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In bhakti school literature, the term is typically used for any deity to whom prayers are offered. A particular deity is often the devotee's one and only Bhagavan. [2] The female equivalent of Bhagavān is Bhagavati. [4] [5] To some Hindus, the word Bhagavan is an abstract, genderless concept of God.
The term bhakti, in Vedic Sanskrit literature, has a general meaning of "mutual attachment, devotion, fondness for, devotion to" such as in human relationships, most often between beloved-lover, friend-friend, king-subject, parent-child. [13]
The academic discipline of women's writing is a discrete area of literary studies which is based on the notion that the experience of women, historically, has been shaped by their sex, and so women writers by definition are a group worthy of separate study: "Their texts emerge from and intervene in conditions usually very different from those which produced most writing by men."
There were, however, late nineteenth and early twentieth-century female devotees of Austen, especially in the New Woman movement and among women's suffrage activists. [ 6 ] During the 1930s and 1940s, when Austen's works were canonised and accepted as worthy of academic study, the term began to change meaning.
The name Ardhanarishvara means "the Lord Who is half woman." Ardhanarishvara is also known by other names like Ardhanaranari ("the half man-woman"), Ardhanarisha ("the Lord who is half woman"), Ardhanarinateshvara ("the Lord of Dance (Who is half-woman), [1] [2] Parangada, [3] Naranari ("man-woman"), Ammaiyappan (a Tamil Name meaning "Mother-Father"), [4] and Ardhayuvatishvara (in Assam, "the ...
The literature on Shakti theology grew in ancient India, climaxing in one of the most important texts of Shaktism called the Devi Mahatmya. This text, states C. Mackenzie Brown – a professor of Religion, is both a culmination of centuries of Indian ideas about the divine woman, as well as a foundation for the literature and spirituality ...
Devi identifies herself in the Devi Upanishad as Brahman in her reply to the gods stating that she rules the world, blesses devotees with riches, that she is the supreme deity to whom all worship is to be offered and that she infuses Ātman in every soul. [23]
A. S. Altekar states that, "the custom of association of dancing girls with temples is unknown to Jataka literature. It is not mentioned by Greek writers, and the Arthashastra, which describes in detail the life of Ganika, is silent about it." [1] The tradition of female artists in temples is said to have developed during the 3rd century CE.