Relevant bibliographies by topics / Mythology, Hindu

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

Academic literature on the topic 'Mythology, Hindu'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Mythology, Hindu"

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Rai, Arti. "Disability in Hindu Mythology: A Reflection." Praxis International Journal of Social Science and Literature 6, no. 5 (May 25, 2023): 10–14. http://dx.doi.org/10.51879/pijssl/060502.

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The disabled person has been used as a metaphor for cultural narratives of "lack," "tragedy," and "awed" in hegemonic forms of cultural output. The goal of the current research was to examine how Hindu mythology portrayed people with disabilities. The illustrative tales of Dhritarstra, Gndhr, Manthar, and Astavakra were found to be useful for understanding how people with impairments are portrayed in Hindu mythology. The works chosen for the research included various retellings of the Mahabharata and the Ramayana. This essay aims to uncover the karmic view of disability by analysing a few Hindu tales from ancient India. Given the confluence of disability, culture, and marginalization, the consequences of comprehending such conceptions of societal hostility towards people with disabilities were addressed.
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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Mythology, Hindu"

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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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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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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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Velho, Selma de Vieira. "A influência da mitologia hindú na literatura portuguesa dos séculos XVI e XVII /." Macau : Instituto cultural de Macau, 1988. http://catalogue.bnf.fr/ark:/12148/cb354900625.

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Mahatma, Maitryee. "Sitā et ses doubles : mythes et représentations dans les oeuvres d'Ananda Devi." Paris 13, 2008. http://www.theses.fr/2008PA131025.

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Notre recherche vise à cerner la quête identitaire de la femme dans les romans d’Ananda Devi, auteur mauricien, d’origine indienne. D’après nos analyses, nous constatons que l’individuation féminine se déploie à travers les trois phases suivantes : « l’identité-idem », l’aspect identitaire qui se fonde sur une identification collective ; « l’identité-ipsé », par opposition à cette quête de similitude, est un élan vers la spécificité personnelle ; et l’ »animus » que nous définissons comme la part de différence ou les désirs les plus refoulés qui sont rejetés par les normes sociales. Parallèlement à ces trois phases identitaires, ce qui caractérise l'évolution féminine chez Devi, c’est que la femme opprimée, dans son effort d’émancipation, s’inspire des figures mythiques hindoues. Au cours de notre recherche nous avons exploité les bribes mythiques, afin de mettre en lumière une communion prédominante entre les femmes de Devi et les figures mythiques hindoues : Sitā, Draupadi et Kālī. Or, cette expérience d’identification avec les figures mythiques recoupe les trois phases identitaires dans la mesure où la femme s’identifie à une figure mythique dans chacune de ces phases d’individuations. L’accouplement figure mythique et phase identitaire se présente ainsi : Sitā-identité-idem, Draupadi-identité-ipsé, et Kālī-animus
The aim of this research is to study the quest of identity in the women characters in Ananda Devi’s novels. Devi is a Mauritian author of Indian origin. Our study reveals that the evolution of the women passes through three major stages : “l’identité-idem” or collective identification, the desire of identifying oneself to a particular group; “l’identité-ipsé” on the contrary is the desire to see oneself as unique within a certain group of individuals; l’”animus”, we define this term as the suppressed desires which are condemned by the society. Along with these three phases of identification, what characterises Devi’s women is that in their serge for emancipation they identify themselves with the Hindu mythical figures. In our study we have explored various images in Devi’s writings in order to reveal the existing links between Devi’s women and the following mythical figures : Sitā, Draupadi, Kālī. In fact, this experience of identification with the mythical figures is closed interlinked with the evolutionary phases defined above. In each of her evolutionary phase the woman identifies to one particular mythical figure : Sitā-identité-idem, Draupadi-identité-ipsé, and Kālī-animus
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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 "Mythology, Hindu"

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

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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. Oxford: Oxford University Press, 2008.

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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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Ions, Veronica. Indian mythology. London: Reed International Books for Prakash Books, 1992.

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Alfred, Hillebrandt. Vedic mythology. Delhi: Motilal Banarsidass, 1990.

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Hindu myth, Hindu history, religion, art, and politics. Delhi: Permanant Black, 2005.

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Book chapters on the topic "Mythology, Hindu"

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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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Valančiūnas, Deimantas. "Re-imagining Hindu Mythology in the Twenty-First Century: Amish Tripathi and Indian Fantasy Fiction in English." In The Palgrave Handbook of Global Fantasy, 191–204. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26397-2_13.

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"Goddess Mythology." In Hindu Goddesses, 77–97. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv3029v69.8.

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Leeming, David. "Greek Mythology." In From Olympus to Camelot, 39–60. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195143614.003.0003.

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Abstract With the possible exception of the Vedic-Hindu religion of India, the religion or religions associated with the ancient Greeks produced the world’s most complex and sophisticated mythology. Usually the Greek myths are read as individual stories. Only when we read them all in a book such as Robert Graves’s Greek Myths do we become aware that Greek mythology is, in fact, a single, gradually composed saga of the folk imagination and many talented authors, in which characters and events from the beginning of conceived time are interrelated in a complex web that touches on every imaginable aspect of the human experience. The early mythology of the ancient Greeks, that of the so-called archaic and classical periods of the middle and late Iron Age, was preceded by several Bronze Age or Helladic stages attached to particular geographic areas in the land we now call Greece.
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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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"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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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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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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Nagarajan, Vijaya. "Twins in Hindu Mythology and Everyday Life in the California Diaspora." In Gemini and the Sacred. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350151819.0017.

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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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