~Raghava R. Menon (STOI: April 19, 1998)
Friday, September 20, 2013
Wednesday, September 04, 2013
Smruti Chhaya by Film Journalists' Forum (FJF), Bhubaneswar
Smruti Chhaya – 8
www.htsyndication.com/htsportal/article/Classic-movie...Tire.../7210946
5 days ago - BHUBANESWAR, May 25 -- The Film Journalists' Forum (FJF), in its eighthSmruti Chhaya series of showcasing the classics of Odia cinema, ...
mail.dailypioneer.com/.../classic-movie-chilika-tire-screened-at-jaydev-bha...
25 May 2015 | SEFALI SUMAN | BHUBANESWAR - The Film Journalists' Forum (FJF), in its eighth Smruti Chhaya series of showcasing the classics of Odia cinema, screened classic film Chilika ...
Smruti Chhaya – 7
Film Journalists' Forum (FJF) screened Odia masterpiece ... orissadiary.com Jun 27, 2013 - Report
by Ashok Palit, Bhubaneswar
Screening of classic Odia masterpiece Nagaphasa at Jaydev
Bhavan incredibleorissa.com On 26th June 2013, Film Journalists' Forum (FJF) is organizing Smruti
Chhaya-7, the screening of classic Odia masterpiece “Nagaphasa” at
Jaydev Bhavan, Bhubaneswar
'Nagaphasa' screened after 36 years of its first release - The
Pioneer Jun 28, 2013 - Even after 36 years of its theatre release, the Film
Journalists' Forum(FJF) on Wednesday screened the blockbuster Nagaphasa in
the city in ...
Smruti Chhaya – 6
Fjf presents Smruti Chhaya SANSAAR Facebook On
7th Jan 2013, Film Journalists' Forum (FJF) is organizing smruti
chhaya-6, the screening of classic Odia masterpiece SANSAAR at Jaydev
Bhavan, ...
Personalities Felicitated by Film Journalists' Forum at
Jayadev ... odisha.360.batoi.com Personalities Felicitated by Film
Journalists' Forum at Jayadev Bhawan on Monday at the Screening of Odia
Classic 'Sansar'. January 8, 2013 | Tuesday, ...
'Sansar' to be screened tomorrow - The Hindu Jan 6, 2013 - City-based Film
Journalists' Forum (FJF) has announced to screen Odia classic Sansar at
Jayadev Bhawan on Monday evening as part of its ...
Smruti Chhaya – 5
rotary-bbsr-heritage : Message: INVITATION - Groups - Yahoo!
Oct 11, 2012 - On 14TH OCT 2012, ROTARY CLUB OF BHUBANESWAR HERITAGE in
association with film journalist forum is organizing smruti chhaya-5, the
screening of classic Odia masterpiece GHARABAHUDA at Jaydev Bhavan, Bhubaneswar
Ghara Bahuda to be screened on Oct. 14 - The Hindu Oct
2, 2012 - Continuing with its commitment to screen milestone Odia movies,
the Film Journalists' Forum of Odisha (FJF) would screen Ghara Bahuda ...
FJF to screen Ghara Bahuda - The Hindu Oct
11, 2012 - Film Journalists' Forum of Odisha (FJF) has announced to
screen Odia film Ghara Bahuda , considered as a milestone movie made
in 1973, ...
Nostalgic moments for film lovers - The Hindu Oct 16, 2012
- ... film fraternity and the audience, Film Journalists' Forum of
Odisha (FJF) screened Odia film Ghara Bahuda made in 1973 at Jayadev
Bhawan ...
Smruti Chhaya – 4
Odisha:
Film Journalists' Forum organizing screening of film ... Report by OrissaDiary.com bureau; Bhubaneswar
Jeevan Sathi screened - The Hindu May 7, 2012 - Continuing
with its unique smruti-chhaya series of screening the classics of Odia
cinema, Film Journalists' Forum (FJF) of Odisha presented ...
Smruti Chhaya - 3
FJF screens
'Sri Lokanath' - The Hindu Dec 29, 2011 - Continuing with its series
of screening of landmark films of Odia cinema -- Smruti Chhaya -- Odisha Film Journalists' Forum (FJF) presented Sri ...
Iconic
Odia film treat for cine goers The Telegraph Tuesday , December 27 , 2011 -
Shree Loknath to be screened at Idcol auditorium OUR CORRESPONDENT Noted singer
Shyamamani Devi had made her debut in playback singing while it was the first
film as a solo composer for legendary musician Balakrushna Dash. Until then he
had jointly composed music for films along with the revered Pandit Bhubaneswar
Mishra. Tu
ki para deshi nija deshe
Smruti Chhaya - 2
Orissa: FJF's second gift in a row: Rescreening of Kie Kahara ... Aug 29, 2011 ... Report by Ananta Prasad; Bhubaneswar
chalachitra » Kie
Kahara – Classic in theatre after 42 years Sep 18, 2011 - Kie Kahara – Classic in theatre
after 42 years ... Janha
this was the second attempt of Film
Journalists Foroum(FJF)
to bring out the inherent ...
Oriya nightingale mesmerises crowd - The Telegraph Jun 3,
2011 - ... organised by the Film Journalists' Forum (FJF)
yesterday afternoon.... like Sri Lokanath, Ka, Stree, Jeeban Sathi,
Kie Kahara, Nabajanma, ...
I love
Orissa, says Nirmala Mishra Hindu Saturday, Jun 04, 2011 Correspondent BHUBANESWAR:
Close on the heels of its impressive launch last month with screening of the
classic Odia film Malajanha, the Film Journalists' Forum (FJF) of Odisha hosted
another memorable event here on Wednesday with Kolkata-based immensely popular
playback singer of yesteryear - Nirmala Mishra – who is often been referred to
as the Lata Mangeshkar of Odia cinema.
Smruti Chhaya – 1
Odisha:
“Mala Janha” rescreened with emotions on the eve of 75th ... orissadiary.com
May 2, 2011 - Report by Ananta Prasad; Bhubaneswar: It
was a superb occasion to celebrate the 75th anniversary of Odia cinema. - The
emblem and one broacher of Mala Janha was inaugurated on the very
occasion. FJF felicitated all those related with this milestone
movie ...
Film Journalists' Forum launch fete held - The Hindu May
3, 2011 - 'Malajanha' screened on the occasion ... Actor Sarat
Pujari and singer Pranab Patnaik unveiled the logo of the forum - Actors
Siddhant Mohapatra, Samaresh, Sabyasachi, Usasi, Buddhaditya, Madhumita, and
Arindam take part - BHUBANESWAR: The newly formed Film Journalists' Forum (FJF)
of Orissa made its launching ceremony memorable with screening of the landmark
Odia movie Malajanha at IDCOL auditorium in the Capital on Sunday. mala janha part 1 - YouTube Nov
3, 2011 - Uploaded by Manas Rath
Tuesday, September 03, 2013
Arundhati (Old Odia Movie: 1967)
Arundhati (1967) Music: Shantanu Mahapatra
Minati Mishra's Odissi Dances in Arundhati (Oriya, 1967)
Minati Mishra's Odissi Dances in Arundhati (Oriya, 1967)
I had figured I would never get to see any of the film's dances other
than the rare Bharatanatyam-Odissi one from my favorite black-and-white
classical dancespost because
Oriya/Odia films are very difficult to come by (in fact, I haven't the first
clue how to get my hands on one). Perhaps Arundhati's 1967 National
Award (Best Feature Film - Oriya) has been a factor in its
availability… It's incredibly rare to see such classical Odissi in Indian
films, though I suspect there is likely some filmy license taken such as
increasing the speed and other minor deviations. But given how respected
a dancer Minati was, I assume the alterations are minimal. Surely there
are more of these wonderful dances hiding in the archives of Oriya cinema (such
as Baje Bainsi Nache Ghungura from my Holy
Grail post)… There is also a folk
dance in the film, if you're interested. Posted by MinaiMinai TUESDAY,
MAY 15, 2012
Saturday, March 09, 2013
Ananthamurthy imposes a misleading mix of existentialism and the Marxist conception of society
Decoding Aravind Adiga’s politics is the key to decode his literature.
Or his pretensions to it. Aravind Adiga’s veiled attack in
the Outlook magazine (March 11, 2013 issue) on the legendary
Dr. S L Bhyrappa— To understand this, one needs to briefly trace the history of
20th Century history of Kannada literature.
One of the earliest and defining epochs in Kannada literary history
was the Navodaya (literally, “new dawn”) period which included
stalwarts like Kuvempu, D.R. Bendre, Masti Venkatesha Iyengar, Shivaram Karanth,
Govinda Pai, B.M. Srikantaiah, and in a way, D.V. Gundappa. Most of these were
well-rooted in both the literary and philosophical tradition of India and possessed
equal erudition to the Western counterparts thereof. Navodaya was
followed by the Navya (New) period, which was spearheaded by
the poet Gopala Krishna Adiga and included notable writers like U R
Ananthamurthy, Lankesh, Girish Karnad, V.K. Gokak, Yashwanth Chittal, A.K.
Ramanujan, Ramachandra Sharma, and Shantinath Desai.
A key distinction between Navodaya and Navya was
characterization. The proponents and champions of Navyacharacterized
it as a movement as opposed to a new literary tradition.
To wit, V.K. Gokak who coined the phrase Navya Sahitya (New
Literature) didn’t quite envision the shape it would eventually assume.
Most writers of the Navya movement had returned to India after studying Humanities in universities
abroad, mostly England .
The reigning intellectual climate in those universities then as now was heavily
Leftist. Conditioned by this, these writers embarked on a project to impose
that climate in our academia. It also helped that the politics of that time was
dominated by Marxism. And so they sought to find the same problems in India
that they had found in the West during their student days. And when they were
unable to find these problems, they invented them. Perhaps the
most and the classic representative of this fraud is U R Ananthamurthy’s own Bharatipura, the
name of a real town near Tirthahalli in Karnataka after which
the novel is titled. The other representative novel is one which Aravind Adiga
claims as “great” and is what catapulted Ananthamurthy to the fame he continues
to enjoy. The novel entitled Samskara is one of the greatest
literary frauds—if not for anything else—but because it sacrifices honesty at
the altar of Marxist ideology… Samskara imposes a misleading mix of
existentialism and the Marxist conception of society upon a society and culture
to which these concepts are alien and therefore inapplicable. This technique
resonates well with the Marxist distortion of Indian history: how history was
subordinated to ideology by distorting Hindu society, traditions, and
philosophy.
Navya thus transformed Kannada literature—a high art form—into a cesspool of
politics where only “approved” writings found the fortune of being published.
Those who didn’t toe the line had their futures nipped in the bud… Thus an A K
Ramanujan translates U R Ananthamurthy’s Samskara into English
and wins accolades. U.R. Ananthamurthy praises Ramachandra Sharma’s work while
Adiga, Ananthamurthy, and Lankesh are card carrying members of Ram Manohar
Lohia’s brand of socialism. Adiga and Purnachandra Tejaswi (son of the renowned
Kannada poet, Kuvempu) translate Lohia’s work into Kannada. Together, these and
other, similar eminences completely politicize the Kannada literary scene and
brainwash at least two entire generations of Kannada writers, and in the end,
sacrifice literature at the altar of ideology. Even a casual glance at the
state of Kannada literary studies in the universities of Karnataka will reveal
this political imprint left behind by the Navya worthies.
What initially began as a rebellion against what the Navya folks
termed “traditional,” “regressive,” and “superstitious” society ended up in
literary gangsterism that not only destroyed careers but set up a fertile
ground for careerist, political writers to enter either the
Legislative Council or the Rajya Sabha or influential positions in the
Government. The only writer who prostituted himself to no ism,
didn’t sell his soul to ideology but won millions of admirers was Dr. S L
Bhyrappa. He wrote in Kannada sitting in faraway Gujarat and Delhi but his work became bestsellers as soon
as they were published. That phenomenon began almost 50 years ago and it
continues unabated.
21 hrs [Vasantasena is a prostitute...
prostitutes in the days of yore in India weren't looked down
upon.] By Sandeep
B. 12:27 am
Friday, March 08, 2013
Sri Aurobindo and Tyagaraja are attempting to capture the bliss
S´raddha - Sri Aurobindo Ashram PDF Feb 21, 2013 – The
True Voice of Raga - Murali Sivaramakrishnan
It has appeared to me that Sri Aurobindo had experienced all these
four states Salokya, Samipya, Sarupya, Sayujya — poetically, as evidenced through
his short poems over a period of time. His contention was that poetry works as
an index of the evolving human consciousness, and his own poetic experiences
were qualitative evidences of his spiritual states of awareness and becoming…
I have always argued that Sri Aurobindo was essentially a poet who
ceaselessly attempted to capture in many poetic voices the shades of
transformation that his inner self underwent. His poems are the symbolic
markers in these attempts. There is very little deliberation of cerebral
intervention or attempts to craft new words for newer and newer experiences.
What on the other hand appears to happen is that old and used words which would
normally sound frayed and discoloured due to overuse in other situations here
reappear in renewed light and perhaps in their reborn states. States of being
like salokya, sarupya etc. are too subtle to submit themselves to ordinary
expressions and only a genuine poet who is perfectly attuned to the sound of
sense can rephrase them in different linguistic orders.
Sri Aurobindo is such a type of poet who, when all is said, believed
with all his strength in the power of words to reflect profounder levels of
human experiences. For him the mantra was the ultimate solace for the evolving
human mind in the ever widening dimensions of its spiritual journey. In the
mantra, sound and sense merge and emerge in unison. Vision, experience and
expression constituted the graphic trajectory of this journey. Inspiration and expression
had to occur on a similar scale. Inspiration would hasten the vision while the
word made possible the expression. A choice union of vision and the word
comprised the mantra. Its dimensions were aspects of both the experiential and
the existential. This is where what he termed integral yoga or purna yoga came
in. After all, as he succinctly puts it in his The Synthsis of Yoga, all life
is yoga.
Sri Aurobindo has been considered by many negative critics as being
too intellectual and highbrow to be a poet at all. But then in my view he is
essentially a poet who does not deliberately try to be philosophical in his
writings, simply because poetry and the poetic process of godward becoming are
both two sides of the same paper for him: tear one and you tear the other. His
is poetry of the spirit and the four states of intense spiritual experience as
I have tried to show are qualitatively captured in their subtle variations and
shades as only a major poet could. Craft he certainly has, and as for images
and words he is bound by the unique nature of his preoccupations. Now, where
words stagger under the heftiness of the expression music would step in with
ease and élan. In many ways both Sri Aurobindo and Tyagaraja are attempting to
capture the bliss of spiritual experience and unison. The touch of the divine
alters the state of the mortal mind — words seek newer dimension of meaning and
raga newer dimensions of rasa.
The question that has been tormenting me all along is how far the poet
can reach before addressing that stasis of silence where words falter and fail
— where pure music takes over and Laya, that formless quality of the
force-field of the spirit becomes possible. Perhaps all art genuinely aspires
to that condition of music of the alaukika ananda! As the poet has phrased it:
The peace of God, a great calm immanence
Is now my being’s boundless atmosphere.
S´raddha - Sri Aurobindo Ashram PDF Nov 24, 2012 – Involution
And Evolution: Some Conceptual Issues In The Contexts Of Indian Discourses - Murali
Sivaramakrishnan
In a land like India
with its heterogeneous culture and chequered history, the narratives linking
place and humans are innumerable, couched in diverse perceptions and points of
view, and filtered through multiple discourses over a long period of time.
Geographically, historically and geo-psychically, Indian narratives afford
pluralistic and complex readings. Philosophy, religion and poetry have a deep
history in this part of the world, as much as oppression, domination, and
ideologies of resistance and subversions.
In more ways than one, the emergence of ecologically sensitive
critical theorising in the academic world has signalled a resuscitation of the
idea of intrinsic value in nature that has almost come to be buried under the
rubble of a postindustrial consumerist culture which constantly seeks to
obliterate all differences and moves toward the making of the omnivorous
discourse of globalisation and technocracy as monolithic and one-dimensional.
Perhaps this return to nature could even be mocked as mere retrogression toward
the European Romantic tradition of linking the human and the non-human into
some sort of metaphysical essence. Or ecologically sensitive critical
theorising could also be demonised as a debilitating attempt to reinstate the
grand narratives of a misplaced cultural humanism, on the lines of high
modernist elitism.
A third probability is that of a universally developing urban culture
demonising its own predatory roles in the haloed light of a forfeited primitive
human culture! Either way the very suggestion of the notion of sacred or
spiritual at the heart of nature’s being is sure to invite many raised brows in
our present-day world, especially in India today! Nevertheless the
direction that ecologically sensitive critical theory is currently heading
toward – a direction that implies a search to reinforce idea and action in the
material plane (a union of the spirit and matter in different scale), in terms
of environmental justice— is a sure sign of its not having lost its way in the
dreary desert sand of dead habit…
The theory of involution and evolution that Sri Aurobindo envisioned,
of course, is no theory — it is an experiential vision invoked by a yogi who
had rigorously practised austerity and tapasya (askesis) in the Upanishadic
mode. It is an anticipation of possible human evolution toward an inclusive
union of the material and the spiritual. It is a sign of immense possibilities
open for the human mind provided we are sensitive to the spiritual at the heart
of all being. The sacred of course does no bargain!
Toward a Spiritual
Aesthetics of the Environment: Quality, Space ... by M. Sivaramakrishnan - Jun
14, 2011 – Toward a Spiritual
Aesthetics of the Environment: Quality, Space, and Being in Sri
Aurobindo's Savitri
An essay exploring the spiritual aesthetic of nature based on the epic
poem "Savitri," by Sri Aurobindo is presented. Particular focus is
given to the concepts of quality, space and being within the poem. The revival
of the concept of intrinsic value in nature due to the emergence of
ecocriticism is explained. The author contends that the thoughts in
"Savitri" are aligned with those expressed in Vedas and Upanishads
and that it uses nature as a metaphor for a state of being. The idea of
transformation from the material to the spiritual is tackled.
The Holistic Nature of Spiritual Aesthetic
In the context of discussing the interface between nature and human
nature, it is my contention that one needs to move beyond any kind of limiting
categories in terms of culture, outlook, geography, and history, either of any
western philosophy—or its other eastern philosophy—and adopt a
holistic view. Of course, I fully recognize the inordinate nature of this
claim, fundamentally because any claims to a spiritualized awareness (in terms
of the sacred and the holy) is generally regarded solely as the prerogative of
humans, and the nonhuman world is of course deprived of any such possibilities;
furthermore, the discourse of spirituality itself is often marginalized as
inapplicable in the practical world of everyday affairs and
the life of the senses. Moreover, when I argue for the inclusive vision
inspired by the visionary culture of a … [Full
Text of this Article]
Saturday, February 16, 2013
On Dyuman's idea Ajit Bose made the film Sri Aurobindo Ashram — Four Chapters
Mahabiplabi Arabindo: Bengali movie on Sri
Aurobindo’s early life from Integral Yoga of Sri Aurobindo & The Mother - Feb
13, 2013 ...a 1971 Bengali film (don't worry, it has English
subtitles) which covers the life of Sri Aurobindo from his return to India in
1892 to his retirement to Pondicherry in 1910. Someone has posted the movie on
youtube in 13 parts. The duration of this movie is about two hours. I have
added brief descriptions of the content before each clip below.
In
the Afternoon of Time: An Autobiography - Page 502 - Harivansh
Rai Bachchan, Rupert Snell - 2001 - Preview - More
editions I could not think why Amit would want to throw up a good job to
try his luck in cinema; but I
didn't want to discourage Bunty, nor, for that matter, was there anything I
could do to stop him anyway. While in Madras
I visited the Shree Aurobindo Ashram ... Pantji had been a great devotee and had
inspired me to read Aurobindo's Savitri and The Life Divine; the poetic
quality of Savitri had made an ...
How
they came to Sri Aurobindo and
the Mother: twenty-nine true ... - Page 26 - Shyam
Kumari - 1990 - I asked a friend, "Do you know anyone who can
make a movie?"
"Yes, your friend, Ajit Bose of Calcutta ,
is there," he replied. We invited Ajit Bose to make a film about the Ashram. He made the film, "Sri Aurobindo Ashram - Four Chapters.
Sri Aurobindo Ashram -
-09 E-Library - -03 Disciples - Dyuman - Index It was his idea to make the documentary film "Sri Aurobindo Ashram — Four Chapters." It was filmed by
Ajit Bose and was displayed in many centres of the ...
How
to Become a Hindu: A Guide for Seekers and Born Hindus - Page 86 - Sivaya
Subramuniyaswami - 2002 - Preview - More
editions Sri Aurobindo's message,
he told me, was in essence the same old Vedic message, namely, that we are gods
in our innermost ... But
Sri Aurobindo was not
an exponent of Vedic spirituality alone. ... I had also seen a Bengali film on his life.
Mira
to Mother - Udhaya
Kumar - 2004 - Preview
Mira Alfassa (Mother of Sri Aurobindo Ashram,
Pondicherry, India) was not just a spiritual teacher who lived with us. ... told by Mother and her
acquaintances, with full of her thoughts and feelings, presented visually to
give it a film like
quality.
Eng
Promised Hand - Page 39 - Prakash
Chandra Gupta - 1998 - Preview - More
editions What Manmohan Ghose thought of the new spiritual emphasis in Aurobindo's political thinking is not
known but ... called
Philosopher's Cot neighbouring what was then the Rink, a hall used for skating,
which later became a Cinema and
then ...
Narratives
Of Indian Cinema -
Page 26 - Manju
Jain - 2009 - Preview
impress upon filmmakers the need to make films with powerful social and educational themes. even
critics of this time like aurobindo ghosh
and ananda Coomarswamy, who wrote extensively about art and culture, made
little attempt either to treat cinema as a rich and varied register of popular
culture or to understand the new regime of aesthetics that it had inaugurated.
Cultural
History of Modern India -
Page 89 - Dilip
M. Menon - 2006 - Preview
Made at the height of the freedom movement, the film makes obvious use of symbols such as the national
anthem, the Bengali literary and social reform tradition (photographs of Sri Aurobindo, Tagore, Vivekananda), as
well as references to ...
Colonial
Displacements: Nationalist Longing and Identity Among ... - Page 191 - Paromita
Biswas - 2008 - Preview
As scholars such as Peter van der
Veer and others have argued, this investment by male nationalists
of the figure of the woman with superior strength, for instance Aurobindo or Bankim's portrayal
of the nation as the mother goddess, was a ...
'Photos
of the Gods': The Printed Image and Political Struggle in ... - Page 100 - Chris
Pinney - 2004 - Preview - More
editions A key element in Peter
van der Veer's study of what he calls 'religious nationalism', is
the claim that it is the result of the ... reference for religious nationalists today: the
translation above, by Shri Aurobindo,
is taken from the Bharatiya Janata ...
Beyond
appearances?: visual practices and ideologies in modern India - Page 142 - Sumathi
Ramaswamy - 2003
Lala
Lajpat Rai in retrospect: political, economic, social, and ... - Page 106 J.
S. Grewal, Indu Banga, Panjab
University. Publication Bureau - 2000 - ... the twentieth century. As discussed earlier, Peter van der Veer treats the two
as the two extreme sides of the same phenomenon, thus making it a somewhat
unilinear movement on the scale. Vivekanand and Sri Aurobindo can safely be put...
Sri Aurobindo for all ages: a
biography - Page 83 - Nirodbaran -
1990 - Sri Aurobindo has
described how, at Bombay, when he was standing on the balcony of a friend's
house, he saw 'the whole busy movement of Bombay as a picture in a cinema show, all unreal and
shadowy'. And yet he continued with his ...
Page
120 - Aurobindo too
smiled gently. The scene comes alive in my mind like a film even
today. 'Hardly a moment later, the servant came and told us, "Sahib salaam
diya" (the master bids you enter). Aurobindo and Bijoy Nag were
led into the doctor's ...
Sri Aurobindo and
the Mother: Glimpses of Their Experiments, ... - Page 10 - Kireet
Joshi - 1989 - Preview - More
editions The city, a shadow picture without tone, Floats, quivers unreal;
forms without relief Flow, a cinema's vacant shapes; like a
reef ... For Sri Aurobindo, however, this turned out to be only
one of the foundational experiences, and a series of spiritual...
Readings
in Sri Aurobindo's the Life Divine: Covering Book Two, ... - Page 286
- Santosh
Krinsky - 2012 - Preview - More
editions A creation of this kind could only be the outcome of an
inconscient energy or an illusion-cinema, a shadow-play or puppet play of
forms ... Sri Aurobindo, The Life Divine, Book 2, Part 2,
Chapter 24, “The evolution of the Spiritual Man”, pg.
Sri Aurobindo:
A Contemporary Reader Sachidananda
Mohanty - 2012 - Preview - More
editions He is the great reading public; the newspapers and weekly and
month reviews are his; fiction and poetry and art are his mental caterers, the
theatre and the cinema and the radio exist for him: Science hastens to
bring her knowledge and ...
Psychic
Being (Soul: Its Nature, Mission, Evolution) - Page 149 - Sri
Aurobindo, Aurobindo
Ghose, Mother -
1990 - Preview - More
editions Its Nature, Mission, Evolution)
Sri Aurobindo, Aurobindo Ghose, Mother ... it is in
direct contact with material circumstances, with forms and words and sounds,
etc., for a very short time; so it records all that like a photograph or
a cinema, but it ...
Our
Many Selves: Practical Yogic Psychology - Page 205 - Sri
Aurobindo, Aurobindo
Ghose, Mother -
2003 - Preview
Practical Yogic Psychology Sri Aurobindo, Aurobindo Ghose,
Mother A. S. Dalal. some goodwill and which precisely is in love with progress.
Place that before you and first, pass across it as in a cinema all
that you have done, all that you have ...
Religious
Freedom in India:
Sovereignty and (Anti) Conversion - Page 105 - Goldie
Osuri - 2012 - Preview - More
editions open reading that Vasudevan calls for (which redirects Phalke's cinema towards a Gandhian desire
for the ... ... framework of
Hindu nationalism” through the institution of canonical texts such as the
Ramayana and Mahabharata in print literature as discussed by Peter van der
Veer (2001). van der Veer argues, for example, that “it
was Aurobindo's idea, in his Foundations of Indian Culture, that
the Mahabharata and the Ramayana constitute the essence of...
Nation
and Religion: Perspectives on Europe and Asia - Page 84 Peter Van Der Veer,
Hartmut Lehmann - 1999 - Preview - More
editions Perspectives on Europe and Asia Peter Van Der Veer, Hartmut
Lehmann ... notion of primordial Indian racial qualities, and also in
the thought of Gandhi's precursors, notably Aurobindo, who conceived of
nationality as a more spiritual force but ...
The
Guru in South Asia: New Interdisciplinary Perspectives - Page 209 Jacob
Copeman, Aya Ikegame - 2012 - Preview - More
editions Cosmopolitan spirituality in Rishikesh
Aravamudan identifies Guru English as the most recognizable form of South Asian
cosmopolitanism and Aurobindo as not only the first modern guru but
one who ... 2002:10, see also van der Veer 2002b).
Perspectives
On Sri Aurobindos Poetry Plays & Crit. - Page 17 - Amrita
Paresh Patel, Jaydipsinh Dodiya - 2002 - Full
view - More
editions The city, a shadow picture without tone, Floats, quivers unreal;
forms without relief Flow, a cinema's vacant
shapes; like a reef ... About
the Mystics of ancient India Sri Aurobindo writes:
"The doctrine of the Mystics recognizes an Unknowable, ...
Indian
Revolutionaries: A Comprehensive Study, 1757-1961 - Volume 1 - Śrīkr̥shṇa
Sarala - 1999 - Preview - More
editions When he was declared innocent and set free by the court Aurobindo Ghosh
became lost in the contemplation of his past and all the events of his life
began to pass before his eyes like a film being screened. His
ambitious father Dr. Krishna ...
Savitri:
A Legend and a Symbol - Page 546 - Aurobindo
Ghose, Sri
Aurobindo - 1995 - Preview - More
editions A Legend and a Symbol Aurobindo Ghose, Sri Aurobindo ... All
seemed a brilliant shadow of itself, A cosmic film of scenes and
images: The enduring mass and outline of the hills Was a design sketched on a
silent mind And held to a ...
Sri Aurobindo and
the new age: essays in memory of Kishor Gandhi - Page 101 Sachidananda
Mohanty, Nirodbaran, Maurice Shukla - 1997 - West based on alternative
yardsticks of the kind Sri Aurobindo suggests are simply not
available. Of course, every now and then you find an auto-critique which comes
from the West. There are films like A Clockwork Orange which is based
on...
Kancha Ilaiah: Even if 10% dalit children got English
education, India would change from Opinion, Editorial, Columnists and Reviews The Times of India
Kancha Ilaiah is a political scientist, writer and dalit activist.
Wednesday, October 10, 2012
Friday, January 20, 2012
Day-long workshop on Shakespearean Cinema at SACAC
Sri Aurobindo Centre for Arts & Communicat
Saturday, 28 January 2012 By Sri Aurobindo Centre for Arts & Communication
The one-day long workshop is designed to discuss Shakespearean films from a variety of perspectives to sensitize the participants regarding the various challenges involved in capturing the essence of Shakespeare’s drama through the medium of cinema.
Films by directors such as Orson Welles, Laurence Olivier, Akira Kurosawa, Roman Polanski, Vishal Bhardwaj and others will be discussed in the day-long workshop.The opening session, which will explore cinematography, design, dialogue and performance, will be followed by a full-length screening of a path-breaking Shakespearean film to understand how one can read the film from multiple perspectives.
Download registration form from
or call +91-11-26561986/ 99537 55245 - Workshop Fee: Rs. 250/-
Dr. Rahul Sapra, an Associate Professor of Shakespearean drama and films at Ryerson University, Toronto has taught courses on Shakespearean performances and presented papers on Shakespearean cinema at several international conferences. He also conducted a joint workshop on Shakespearean acting at St. Stephen’s college in 2007.
He was one of the invited speakers for the Shakespeare Association of India’s annual conference in 2011, where he presented a paper on the influence of Hollywood cinema on Indian film adaptations of Shakespearean Drama. His recent book, The Limits of Orientalism: Seventeenth-Century Representations of India which deals with the narratives of the East India Company, was praised by the eminent scholar Francis Robinson in The Times Literary Supplement. Dr. Sapra is also on the Editorial Board of the Film Section of Routledge’s digital Encyclopedia on Modernism (Forthcoming).
Friday, November 11, 2011
Wednesday, August 24, 2011
Savitri may be regarded as a sacred text, a contemporary Veda
Home > E-Library > Magazines > Sraddha > February 2011 > Contents
School of Language , Literature and Culture Studies, Jawaharlal University , New Delhi India
On Savitri— A talk to a Young Disciple Mother 7
Savitri Sri Krishnaprem 11
To Savitri, the Wonderful Epic Ranajit Sarkar 14
Savitri : The Song of the Infinite Alok Pandey 17
Veda Vyasa’s Mahabharata in Sri Aurobindo’s Savitri Prema Nandakumar 39
Aswapati’s Yoga Srimat Anirvan 47
Love and Death Debashish Banerjee 53
Savitri—Book VI, Canto II: The Way of Fate and The Problem of Pain Makarand R. Paranjape 73
The Descent of Knowledge in Savitri Sonia Dyne 87
The Mother’s Savitri Translations Shraddhavan 105
Onward She Passed… Rejection As Described in Savitri Matthijs Cornelissen 118
An Analytical assessment of Death-Savitri Debate Usharanjan Chakraborty 131
Newness of Savitri: an Interpretation Asoka K Ganguli 139
Savitri – Book VI, Canto II: The Way of Fate and The Problem of Pain
Makarand R. Paranjape
Savitri, Sri Aurobindo’s magnum opus, a modern epic of nearly 24,000 lines, is akin to an ocean. It is difficult to fathom all at once, but every part of it shares its intrinsic nature. In that sense, where and how we plunge into it is of little consequence. We will glimpse its magnificence no matter what method we adopt. Provided, of course, we open ourselves to its magic. Though the whole of Savitri may be regarded as a sacred text, a contemporary Veda, it is a very long and complex composition. Therefore, we might actually single out some Cantos, perhaps half a dozen, which are so important that they encapsulate the whole structure, the whole methodology and also, if we might use that word, the whole “theology” of the epic. And this, Book VI, Canto II, is one of those crucial Cantos – “The Way of Fate and The problem of Pain.” What follows could be seen as a part of the age-old Indian tradition of commenting on major texts. Master texts had multiple commentaries over generations. Savitri is a poem that invites such treatment.
This Canto is important because it asks fundamental questions, the kind of questions, in fact, which all of us ask. Why do we suffer? Why is there so much pain in human life? Are we fated to suffer in this manner? Is there no cure, no solution? Because all of us have suffered at some point or the other as human beings, these questions go to the very heart of what it means to be embodied, what it means to be human. No doubt, many have also found great solace in this Canto, answers to these questions. As one person responded after this talk, “I went through an extremely difficult phase in my life. During that time, I must have read this Canto literally a hundred times. Each time I read it, it revealed something new about not just my problem but also about life.” Thus, not only does the Canto ask fundamental questions, it even answers them to the satisfaction of many readers and sadhaks.
Some 2500 years ago, the great Sakya Muni, Gautama Buddha, himself reflected on such questions, making them the bedrock of his teaching. He said there are four noble truths – cattari ariyasacca - ni in Pali or catvari arya satyani in Sanskrit. These are suffering, its cause, its elimination, and, finally, the way to this elimination. According to the Buddha, suffering is universal, its cause is craving; but it is also possible to end suffering, and suffering can be ended by the cessation of craving or tanha. This great teaching was offered in the very first sermon that the Buddha gave – Dharma chakra pravartana sermon – in Sarnath when he started preaching after becoming the Awakened One. Ultimately, the way to end suffering is to lead a right, or one might prefer to say, the righteous life. This is based on the eight-fold path – right view, right intention (prajña or wisdom), right speech, right action, right livelihood (´ila s or conduct), and right effort, right mindfulness, right concentration (samadhi or concentration). In a way, Sri Aurobindo also covers similar ground here, in this important Canto.
The Vadantic approach to suffering, in contrast, focuses not so much on the causes of the suffering but on the nature and identity of the sufferer. [1] The end of suffering is effected by the end of false indentification, which is the prelude to liberation or mukti. According to some schools, such liberation is available while being embodied, in which case it is called jivanmukti. For Sri Aurobindo, suffering becomes the aid, in fact the goad, to spiritual evolution. In a way, Sri Aurobindo also covers similar ground here, in this important Canto. We shall look at Sri Aurobindo’s approach in greater detail later.
In this first part of this exposition, let us look briefly at the action of the Canto. In the previous Canto, Narad, the heavenly singer, has descended into the marble halls of King Aswapati’s palace. Savitri, the Madra princess, the Divine Flame and Aswapati’s daughter, has just returned after finding her soul-mate in Satyavan. But Narad tells the shocked royal couple that if Savitri marries Satyavan, he will die in a year’s time. Having heard this dread sentence, Savitri instead of retracting, reaffirms her choice. This Canto records, to begin with, Queen Malawi
Narad then gives his reply at some length, which is a very important explanation about why it is so, why we suffer, and whether we are bound by law or Fate to this chain of causality. Again, we might briefly remember the Buddha when he saw those sights of suffering humanity which had been shielded from his eyes. He saw death, old age, sickness and things that his father, Prince Suddhodana, had wanted him never to see. The father wanted his son to be raised in the palace in happiness, shielded from all sorrow and suffering. But Gautama saw these things and realised that he was also going to grow old and die, that he would also know suffering and perhaps illness. That is why he determined to find the cause for suffering so that he could, once and for all, cure it and free all other sentient beings from it. What a noble resolve, how grand his ideal.
Onward She Passed… Rejection As Described in Savitri
Matthijs Cornelissen
One of the many marvellous things in Savitri is the completely uninterrupted progress in the sadhana of Aswapati and later of Savitri. Aswapati and Savitri always move on; they never stop; they never go back. Partly this may be due to the symbolic nature of the story. Aswapati and Savitri are, after all, at least to some extent typal figures. Their lives miss the many diluting and confusing side-plots that mar and delay our spiritual development. But this is only part of the explanation; there is also a more technical aspect to it. It appears to me that the secret of their quick progress rests in the perfect application of a specific yogic skill, the skill of rejection. Rejection is one of the three main skills or “inner gestures” that have to be used in Sadhana. The most powerful description of these three skills can be found in Sri Aurobindo’s collection of letters called The Mother.
Notes on Authors
( Beginning with this issue we shall include names of only those writers who have not figured previously in this section )
Asoka K Ganguli is a retired Reader of English, University of Delhi University of Agra for a decade and to students of the University of Delhi
Krishnaprem, Sri, known as Ronald Nixon in his early life, was a brilliant product of the University of Cambridge University of Lucknow and sailed for India University of Lucknow Krishna bhakta. Her relationship with Nixon developed into that of preceptor or guru, the latter being both a son and a disciple. It was at Uttar Vrindavana, that they established a beautiful ashram and a temple dedicated to Lord Krishna and Radha. Mrs. Chakravarty, now a full fledged sannyasini, adopted the name Yashoda Ma, and Ronald Nixon came to be known as Krishnaprem.
Through Dilip Sri Aurobindo developed a high regard for Krishnaprem, and always commended his views to Dilip. Krishnaprem gave the world two important books, ‘The Yoga of the Kathopanishad’ and ‘Yoga for the Westerner’. All of his writing displayed his impressive knowledge and grasp of highly spiritual and metaphysical subjects. He passed away in 1965. Ramana Maharshi commended Krishnaprem to his devotees with the words, ‘A wonderful blend of jñyani (knowledge) and bhakti (devotion) in one person.’
Makarand R Paranjape is a Professor of English at the Centre for English Studies,
Usharanjan Chakraborty (born 1931) did his MA in English, History and Philosophy and also PhD in Philosophy from Calcutta University North Bengal University
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