Jataka stories (stories about the previous births of the Buddha) are very popular in Theravada Buddhist countries, where they are found in both canonical texts and later compositions and collections, and are commonly used in sermons, children's books, plays, poetry, temple illustrations, rituals and festivals. Whilst at first glance many of the stories look like common fables or folktales, Buddhist tradition tells us that the stories illustrate the gradual path to perfection exemplified by the Buddha in his previous births, when he was a bodhisatta (buddha-to-be). Jataka stories have had a long and colourful history, closely intertwined with the development of doctrines about the Buddha, the path to buddhahood, and how Buddhists should behave now the Buddha is no more. This book explores the shifting role of the stories in Buddhist doctrine, practice, and creative expression, finally placing this integral Buddhist genre back in the centre of scholarly understandings of the religion.
Ťhe Panćatantra, Jatakas, Kathāsaritasāgara, Hitopadeśa, Ramayana, Mahabharata, and Eesop’s tales – the ancient folk compendiums have knowledge and wisdom for the people of all spheres. They are valuable for all ages with immense light over much darkness. Ťhe Panćatantra is a collection of five books by Vishnu Sharma who has educated three dull minded princes and able for kingdom. Manoj Das, an eminent Indian author who panned his writing to Indian literature in both Odia and English. Folk compendiums fascinate him and as a result of this fascination he writes short stories like Chasing the Rainbow: Growing up in an Indian Village, Selected Fiction, Tales told by Mystics, Mystery of the Missing Cap and Other Stories, The Bridge in the Moonlit Night and Other Stories, etc, the book is an illuminated study of short stories of Manoj Das and Indian Folklore that are not simply tell/story to listen.
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists’ rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cézanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist’s body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art.
More Than I Can Bear If Not for God is part autobiography and mostly personal memoir of the author and his family. The tragedy that destabilized and tested the faith of the author and his family in God is discussed. The valuable lessons of leaning on God in the face of conflict with his academic mentor, medical doctors, and the immigration authorities, strengthened their relationship and trust in God. The family’s ordeal devastated them and revealed to them that the events and trials they dealt with were proof of God’s power and ability to purify believers, even through the fiery oven, for the glory and fulfillment of God’s plan and purpose.
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