Podcasts about purana

The gangland war has become like folklore in the tale of crime in Australia. From 1995, dozens of murders occurred in Melbourne in a wrestle over drugs and egos involving notorious underworld figures such as Carl Williams, Tony Mokbel, and the Morans.At the centre of it all was Stuart Bateson, a detective with the Purana taskforce.Today, John Silvester - who wrote the definitive account of the gangland war - talks to Bateson about what investigating this violent web of crooks was really like, and hear part of a recording of a real gangland hit.Bateson talks to Sly ahead of the release of a new three-part documentary from Channel Nine called Naked City: Hitmen, which screens from March 4.See omnystudio.com/listener for privacy information.

De reis met professor dr. Peter Bisschop van de Universiteit Leiden gaat verder: in de tweede aflevering van een fascinerend tweeluik over het Mahabharata kijken we deze keer naar een bijzonder werk in dat grotere epos: de 'Bhagavad Gita'. Wat is dit voor 'werk in een werk'? Wie spelen er een rol in dit verhaal? Welke rol speelt de Bhagavad Gita vandaag de dag nog in India... en wereldwijd? En welke positie neemt de Bhagavad Gita in in het Mahabharata? Peter praat ons uitgebreid bij!Shownotes

Met professor dr. Peter Bisschop van de Universiteit Leiden gaan we in deze aflevering uitgebreid kijken naar het Mahabharata! Een enorm epos uit het oude India, maar wat weten we over dit werk? Welk verhaal of welke verhalen bevat het, wie schreef of schreven het... kortom: heel veel vragen! Over dit en nog veel meer praat Peter ons bij in dit eerste deel van een boeiend tweeluik.Shownotes

PURANA Media is an annual, peer-reviewed, open access journal focused on modes of cultural production encompassed by the term purāṇa (a Sanskrit word designating things 'ancient' or 'primordial'). Populated by deities, sages, and a host of other more-than-human agents, the purāṇic past has been disseminated through a wide range of media and forms of embodied knowledge. As an authoritative discourse, purāṇa has been integral to the shaping of history and cultural memory in early South and Southeast Asia. In the contemporary world this discourse continues to (re)create the past as a social, political, and affective force. The journal approaches purāṇa as a way of worldmaking that uses memories of a distant past to meaningfully anchor the relative present and envision a future possible. PURANA Media adopts a broad methodological and regional scope. The journal integrates scholarship on primary historical sources (textual, visual, and material) and their contexts, critical reflections on heritage-making and museum studies, as well as contributions in art, design, photography, and other media. Open Access: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

PURANA Media is an annual, peer-reviewed, open access journal focused on modes of cultural production encompassed by the term purāṇa (a Sanskrit word designating things 'ancient' or 'primordial'). Populated by deities, sages, and a host of other more-than-human agents, the purāṇic past has been disseminated through a wide range of media and forms of embodied knowledge. As an authoritative discourse, purāṇa has been integral to the shaping of history and cultural memory in early South and Southeast Asia. In the contemporary world this discourse continues to (re)create the past as a social, political, and affective force. The journal approaches purāṇa as a way of worldmaking that uses memories of a distant past to meaningfully anchor the relative present and envision a future possible. PURANA Media adopts a broad methodological and regional scope. The journal integrates scholarship on primary historical sources (textual, visual, and material) and their contexts, critical reflections on heritage-making and museum studies, as well as contributions in art, design, photography, and other media. Open Access: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

PURANA Media is an annual, peer-reviewed, open access journal focused on modes of cultural production encompassed by the term purāṇa (a Sanskrit word designating things 'ancient' or 'primordial'). Populated by deities, sages, and a host of other more-than-human agents, the purāṇic past has been disseminated through a wide range of media and forms of embodied knowledge. As an authoritative discourse, purāṇa has been integral to the shaping of history and cultural memory in early South and Southeast Asia. In the contemporary world this discourse continues to (re)create the past as a social, political, and affective force. The journal approaches purāṇa as a way of worldmaking that uses memories of a distant past to meaningfully anchor the relative present and envision a future possible. PURANA Media adopts a broad methodological and regional scope. The journal integrates scholarship on primary historical sources (textual, visual, and material) and their contexts, critical reflections on heritage-making and museum studies, as well as contributions in art, design, photography, and other media. Open Access: here Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

"Purana Darwaza" (The Old Door) is a chilling urban horror tale set in Delhi's outskirts. When Aarav, a fearless content creator, decides to explore a haunted house for his next vlog, he thinks it's just another viral stunt. But when he opens a forbidden backdoor marked “Don't open,” he unleashes something far older — and far more sentient — than he imagined.  By morning, his camera is found still recording. But the person speaking to it... isn't Aarav anymore.    Learn more about your ad choices. Visit megaphone.fm/adchoices

From the depths of the cosmic ocean, Dhanvantari arose - radiant and serene, carrying the pot of Amṛta, the nectar of immortality. This is the birth of Ayurveda, the birth of healing itself.In this special Dhanteras episode, Dylan retells the ancient Vedic story of the Samudra Manthana (the Churning of the Ocean of Milk) and reveals how this timeless myth mirrors the process of transformation within us all. As light and shadow churn together, both poison and nectar emerge, showing that healing is not about escape, but integration.A meditative and mythic journey through one of the Vedas' most profound tales, this episode invites you to awaken the Dhanvantari within - the innate intelligence that restores balance, purifies what's toxic, and reveals the radiant nectar of health and consciousness that lies beneath the surface of all experience.IN THIS EPISODE WE DISCUSS:

Listen with Irfan (LwI)A tapestry of voices and stories, spun with careSupport LwI - a soulful creation shaped by affection, thriving on the warmth of its listeners. Your contribution helps keep this free, bringing global stories, rare sound recordings, and personal music archives to all without paywalls. I curate voices, readings from literature, and cultural studies with immense care.Through my recent initiative, Read Aloud Collective, voices from around the world are coming together in celebration of spoken word.Grateful for your love -keep listening, keep supporting!  Bank Name: State Bank Of IndiaName: SYED MOHD IRFANAccount No:32188719331Branch: State Bank of India, Vaishali Sec 4, GhaziabadIFSC–SBIN0013238UPI/Gpay ID irfan.rstv-2@oksbiSupport LwI by contributing:  https://rzp.io/rzp/Memorywala

ಆಶಾ ರಘುರವರ "ಅಪರೂಪದ ಪುರಾಣ ಕಥೆಗಳು" ಕುರಿತು ಕೇಳಿ  ಸುಶಾಂತ ಕುರಂದವಾಡ ಅವರ ಅಭಿಪ್ರಾಯವನ್ನು ಕೆ ಎಸ್ ಜಗನ್ನಾಥ ರವರ ಧ್ವನಿಯಲ್ಲಿ.Listen to Sushant Kurandwad's opinion on Asha Raghu's "Aparupada Purana Kathegalu" in K S Jagannatha's voice.Write to us: parichayaloka@gmail.comCo-sponsored by: Prathama Srsti - Buy authentic, hand picked GI TAG products of India and support local art and artists. To know more visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.PrathamaSrsti.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Parichaya Loka presents a new Android app for travellers. Gear up for the weekend! Download "Tour Hoysala" app from the Playstore. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/tourhoysala⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Parichaya Loka presents Android app for travellers. Gear up for the weekend! Download "Tour Bengaluru" app from the Playstore. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/tourBengaluru⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Parichaya Loka presents Android app for travellers. Gear up for the weekend! Download "Tour Mysuru" app from the Playstore.  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/tourmysore⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Leave your comments, feedback, ratings and share it with your friends.

Mahāśivarātri findet am 14. Tag des Mondmonats Phālguna (Februar/März) statt, während der abnehmenden Mondphase. Es ist eine Nacht der Meditation, des Fastens und der Verehrung von Śiva. Śivarātri bedeutet „die Nacht von Śiva“. Es wird angenommen, dass diese Nacht die Hochzeit von Śiva und Pārvatī markiert. Hört diese mythologische Geschichte dazu.

Astrologer, Tarot Reader & Founder Early Theory, Kevin Santoso Budiharto percaya setiap kartu punya karakter dan energi yang harus diperlakukan dengan tepat.  Sementara astrologi jadi alat untuk memahami diri, membaca situasi, dan merespons dunia yang terus bergerak.—Uncensored bersama Andini Effendi ingin memulai percakapan mengenai isu yang kerap dianggap tabu. The Elephant in the Room adalah topik yang diketahui semua orang, namun tidak banyak yang berani membicarakannya. Dengan berdiskusi secara terbuka, kami harap masyarakat bisa lebih terbuka pikiran dan hatinya.୨♡୧ New episode drops every Thursday! ୨♡୧☆ Jangan lupa follow & Subscribe kami ☆  https://www.instagram.com/cauldroncontent/  https://www.youtube.com/playlist?list=PLZ3JpwVKQYqY6XA9E0ufQ6gWBL6H__NYw☆ Dengarkan juga podcast kami ☆https://open.spotify.com/show/6pHdBM4Jr0JMwBvbVCMiQI?si=cc66a009ea964c3a&nd=1&dlsi=4f0c2d2242694a34https://podcasts.apple.com/id/podcast/uncensored-with-andini-effendi/id1627192280☆ Host Andini Effendi ☆ https://www.instagram.com/andinieffendi/☆ Kevin Santoso Budiharto ☆https://www.instagram.com/early.theory/☆ Wardrobe by Purana ☆https://www.instagram.com/puranaindonesia/— Timestamps00:00 Intro01:12 Latar belakang Kevin Santoso04:17 Menemukan Tuhan di Luar Agama08:07 Early Theory14:31 Embrace the Process25:26 Astrologi sebagai Kompas Sosial31:00 Agama & Astrologi38:20 The Retrograde Effect45:41 The Solar Eclipse Warning49:48 Build Your Inner Power

In deze tweede aflevering van het tweeluik met professor dr. Peter Bisschop van de Universiteit Leiden worden we meegenomen naar het ontstaan en de verspreiding van wat we later het hindoeïsme zijn gaan noemen. Want hoe zit dat precies: waar, wanneer en in welke vorm of vormen zien we dat gebeuren in het verre verleden? En wat is de relatie tussen het Sanskriet en het hindoeïsme? Dit en meer verkennen we met Peter in een fascinerende aflevering!Shownotes

In deze korte bonusaflevering, tussen de twee aflevering van een tweeluik over het Sanskriet en het hindoeïsme door, laat professor dr. Peter Bisschop van de Universiteit Leiden ons horen dat het Sanskriet nog altijd springlevend is!Shownotes

Met professor dr. Peter Bisschop van de Universiteit Leiden gaan we in deze aflevering uitgebreid kijken naar het Sanskriet: naar taal, cultuur en de relatie tussen het Sanskriet en wat we later het hindoeïsme zijn gaan noemen. Wat weten we over deze taal, waarmee we met name naar het oude India kijken? Naar welke teksten kijkt een Sanskritist? Was het een taal voor iedereen... en is het dat nog steeds? Over dit en nog veel meer praat Peter ons bij in dit eerste deel van een boeiend tweeluik!Shownotes

Ye To Rishta Purana Hai : Ashram Bhajan

Ye To Rishta Purana Hai : Ashram Bhajan

Ye To Rishta Purana Hai : Ashram Bhajan

Ye To Rishta Purana Hai : Ashram Bhajan

Ye To Rishta Purana Hai : Ashram Bhajan

Ye To Rishta Purana Hai : Ashram Bhajan

 This week on Heroes Three, we make a brief Halloween diversion to look at Bollywood horror with the Ramsay Brothers' Purana Mandir (1984)! Watch it (stretched out but in full) on youtube - https://www.youtube.com/watch?v=X400ruYdui0 Timestamps (0:00) Intro (1:24) Raat thoughts (2:10) Purana Mandir discussion (37:42) Lily Li RIP (39:09) Outro and training for next week

Bhajan

Aug 19,2024 Monday : Noon : Sandhya Satsang - Noon Hajaro Saal Purana Hai Rakshabandhan Ka Itihas, Vaidik Kaal Se Jude Hai Iske Taar

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

Hazaron Sal Purana Hai Rakshabandhan Ka Etihas : Pujya Sant Shri Asharamji Bapu Satsang

The Sound Chaser Progressive Rock Podcast is on the air. On the show this time, we are going to be living mostly in the past, with just a few forays into music from the 2000s. The full variety of prog is on display. Call it a tour through the collection of antiques and curios. All that, plus news of tours and releases on Sound Chaser. Playlist1. Manfred Mann's Earth Band - Spirits in the Night, from The Best of Manfred Mann's Earth Band Re-Mastered [retrospective]2. Novalis - Aufbruch, from Sommerabend3. Focus - Sugar Island, from In and Out of Focus4. Puddles Pity Party - War Pigs, from https://www.youtube.com/watch?v=WT8t3i8CkMQ5. Aera - Kamele On, from Hand und Fuß6. Magma - Gamma, from Inédits7. Alain Markusfeld - The Floating Soul (L'Âme Flotante), from Contemporus8. The Police - Synchronicity I, from Synchronicity9. Peter Seiler - Grönland, from Sensitive Touch10. Jean-Luc Ponty - Mystical Adventures Part 2, from Mystical Adventures11. Jim Morrison / The Doors - A Feast of Friends, from An American Prayer12. Dire Straits - Lions, from Dire Straits13. Amoeba - Any Other Sky, from WatchfulTHE SYMPHONIC ZONE14. The Moody Blues - The Day Begins, from Days of Future Passed15. Ken Wiley - River Pastoral, from Visage16. Starcastle - True to the Light, from Fountains of Light17. Starcastle - Portraits, from Fountains of Light18. Starcastle - Diamond Song (Deep Is the Light), from Fountains of Light19. Yesterdays - Forog A Tánc, from Colours Caffé Remixed20. Fish - Incubus, from Yin21. Stealing the Fire - The Tower, from King of ShadowsLEAVING THE SYMPHONIC ZONE22. Dark - Smoke at Will, from Tamna Voda23. Yas-Kaz - Psychopomp–Shaman Met the Woman at the Well, from Kaze no Tamago (Egg of Purana)24. Klaus Schulze - Dymagic, from ...Live...25. Amon Düül - Special Track Experience No. 16, from Experimente26. Zamla Mammaz Manna - Timlig är du, from För Äldre Nybegynnare27. The Who - Wasp Man, from Two's Missing28. Louis de Mieulle & Matt Garstka - Snub Cube, from Dual29. Glenn Phillips - Floaters, from Angel Sparks30. Brady Arnold - Static Delay, from Instrumentals 5: Pop Pleasures31. The Firm - Spirit of Love, from Mean Business

Today we're joined by Italian screamo band Put Purana to discuss their latest split release.Sandrino, Ruggero and Luca join us and we chat about video games, organizing shows, the way of the turkey, the screamo curse, the modernization of marketing the scene, tour, fines, dumpster diving, reggae and year of the screamo festivals.

Support us on Spotify, Share, Stream & ask your friends to follow us! Created by - Creative Benchers | Saade Aala Radio - A Creative Benchers Property Writers & Hosts - Harshdeep Singh, Sarabjeet Singh, Sandeep Singh D.o.P - Harjinder Singh | Sound by - Creative Benchers Edited by - Sandeep Singh | VFX - Harshdeep Singh Managed by - Creative Benchers (www.creativebenchers.com) Created by - Creative Benchers | Saade Aala Radio - A Creative Benchers Property Writers & Hosts - Harshdeep Singh, Sarabjeet Singh, Sandeep Singh D.o.P - Harjinder Singh | Sound by - Creative Benchers Edited by - Sandeep Singh | VFX - Harshdeep Singh Managed by - Creative Benchers (www.creativebenchers.com) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Hosts ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Harshdeep Singh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sarabjeet Singh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sandeep Singh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to promote your business?⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ CREATIVE BENCHERS A Content Based Marketing Agency Contact - creativebenchers@gmail.com Saade Aala Radio -  A Creative Benchers Property

Economist and chairman of the Economic Advisory Council to the Prime Minister of India, Shri Bibek Debroy, explores various myths, mysteries and legends surrounding Shiva in a freewheeling conversation with Sadhguru. Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): https://onelink.to/sadhguru__app Official Sadhguru Website: https://isha.sadhguru.org Sadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusive Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. See omnystudio.com/listener for privacy informationSee omnystudio.com/listener for privacy information.

Economist and chairman of the Economic Advisory Council to the Prime Minister of India, Shri Bibek Debroy, explores various myths, mysteries and legends surrounding Shiva in a freewheeling conversation with Sadhguru. Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): https://onelink.to/sadhguru__app Official Sadhguru Website: https://isha.sadhguru.org Sadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusive Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. See omnystudio.com/listener for privacy informationSee omnystudio.com/listener for privacy information.

Greg Bailey discusses his new translation of the Gaṇeśa Khaṇḍa of the Brahmavaivarta Purāṇa, one of the few texts dedicated solely to the popular elephant-headed Indian god Gaṇeśa. About the book: The first two khaas of the Brahmavaivarta Puraa (BvP) deal with Brahma and Prakti respectively. Both introducing the theology that enables Ka to be treated as identical with the supreme Brahma, and as Viu/ Narayaa in all his forms. Ultimately everything goes back to Ka as the source of power and being even including the mother goddesses who are so prolific in the text, not just in its second khaa. The fourth and final khaa treats the mythology of Ka himself, with focus on his birth, and just before this comes the Gaapatikhaa (GKh). GKh is one of the few mahapuraas that includes a separate khaa about Gaesa, with the exceptions being the two Gaapatya Puraas the Gaesa and Mudgala Puraas-and the Vinayakamahatmya of the Skanda Puraa. When one reads the other three khaas of the Puraa, it is clearly evident that the GKh fits in perfectly with the principal themes of the entire Puraa, all associated with Ka in his various manifestations and the theology of the mother goddess, especially Radha and Durga. In addition, it continues the practice in many of its chapter of expositing the application of kavacas, dhyanas, mantras and stotras, to the extent that the text is almost a handbook of devotional ritual. What is striking about the GKh is that it is only incidentally about Gaesa. Only less than ten percent of the entire text deals directly with Gaesa. It touches tangentially on his birth, the loss of his head and the gaining of an elephant head, his status as first to be worshipped in all pujas, his loss of one of his tasks at the hands of parasurama, and his cursing of the Tulasi Plant. The second half of the GKh is essentially a version of the Parasurama myth. This begins with the intention to tell as well-known episode about Gaesa reflected in his common name Ekadanta. This certainly offers a unique interpretation of its, focusing as it does on the morality of patricide and regicide, and relations between boys and their mothers. Ka is treated in a manner that can only be called theological. Theologically it is simply stating that all power is located in Viu/ Ka, but in this khaa it is seemingly extended much more than elsewhere. In addition, he is usually depicted as located in Goloka and Vdavana, with the bucolic ka receiving most emphasis in the next. The sakti teachings in this text blend constantly with the Kaite teachings, to the point that both seem to empower each other. That ka looms large is hardly a surprise given the BvP is substantially a Kaite Puraa of 14th – 15th century Bengal and then it could not have omitted existing material on the sakti, given the importance of other goddess worship in Bengal. There have been two previous translations of the Brahmavaivarta Puraa. The present translation is a fresh translation but the translator has subsequently compared it with the earlier translations to remain transparent to the Sanskrit itself. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Greg Bailey discusses his new translation of the Gaṇeśa Khaṇḍa of the Brahmavaivarta Purāṇa, one of the few texts dedicated solely to the popular elephant-headed Indian god Gaṇeśa. About the book: The first two khaas of the Brahmavaivarta Puraa (BvP) deal with Brahma and Prakti respectively. Both introducing the theology that enables Ka to be treated as identical with the supreme Brahma, and as Viu/ Narayaa in all his forms. Ultimately everything goes back to Ka as the source of power and being even including the mother goddesses who are so prolific in the text, not just in its second khaa. The fourth and final khaa treats the mythology of Ka himself, with focus on his birth, and just before this comes the Gaapatikhaa (GKh). GKh is one of the few mahapuraas that includes a separate khaa about Gaesa, with the exceptions being the two Gaapatya Puraas the Gaesa and Mudgala Puraas-and the Vinayakamahatmya of the Skanda Puraa. When one reads the other three khaas of the Puraa, it is clearly evident that the GKh fits in perfectly with the principal themes of the entire Puraa, all associated with Ka in his various manifestations and the theology of the mother goddess, especially Radha and Durga. In addition, it continues the practice in many of its chapter of expositing the application of kavacas, dhyanas, mantras and stotras, to the extent that the text is almost a handbook of devotional ritual. What is striking about the GKh is that it is only incidentally about Gaesa. Only less than ten percent of the entire text deals directly with Gaesa. It touches tangentially on his birth, the loss of his head and the gaining of an elephant head, his status as first to be worshipped in all pujas, his loss of one of his tasks at the hands of parasurama, and his cursing of the Tulasi Plant. The second half of the GKh is essentially a version of the Parasurama myth. This begins with the intention to tell as well-known episode about Gaesa reflected in his common name Ekadanta. This certainly offers a unique interpretation of its, focusing as it does on the morality of patricide and regicide, and relations between boys and their mothers. Ka is treated in a manner that can only be called theological. Theologically it is simply stating that all power is located in Viu/ Ka, but in this khaa it is seemingly extended much more than elsewhere. In addition, he is usually depicted as located in Goloka and Vdavana, with the bucolic ka receiving most emphasis in the next. The sakti teachings in this text blend constantly with the Kaite teachings, to the point that both seem to empower each other. That ka looms large is hardly a surprise given the BvP is substantially a Kaite Puraa of 14th – 15th century Bengal and then it could not have omitted existing material on the sakti, given the importance of other goddess worship in Bengal. There have been two previous translations of the Brahmavaivarta Puraa. The present translation is a fresh translation but the translator has subsequently compared it with the earlier translations to remain transparent to the Sanskrit itself. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

Greg Bailey discusses his new translation of the Gaṇeśa Khaṇḍa of the Brahmavaivarta Purāṇa, one of the few texts dedicated solely to the popular elephant-headed Indian god Gaṇeśa. About the book: The first two khaas of the Brahmavaivarta Puraa (BvP) deal with Brahma and Prakti respectively. Both introducing the theology that enables Ka to be treated as identical with the supreme Brahma, and as Viu/ Narayaa in all his forms. Ultimately everything goes back to Ka as the source of power and being even including the mother goddesses who are so prolific in the text, not just in its second khaa. The fourth and final khaa treats the mythology of Ka himself, with focus on his birth, and just before this comes the Gaapatikhaa (GKh). GKh is one of the few mahapuraas that includes a separate khaa about Gaesa, with the exceptions being the two Gaapatya Puraas the Gaesa and Mudgala Puraas-and the Vinayakamahatmya of the Skanda Puraa. When one reads the other three khaas of the Puraa, it is clearly evident that the GKh fits in perfectly with the principal themes of the entire Puraa, all associated with Ka in his various manifestations and the theology of the mother goddess, especially Radha and Durga. In addition, it continues the practice in many of its chapter of expositing the application of kavacas, dhyanas, mantras and stotras, to the extent that the text is almost a handbook of devotional ritual. What is striking about the GKh is that it is only incidentally about Gaesa. Only less than ten percent of the entire text deals directly with Gaesa. It touches tangentially on his birth, the loss of his head and the gaining of an elephant head, his status as first to be worshipped in all pujas, his loss of one of his tasks at the hands of parasurama, and his cursing of the Tulasi Plant. The second half of the GKh is essentially a version of the Parasurama myth. This begins with the intention to tell as well-known episode about Gaesa reflected in his common name Ekadanta. This certainly offers a unique interpretation of its, focusing as it does on the morality of patricide and regicide, and relations between boys and their mothers. Ka is treated in a manner that can only be called theological. Theologically it is simply stating that all power is located in Viu/ Ka, but in this khaa it is seemingly extended much more than elsewhere. In addition, he is usually depicted as located in Goloka and Vdavana, with the bucolic ka receiving most emphasis in the next. The sakti teachings in this text blend constantly with the Kaite teachings, to the point that both seem to empower each other. That ka looms large is hardly a surprise given the BvP is substantially a Kaite Puraa of 14th – 15th century Bengal and then it could not have omitted existing material on the sakti, given the importance of other goddess worship in Bengal. There have been two previous translations of the Brahmavaivarta Puraa. The present translation is a fresh translation but the translator has subsequently compared it with the earlier translations to remain transparent to the Sanskrit itself. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Greg Bailey discusses his new translation of the Gaṇeśa Khaṇḍa of the Brahmavaivarta Purāṇa, one of the few texts dedicated solely to the popular elephant-headed Indian god Gaṇeśa. About the book: The first two khaas of the Brahmavaivarta Puraa (BvP) deal with Brahma and Prakti respectively. Both introducing the theology that enables Ka to be treated as identical with the supreme Brahma, and as Viu/ Narayaa in all his forms. Ultimately everything goes back to Ka as the source of power and being even including the mother goddesses who are so prolific in the text, not just in its second khaa. The fourth and final khaa treats the mythology of Ka himself, with focus on his birth, and just before this comes the Gaapatikhaa (GKh). GKh is one of the few mahapuraas that includes a separate khaa about Gaesa, with the exceptions being the two Gaapatya Puraas the Gaesa and Mudgala Puraas-and the Vinayakamahatmya of the Skanda Puraa. When one reads the other three khaas of the Puraa, it is clearly evident that the GKh fits in perfectly with the principal themes of the entire Puraa, all associated with Ka in his various manifestations and the theology of the mother goddess, especially Radha and Durga. In addition, it continues the practice in many of its chapter of expositing the application of kavacas, dhyanas, mantras and stotras, to the extent that the text is almost a handbook of devotional ritual. What is striking about the GKh is that it is only incidentally about Gaesa. Only less than ten percent of the entire text deals directly with Gaesa. It touches tangentially on his birth, the loss of his head and the gaining of an elephant head, his status as first to be worshipped in all pujas, his loss of one of his tasks at the hands of parasurama, and his cursing of the Tulasi Plant. The second half of the GKh is essentially a version of the Parasurama myth. This begins with the intention to tell as well-known episode about Gaesa reflected in his common name Ekadanta. This certainly offers a unique interpretation of its, focusing as it does on the morality of patricide and regicide, and relations between boys and their mothers. Ka is treated in a manner that can only be called theological. Theologically it is simply stating that all power is located in Viu/ Ka, but in this khaa it is seemingly extended much more than elsewhere. In addition, he is usually depicted as located in Goloka and Vdavana, with the bucolic ka receiving most emphasis in the next. The sakti teachings in this text blend constantly with the Kaite teachings, to the point that both seem to empower each other. That ka looms large is hardly a surprise given the BvP is substantially a Kaite Puraa of 14th – 15th century Bengal and then it could not have omitted existing material on the sakti, given the importance of other goddess worship in Bengal. There have been two previous translations of the Brahmavaivarta Puraa. The present translation is a fresh translation but the translator has subsequently compared it with the earlier translations to remain transparent to the Sanskrit itself. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg Bailey discusses his new translation of the Gaṇeśa Khaṇḍa of the Brahmavaivarta Purāṇa, one of the few texts dedicated solely to the popular elephant-headed Indian god Gaṇeśa. About the book: The first two khaas of the Brahmavaivarta Puraa (BvP) deal with Brahma and Prakti respectively. Both introducing the theology that enables Ka to be treated as identical with the supreme Brahma, and as Viu/ Narayaa in all his forms. Ultimately everything goes back to Ka as the source of power and being even including the mother goddesses who are so prolific in the text, not just in its second khaa. The fourth and final khaa treats the mythology of Ka himself, with focus on his birth, and just before this comes the Gaapatikhaa (GKh). GKh is one of the few mahapuraas that includes a separate khaa about Gaesa, with the exceptions being the two Gaapatya Puraas the Gaesa and Mudgala Puraas-and the Vinayakamahatmya of the Skanda Puraa. When one reads the other three khaas of the Puraa, it is clearly evident that the GKh fits in perfectly with the principal themes of the entire Puraa, all associated with Ka in his various manifestations and the theology of the mother goddess, especially Radha and Durga. In addition, it continues the practice in many of its chapter of expositing the application of kavacas, dhyanas, mantras and stotras, to the extent that the text is almost a handbook of devotional ritual. What is striking about the GKh is that it is only incidentally about Gaesa. Only less than ten percent of the entire text deals directly with Gaesa. It touches tangentially on his birth, the loss of his head and the gaining of an elephant head, his status as first to be worshipped in all pujas, his loss of one of his tasks at the hands of parasurama, and his cursing of the Tulasi Plant. The second half of the GKh is essentially a version of the Parasurama myth. This begins with the intention to tell as well-known episode about Gaesa reflected in his common name Ekadanta. This certainly offers a unique interpretation of its, focusing as it does on the morality of patricide and regicide, and relations between boys and their mothers. Ka is treated in a manner that can only be called theological. Theologically it is simply stating that all power is located in Viu/ Ka, but in this khaa it is seemingly extended much more than elsewhere. In addition, he is usually depicted as located in Goloka and Vdavana, with the bucolic ka receiving most emphasis in the next. The sakti teachings in this text blend constantly with the Kaite teachings, to the point that both seem to empower each other. That ka looms large is hardly a surprise given the BvP is substantially a Kaite Puraa of 14th – 15th century Bengal and then it could not have omitted existing material on the sakti, given the importance of other goddess worship in Bengal. There have been two previous translations of the Brahmavaivarta Puraa. The present translation is a fresh translation but the translator has subsequently compared it with the earlier translations to remain transparent to the Sanskrit itself. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Greg Bailey discusses his new translation of the Gaṇeśa Khaṇḍa of the Brahmavaivarta Purāṇa, one of the few texts dedicated solely to the popular elephant-headed Indian god Gaṇeśa. About the book: The first two khaas of the Brahmavaivarta Puraa (BvP) deal with Brahma and Prakti respectively. Both introducing the theology that enables Ka to be treated as identical with the supreme Brahma, and as Viu/ Narayaa in all his forms. Ultimately everything goes back to Ka as the source of power and being even including the mother goddesses who are so prolific in the text, not just in its second khaa. The fourth and final khaa treats the mythology of Ka himself, with focus on his birth, and just before this comes the Gaapatikhaa (GKh). GKh is one of the few mahapuraas that includes a separate khaa about Gaesa, with the exceptions being the two Gaapatya Puraas the Gaesa and Mudgala Puraas-and the Vinayakamahatmya of the Skanda Puraa. When one reads the other three khaas of the Puraa, it is clearly evident that the GKh fits in perfectly with the principal themes of the entire Puraa, all associated with Ka in his various manifestations and the theology of the mother goddess, especially Radha and Durga. In addition, it continues the practice in many of its chapter of expositing the application of kavacas, dhyanas, mantras and stotras, to the extent that the text is almost a handbook of devotional ritual. What is striking about the GKh is that it is only incidentally about Gaesa. Only less than ten percent of the entire text deals directly with Gaesa. It touches tangentially on his birth, the loss of his head and the gaining of an elephant head, his status as first to be worshipped in all pujas, his loss of one of his tasks at the hands of parasurama, and his cursing of the Tulasi Plant. The second half of the GKh is essentially a version of the Parasurama myth. This begins with the intention to tell as well-known episode about Gaesa reflected in his common name Ekadanta. This certainly offers a unique interpretation of its, focusing as it does on the morality of patricide and regicide, and relations between boys and their mothers. Ka is treated in a manner that can only be called theological. Theologically it is simply stating that all power is located in Viu/ Ka, but in this khaa it is seemingly extended much more than elsewhere. In addition, he is usually depicted as located in Goloka and Vdavana, with the bucolic ka receiving most emphasis in the next. The sakti teachings in this text blend constantly with the Kaite teachings, to the point that both seem to empower each other. That ka looms large is hardly a surprise given the BvP is substantially a Kaite Puraa of 14th – 15th century Bengal and then it could not have omitted existing material on the sakti, given the importance of other goddess worship in Bengal. There have been two previous translations of the Brahmavaivarta Puraa. The present translation is a fresh translation but the translator has subsequently compared it with the earlier translations to remain transparent to the Sanskrit itself. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

“This Bhagavata Purana is as brilliant as the sun, and it has arisen just after the departure of Lord Krishna to His own abode, accompanied by religion, knowledge, etc. Persons who have lost their vision due to the dense darkness of ignorance in the age of Kali shall get light from this Purana.” (Shrimad Bhagavatam, 1.3.43)

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For a deep dive into the Ramsay brothers' Purana Mandir, we've enlisted the help of Josh Hurtado, the exalted potentate of Indian cinema (ok, slight exaggeration, but he's definitely one of the most knowledgeable Westerners on this subject matter). In addition to the film, we discuss the best way to watch one of these films and some of the cultural idiosyncrasies that make films from India so unique. Josh's Twitter Spaces talk with Cinema Adda (limited time): https://twitter.com/HatefulJosh/status/1672736565729062913 Follow Josh-  Letterboxd: https://letterboxd.com/hatefuljosh/ Twitter: https://twitter.com/HatefulJosh and https://twitter.com/PotentateFilms Reviews on: https://screenanarchy.com/globalvoices/j-hurtado/ Join our discord! https://discord.gg/F8WsTzE9qt Follow this podcast on Instagram and Facebook @unsunghorrors. Follow Lance on Instagram and Letterboxd @lschibi Lance's shop: https://lanceschibi.bigcartel.com/ Follow Erica on Letterboxd or Instagram @hexmassacre Logo by Cody Schibi Part of the Prescribed Films Podcast network (www.thepfpn.com)    

In this episode of Weirdhouse Cinema, Rob and Joe dive into the Bollywood horror films of the Ramsay brothers with 1984's “Purana Mandir.” Can Suman and Sanjay overcome an evil curse and a monstrous warlock to save their relationship? Find out…See omnystudio.com/listener for privacy information.

Title: Effects of the Three Gunas14th Chapter: Verses 10, 11, 12, 13, 14, 15; 6th chapter verses 37, 38, 39, 40, 41, 42Our temperaments are determined by a combination of the three gunas – sattva guna, rajo guna and tamo guna. Sattva guna is the highest and most sublime. It manifests itself as wisdom and serenity. Rajo guna manifests itself as dynamism and ambition. Tamo guna manifests itself as laziness and delusion.Gunas are not visible and cannot be physically verified. We can infer which guna is predominant in a person by observing his external temperament.Of these three gunas, Sattva guna is the most refined, healthy and good. However, even Sattva guna binds, as the person endowed with sattva guna feels attached to sukha – he has a natural tendency to seek inner serenity and poise.10th verse: “In a person who is serene, detached and contented, sattva guna dominates. Rajo guna and tamo guna are almost non-functional. In such a person, laziness and confusion, which are manifestations of tamo guna, disappear. Similarly, hyperactive nature, manifestation of rajo guna, disappears.”The 11th verse refers to the five senses of perception, five senses of action, mind and intellect as the doors of the body, or the instruments through which one acts. A person endowed with sattva guna is able to restrain all these instruments of action – in him, these doors are illumined by light which represents serenity, wisdom and insight. He has a sense of inner fulfillment and contentment.12th and 13th verses: “Greed, craving, hyper activism, and restlessness prevail in a person predominated by rajo guna. Ignorance, laziness, negligence and delusion prevail in a person predominated by tamo guna.”Vyasa in Patanjali Yoga Sutras classifies the human mind into five categories: (1) Kshipta (scattered) (2) Mudha (dull) (3) Vikshipta (partially focused) (4) Ekagra (one-pointed) (5) Niruddha (fully focused). The first two are manifestations of tamo guna, viskhipta is manifestation of rajo guna, and ekagra is manifestation of sattva guna. In niruddha state, one transcends all the three gunas.The characteristics describes in the 12th and the 13th verses have parallels to the nine antarayas describes in Patanjali Yoga Sutras. Antaraya means obstacles to spiritual growth. Patanjali refers to the following obstacles, which cause the mind to wander - Disease, mental laziness, doubt, lack of interest, sloth, clinging to sense pleasures, false perception, lack of concentration, and unsteadiness in concentration.14th verse: “If a person dies when sattva guna is predominant, he goes to higher regions and stays with higher beings. Later, he is born in a surrounding where he can continue his spiritual journey.”15th verse: “If a person dies when rajo guna is predominant, he is born among people who are hyper-active. If a person does when tamo guna is predominant, he is born among the lower species.”At death, even though our senses of perception and action are gone, the tendencies that they created are stored in the Antahkarana (mind, intellect, memory and ego). These stored tendencies in the Antahkarana are never lost and are born again.In the 6th chapter, in the 37th, 38th and 39th verse, Arjuna asks: “Suppose a person is endowed with shraddha and is making an earnest effort to control his mind. Yet, he fails to attain perfection. What happens to such a person? “In answer to Arjuna's questions, Lord Krishna says that the one who is desirous of entering the path of Yoga, will be born in a pure and prosperous family, where his parents are spiritually oriented, and where his unfulfilled desires can be fulfilled. The one who is advanced and has entered the path of spiritual life, will be born in a family that has a tradition of producing great spiritual aspirants.Bhagavata Purana is the story of King Parikshit who has seven days left to live because of a curse. The entire Purana is a response to his question to Sage Suka – “What should a dying man do? How should he live the rest of his life?” Suka says: “One should be able to live life in such a way that he can leave the body with a smile on his face and with holy thought in his mind.” One is able to depart in such a manner only if sattva guna predominates in him.