The captivating documentary “Vrindaban Days” transports viewers to the holy Indian village of Vrindavan, known as the mysterious playground of Lord Krishna. This beautiful book provides readers with an up-close and personal glimpse into the spirituality, lively culture, and timelessness of Vrindavan, where the divine and the mundane coexist in perfect harmony.
The first draft of The Hare Krishna Explosion was written in July 1969 just after Srila Prabhupada’s first visit to New Vrindavan. At that time Hayagriva realized that the details of the beginnings of the Krishna Consciousness Movement had best be recorded when the events were still fresh. Working from notebooks, diaries and memories he compiled the first edition in a month. Then the manuscript remained packed away until Srila Prabhupada left the mortal world in 1977.
The Hare Krishna movement is one of the most well-known new religious movements in the Western societies. It was founded in New York in 1966 by the Indian monk A. C. Bhaktivedanta Swami Prabhupāda (1896-1977). The fact that it emerged during the heyday of the countercultural protests is often invoked in the explanations of its success. This book offers a completely new account for the rise and growth of the Hare Krishna movement by analysing it from the viewpoint of cognitive science of religion. It focuses on the charisma of the founder-guru through the writings of his earliest disciples and also takes a close look at the theology and ritual practices of the movement.
During The Last Few Centuries Women Writers Have Considerably Widened And Deepened The Areas Of Human Experience With Their Sharp, Feminine Perception Of Life, Successfully Transmuted Into Verbal Artifact. The World Body Of Literature In English Would Have Been Much Poorer Today But For The Contribution Of Women Writers. The New Series Studies In Women Writers In English Is A Grateful Acknowledgment Of That Contribution And Public Recognition Of Their Voice.Nineteen Essays Included In This Third Volume Of The Series Cover A Wide Spectrum Of Women Writers Across Space And Time. The Women Writers Discussed In This Volume Include One From Britain Virginia Woolf, The Twentieth Century Stalwart Of British Novel, Who Has Left Her Indelible Mark On The Art Of Fiction As Well As On Women Writers And Thinkers Of The Subsequent Decades; Four From America Emily Dickinson, Edith Wharton, Sylvia Plath, Adrienne Rich; Two African-American Talents Toni Morrison, The Nobel Laureate For Literature In 1993, And Alice Walker, The Eminent Black American Woman Writer; And Margaret Clarke From Canada Besides Eight Authors From India. The Discussion On Indian Writers Include Two Articles On Sarojini Naidu, The Illustrious Icon Of Early Indian English Poetry And The Nightingale Of India ; One On The Charming Nostalgic Fiction Of Shashi Deshpande Who Is Compared To Margaret Clarke; One On The Enigmatic Ruth Jhabvala; Two On Two Different And Equally Well-Known Path-Breaking Novels By The Young Talent Githa Hariharan; And One On The Celebrated Recent Autobiography Of Indira Goswami. We Also Get A Glimpse Of Imtiaz Dharkar, Rama Mehta, And Last But Not Least, Anita Desai, In Addition To A Bird S Eye View Of The Enormous Harvest By Indian Women Novelists In The Last Two Decades Of The Last Century.Since Most Of These Authors Are Prescribed In The English Syllabus In The Universities Of India, Both The Teachers And The Students Will Find Them Extremely Useful, And The General Readers Who Are Interested In Literature In English And/Or Women Writers Will Also Find Them Intellectually Stimulating.
Vraja-maṇḍala Darśana is not only a guide through Vṛndāvana but a means to live in Vraja. Lokanāth Mahārāja has narrated Kṛṣṇa’s pastimes in his simple yet erudite style so we may learn to live with Kṛṣṇa and thus be insulated from the Lord’s external potency. In this way, our dormant attachment for Vraja and its residents will gradually awaken in our hearts.
Most Americans know about the "Hare Krishnas" only from encounters in airports or from tales of their activities in the East Village and Haight-Ashbury in the 1960s. This entertaining and sensitive book deepens our knowledge by tracing the paths of those Western Hare Krishnas who eventually traveled to or lived in India. The charismatic leader of the sect, the Indian monk Swami Bhaktivedanta, aimed to save Westerners from what he saw as materialism and atheism by converting them to worship of the Hindu god Krishna. In addition, he hoped that Western disciples would inspire Indians to rediscover their own religious heritage. Charles Brooks describes in full detail the work of the "reverse missionaries" in the town of Vrindaban--which, since it is traditionally considered to be identical with Krishna's spiritual world, is one of the holiest places in India and the site of some of its most engaging rituals. Have the Western Hare Krishnas really become part of Indian culture? Can it be that Indians accept these foreigners as essentially Hindu and even Brahman? Brooks answers in a way that radically challenges our accepted images of Indian social dynamics. Analyzing the remarkable success of the International Society for Krishna Consciousness and their temple complex in Vrindaban (where Bhaktivedanta was buried in 1977), Brooks describes the intricate social, economic, and religious relationships between Westerners and Indians. He demonstrates that social rank in the town is based not only on caste but also on religious competence: many Indians of Vrindaban believe, in Bhaktivedanta's words, that "Krishna is for all." Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
“What to do about SUE?” by author HG Sukhavaha Mataji is a comprehensive guide that addresses the challenges and complexities of life’s struggles, symbolized by the acronym “SUE” (Suffering, Uncertainty, and Envy). Drawing from the Bhakti tradition, this book offers practical solutions and spiritual insights to navigate these issues with grace and wisdom. It empowers readers to transform suffering into growth, uncertainty into opportunity, and envy into compassion, fostering a more fulfilling and purposeful life.
The book is a collection of 22 research papers/articles on the theme of gender from Indian English Writings. It is a critical study of the works of Shashi Deshpande, Anita Desai, Nayantara Sahgal, Krishna Sobti, Khushwant Singh, Bharati Mukherjee, Indira Goswami, Rama Mehta, Arundhati Roy, Kamala Das, Nissim Ezekiel, A. K. Ramanujan, Manju Kapur and Shobha De. The roots of gender discrimination stem from the patriarchal hegemony of our society. All forms of oppression, suppression, subjugation and exploitation of women have been projected through the analytical lenses by the erudite research-scholars and experts from the texts of Indian Writings in English.
When ex-Krishna Steve Bryant launched a one-man holy war against the Hare Krishna cult, his body was found murdered. It was the Krishnas' response to make Bryant a monkey on a stick, a gruesome warning to all other Krishnas that death was in store for those with dreams of defection. 16 pages of photos.
Theatre and Religion on Krishna s Stage examines the history and form of India's râs lila folk theatre, and discusses how this theatre functions as a mechanism of worship and spirituality among Krishna devotees in India. From analyses of performances and conversations with performers, audience, and local scholars, Mason argues that râs lila actors and audience alike actively assume roles that locate them together in the spiritual reality that the play represents. Correlating Krishna devotion and theories of religious experience, this book suggests that the emotional experience of theatrical fiction may arise from the propensity of audiences to play out roles of their own through which they share a performance's reality.
