خواب/ ناگه از جایی پدید آمد سراب// بانگ آوازش ز ناپیدا به‌گوش/ می رسید اما ورا نی‌بود هوش//...//آگهی آمد خدایان مرده‌اند/ آنچه را آورده بودند برده‌اند// گاه آن باشد که برخیزی هلا/ با برهنه پا روی تا کربلا// آنچه را ویرانه کردی بر زمین/ بهتر آن باشد که برگیریش هین// اینهمه ویرانه‌ها با خود ببر/ گوشه‌ای بنشین و آنها را شمر// آنکه آنگه با توات همباز شد/ با ستمهای توات دمساز شد// جای خوبی در بهشتش برگزین/ روز و شب با او بگرد و هم نشین// او تواند بشمرد ویرانه‌ها/ آنچه با خود برده‌ای در کربلا//***// کنون گویمت تا چه سودست جنگ/ گهی رنگ خون و گهی سبزرنگ// همیشه نه ویران کند خانه‌ات/ که دودش بسازد گهی لانه‌ات// که آباد گردی چو ویران بوی/ چو آباد باشی به ویران روی// کنون قدرت ما نه آباده است/ یکی جنگ باید که ویرانه است// فسرده‌روانیم و کهنه کپا/یکی جنگ باید که گیریم پا// به یک جنگ تازه بسازیم کار/ دوباره کنیم عمرمان برقرار// دود خون تازه به رگهایمان/ شود تازه افسرده امیدمان// همه مردمان را فراهم کنیم/ به گرد چنین جنگ و باهم کنیم//...// به
خواهش سوی ما بگیرند راه/ بترسند و گیرند ما را پناه// چو پروانه گردند بر گردمان/ بگردند بر گرد درگاهمان.» 
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