scholarly journals Patanjali Yoga Sutra and Thirumoolar Thirumandiram a comparative study

2021 ◽  
Vol 3 (4) ◽  
pp. 32-43
Author(s):  
Venkatesan R ◽  
Ilavarasu Judu
Keyword(s):  
Twentieth Century ◽  
Comparative Study ◽  
Spiritual Awareness ◽  
States Of Consciousness ◽  
The World

India is the symbol of spirituality. Yoga is the method of attaining spiritual awareness. Yoga is spreading all over the world in this twentieth century. The ‘Yoga Sutra’ divised by the sage Patanjali who is known as the father of yoga, is seen by most people as the source of the art of yoga. When comparing the Patanjali Yoga Sutra with the Thirumoolar Thirumandiram, both the texts explain Astanga Yoga, Astama Siddhis, Four Padas, Pranava Samadhi and Mukthi. The Yoga Sutra speaks of ten types of samadhi states. Thirumandiram elaborates on thirty types of states of consciousness. Apart from Astanga Yoga, special techniques like Pariyanga Yoga, Chandra Yoga and Kayasiddhi Upayam are also mentioned in the Thirumandiram. Yoga Sutra is a book of 196 songs. Thirumandiram is a very comprehensive book with 3000 songs.

Vessels of Consciousness

2021 ◽  
pp. 101-130
Author(s):  
Jed Rasula
Keyword(s):  
Twentieth Century ◽  
Henry James ◽  
Social World ◽  
Primary Component ◽  
The Novel ◽  
States Of Consciousness ◽  
Female Consciousness ◽  
The World ◽  
Twentieth Century Novel ◽  
Primary Medium

The modern turn to psychological inwardness in the novel has often been discussed with reference to William James’s phrase, “vessel of consciousness.” Much of this chapter concerns his brother, Henry James, and his theorization of perspectivally delimited states of consciousness as a primary medium for the novel. James’s theories make a point of gendering this delimitation, claiming that female consciousness, historically constrained by lack of access to masculine vocations, actually possesses an awareness of the world advantageously enlarged by the exercise of imagination. James’s theory is placed against the backdrop of the novel’s gradual turn from epistemological to psychological veracity, from chronicling the material and social world to anatomizing the vicissitudes of consciousness as such—a transition from “character” to “psychology,” a transition made evident in Stendhal’s novel The Red and the Black. Once the twentieth-century novel establishes the vessel of consciousness as a primary component of its generic toolkit, the fragility of the vessel became apparent, and a technical gain in verisimilitude (refinement of character psychology) turned out to be discordant with the generically contracted principle of reality in previous fiction. The vessel of consciousness could no longer be confined to the novel itself, but became contingent on the participatory immersion of the reader’s consciousness as well.

The ‘enigma’ of Richard Schultes, Amazonian hallucinogenic plants, and the limits of ethnobotany

2020 ◽  
Vol 50 (3) ◽  
pp. 345-376 ◽  
Author(s):  
Merlin Sheldrake
Keyword(s):  
Twentieth Century ◽  
Science And Technology Studies ◽  
Science And Technology ◽  
Ways Of Knowing ◽  
Local Varieties ◽  
Technology Studies ◽  
States Of Consciousness ◽  
Nature And Culture ◽  
The World ◽  
Scientific Subject

This story is about the twentieth-century ethnobotanist, Richard Evans Schultes (1915–2001), and his research on hallucinogenic plants. Ethnobotany can contribute directly to science and technology studies in that the discipline makes cultural ways of knowing its scientific subject. Ethnobotanists must learn about plants through people, and are not able to conceal their interactions with indigenous informants and other ethnobotanists. I focus on an ‘enigma’ that Schultes presented, concerning the peculiar ability of indigenous Amazonians to distinguish between local varieties of vine that he was unable to tell apart, notably those used to prepare the hallucinogenic beverage ayahuasca. The enigma describes a complicated and irresolvable question thrown up at the uneasy intersection between different ways of knowing about the world, and shows how modern scientific travellers might navigate – or fail to navigate – the uncertain passage between them. Together with Schultes’s accounts of his own non-ordinary states of consciousness elicited by ayahuasca, and his writings on the Victorian botanist Richard Spruce, I chart an epistemological gulf between Schultes’s modern scientific cosmology and that of his Amazonian informants. In describing his inability to learn about the ayahuasca varieties from Amazonians, Schultes’s enigma traces the very limits of the ethnobotanical discipline and reveals the fragility of the processes by which scientific naturalists might impose categories such as ‘nature’ and ‘culture’.

scholarly journals Образы языка в англо-американском авангарде. 1910-е годы

2020 ◽  
pp. 62-71
Author(s):  
В.В. Фещенко
Keyword(s):  
New York ◽  
Twentieth Century ◽  
American Literature ◽  
Dynamic Contact ◽  
Xxth Century ◽  
Avant Garde ◽  
States Of Consciousness ◽  
The World ◽  
New States ◽  
Anglo American

В статье приводится описание авангардных практик в англоязычной литературе ХХ века, которые в наибольшей мере актуализируют языковую проблематику. Утверждается, что рассмотрение контекстов зарождения авангардных движений в англоязычной литературе ХХ века позволило выявить наиболее динамичные контактные зоны, в которых соприкасались авторы, действующие в трансатлантическом треугольнике (Лондон — Нью-Йорк — Париж). На основе этих контекстов и контактов в разделе прослежены различные концепции языка и представления о языке («образы языка»), возникающие в англо-американском литературно-манифестарном авангардном письме на протяжении семи десятилетий (1910–1970-е годы). 1910-е годы — время расцвета авангардной культуры по всему миру. На трансатлантических рубежах зарождаются такие представления, как говорение на «двух языках» — непременное условие самоопровергающего авангардного высказывания с «динамизмом слова, образа, мысли и действия» (в вортицизме); превращение языка как такового в главенствующий инструмент художественности, «приведение языка в движение» для вызывания новых состояний сознания (в литературном постимпрессионизме, симультанизме); идея новых «алфавитов» искусства и каталогизации слов и объектов (в дадаизме). The article addresses avant-garde practices in XXth century English and American literature, which mostly deal with language issues. Consideration of the contexts of origin of avant-garde movements in Anglo-American literature of the twentieth century revealed the most dynamic contact areas in which the authors were operating in the transatlantic triangle (London — New York — Paris). On the basis of these contexts and contacts, we traced various concepts of language and ideas about language, emerging in the Anglo-American literary and manifesto avant-garde writing over seven decades (1910s ––1970s). On the transatlantic frontiers, the 1910s — the heyday of avant-garde culture around the world — see the birth of concepts such as speaking in “two tongues” as an indispensable condition for a self-rejecting avant-garde utterance, with “the dynamism of the word, image, thought and action” (in Vorticism); the transformation of language as such into a dominant instrument of artistry, “setting language in motion” for evoking new states of consciousness (in literary Post-Impressionism, Simultaneism); the idea of new “alphabets” of art and the cataloging of words and objects (in Dadaism).

Development of the Jewish religious movement "Khabad" in Ukraine in the 20's of the twentieth century

2001 ◽  
pp. 85-90
Author(s):  
O. V. Kozerod
Keyword(s):  
Twentieth Century ◽  
Religious Movement ◽  
Important Research ◽  
The World ◽  
Research Problems

The development of the Jewish religious movement "Khabad" and its organizations in the first quarter of the twentieth century - one of the important research problems, which is still practically not considered in the domestic Judaica. At the same time, this problem is relevant in connection with the fact that the religious movement "Khabad" during the twentieth century became the most widespread and influential area of Judaism in Ukraine and throughout the world.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

cAbdullah Yūsuf cAlī & Muhammad Asad: Two Approaches to the English Translation of the Qur'an

2000 ◽  
Vol 2 (1) ◽  
pp. 107-123 ◽  
Author(s):  
Muzaffar Iqbal
Keyword(s):  
Twentieth Century ◽  
Comparative Study ◽  
Life Experiences ◽  
Academic Career ◽  
British India ◽  
Human Understanding ◽  
English Translations ◽  
Political Milieu ◽  
The Times

This article attempts to present a comparative study of the role of two twentieth-century English translations of the Qur'an: cAbdullah Yūsuf cAlī's The Meaning of the Glorious Qur'ān and Muḥammad Asad's The Message of the Qur'ān. No two men could have been more different in their background, social and political milieu and life experiences than Yūsuf cAlī and Asad. Yūsuf 'Alī was born and raised in British India and had a brilliant but traditional middle-class academic career. Asad traversed a vast cultural and geographical terrain: from a highly-disciplined childhood in Europe to the deserts of Arabia. Both men lived ‘intensely’ and with deep spiritual yearning. At some time in each of their lives they decided to embark upon the translation of the Qur'an. Their efforts have provided us with two incredibly rich monumental works, which both reflect their own unique approaches and the effects of the times and circumstances in which they lived. A comparative study of these two translations can provide rich insights into the exegesis and the phenomenon of human understanding of the divine text.

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

On Metaphysics and the Political: A Polemics of Reading Baudelaire in the 1930s

2019 ◽  
Vol 58 (2) ◽  
pp. 249-259
Author(s):  
Joseph Acquisto
Keyword(s):  
Twentieth Century ◽  
Political Crisis ◽  
The Political ◽  
Modern Poetry ◽  
Progressive Politics ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
Insight Into

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.

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