Relevant bibliographies by topics / Hindy mythology

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hindy mythology'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Hindy mythology"

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Thaker, Jayen K. "‘Mythoment’ : Discovering Principles of Management from Hindu Mythology." Indian Journal of Applied Research 3, no. 10 (October 1, 2011): 1–3. http://dx.doi.org/10.15373/2249555x/oct2013/21.

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Srinivasan, ShivaPrakash, and Sruti Chandrasekaran. "Transsexualism in hindu mythology." Indian Journal of Endocrinology and Metabolism 24, no. 3 (2020): 235. http://dx.doi.org/10.4103/ijem.ijem_152_20.

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Varma, R. Raveendra. "Hindu mythology and medicine." BMJ 328, no. 7443 (April 1, 2004): 819. http://dx.doi.org/10.1136/bmj.328.7443.819.

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Madhuri, M. Bindu. "Mythical Women and Journey towards destined Roles -Comparison between the Contemporary Characters in the Novels: The thousand Faces of Night and the Vine of Desire." Vol-6, Issue-2, March - April 2021 6, no. 2 (2021): 325–28. http://dx.doi.org/10.22161/ijels.62.49.

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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.
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Harikrishnan, Pandurangan. "Cephalosomatic Sharing in the Hindu Mythology." Journal of Craniofacial Surgery 31, no. 1 (2020): 28–29. http://dx.doi.org/10.1097/scs.0000000000006006.

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Cutler, Wendy. "Voyage dans la culture indienne à travers quelques échantillons du cinéma bollywoodien." Voix Plurielles 11, no. 1 (April 30, 2014): 20–30. http://dx.doi.org/10.26522/vp.v11i1.914.

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L’objectif de cet article est de déchiffrer les codes spécifiques du cinéma bollywoodien afin de considérer le 7e Art comme une porte d’échanges ainsi qu’une porte d’entrée dans la culture de l’Autre. À travers l’étude d’une sélection de films populaires indiens des années 1970-80, nous souhaitons mettre en lumière la présence de symboles à caractère universel (la chaine, le couteau, le train, le labyrinthe) mais également la présence de symboles spécifiquement liés à la mythologie hindoue. Tout en gardant la mythologie comme fil conducteur, les films bollywoodiens nous permettent de trouver des passerelles entre les différentes civilisations. Néanmoins, cette étude nous permet également d’affirmer que ces films constituaient un outil d’apprentissage de la mythologie hindoue. En cela, les images filmiques témoignent de la façon dont le pays se voit lui-même, mais également de la manière dont il décide de se montrer aux autres. A Journey in Indian Culture: a Study of a Few Samples of Bollywood Cinema The aim of this paper is to decipher the specific code of Bollywood cinema in order to consider film as being an open window allowing a glimpse on a whole different culture. Throughout a study of a selection of popular films from the 1970s-80s, we wish to highlight the presence of universal symbols (chain, knife, train, labyrinth) but also the presence of symbols exclusively linked to Hindu mythology. Bearing in mind the important role of mythology in India, Bollywood films allow us to create links between different civilizations. However, this study also highlights the fact that Bollywood films are important tools in order to learn about Hinduism. These specific pictures show us how the country sees itself and how it chooses to show itself to others.
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Swinden, Patrick. "Hindu Mythology in R.K. Narayan's The Guide." Journal of Commonwealth Literature 34, no. 1 (March 1999): 65–83. http://dx.doi.org/10.1177/002198949903400105.

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S. V, Abisha, and Dr Cynthia Catherine Michael. "The Palace of Illusions-Voice of a Disillusioned Woman." SMART MOVES JOURNAL IJELLH 8, no. 12 (December 31, 2020): 77–84. http://dx.doi.org/10.24113/ijellh.v8i12.10861.

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Diaspora writing is a recent trend in literature. Many writers especially women writers excel in this field. These diasporic writers though they live in a foreign land always hold their love in their writings. India is a land of myth and legends and hence many Indian writers borrow their plot from Hindu mythology which is used as a literary device. Many writers of the independence and post-independence era used mythology to spread nationalism and to guide humanity in the right path. Chitra Banerjee Divakaruni is a diasporic writer who always holds a piece of her love for motherland in her writings. She extensively uses Hindu mythology in her works. She uses these myths to instill courage in her woman protagonists. She tries to prove how myths guide the immigrant women to overcome their conflicts in life. Her novels explain how myths instruct the humanity to lead a righteous life.
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Preston, Nathaniel H. "Whitman's "Shadowy Dwarf": A Source in Hindu Mythology." Walt Whitman Quarterly Review 15, no. 4 (April 1, 1998): 185–86. http://dx.doi.org/10.13008/2153-3695.1560.

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Geen, Jonathan. "Kṣṇa and his rivals in the Hindu and Jaina traditions." Bulletin of the School of Oriental and African Studies 72, no. 1 (February 2009): 63–99. http://dx.doi.org/10.1017/s0041977x09000044.

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AbstractThis paper compares the relationship between the vāsudeva Kr̥ṣṇa and his prativāsudeva rival Jarāsandha in the Jaina tradition (primarily in Hemacandra's Triṣaṣṭiśalākāpuruṣacarita) with Kr̥ṣṇa Vāsudeva's rivalries with Jarāsandha, Śiśupāla and Pauṇḍraka in the Mahābhārata and Hindu purāṇas. Three main points arising from this comparison are proposed. First, the Jainas conflated characteristics of the Hindu figures Jarāsandha, Śiśupāla and Pauṇḍraka in order to create a new Jarāsandha, who was now a single powerful nemesis for Kr̥ṣṇa. Second, this new relationship between Kr̥ṣṇa and Jarāsandha provided the template for a new class of Illustrious Beings (śalākāpuruṣas) in the Jaina Universal History: the recurring and paradigmatic vāsudevas and prativāsudevas. And third, this evolution of Kr̥ṣṇa mythology in the Jaina tradition may have influenced the parallel development in the Hindu tradition, including the creation of the vaiṣṇava ten avatāras doctrine, and the expansion of the purāṇic mythology surrounding both Jarāsandha and Śiśupāla.
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Dissertations / Theses on the topic "Hindy mythology"

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Bandyopadhyay, Anjoli. "The religious significance of ornaments and armaments in the myths and rituals of Kannaki and Draupadi /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26719.

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The objective of this thesis is to isolate the symbolism of ornaments and armaments in the epics and in the rituals of Kannaki and Draupadi A detailed comparison of ornaments and armaments in the Cilappatikaram and in the Mahabharata will be provided, as well as an analysis of the function and meaning of these objects in the ritual traditions of Kannaki and Draupadi A study of the epic and ritual significance of ornaments and armaments will not only contribute tn the understanding of the nature and the role of these symbols, but should also shed light on the interaction between the Tamilian and Sanskritic goddess traditions.
It would appear that ornaments and armaments have religious significance, signaling, by their presence or absence, transitions from auspiciousness to inauspiciousness on individual, social, and cosmic levels. In this respect, they are the vehicles of divine powers and energies.
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Isaacs-Martin, Wendy Jane. "The lonely goddess : the lack of benevolent female relationships in Hindu and Shi'ite mythology." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/10887.

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Bibliography: leaves 105-116.
This minor dissertation engages a theoretical feminist discourse to identify the lack of benevolent female relationships in the development of religious mythology. The study explores two diverse belief systems, Hinduism and Shi'ism, in order to demonstrate that the feminine is reduced to a subservient and controlled creative force across different religious and cultural systems. The study further develops the roles of the woman in the religious tradition, as mother and nurse to the hero and the guardian of male symbols and language. I have drawn on the feminist critical analysis of Luce Irigaray, and on classical Hindu and Shi'ite myth, to discern ways in which the femaile has been alienated from patriarchal social reality, due to the male-defined construction of the sacred, divine and submissive woman.
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Azevedo, Amandine d'. "Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.

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Le cinéma populaire indien est à la fois un lieu de création de mythes filmiques puissants et un univers qui interagit avec un autre corpus, celui des mythes et des épopées classiques, plus particulièrement le Ramayana et le Mahabharata. Si ces derniers ont souvent été l’objet d’adaptations, surtout dans les premières décennies du cinéma indien, le cinéma contemporain compose des rapports complexes et singuliers vis-à-vis des héros et de leurs hauts faits. Les mythes traditionnels surgissent au détour d’un plan, à la manière d’une résurgence morale, narrative et/ou formelle, tout comme – dans un mouvement inverse – le cinéma cherche ces mêmes mythes pour consolider son imaginaire. Ce travail sur les relations entre mythe et cinéma croise le champ de la politique et de l’Histoire. Les mouvements pour l’Indépendance, la Partition, les tensions intercommunautaires s’insinuent dans le cinéma populaire. La présence des mythes dans les films peut devenir une fixation esthétique des traumatismes historico-politiques. La difficulté de représenter certains actes de violence fait qu’ils viennent parfois se positionner de manière déguisée dans les images, modifiant irrémédiablement la présence et le sens des références mythologiques. Les mythes ne disent ainsi pas tout le temps la même chose. Ces résurgences mythologiques, qui produisent des mutations et des formes hybrides entre les champs politique, historique, mythique et filmique, invitent par ailleurs à un décloisonnement dans l’analyse de la nature et des supports des images. Ainsi, des remarques sur la peinture s’invitent dans le cours de la recherche aussi naturellement que des œuvres d’art contemporain, des photographies ou l’art populaire du bazar. Un champ visuel indien, large et métissé, remet en scène constamment des combinaisons entre l’arrière-plan et l’avant-plan, entre la planéité et la profondeur de champ, entre l’ornementation d’un décor et son abandon. Le cinéma populaire, traversé par la mémoire des mythes et des formes, devient le creuset d’un renouveau esthétique
Indian popular cinema is both a place of filmic mythical creation and a universe interacting with previous bodies of work; the classical myths and epics, and especially the Ramayana and the Mahabharata. Although the latter have often been adapted, especially in the early decades of Indian cinema, contemporary cinema builds complex and attitudes towards heroes and their achievements. Traditional myths appear in a shot, in the manner of a moral, narrative and/or formal resurgence. In an opposite movement, this cinema seeks those same myths to strengthen its imagination. Working on the relations between myth and cinema, one has to cross the political and historical field, for Independence movements, Partition and inter-community tensions pervade popular cinema. Myths in movies can become an aesthetic fixation of historical-political traumas. The challenge of some representation of violent acts explain that they sometimes hide themselves in images, irreversibly altering the presence and meaning of mythological references. Therefore, myths don't always tell the same story. Those mythological resurgences, producing mutations and hybrid forms between the political, historical, mythical and film-making fields, also invite a de-compartmentalisation when we analyse the nature of the images and the mediums that welcome them. Our study naturally convenes notes on painting, as well as contemporary art, photography or bazaar popular art. A broad and mixed Indian visual field constantly recombines background and foreground, flatness and depth of field and ornemented and neglected sets. Popular cinema, moved by the memory of myths and forms, becomes the breeding ground of an aesthetic revival
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Soneji, Davesh. "Performing Satyabhāmā : text, context, memory and mimesis in Telugu-speaking South India." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85029.

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Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time.
My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama.
The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").
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Adarkar, Aditya. "Karṇa in the Mahābhārata /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3019886.

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Bordeaux, Joel. "The Mythic King: Raja Krishnacandra and Early Modern Bengal." Thesis, 2015. https://doi.org/10.7916/D8736PS3.

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Raja Krishnacandra Ray (1710-1782) was a relatively high-ranking aristocrat in eastern India who emerged as a local culture hero during the nineteenth century. He became renowned as Bengal's preeminent patron of Sanskrit and as an ardent champion of goddess worship who established the region's famous puja festivals, patronized major innovations in vernacular literature, and revived archaic Vedic sacrifices while pursuing an archconservative agenda as leader of Hindu society in the area. He is even alleged in certain circles to have orchestrated a conspiracy that birthed British colonialism in South Asia, and humorous tales starring his court jester are ubiquitous wherever Bengali is spoken. This dissertation explores the process of myth-making as it coalesced around Krishncandra in the early modern period, emphasizing the roles played by classical ideals of Hindu kingship and print culture as well as both colonial and nationalist historiography.
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Books on the topic "Hindy mythology"

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Malhotrā, Svadeśa. Madhyayugīna Uttara Bhārata meṃ Rāmakathā citrāvalī. Phaijābāda: Bhāratī Pabliśarsa eṇḍa Ḍisṭrībyūṭarsa, 2003.

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Högger, Rudolf. Naga and Garuda: The other side of development aid. Kathmandu, Nepal: Sahayogi Press, 1997.

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MacKay, Jenny. Hindu mythology. Farmington Hills, Mich: Lucent Books, a part of Gale, Cengage Learning, 2015.

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Handbook of Hindu mythology. Santa Barbara, Calif: ABC-CLIO, 2003.

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Handbook of Hindu mythology. Oxford: Oxford University Press, 2008.

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Wilkins, W. J. Hindu mythology: Vedic & Puranic. 2nd ed. New Delhi: Heritage Publishers, 1991.

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Handbook of Hindu Mythology. Santa Barbara: ABC-CLIO, 2008.

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Hopkins, Edward Washburn. Epic mythology. Columbia, MO: South Asia Books, 1986.

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Singh, Nagendra Kr. Vedic mythology. New Delhi: A.P.H. Pub. Corp., 1997.

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Wilkins, W. J. Hindu mythology: Vedic and puranic. Calcutta: Rupa & Co., 1986.

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Book chapters on the topic "Hindy mythology"

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Strenski, Ivan. "Legitimacy, Mythology and Irrational Violence in Hindu India." In Ethical and Political Dilemmas of Modern India, 1–14. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23057-0_1.

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"Phule: Historicizing Mythology — A Rationalist Critique." In History and the Making of a Modern Hindu Self, 51–85. Routledge India, 2013. http://dx.doi.org/10.4324/9780203085288-8.

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"Hindu Classical Dictonary." In A Classical Dictionary of Hindu Mythology and Religion, Geography, History and Literature, 23–406. Routledge, 2013. http://dx.doi.org/10.4324/9781315012278-6.

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Schettino, Patrizia. "Where Is Hanuman?" In Virtual and Augmented Reality in Education, Art, and Museums, 311–23. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1796-3.ch015.

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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.
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Doniger, Wendy. "Transsexual Transformations of Subjectivity and Memory in Hindu Mythology 1." In On Hinduism, 342–59. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199360079.003.0024.

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Austin, Christopher R. "Introduction." In Pradyumna, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190054113.003.0001.

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This chapter presents to the reader the initial and rudimentary facts about Kṛṣṇa’s son Pradyumna, and offers a hypothesis on why this figure of Hindu mythology has been so poorly studied. This requires a review of the relationship between the monograph’s two most important sources—the Sanskrit Mahābhārata and its appendix, the Harivaṃśa. Brief synopses of the seven individual body chapters are provided, followed by an articulation of the two dominant thematic patterns discovered by the study: (a) an evolving cooperation in the mythology of Pradyumna between three aspects of his character—as an erotic figure (lover), master of illusory subterfuges (magician), and double of his father Kṛṣṇa (scion of the avatāra); and (b) the social and gender commitments that conspired to produce a masculine ideal of a mutually implicating sexual and violent power, each embodied as a mode of the other in the persona of Pradyumna.
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Richards, Rashna Wadia. "Translating Cool: Cinematic Exchange between Hong Kong, Hollywood and Bollywood." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0008.

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Film historians have long noted the various intertexts of Bollywood cinema, which has historically evolved from the intermingling of Sanskrit drama, folk mythology, Parsi theatre, and ancient religious texts. Comparatively little critical attention, however, has been paid to the ways in which popular Hindi films remake Hollywood films, even though Bollywood films have borrowed consistently from American cinema. Transnational film remakes do much more than reconstruct their narratives to conform to local cultural practices. They engage in intense ideological and aesthetic negotiations, which result in complex performances of resistance, parody, and homage. This chapter explores such negotiations by investigating how Sanjay Gupta’s Kaante (India, 2002) remakes Quentin Tarantino's Reservoir Dogs (USA, 1992), which is itself a remake of Ringo Lam's City on Fire (Hong Kong 1987). Each version of a heist gone wrong emphasises the performance of “cool.” This chapter explores Gupta's cross-cultural makeover by paying attention to the ways in which the idea of “cool” travels across industries and cultures. Such an investigation steers the remake beyond traditional categories of uncritical admiration or derivative plagiarism and allows an examination of the transnational media flows between Hong Kong, Hollywood, and Bollywood.
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