Journal articles: 'Indian mythology'

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Nachimuthu, P. "Mentors in Indian Mythology." Management and Labour Studies 31, no. 2 (May 2006): 137–51. http://dx.doi.org/10.1177/0258042x0603100203.

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Mentoring is the widely discussed topic in the business world of today. But this mentoring had its origin in India, thousands of years ago, in the form of Guru-Shisya relationship or the ‘Gurukul’ system of education of India. Mentoring is a relationship, which gives people the opportunity to share their professional and personal skills and experiences, and to grow and develop in the process. Since it is generally presumed that the concept and practice of mentoring originated from that country and this country, this article tries to bring out the truth that the practice of Mentoring had its root in India. This article therefore starts with mentioning about various types of gurus, benefits and negative experiences in mentoring and lists out prominent Mentor-Protégés (Guru-Shisyas) mentioned in the Indian mythology and through that tries to explain the importance of the mentor/guru for everyone in all facets of life.

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Munna, Kanhu Charan. "From Myth to Mythya: A Study on the Metamorphosis of Ramayana in Modern India." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 247–51. http://dx.doi.org/10.22161/ijels.92.37.

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This article explores the enduring impact of Indian mythology on contemporary literature, particularly through the reinterpretation of ancient epics like the Ramayana. It delves into recent literary works that reimagine these timeless tales, offering fresh perspectives that resonate with modern audiences. Beginning with an overview of Indian mythology's rich tapestry, the article highlights its universal themes and relatable characters, from the noble prince Rama to the resilient Sita. It discusses notable works such as Amish Tripathi's Sita: Warrior Of Mithila, P. Lalita Kumari’s The Liberation of Sita, and Anand Neelakantan's Asura: Tale of the Vanquished, which provide alternative viewpoints on familiar mythological narratives. The article also explores the evolution of mythopoeia in Indian epics, emphasizing how these narratives have adapted to contemporary sensibilities while retaining their essence. It discusses the transformative process of "mythya," wherein myths transcend literal truth to convey deeper philosophical truths and allegorical meanings. Moreover, the article delves into the feminist reinterpretation of Indian mythology, spotlighting authors like Chitra Banerjee Divakaruni and Volga, who have reclaimed the voices of subaltern female characters. These retellings offer nuanced portrayals that challenge patriarchal interpretations and provide a platform for marginalized perspectives. Lastly, the article underscores the importance of reclaiming subaltern voices in mythology, showcasing how retellings have amplified the stories of characters traditionally overlooked or sidelined. Overall, it demonstrates the dynamic interplay between ancient mythology and contemporary literature, showcasing the enduring relevance and transformative potential of mythological retellings in shaping our understanding of the human experience.

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Rehman, Shazia. "INDIAN MYTHOLOGICAL HYBRID FORMS IN CONTEMPORARY INDIAN ARTWORKS." International Journal of Research -GRANTHAALAYAH 4, no. 12 (December 31, 2016): 155–69. http://dx.doi.org/10.29121/granthaalayah.v4.i12.2016.2405.

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In this paper I have highlighted those art works which have hybrid/composite imagery. These images are not only appealing visually but also have strong connections with Indian Mythology. In Indian Myths these are considered as heavenly being and are mentioned in mythological stories in many forms such as aerial or atmospheric mythical animals, terrestrial mythical animal, and aquatic mythical animals etc. I have provided analysis of these types of images which are a part of Indian contemporary paintings with a new interpretation of meaning. I have included variety of these images and distributed them according to their physical appearance. For this paper I have chosen those contemporary Indian artists who have maintained a relation with their philosophy, mythology as well as with present scenario. They have reinvented the meaning of Indian mythology by giving a new appearance of its idioms and metaphors. In contemporary art I have surveyed hybrids or composite images personified into a new expression.

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Shamasundar, C. "Therapeutic Wisdom in Indian Mythology." American Journal of Psychotherapy 47, no. 3 (July 1993): 443–50. http://dx.doi.org/10.1176/appi.psychotherapy.1993.47.3.443.

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Mahabel, Ashish. "Mythology, Cosmogonies, and Indian Science Fiction." Culture and Cosmos 27, no. 0102 (October 2023): 287–302. http://dx.doi.org/10.46472/cc.01227.0235.

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This paper examines the cultural significance of the intersection between Indian mythology, cosmogonies, and science fiction. India has a rich history of diverse religious traditions and corresponding world views, many of which have influenced each other. The Hindu pantheon has included the Sun from early times. With the planets also gaining in importance after the rise of astrology, the need to predict their paths saw the development of astronomical observations and spherical trigonometry. These serve as examples of how scientific and religious ideas have interacted throughout Indian history. Despite a strong tradition of fiction in India, there is a lack of science fiction that combines elements of mythology and astronomy except in superficial ways. This paper explores the potential reasons for this gap and argues that an examination of this genre can offer insight into the ways in which science and religion are perceived and valued in contemporary Indian society. The paper also offers a commentary on the current state of Indian science fiction that blends mythology and astronomy

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Harikrishnan, Pandurangan. "Multiplicity of Heads in Indian Mythology." Journal of Craniofacial Surgery 31, no. 1 (2020): 6–8. http://dx.doi.org/10.1097/scs.0000000000005831.

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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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Kim, Youngsuk. "A Study on the Similar Structure of Baratanatiyam and Hatha Yoga Based on The Shiva Mythology." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 1127–40. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1127.

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This study analyzed similar structure between the traditional dance of Baratanatiyam which has deep Indian history and Hatha yoga which is centered on physical training, based on Shiva mythology. For conducting the research, we collected various papers and journals related to Shiva mythology, Indian dance, Hatha yoga, and other scientific articles on Indian traditional dance to enhance understanding of Indian traditional culture. Through this, the background composition and characteristics of Indian dance and Hatha yoga derived by Shiva mythology were identified and the gestures of the shiva god were used to symbolize the meanings contained in the gestures. First, it has a symbolic similarity that coincides with the ultimate goal of reaching the state of liberation. Second, the characteristics of Nritta, Nritya, and Natya of Baritanatiyam have structural similarities that work similarly to the structure of Hatha Yoga. Third, symmetrical and repetitive motions and elaborate and standardized motions act in the same pattern. As a result, this study focuses on the understanding of contact between Indian dance and Hatha yoga, which have been separated into different areas and develops the new language of yoga that has become popular in Korea and embraces it within dance studies to promote diversity in dance studies.

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Varughese, E. Dawson. "Post-millennial “Indian Fantasy” fiction in English and the question of mythology: Writing beyond the “usual suspects”." Journal of Commonwealth Literature 54, no. 3 (December 7, 2017): 460–74. http://dx.doi.org/10.1177/0021989417738282.

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Focusing on two novels published in 2016, one by HarperCollins India and the other by Hachette India, this paper argues that Savage Blue by Balagopal and Dark Things by Venkatraghavan carve out a new space in post-millennial Indian speculative fiction in English, namely one that does not privilege ‘Hindu Indian mythology’ tropes. Such tropes have been espoused by a growing number of authors whose novels are anchored in Hindu Indian mythology and narratives of itihasa since the early 2000s. Banker, Tripathi, and Sanghi are generally recognized as the authors who first published in this post-millennial genre of Indian fiction in English. This discussion of the novels by Balagopal and Venkatraghavan, alongside ideas of how ‘fantasy’ as a genre has been, and continues to be defined, raises questions about how we might think about ‘Indian fantasy’ as a genre term within the domestic Indian book market and how it intersects with post-millennial Indian living, Indianness, and the popular imaginary.

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Nihom, Max. "On attracting women and tantric initiation: Tilottamā and Hevajratantra, II, v. 38–47 and I, vii. 8–9." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 521–30. http://dx.doi.org/10.1017/s0041977x00012933.

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Among the well known stories of Indian mythology there is one relating how the god Mahādeva (Śiva) became four-faced and how Indra acquired a thousand eyes. When the divine maiden (divyakanyā) Tilottamā circumambulated the gods, the eyes of all save Pitāamaha (Brahmā) followed her, whence the multiplication of faces and eyes. Indeed, the great epic relates that upon orders from Brahmā, she, consisting of a mass of gems (ratnasaṃghātamayī), was originally fashioned by Viśvakarman. In Indian mythology the figure of Tilottamā is therefore that of the beauty of woman incarnate.

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A. Rajalakshmi and M. Abinaya. "The Zeitgeisty Erection of Hindu Mythology in Amish Tripathi’s The Shiva Trilogy." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 212–16. http://dx.doi.org/10.34293/rtdh.v12is1-dec.92.

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The fundamental theme of Amish Tripathi’s writings is spiritual realism. The portrayal of his creations only serves to promote human symbolism toward God. The universe’s morphological alterations are a result of a soul’s link to the universal force. Myths are stories that describe the way of life, habits, and culture of ancient people, which are frequently reflected in the gods they worship. India is well-known around the world for having a rich and diverse cultural legacy. Indian mythology consists of religious and cultural tales that are handed down through the generations with several variations. According to Indian spiritual academics, its suggested meaning is similar to contemporary western philosophy, which holds that there are multiple truths. Amish Tripathi reimagines the entirety of Hindu mythology in order to make it more appropriate for the contemporary era of reasoned decision-making. A mythology is a body of stories or myths concerning a specific person, culture, religion, or any group of people who hold certain beliefs. The majority of people take mythology seriously in terms of their religious beliefs, even when they don’t believe it to be entirely genuine. The goal of this study is to investigate the various aspects of Hindu mythology and philosophy that may be well-suited to leadership-related activities.

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Oktaviana, Sandra Tri, Anang Sujoko, and Dicky Wahyudi. "Watching Cultural Hybridity in Hinduism Myth on The PRISMA Series Road to Baliphex 2022." ARISTO 11, no. 2 (May 15, 2023): 284–304. http://dx.doi.org/10.24269/ars.v11i2.6834.

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The Indonesian Philatelic Association (PFI) collaborated with PT. Pos Indonesia launched a special edition of PRISMA stamps to welcome Baliphex 2022, uniquely on PRISMA stamps there are symbols of ‘Wayang Kamasan’ painting (Balinese) and Mahabharata story (Indian) initiated by PFI. Researchers view that the special edition PRISMA series road to Baliphex 2022 is not just proof of payment and an event promotion tool, but as has meaning in each of the symbols that reflected Balinese and Indian culture. This study aims to reveal the representation of Balinese and Indian cultures in the PRISMA series Road to Baliphex 2022. We use Roland Barthes' semiotic method with units of analysis of denotation, connotation, and mythology. The results show that Balinese culture in PRISMA's Road to Baliphex 2022 series is structured through Mahabharata in Wayang Kamasan symbols, Baliphex events, and stamp elements that have denotative and connotative meanings. The mythology that appears in the PRISMA series Road to Baliphex 2022 is the myth of Hinduism, which is the belief of the majority of Balinese people. Hinduism mythology is structured through the symbolization Saput Poleng, Flags of Kober, Merdah and Tualen, Horse Carts, Big Trees, Ornaments, and Temples. The Hinduism mythology in the PRISMA series Road to Baliphex 2022 is not assembled through a single cultural representation, but with cultural hybrids from Mahabharata (Indian) and Wayang Kamasan (Balinese). This research contributes to the thesis statement that postage stamps can be used by the community as communication media to represent a certain ideology through a series of symbols with cultural hybridity.

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Amar Shankar Mahato. "Voices of Women in Chitra Banerjee Divakurni’s The Palace of Illusions and The Forest of Enchantments." Creative Saplings 2, no. 12 (March 24, 2024): 1–11. http://dx.doi.org/10.56062/gtrs.2024.2.12.533.

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Chitra Banerjee Divakaruni’s novels The Palace of Illusions, and The Forest of Enchantments provide captivating narratives that explore women’s voices in Indian mythology and epics. In The Forest of EnchantmentsDivakaruni presents the story of Sita, the legendary wife of Lord Rama, through her perspective. The novel delves into Sita’s emotions, struggles, and resilience as she grapples with societal expectations and her identity. Similarly, The Palace of Illusions revolves around Draupadi, one of the central characters from the epic Mahabharata. Divakaruni brings Draupadi’s voice to the forefront, shedding light on her agency, strength, and vulnerabilities. Chitra Banerjee Divakaruni’s novels are a compelling exploration of the female characters in Indian mythology. Through her writings, Divakaruni challenges the traditionally male-centric portrayal of these characters and offers a fresh interpretation highlighting their multifaceted nature. Her novels provide a platform for women’s voices, allowing them to reclaim their stories and assert their presence in a patriarchal society. Divakaruni’s writing is engaging and offers a powerful testament to the resilience and power of women. Her novels bring to life the struggles, joys, and triumphs of female characters who have been largely ignored or marginalized in traditional Indian mythology. By doing so, she creates a space for diverse perspectives and highlights the importance of representation in literature. Divakaruni’s novels are essential for those seeking to explore and understand the diverse perspectives of Indian mythology. Her compelling writing style and insightful exploration of women’s experiences make these novels a valuable contribution to the literary world.

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Oktaviana, Sandra Tri, Anang Sujoko, and Dicky Wahyudi. "Watching Cultural Hybridity in Hinduism Myth on The PRISMA Series Road to Baliphex 2022." ARISTO 11, no. 2 (May 15, 2023): 284–304. http://dx.doi.org/10.24269/ars.v11i2.6834.

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The Indonesian Philatelic Association (PFI) collaborated with PT. Pos Indonesia launched a special edition of PRISMA stamps to welcome Baliphex 2022, uniquely on PRISMA stamps there are symbols of ‘Wayang Kamasan’ painting (Balinese) and Mahabharata story (Indian) initiated by PFI. Researchers view that the special edition PRISMA series road to Baliphex 2022 is not just proof of payment and an event promotion tool, but as has meaning in each of the symbols that reflected Balinese and Indian culture. This study aims to reveal the representation of Balinese and Indian cultures in the PRISMA series Road to Baliphex 2022. We use Roland Barthes' semiotic method with units of analysis of denotation, connotation, and mythology. The results show that Balinese culture in PRISMA's Road to Baliphex 2022 series is structured through Mahabharata in Wayang Kamasan symbols, Baliphex events, and stamp elements that have denotative and connotative meanings. The mythology that appears in the PRISMA series Road to Baliphex 2022 is the myth of Hinduism, which is the belief of the majority of Balinese people. Hinduism mythology is structured through the symbolization Saput Poleng, Flags of Kober, Merdah and Tualen, Horse Carts, Big Trees, Ornaments, and Temples. The Hinduism mythology in the PRISMA series Road to Baliphex 2022 is not assembled through a single cultural representation, but with cultural hybrids from Mahabharata (Indian) and Wayang Kamasan (Balinese). This research contributes to the thesis statement that postage stamps can be used by the community as communication media to represent a certain ideology through a series of symbols with cultural hybridity.

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Tendulkar, SonaliS, and RR Dwivedi. "′Swapna′ in the Indian classics: Mythology or science?" AYU (An International Quarterly Journal of Research in Ayurveda) 31, no. 2 (2010): 170. http://dx.doi.org/10.4103/0974-8520.72380.

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이영일. "The yogic physiology of Haṭhayoga in Indian mythology." Journal of South Asian Studies 23, no. 2 (October 2017): 1–30. http://dx.doi.org/10.21587/jsas.2017.23.2.001.

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Kochhar, Rajesh. "Scriptures, science and mythology: Astronomy in Indian cultures." Proceedings of the International Astronomical Union 5, S260 (January 2009): 54–61. http://dx.doi.org/10.1017/s1743921311002146.

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AbstractHuman beings are born astronomers. Ever since they learnt to walk upright they have looked at the sky and wondered. The sky has remained the same but not its meaning. We can distinguish between three phases in the history of humankind's relationship with its cosmic environment: (i) propitiatory phase; (ii) negotiatory phase; and the current (iii) sky-as-an-object explanatory, phase. My concern here is to discuss the interplay between astronomy and culture in general in the Indian context. Much of the discussion belongs to the negotiatory phase. More specifically I discuss how in the formative era, sacred texts influenced astronomy, how these texts themselves were modified under the influence of new scientific developments, and how mythology was upgraded to keep pace with science.

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Guy, John S. "Commerce, power, and mythology: Indian textiles in Indonesia." Indonesia Circle. School of Oriental & African Studies. Newsletter 15, no. 42 (March 1987): 57–75. http://dx.doi.org/10.1080/03062848708729660.

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Rashmi, Rashmi, and Dr Brij Govind. "Exploring Mythic Archetypes and Cultural Identity in the Plays of Girish Karnad." International Journal of Language, Literature and Culture 3, no. 4 (2023): 25–28. http://dx.doi.org/10.22161/ijllc.3.4.4.

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Girish Karnad, a visionary playwright and cultural icon, intricately weaves mythic archetypes into his theatrical narratives, reflecting the profound relationship between mythology, cultural identity, and contemporary human experiences. This study endeavors to delve into the plays of Girish Karnad, unveiling the archetype-driven structures that shape his theatrical works. By analyzing these archetypal narratives, the research aims to illuminate the deeper cultural and psychological implications they hold. The study commences by introducing the concept of mythic archetypes and their role in literature and theatre. It then focuses on a selection of Girish Karnad's plays, each drawing from ancient Indian mythology and folklore. By conducting a meticulous analysis of characters, plot structures, symbols, and themes, the study aims to identify recurring archetypes such as the hero's journey, the trickster, and the wise sage. Through the lens of archetype-driven narratives, the research aims to unravel the connection between mythic storytelling and the exploration of cultural identity. Karnad's plays often transcend time and place, tapping into universal human experiences while remaining grounded in their Indian context. By examining how these archetypal narratives resonate with both Indian and global audiences, the study illuminates how mythology serves as a bridge between tradition and modernity.

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Bhushan, Uma. "A Model for Organisational Storytelling from Ancient Indian Mythology." Journal of Global Communication 11, no. 2 (2018): 104. http://dx.doi.org/10.5958/0976-2442.2018.00013.7.

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Doniger, Wendy. "Gods as Difficult Guests in Greek and Indian Mythology." Social Research: An International Quarterly 89, no. 1 (March 2022): 1–19. http://dx.doi.org/10.1353/sor.2022.0002.

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Sengupta, Sohini. "Empowering Girlhood Journeys: Feminist Mythic Revision in Contemporary Indian Diaspora Children’s Fiction." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 248–52. http://dx.doi.org/10.22161/ijels.73.37.

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There had been relatively little interest in a narrative of female individuation within mythology. Revisionist myths and legends in contemporary literaturehave thus addressed issues of women’s identity and autonomy while redesigningthe gendered spaces in these cultural narratives. The need for alternative mobility arcs within the cultural imaginary was also recognized for adolescent girls in their quest for subjectivity.This paper thus explores two works of children’s fiction, viz. Sayantani Dasgupta’s Game of Stars(2019) from the Kiranmala and the Kingdom Beyond series and Roshani Chokshi’s Aru Shah and the End of Time (2018) as coming-of-age immigrant narratives where young girls undergo heroic adventures restructuringIndian mythology and Bengali folktales. Dasgupta’s Kiranmala and the Kingdom Beyond series intertwines intergalactic science and Bengali folktales, mostly from the Thakumar Jhuli (1907), meshing different fairy tale characters aidingthe adolescent female protagonist Kiranmala, who isa neotericgutsy counterpart of the warrior princess in Dakshinaranjan Mitra Majumder's fairy tale collection.At the same time, Roshani Chokshi’s Aru Shah fantasy adventure series celebrates the Indian heritage of Hindu mythology (particularly the Mahabharata) in the diaspora, while empowering young immigrant girls to imagine and undertake non-normative feminist voyages.

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Hardikar, Amita Uday, and Dr Sadhana Natu. "Retelling of Indian Mythological Stories Through Gender and Multi-Cultural Perspective and Analysis of Retelling." Journal of Psychosocial Research 19, no. 1 (June 1, 2024): 83–92. http://dx.doi.org/10.32381/jpr.2024.19.01.9.

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The research delves into exploring Indian mythology through gender and multicultural perspectives, employing a multidisciplinary approach to analyse contemporary retellings of myths. It evaluates how these retellings reinterpret traditional narratives, characters, and themes from diverse cultural and gender viewpoints. Data collection involves secondary analysis of literary works and primary data through interviews, using a purposive sampling method. The study aims to uncover socio-cultural, psychological, and ideological implications within these retellings. By examining diverse perspectives, the research argues that such reimaginations enrich cultural heritage and foster a more inclusive society. This exploration serves as a springboard for further discussions on storytelling’s significance in shaping societal norms. In conclusion, analysing retellings of Indian mythology through gender and multicultural lenses challenges traditional narratives, fostering inclusivity, and shaping a progressive understanding of our shared cultural heritage.

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Dr Sanjay Johari. "The Ramayana: An Epic of Indian Ideals and Dharma." Creative Saplings 1, no. 11 (February 25, 2023): 1–9. http://dx.doi.org/10.56062/gtrs.2023.1.11.208.

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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.

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Balaji, K., and M. Narmadhaa. "Recrimination of Shikandi in Devdutt Pattanaik’s Shikhandi and Other Tales They Don't Tell You." Shanlax International Journal of English 11, no. 3 (June 1, 2023): 22–25. http://dx.doi.org/10.34293/english.v11i3.6211.

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Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.

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Berezkin, Yuri. "African Heritage in Mythology." Antropologicheskij forum 17, no. 48 (2021): 91–114. http://dx.doi.org/10.31250/1815-8870-2021-17-48-91-114.

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Our analytical catalogue contains information on many thousands of folklore and mythological texts. The systemic approach to this material argues in favor of an African origin of episodes and images that were recorded in sub-Saharan Africa, the Indo-Pacific border of Asia and in America but are absent in continental Eurasia. Such a pattern corresponds to genetic and archaeological data concerning the early spread of the modern human from Africa in two directions, i.e. to the East along the coast of the Indian Ocean to Southeast Asia and Australia, and to the North into Europe, Central Asia and Siberia. The natural conditions of humankind in the Indo-Pacific Tropics and in the African homeland are essentially similar; conversely, in the Eurasian North, deep cultural changes and a loss of the African heritage are to be expected. Though there are no cultures in Asia that could be considered to be related to the ancestors of the earliest migrants into the New World still being identified by archaeologists, similar sets of motifs in South America and in the Indo-Pacific part of the Old World provide evidence in favor of the East Asian homeland of the first Americans. Later groups of migrants brought those motifs typical for continental Eurasia to North America. Though we take into account conclusions reached by specialists in other historical disciplines, big data on mythology and folklore is argued to be an independent source of information on the human past.

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Rajiv. "Mythology Meets Modernity: Urban Settings and Mythological Characters in Indian English Literature." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 6 (June 14, 2024): 67–72. http://dx.doi.org/10.31305/rrijm.2024.v09.n06.009.

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This paper explores the intricate relationship between ancient Indian mythology and contemporary urban settings in Indian English literature. It examines how authors such as Ashwin Sanghi, Amish Tripathi, Samit Basu, and Chitra Banerjee Divakaruni reimagine mythological characters within modern contexts. This trend not only revitalizes traditional narratives but also addresses pressing societal issues, acting as a cultural bridge between India’s mythological past and its urban present.

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Doniger, Wendy. "Exile's Return in the Ancient Indian Epics." Social Research: An International Quarterly 91, no. 2 (June 2024): 511–18. http://dx.doi.org/10.1353/sor.2024.a930753.

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ABSTRACT: The essay explores the positive aspects of exile in the Mahabharata and the Ramayana, in both of which the exiled heroes experience magical adventures quite different from those that we know from the exploits of exiles in Greek and Latin classics and European children's literature. These heroes also vividly encounter ancient Indian mythology and philosophy, and in the end undergo a transformation that prepares them for their ultimate entrance into heaven.

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Mishra, K. C. "Learning from The Mahabharata For an Anew Contemporary Political Understanding." Journal of Public Management Research 6, no. 2 (October 14, 2020): 23. http://dx.doi.org/10.5296/jpmr.v6i2.17823.

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The Indian Spiritual Epic, the Mahabharata, is a precise write up of Indian mythology of yesteryears and the way social life was led by the top Statesmen who were at the helm of all societal affairs. The Indian Holy Scripture, the Bhagavad Gita, the socio-philosophical- literature of the Indian Socio-Cultural Milieu, also find special place within the Mahabharata in the format ‘Special Dialogue’, otherwise can be quoted as Spiritual Discourse. This literary work originally composed in Sanskrit, the Mother of all Indian Languages, sometime between 400 BC and 400 AD is set in a legendary era thought to relate to the period of Indian culture and history approximately during the tenth century BC.

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Kortunov, Vadim V., and Marina R. Gozalova. "Phenomenon of an Irrational in Eastern Direction in Thinking." International Journal of Criminology and Sociology 9 (April 5, 2022): 2622–27. http://dx.doi.org/10.6000/1929-4409.2020.09.323.

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Indian mythology and the Vedic image of the world built on its basis are of exceptional importance for understanding the entire Eastern culture. The mythological complex of Indian representations is the most ancient (researchers attribute its formation to the III millennium BC) and surprisingly persistent. The Vedic image of the world combines the features of proper mythology and religion and philosophy; it becomes the initial model for the formation of later religious and philosophical doctrines. Recall that it was the Vedic image of the world that formed the Brahmanism ideology prevailing in Ancient India and then formed the foundation of modern Hinduism through a modification of the Brahmin doctrine. Moreover, even religious-philosophical systems opposed to Brahmanism, such as Jainism, Bhagavatism, Buddhism, which questioned Rigveda and other Samhitas's sanctity, maintained a standard worldview continuity and solidarity with the fundamental images of the Vedic world model. Of course, Indian mythology, especially at the early stages of its formation, has much in common with mythological representations of other peoples of the world. At a particular stage in the development of mythic consciousness, we can everywhere find syncretic and anthropomorphic motifs, echoes of totemism or animism, the influence of matriarchy, and, of course, the tendency to overcome polytheistic traditions and the tendency to theistic monism. However, in the East, all these elements of mythological consciousness acquired an exceptional fundamental sound, making it possible to raise the question of the specifically Eastern way of world relations and the key importance of Vedic images in the general model of the world built by the East.

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Vallabh, Gourav, and Garima Dadhich. "Corporate Governance and Ethical Compliance—Deriving Values from Indian Mythology." Theoretical Economics Letters 06, no. 05 (2016): 1128–44. http://dx.doi.org/10.4236/tel.2016.65108.

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Balaram, S. "Product Symbolism of Gandhi and Its Connection with Indian Mythology." Design Issues 5, no. 2 (1989): 68. http://dx.doi.org/10.2307/1511515.

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Kakar, Sudhir. "The Engulfing Mother in Indian Mythology: Masculinity and Conflicting Desires." Antyajaa: Indian Journal of Women and Social Change 1, no. 1 (June 2016): 60–64. http://dx.doi.org/10.1177/2455632716631224.

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Adhikari, Anasuya, and Birbal Saha. "Shakuntala: As Authored by Kalidas and Painted by Raja Ravi Varma." Galore International Journal of Applied Sciences and Humanities 5, no. 4 (December 28, 2021): 45–53. http://dx.doi.org/10.52403/gijash.20211008.

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Mythology has always been an appealing area which has been engrossing readers and listeners since ages. Mythology plays distinctive roles and employs its sacred narratives, art and rituals to keep the values and morals of the society intact. This system of writing texts on mythology was common to the entire subcontinent and produced its own literature written in Sanskrit. One such magnum opus is Abhijnanashakuntalam authored by the great Sanskrit maestro, Kalidas. It is also important to note that mythology in the form of texts was accessible to a very limited class of people which included the elites, literates, scholars etc, and consequently a large section of the society remained unaware of these episodes and virtues. It is where, Raja Ravi Varma, ‘Father of Modern Indian Art’ is credited to bring these episodes in the form of both painting and printing to the commoners. This not only attracted a huge number of people towards mythology, Hindu culture and tradition but also urged to preserve values. The present paper is an attempt to study the contributions of the two maestros, Kalidas- as the author of Abhijnanashakuntalam and Raja Ravi Varma-as the painter of the Shakuntala Series, comparative studies of how both the maestros perceived the character of Shakuntala, portrayal of ‘beauty’, and how the play, painting and printing was appreciated, responses gathered and inspirations shared. Keywords: Kalidas, Raja Ravi Varma, Shakuntala, Mythology and Painting, Oleographs

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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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Mahdi, Batool Mutar. "Xenotransplantation: Fact or Magic." AL-Kindy College Medical Journal 18, no. 2 (August 31, 2022): 82–83. http://dx.doi.org/10.47723/kcmj.v18i2.869.

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The knowledge of transferring body organs or tissues appears in the ancient mythology of Roman, Greek, Indian, Chinese, and Egyptian civilizations. The stories of organ transplants performed by GODs and health care’s using organs from cadaveric and after that transplantation change from lore to medical training

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CHAKRABARTI, PRATIK, and JOYDEEP SEN. "‘The World Rests on the Back of a Tortoise’: Science and mythology in Indian history." Modern Asian Studies 50, no. 3 (December 18, 2015): 808–40. http://dx.doi.org/10.1017/s0026749x15000207.

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AbstractThis article traces the consilience of science and mythology in the history of fossil research in India: this is a narrative in which Indian fossil research met the Orientalist discovery of the Indian past. It demonstrates that in exploring the geological evolution of Indian fossils, British researchers such as Hugh Falconer invoked animals from thePuranas, picking up on a tradition of mythological hermeneutics first developed in India by the likes of William Jones. In exploring the nuances of this intellectual approach, the article thus identifies a hitherto obscured historical trajectory regarding the making of geology in colonial India.

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Kalpna Rajput. "Toru Dutt’s Concern for Indian Culture and Immortal Hindu Mythology in Ancient Ballads." Creative Launcher 4, no. 3 (August 31, 2019): 7–13. http://dx.doi.org/10.53032/tcl.2019.4.3.02.

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Indian culture is embodied in the collective consciousness of the nation governed by Sanatana Dharama the ancient yet eternal religion symbolized by the Vedas, the Upnishadas and the Gita. The Ancient Ballads and Legends of Hindustan of Toru Dutt is replete with all the Indian cultural trends such as the supremacy of the doctrine of Karma, non-attachment from worldly things, self-surrender, devotion, illusiveness of this world, love, fidelity and parental devotion. ‘Savitri,’ ‘The Legend of Dhruva’ and ‘Sindhu’ present the doctrine of Karma. In the poem ‘Savitri’, Savitri tells Yama the doctrine of Karma. Toru Dutt has an ardent eye to feel the transitoriness and nothingness of this life. For her, life is a bubble on water of the earth and when man glances at it, it dies at the very moment and exists no more. The Indian mythology speaks about the devotion to the parents and Guru. In India both of them are considered equal to God. For the attainment of God, one should whole-heartedly devote to Him. If one loses one’s life in obedience to Him, his greatest obligation is done. Shravan Kumar, an ideal son sacrifices his whole life for the service of his parents and also breathes his last in their service. Chastity and love is another name of Savitri and Sita, Savitri falls in love with Satyavan and decides to marry him. Toru Dutt who was the innovative poetess of India, following the determinate sense and wisdom of life through poetry, endured the base of truth where Hindu views and philosophy were subjected. Thus, her poetry is a journey into the gallery of Indian mythology and Indian culture.

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Singh, Alakh Niranjan, and Prabhakar Singh. "What can International Law Learn from Indian Mythology, Hinduism and History?" Journal of East Asia and International Law 2, no. 1 (May 30, 2009): 10. http://dx.doi.org/10.14330/jeail.2009.2.1.10.

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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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Borumand, Safura. "Cornucopia: Origins, diffusion and adoption in ancient Irano-Indian semiosphere." Studies in People's History 5, no. 2 (November 12, 2018): 166–79. http://dx.doi.org/10.1177/2348448918795754.

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Cornucopia or the horn of plenty is one of the cultural and social symbols that signify abundance and blessing in Western culture. Cornucopia originated from Greek mythology, partly related to the legend of Zeus, and partly to the legends of Hercules, Hades, Demeter and Tyche. The sign of cornucopia is also depicted on ancient Iranian and Indian artworks, and the obvious inference is that this was due to Hellenistic influence in both countries.

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Sarkar, Chandrabali. "“Born to Two Mothers, The Hero Bhagiratha”: Understanding Homosexuality in Indian Mythology." International Journal of Language, Literature and Culture 3, no. 6 (2023): 63–65. http://dx.doi.org/10.22161/ijllc.3.6.9.

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Indian mythology has several narratives of homosexuality and homoeroticism but the narratives were often seen as taboo and were being marginalized for decades. With the advancement of time, the interpretation of the same ancient tales has upturned because of the modern scholars and comic artists who inverted the perspective of seeing the culture in India from a pessimistic turn to an optimistic one.

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Ghosh, Subho. "Switching Heads and Cultures: Transformation of an Indian Myth into the Quest of Identity Crisis in Girish Karnad’s Hayavadana." Praxis International Journal of Social Science and Literature 6, no. 8 (August 25, 2023): 89–95. http://dx.doi.org/10.51879/pijssl/060810.

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Myths and legends have an enduring significance for the fundamental human obsessions. Indian drama is flavoured with several elements in which mythology plays an important role. One of the most renowned playwrights of contemporary India, Girish Karnad who has made use of the theatre to explore the culture of Indian past, re-created Hayavadana, a commentary on the problems of human being’s search for completeness and perfection, with his own imaginative calibre deriving it from Kathasaritsagar, an 11th century compendium of Indian legends and drawing the picturesque of Thomas Mann’s story of The Transposed Heads in a modern approach. It revolves around the triangular relation between Padmini, Devdatta and Kapila ending in Padmini’s frustrated search to get the best of both men in one body highlighting the confusion of human identities and the ambiguous nature of human personality. This present paper focuses on how Girish Karnad re-interprets the mythology in his creation rummaging a conflict between modernity and indigenous tradition against the backdrop of mythical history to enunciate the acute crisis of identity, self-discovery and imperfection or and wholeness to reach to the zenith of perfection that is next to impossible reflecting the strength of psychology over the physical one where the human beings strive to obtain perfection in all the aspects throughout their life but they forget the fact that perfection is something that is unachievable. It is concluded that although the ending of the play is not within the orthodoxy of Indian epic texts and Hindu philosophy, it can be seen in the cultural context of an Indian woman of today who seeks to fulfil her needs and aspirations.

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Mansurovna, Giyazova Bernora. "THE FUNCTIONS OF GODDESS LAKSHMI." International Journal of Language, Linguistics, Literature and Culture 02, no. 05 (2023): 38–41. http://dx.doi.org/10.59009/ijlllc.2023.0038.

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Lakshmi is one of the most important deities in Hinduism. She is considered the household goddess, meaning she is the most important deity to families, is always present in the home and is worshiped daily. The purpose of this article is to study the functions of the Goddess Lakshmi, who plays an important role in Indian mythology and Hinduism.

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Kumar Parui, Ramen. "Triggering Problem in the Origin of the Universe: Hindu (Indian) Mythology and a Possible Solution." International Journal of Science and Research (IJSR) 12, no. 6 (June 5, 2023): 624–35. http://dx.doi.org/10.21275/sr23602180244.

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Chetia, Hiranmoy, and Murali Krishna Chatakonda. "Rodent - a part of culture and revolution in India." Journal of Threatened Taxa 16, no. 3 (March 26, 2024): 25016–18. http://dx.doi.org/10.11609/jott.8811.16.3.25016-25018.

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Acknowledging that rodents play numerous vital ecological roles worldwide, particularly in India, they also significantly influence mythology, culture, and history. Despite their common classification as vermin and pests, this paper elucidates the pivotal role rodents play within the Indian context. It delves into instances where rats are revered and highlights their instrumental role in historical events, including facilitating a significant revolution.

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Singh, Shaleen Kumar, and Alka Sharma. "The Spirituala Poems of Mahanand Sharma." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 062–66. http://dx.doi.org/10.22161/ijels.73.9.

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Indian English Poetry is rich in Indian themes and symbols. Although the poets have drawn poetic elements from the Indian soil, theme of spirituality is still left untouched by the IWE. Mahanand Sharma’s poetry is the poetry of spiritual taste. As a poet of Modern Indian English sensibility, he has captured the diverse themes of Indian spirituality and mythology. His collection titled A Rudraksha Rosary and Other Poems is an interesting story of Lord Shiva written in Miltonic blank verse. However, the poet has employed the eighteenth-century diction, he has remained novel in his tackling of themes and myths of Lord Shiva. In a comprehensive manner, he uncovers the valour and exploits of Lord Shiva and provides the spiritual light to the people groping in dark of materialism. This paper is a modest attempt to unravel the spiritual strains in the poetry of Mahanand Sharma.

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Tripathi, Smita, Guru Prakash Prabhakar, and Joyce Liddle. "Leadership insights from the top: exploring leadership through the narratives of CEOs in India." International Journal of Public Leadership 11, no. 3/4 (August 10, 2015): 126–46. http://dx.doi.org/10.1108/ijpl-02-2015-0006.

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Purpose – The purpose of this paper is to highlight the corporate and non-corporate leadership practices in India, the effect of culture on such practices and how these drive management philosophies. Design/methodology/approach – Semi-structured interviews were conducted with CEOs from India. A key finding was that Indian leadership shares some aspects of global leadership traits, but factors such as culture and religion are significant influences on their leadership style and philosophy. Findings – The findings are helpful to both practitioners and policy makers seeking to understand the leadership style of Indian CEOs. Originality/value – Many qualities of a good leader, as defined by Indian CEOs were derived from the Hindu mythology (Bhagvad Gita, Mahabharata, Ramayana and the four Vedas).

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Pugazhendhi, D. "Nalayira Divya Prabandham Kaṇnaṇ and Greek Herakles - Union of Binary Oppositions in Fighting with Animals and the Formula for Variation." Athens Journal of Philology 10, no. 2 (June 4, 2023): 153–94. http://dx.doi.org/10.30958/ajp.10-2-4.

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It is mentioned by Greek historian Arrian that Indians worshipped Greek Herakles. The myths related with Greek Herakles like fighting against living creatures and wild animals and displaying their extra-ordinary power against natural elements are all found in the myths of Tamil God Kaṇnaṇ. So it is asserted that the Indian Herakles worshipped by Tamil people is none other than Tamil God Kaṇnaṇ through myths. Greek Herakles with lion head cap becomes Lion headed God in Tamil myth. Thus the binary oppositions between ‘Man and Animal’ and between ‘Man and God’ united as the God with animal headed human body. This research attempts to compare the Greek and Tamil myths with their theories of mythology. Keywords: Greek, Herakles, Krishna, myths, Tamil Kannan

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장재진. "The Idea of Hindu in the Churning of Milk Ocean, Indian Mythology." Journal of North-east Asian Cultures 1, no. 29 (December 2011): 713–36. http://dx.doi.org/10.17949/jneac.1.29.201112.039.

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Journal articles on the topic 'Indian mythology'

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