In this work i argue that religion and the state are structurally similar-both seeking soteriological goals-yet evernote they pursue opposite end-points. The state, i agrue, provides "liberty" whereas religion offers "freedom." Contrary to normative political theory, i present liberty and freedom as diametric opposites: liberty is a permissiveness conferred by an authoritative state; freedom is the absence of such worldly authority entirely. An on this subject is slated to appear in the next year in a publication under the editorial direction of Christoph Uehlinger, who will edit the proceedings from the "Concepts of Religion" Sympisium held in Zurich in november of 2012. The title of that essay will be religion, power, and the State at the End of Colonialism in India." I hope to expand this project into a book-length study that explores the social-epistemological relationship between the state and religion. Mumbai/Chandigarh, Oct 19 (ians the bjp sunday created history in Haryana by getting a clear majority on its own for the first time and said that it would form the government in Maharashtra too where it finished the single largest group in a hung assembly. The congress was humiliated in both Haryana and Maharashtra which it had been ruling for two and three consecutive terms respectively. For the first time, the Bharatiya janata party got a clear mandate in Haryana and was looking at names of probable leaders who could be its first chief minister in the state.
Many historians and philosophers of history have engaged with religion and history, from Hegel to huntington, but aside from the work of Michel de certeau (The Writing of History 1975 very few scholars have sought to pinpoint the philosophical relationship between history and religion. The most cohesive treatment in the us is no older than 2007 in a special issue of History and Theory, and such issues are rarely raised in the study of Indian religions, where the dichotomy between religion and history in analyzing historical records is perhaps. I have seven essays in peer reviewed publications on the relationship between religion and history. In one essay, the subaltern Numen (2006 i look at how religion functions within the work of one of the mostly highly praised cohorts of historians of south Asia, the subaltern Studies Collective. I refer to their appraisal of religion in the explanatory matrix of historiography of India as numinous or a limit point in that it both forecloses rational explanation for them, but also essay is a primary way for them to mount their critiques of the failure. In several other essays, i try to offer a more positive assessment of religions role in historiographic undertakings in India by seeing how one can differentiate between theographic and historiographic narratives in hagiography (The Theographic and Historiographic (2007 and how we see the effort. In two articles for a compendium of theoretical perspectives in the study of Hinduism I wrote about various approaches to the history and religion dilemma, through the lens of the subaltern (Subaltern (2007) and through the study of memory (Memory (2007). In a related way, i have also written critical essays on the study of India in the fields of religion and history, noting that an emphasis on Hindu-muslim antagonisms overrides other equally vital historical dialectics, particularly those related to caste difference (The laine controversy (2004). This interest in history and religion has led me to undertake new work that examines the relationship between religion and the state and social-epistemic forces.
This shift is very apparent from my dissertation work, which makes no mention of publics, to my book, which makes the historical formation of publics a central issue. A new book project engages a related issue, which is the study of the pre-modern public sphere in India. In the 13th Century in Maharashtra, marathi was at the center of a public sphere of oral-performative-literary debate about caste, language, and gender. My next book project examines this moment in Indian history and how the process of vernacularization enabled the (sometimes unintended) immanent critique of caste and gender, given the way in which literacy, particularly with regard to sanskrit, had been tied to elitist ideas about caste. In this book i will argue that vernacularization inhabits the field of cultural politics, which resided largely outside royal courts, where social issues were vibrantly debated. This emergent pre-modern public sphere is one of the many facets of the genealogy of modern Indian democracy and the contemporary democratic public sphere in India. This book is tentatively called Cultural Politics in the Pre-modern Public Sphere in India: Vernacularization, caste, and Gender in the Thirteenth Century. In addition to the study of publics and the public sphere, a second major theme of my research and writing is an exploration of the interrelationship of history, religion, and the state, and in particular, their intersections in Indian religions and cultures.
Essay on my father in marathi
The performance tradition he espoused, called kirtan, integrates song and dance with philosophical or theological exposition, almost always used to address some present-day concern, whether in the 15th century or the 21st century. I traced the legacy of Namdev and the performance of kirtan from the 14th century to the present in order to draw out a logic of practice indicated in performance and writing. My fieldwork for this project included the ethnographic study of kirtan performances as hero well as archival research amid collections of old notebooks carried by performers of kirtan for over three centuries. I took an ethno-historical approach to uncover the past and present of the namdev tradition. Based on an understanding of this logic, i examined the ways Namdev was remembered in time—from 16th century manuscript sources, 18th century biographies, 19th and 20th century scholarship, and 20th century film. I argued that the logic of performance unique to namdev also articulated a historiography of a kind, a system of recording the past and using the past to comment on the present.
I used this argument—that the namdev religious tradition functioned in historical, but non-literate (which is to say, performative) ways—to make larger arguments about the interconnection, or contestation, between religion and history in modern Western philosophies and theories of history. For the book, religion and Public Memory, i reoriented my attention toward what the namdev tradition was doing when it was acting historically. I shifted, in a sense, from theory to practice. In the book i argue that what we consider religious about this tradition (its nature as a form of bhakti, that is a kind of non-orthodox devotional practice in India) is an effort to shape an enduring public memory that has as its fulcrum the. But the histories themsevles engage multiple issues over time, from battles of caste and class, to religio-philosophical debate, to commentary on the nature of the Indian nation, all told through Namdevs memory. Religion and Public Memory marks a shift in my work from literary evidence to performative evidence, transitioning toward understanding an audience that is historically conditioned, loosely coheres over time and space, and is self-referential, that is, understands itself development to exist in a very real way. I have referred to this audience in my book as a public, following the work of scholars of public culture, the public sphere, and of various kinds of modern publics (though not with reference to the state-centered view of publics).
The only nearly complete translation of tukaram into English, entitled. The collected tukaram, was attempted. Nelson Fraser and. Marathe, and published in Madras by the Christian Literature society (1909-1915). A more recent translation of a selection of tukarams poetry by dilip Chitre has been published.
Says tuka (Delhi: Penguin, 1991). Gurus, sants, avatars, divinities, texts, practices, paths. I am trained as a historian of religions, and my work combines historical/archival research, literary analysis, ethnography, and media/performance studies. I work in two major areas: Indian cultural history (especially religion) and the theorization of religion in relation to history, modernity, politics, and the state. My dissertation involved the empirical study of a performance tradition associated with a 14th century Indian Hindu/Sikh saint named Namdev who is popular in central, western, and northern India and whose songs and stories are preserved in various languages, including Hindi, marathi, rajasthani, braj, Awadhi. He is fascinating for his broad cultural reach and enduring public appeal.
My, favourite Sport, essay - 2191 Palabras Cram
In so doing, tukaram incurred the wrath of the Brahmins: not only had he dared to impinge upon the prereogatives of the Brahmins, who believed themselves to be the only true custodians, interpreters, and spokesmen of religion, he compounded the offence by writing in Marathi. According to legend, the local Brahmins compelled him to throw the manuscripts of his short poems into the river Indrayani, and taunted him with the observation tht if he were a true devotee of God, the manuscripts would reappear. It is said that tukaram then commenced a fast-unto-death, invoking the name of God; and after thirteen days of his fast, the manuscripts of tukarams poems reappeared. Some of his detractors turned into his followers; and over the course of the few remaining years of his life, tukaram even acquired a reputation as a saint. In the forty-eighth year of his life, in 1649, tukaram disappeared: his most devout followers believed that Vitthal himself carried tukaram away, while some others were inclined to the view that he had been assassinated, though no one has ever offered an iota of evidence. I t is uncertain how many poems tukaram composed, but the standard and most frequently used Marathi edition of his poetry, which first appeared in 1873 from the Indu Prakash Press with funding by the bombay government, and has often been reprinted, brings together 4,607. Several manuscripts in Marathi exist of his poems, but some poems are found in only one manuscript version; often poems found in several manuscripts show variations; and there is no single mansucript in tukarams own handwriting with all the poems that are attributed to him. Though tukarams place in the history of the development of Marathi is deemed to be inestimable, and he has been credited with being the single most influential figure in the history of Marathi literature, the body of scholarship on tukaram outside marathi is rather small.
Since it was common in Maharashtra at that time for the Brahmins to refer to all non-Brahmins as "Sudras it is not commonly realized that tukarams family were landowners, and that they made their living by selling the produce of the land. Tukarams father had inherited the position of mahajan, or collector of revenue from traders, from his father, and tukaram in turn was the mahajan of his village dehu. At a relatively young age, owing to the death of his parents, tukaram took charge of the family, and before he was twenty-one years old tukaram had fathered six children. The devastating famine of 1629 carried away tukarams first wife and some of his children, and tukaram henceforth lost interest in the life pre of the householder. Though he did not quite forsake his family, he was unable to maintain his second wife or children, and was ultimately reduced to penury and bankruptcy, besides being stripped by the village of his position as mahajan. I n the meantime, tukaram turned to poetic compositions abhangs, inspired by his devotion for Lord Vithoba vitthal, the family deity. He is said to have been visited in a dream by namdeo, a great poet-saint of the thirteenth century, and Lord Vitthal himself, and apparently was informed that it was his mission to compose abhangs.
'jai malhar' has gone on air, it has created quite a stir among the marathi tv viewers. All is well between Tejashree and Shashank? Televisions famous couple tejashree pradhan and Shashank ketkar had a fairytale wedding a year back. Kanyadaan to explore father-daughter relation, latest show Ase he kanyadaan, that features actors Sharad Ponkshe and Madhura deshpande in father and daughter respectively, is a modern-day take on the relationship of a father. Riteish to create magic onscreen 'lai bhaari' which marked the debut of talented actor Riteish Deshmukh in Marathi industry will soon have a world tv premiere. Genelia excited for lai bhaari's tv premier. Genelia dsouza, who is busy being a hands-on mum post giving birth to her son riaan in november, is all excited about lai bhaaris television premier. Tukaram, l ittle is known of the life of tukaram, who was born in 1608 in the village of Dehu on the banks of the river Indrayani into a low-caste sudra family.
Did devdatta help Australia to win World Cup? At least this is what a joke doing the rounds on social networking sites and messaging apps is suggesting. Prajaktas brand new possession, actress Prajakta mali aka meghana desai of Julun Yeti reshimgaathi is a happy person currently. Jon Hamm in a marathi show? Popular theatre director akarsh Khurana recently compared actor Amey wagh, with American director, television producer and actor Jon Hamm after watching his fellow theatre artist. Changed Shashank's life, if not needed always, some times stars are made overnight. Suyash turns anchor for his next. Ka re durava actor suyash Tilak recently turned anchor for his upcoming film Coffee aani barach Kahi. Sanjay jadhav's new duniyadari, no, sanjay jadhav, is not coming up with a sequel to his 2013 hit film, 'duniyadari'.
Marathi essay writing mount Triglav
Pics: 'Khulta kali Khulena' hits a century! 'Khulta kali Khulena produced by santosh Kanekar, under the banner 'Atharva theatres and events' has hit a century on Wednesday (9th november, 2016). I cannot accept wrong projects henceforth. Television heartthrob Shashank ketkar seemingly is in no mood to make any mistakes while taking his already flourishing career forward. Lalit is ready to do films. Actor writing Lalit Prabhakar aka aditya of popular show Julun Yeti reshimgathi is ready to do films after delivering one of the most popular shows on Marathi television. Actress changes her name, actress Prajakta mali, the lead actress from the popular television show Julun Yeti reshimgaathi has decided to change her screen name.