French Encounters Of François De La Boullaye-Le Gouz In India: Hindu Mythological Illustrations and Narratives

Ceramics o f Ganesha by F. Widayaitto represent the expressive works o f art, which different from the sculptures o f Ganesha as the deity in Hindu mythology during Hie time we recognized. Pursuant to characteristic exist in both, and so its can be detailed and then be compared to and analyzed. One o f the correct perspectives to analyze these kinds o f expressive arts is the Structuralism perspective i f Levi- Strauss. I low this paradigm can decompose and give the solutions to the problems o f expression arl will be formulated later in this article. Key words: Ceramics, Ganesha, The expressive works o f art, Hindu mythology, The Structuralism perspective o f Levi-Strauss.

Reviewed by: Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe Lindsay Ann Reid (bio) Alison Keith and Stephen Rupp, editors. Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe. CRRS Publications, Victoria University in the University of Toronto. 2007. x, 340. $37.00 Arising out of a conference of the same name held at the University of Toronto in 2005, Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe joins several recent studies of Ovid's literary influence. The fifteen essays in this edited collection examine 'the changing fortunes' of the Augustan poet, focusing particularly on the post-classical transmission of his epic-length Metamorphoses. Though its contents are wide-ranging (a great variety of subject matter fits under the collection's general rubric), most of the volume's essays would best be described as studies in later authors' reappropriation of Ovidian mythology. [End Page 273] The collection opens with 'After Ovid: Classical, Medieval, and Early Modern Receptions of the Metamorphoses,' in which editors Alison Keith and Stephen Rupp lay contextual groundwork for the volume's subsequent essays by providing a brief overview of the poem's reception in antiquity and the early medieval era. The remainder of the essays are organized chronologically, and it is worth noting that the authors' interests are spread evenly between the medieval and early modern periods. Frank T. Coulson's two-and-a-half-century overview of French commentaries on the Metamorphoses takes up the narrative of Ovid's reception more or less where Keith and Rupp leave off, in the so-called aetas Ovidiana of the 1100s. Subsequent essays by Marilynn Desmond, Suzanne Conklin Akbari, and Patricia Zalamea engage heavily with the fourteenth-century Ovide moralisé, an influential adaptation of Ovid's poem that traverses the boundaries between translation and commentary. Establishing the dominant pattern for the remaining essays in the collection, Akbari and Zalamea each read a later author's work against an Ovidian (or pseudo-Ovidian) source text; for both Akbari and Zalamea, this later author is Christine de Pizan. Forging links between Chaucer's Canterbury Tales and the Metamorphoses, Jamie C. Fumo perceives trademark 'Ovidian' subversiveness in the narratological structure of the Wife of Bath's Prologue and Tale. While Kathryn McKinley focuses on a contemporaneous text, Gower's Confessio Amantis, she takes up a strikingly different set of issues: the milieu of Ricardian political discourse. The contributions of Thomas Willard and Cora Fox link Ovid's poem to the early modern occult; respectively, their pieces explore the appearance of Ovidian fabulae in alchemical treatises and link the Metamorphoses' fascination with the transformative female body to demonological writings. Although several contributors point to the dynamic relations between literary texts and visual representations (and the volume includes an appendix of twenty reproductions of images discussed in the essays), Julia Branna Perlman's contribution is the only essay that explicitly focuses on pictorial representations. Positing an interlinked triad of tales from Metamorphoses 10 as Michelangelo's source, Perlman examines the Italian artist's widely imitated Venus and Cupid. Amongst the other essays, Petrarch's relationship with Ovid is well represented. Gur Zak concentrates on his use of the Narcissus myth in the Secretum, and Cynthia Nazarian compares his use of the Diana and Actaeon leitmotif in Il Canzoniere with Scève's allusions to the same Ovidian tale in Délie. Both Sanda Munjic and R. John McCaw treat Ovid's Spanish reception, with Munjic reading the bird imagery of Go´ngora's Soledades in conjunction with Ovid's poem and McCaw constellating the Clavileño episode of Cervantes' Don Quijote with the mythological story of Phaethon. And [End Page 274] finally, Maggie Kilgour's suggestive exploration of the nature of metamorphosis in Ovid and Milton provides an appropriately strong finale. One striking feature of this collection is that it acknowledges the Metamorphoses' permeability across national and linguistic borders and avoids limiting itself to a narrowly defined geographical focus. It is thus that Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe conveys the genuinely multifaceted and international nature of Ovidianism. Admittedly, however, a volume that sets out to...

Women and warfare is an emerging field in early modern history with a rapidly growing historiography. Art historians and cultural historians have been captivated by images of feminine martial power that deploy the figures of Athena, Minerva, Diana the Huntress, Judith, and Amazons. Much of the historical literature has focused on queens, regents, and female power in early modern royal states. Political and gender historians have examined powerful female rulers and regents such as Mary of Hungary, Margaret of Parma, and Infanta Isabella in the Habsburg Low Countries; Mary I Tudor and Elizabeth I Tudor in England; Marie de Guise and Mary Stuart in Scotland; Catherine de’ Medici, Maria de’ Medici, and Anne of Austria in France; and Amalia Elizabeth in Hesse—who all engaged in military planning and diplomacy. Historians and gender studies scholars are now setting these women warriors and powerful queens into a much broader context of women, gender, and war in early modern Europe. Noblewomen, city women, and peasant women were all swept up into the maelstrom of war in early modern Europe. This bibliographical essay brings together diverse historiographies of women’s history, gender history, history of sexuality, art history, literary history, history of violence, and war and society history. The essay includes sources on women, gender, and warfare in peasant revolts, urban revolts, noble revolts, civil wars, religious wars, and colonial wars, as well as in conventional interstate wars and coalition wars. An initial section discusses General Overviews and historical surveys of women, gender, and war in early modern Europe. A section on Theoretical and Comparative Studies of Gender and War outlines diverse methodological approaches to studying the subject. Brief sections on Reference Works, Textbooks and Pedagogical Sources, Anthologies, and Journals discuss research and teaching tools in the field. A thematic section on Women, Power, and War in Early Modern Europe goes beyond biographical studies to examine gendered dynamics of authority, agency, and power in the early modern period. Women rulers directed warfare and negotiated peace in the sixteenth and seventeenth centuries. Artistic images and literary representations shaped notions of women and war that influenced contemporary political culture. Women and War in the Renaissance and Reformation (1450s-1550s) then considers women and gender in the Italian Wars and in religious and social conflicts during the Reformation era. Another section on Women and Gender in the European Wars of Religion (1550s-1650s) examines women’s experiences and gender dynamics in the French Wars of Religion, Dutch Revolt, Thirty Years’ War, and British Civil Wars. Gendered dynamics of violence in early modern maritime empires are considered in a section on Women, Gender, and Violence in Maritime Empires, focusing on the Portuguese, Spanish, British, and Dutch empires. Indigenous peoples’ experiences of slavery and colonial warfare are contemplated, along with maritime raiding, privateering, and piracy. Gender in Military Culture considers how gender and honor culture fueled familial and social conflict through dueling, feuds, and vendettas. Military organizations promoted specific forms of masculinity and notions of armed service. Women participated in the “campaign communities” that formed around field armies as soldiers’ wives, sutlers, peddlers, and prostitutes. Another section on Gender and Early Modern State Development (1640s-1700s) examines how the rise of permanent armies in the seventeenth century transformed military culture, gradually pushing women out of the military sphere. The section also surveys women and war in the Ottoman expansion, Russian imperial and Eastern European warfare, and French wars of expansion during the reign of Louis XIV. A final section on Women and Atrocities in Early Modern Warfare contemplates women’s suffering from rape, pillage, and massacre. Discussions of women’s status in warfare and attempts to restrain violence against non-combatants drove the development of laws of war in early modern Europe. Warfare was pervasive in early modern Europe, affecting entire states and societies in profound ways. This bibliographic essay provides an introduction to the myriad connections between war, gender, and society in early modern societies. I would like thank Alexander Sosenko, a Ph.D. candidate in history at Northern Illinois University who served as my graduate research assistant, for his assistance in identifying sources for this bibliographic essay.

Part 1 Comparative studies of serfdom and slavery: slvaery, serfdom and other forms of coerced labour - similarities and differences, Stanley L. Engerman some controversial questions concerning 19th-century emancipation from slavery and serfdom, Peter Kolchin. Part 2 Themes and case studies on slavery: continuity and change in Western slavery - ancient to modern times, William D. Phillips Jr the origin and establishment of Ancient Greek slavery, Tracey Rihll the hierarchical household in Roman society - a study of domestic slavery, Richard Saller emancipation in Byzantium - Roman law in a medieval society, Rosemary Morris New World slavery, Old World slavery, Howard Temperley slave exploitation and the elementary structure of enslavement, Robin Blackburn slave emancipation in modern history, David Turley. Part 3 Themes and case studies in serfdom: serfdom in medieval and modern Europe, Michael Bush on servile status in the early Middle Ages, Wendy Davies the rises and declines of serfdom in medieval and early modern Europe, Robert Brenner memories for freedom - attitudes towards serfdom in England, 1200-1350, Christopher Dyer subject farmers in Brandenberg-Prussia and Poland - village life and fortunes under manorialism in early modern Central Europe, William W. Hagen the serf economy and the social order in Russia, Steven Hoch when and why was the Russian peasantry emancipated?, Boris N. Mironov.

The comparative study of archival inventories in early modern Switzerland reveals that three major regimes of inventorying logic emerged from the late fifteenth to the early eighteenth century. Early inventories constructed as lists gave way first to ideal-topographical inventories that relied on a double mapping of conceptual spaces against archival space and inventory pages, succeeded eventually by taxonomic inventories oriented around an active state apparatus and its needs. Synchronic and diachronic comparisons that focus on major reorganizations have proven effective in illustrating the scope and effectiveness of each of the successive regimes. A similar approach applied to major inventory projects across early modern Europe may identify further systems for making accumulating documents accessible to rulers, and may also allow us to trace genealogies of inventory practice regimes as they appeared in different regions, at different scales, and in diverse political contexts.

Well into the eighteenth century, the European landscape featured gibbets and gallows as tokens of local judicial authority. Despite divergent geography and social structure, the location of gallows is remarkably consistent. The importance of visibility and positioning along major traffic routes and boundaries is well known and therefore rarely considered worthy of further analysis. Historians often uncritically reproduce the motives given by contemporary authorities for harsh punishments and the erection of gallows at the border of their jurisdiction. Written sources tend to mask the political, social and religious aims of executing and displaying criminals at peripheral, yet visible and accessible locations. Through a comparative study of gallows topography in the Netherlands, Lower Austria and Shetland, this paper seeks to disclose the highly diverse and paradox concepts that lie behind the seemingly uniform location of gallows throughout medieval and early modern Europe.

My fascination with Hindu mythology dates back to my early childhood. Evenings then were generally dull, as we had no television in those days. One evening, however, I found one...

The Ramayana is the holiest epic of Hindus. It was written by seer Valmiki. The story of The Ramayana is of two men, Lord Rama and Ravana, the king of Lanka. One is the apostle of good and the other of bad. Lord Rama is considered the greatest ideal human in Hindu mythology and the other, Ravana is known for his villainous attitude in the history of mankind. The characters in The Ramayana fulfil both sides of the coin whether the good or bad characters. The virtuous characters show the path of righteousness and the evil characters lead life to the doom. The character of Rama shows us the duty of Dharma and his wife Sita is the symbol of ideal woman in Hindu mythology. The Ramayana is not merely an epic of Hindu religion, but it is the symbol of the entire world which teaches us how to live a pious life amidst the adverse circumstances.

India is a land of culture and tradition. Indian mythology has carved its niche om the world of Mythology. Indian Mythology is rich in scriptures and Vedas. The Hindu mythology has its roots in the religion. The rituals and tradition area part of the Hindu Mythology. The present paper focuses on the Hindu Mythology with special reference to the Panchakanyas from the Vedic Scriptures. These Panchakanyas were revered in the scriptures and their names were chanted during the sermons and rituals as they are believed to be the Pativratas. This paper focus on the mythical figures from the fiction of Sudha Murthy “The Daughter from a wishing tree” these women carved their own destiny. This paper gives a comparative study of the characters ‘ Devi’, from “Thousand Faces Of Night” and ‘Sudha’ from “The vine Of Desire” with that of the mythical characters .These people from the novels carved their own destinies .Along with these mythical women the writer talks about many women and their tales were of importance to mention.

Rushdie’s Midnight’s Children, published in 1981, is one of the profound works that sheds light on the history of India and Pakistan. Through the body and narration of the main character Saleem Sinai, the reader witnesses the events that took place in the history of India. Saleem Sinai and other midnight children, born on the night of India’s declaration of independence, correspond to the multicultural nature and polyphony of India. The polyphony which is frequently emphasized in the work, are presented to the reader with various narrative strategies such as magical realism and historical metafiction. In an extraordinary expression of truth, Midnight’s Children also touches upon the mythology of Hindu culture. The most significant names of the Midnight children, Saleem, Shiva, and Parvati are equivalent to the three most peculiar deities of Hindu mythology, Brahma, Vishnu, Shiva. The existence of these deities is interdependent. In the absence of one, the others cannot exist. Just like Saleem’s wisdom, Shiva’s warrior personality and Parvati’s magic talent complement each other. Within this framework, the study aims to examine the similarity of Saleem, Shiva, and Parvati with Hindu gods and goddesses Brahma, Vishnu, Shiva, and Parvati.

The chapter presents the interpretative strategies used by designers of an immersive environment on Hindu mythology and Hampi, an archaeological site in India, and their own knowledge of Hindu deities and their attributes. The process of animating an Indian Hindu deity for a potentially international audience means not only mastering 3D computer graphics and producing high-quality panorama of the sacred and historical place, but also working carefully on the interpretation and representation. The chapter uses concepts and theories from different disciplines (iconology, hermeutics, design research, museums studies, etc.) with the aim to describe, deconstruct, and understand the design choices. The study uses as main method the grounded theory: data are interviews and observations and the patterns emerging from qualitative data are compared with previous theories, during the process of theoretical comparison.

The Sethusamudram Ship Canal Project involves dredging a canal through the Palk Strait between India and Sri Lanka. The goal of the canal is to shorten the travel time and distance for ships sailing from one side of India to another. The channel is also expected to stimulate economic development in the adjacent state of Tamil Nadu. Critics of the projects say that it is extremely harmful to the flora and fauna present in the Palk Strait and that it can never be exploited in a profitable way. At the start of 2007 the debate took a drastic turn. Hindu activists started to contend that Adam’s Bridge, a sandbar running across the Palk Strait, is in fact Ram Sethu. In Hindu mythology, Ram Sethu is a bridge built by Ram, a Hindu deity. In order to complete the project it is necessary to dredge through Adam’s Bridge or Ram Sethu. In September 2007, the Indian Supreme Court suspended all dredging on Adam’s Bridge, after Hindu activists started a legal case against what they regard as sacrilege. At the time of this writing, dredging on Adam’s Bridge is still banned and the government is carrying out a study into whether Ram Sethu can be declared a national monument. The main question in this chapter is what actually explains the sudden shift in the debate, turning it into a political storm on religion, while it started as a discussion on the project’s environmental and economic risks.

Amish Tripathi is a rising contempory writer. His passion towards Indian mythology inspired him to write about Hindu Mythology upon Hindu God and Goddesses. He is one of the best selling author in English literature, written about mythological stories. All the novels of Amish Tripathi are modernized in such a way that it can match with the interest of today's generation. His novels are about society, women, oppressed classed etc. Apart from these his novels are full in scientific techniques. There are so many scientific concepts in the novel 'Shiva Triology'. There are three parts in Shiva triology. The first part is the immortals of Melutra, the second part is the secret of the Nagas and the third part is the oath of vayuputras. The concept like Radiowaves, manufacture of somras, Divizian of cell etc. are scientifically explained in the novel Shiva triology.

Reviewed by: Ganesha's Sweet Tooth Jeannette Hulick Patel, Sanjay . Ganesha's Sweet Tooth; by Sanjay Patel and Emily Haynes; illus. by Sanjay Patel. Chronicle, 2012. 34p. ISBN 978-1-4521-0362-4 $16.99 Ad 6-8 yrs. In this original tale based loosely on a legend from Hindu mythology, elephant-headed and sweets-loving god Ganesha breaks his tusk on a "super jumbo jawbreaker laddoo." Throwing the broken tusk away in frustration, Ganesha accidentally hits the poet Vyasa, who happens to be composing a very long poem, the Mahabharata: "It's so long that no man could ever write the whole thing—all the pens in the world would break before it was done." Ganesha puts his broken tusk to work as a writing implement and proceeds to transcribe Vyasa's poem in its entirety. While this tale is amusing, its blithely irreverent take may leave many kids who aren't familiar with Hinduism with some misconceptions about the religion's mythology, despite clarifications in the ending author's note. The writing is crisp and sometimes funny ("Ganesha is a Hindu god. He's very important and powerful. And a tad chubby"), though, and those who don't mind the liberties being taken with the subject matter may well find this diverting. Patel's detailed digital illustrations are jam-packed with intricate geometric patterns and mandalas, sometimes leading to compositions that are eye-achingly busy. An attractive color palette of muted blues, turquoises, creams, and golds is enlivened by pops of fuschia and bright white, and Ganesha himself is rendered in shades of pink as a cute little guy with enormous eyes in his big elephantine head. Adults willing to supplement this with more faithful sources might use this as a lively introduction to Hindu lore; it could also be used as a prompt for an art activity involving pattern and color. Copyright © 2012 The Board of Trustees of the University of Illinois

This book offers a new exploration of the mythology of the Hindu god Siva, who spends his time playing dice with his wife, to whom he habitually loses. The result of the game is our world, which turns the god inside-out and changes his internal composition. Hindus maintain that Siva is perpetually absorbed in this game, which is recreated in innumerable stories, poems, paintings, and sculptural carvings. This notion of the god at play, arguee Handelman and Shulman, is one of the most central and expressive veins in the metaphysics elaborated through the centuries, in many idioms and modes, around the god. The book comprises three interlocking essays; the first presents the dice-game proper, in the light of the texts and visual depictions the authors have collected. The second and third chapters take up two mythic “sequels” to the game. Based on their analysis of these sequels, the authors argue that notions of “asceticism” so frequently associated with Siva, with Yoga, and with Hindu religion are, in fact, foreign to Hinduism’s inherent logic as reflected in Siva’s game of dice. They suggest an alternative reading of this set of practices and ideas, providing startling new insights into Hindu mythology and the major poetic texts from the classical Sanskrit tradition.