Gandhiism vs. Gandhigiri : the Life and Afterlife of the Mahatma

This paper, which contrasts Rajkumar Hirani's Lage Raho Munna Bhai (2006) with Richard Attenborough's Gandhi (1982), is as much a celebration of Bollywood as of Gandhi. It is to the former that the credit for most effectively resurrecting the Mahatma should go, certainly much more so than to Gandhians or academics. For Bollywood literally revives the spirit of Gandhi by showing how irresistibly he continues to haunt India today. Not just in giving us Gandhigiri-a totally new way of doing Gandhi in the world-but in its perceptive representation of the threat that modernity poses to Gandhian thought is Lage Raho Munna Bhai remarkable. What is more, it also draws out the distinction between Gandhi as hallucination and the real afterlife of the Mahatma. The film's enormous popularity at the box office-it grossed close to a billion rupees-is not just an index of its commercial success, but also proof of the responsive chord it struck in Indian audiences. But it is not just the genius and inventiveness of Bollywood cinema that is demonstrated in the film as much as the persistence and potency of Gandhi's own ideas, which have the capacity to adapt themselves to unusual circumstances and times. Both Richard Attenborough's Oscar-winning epic, and Rajkumar Hirani's Lage Raho Munna Bhai show that Gandhi remains as media-savvy after his death as he was during his life.Este artículo, que contrasta dos películas, Lage Raho Munna Bhai (2006) de Rajkumar Hirani y Gandhi (1982) de Richard Attenborough, celebra tanto el cine de Bollywood como la figura de Gandhi. El mérito por haber resucitado al Mahatma de una forma muy eficaz debería adjudicarse a la primera de las dos, mucho más que a los expertos de Gandhi o a los académicos. Esto es debido a que Bollywood literalmente reanima el espíritu de Gandhi demostrando cómo la sombra de su persona persiste en la India de hoy. Lage Raho Munna Bhai destaca no solamente porque nos presenta Gandhigiri - una manera totalmente nueva de hacer de Gandhi en el mundo - sino en la representación suspicaz de la amenaza que el pensamiento de Gandhi plantea para la modernidad. Además traza una diferencia entre Gandhi como una alucinación y la existencia del Mahatma después de su muerte. La buena aceptación de la película - las ganancias de los cines ascendieron a casi un billón de rupias - no solamente indica el éxito comercial, sino que pone de manifiesto hasta qué punto caló hondo entre el público indio. Sin embargo, la película no demuestra solo el genio y la inventiva del cine de Bollywood, también celebra la persistencia y el poder de las ideas de Gandhi, que han podido adaptarse a unas circunstancias y a un tiempo poco corrientes. Tanto la épica de Richard Attenborough, ganadora de un óscar, y Lage Raho Munna Bhai de Rajkumar Hirani demuestran que Gandhi sigue sabiendo utilizar los medios de comunicación con la misma astucia que empleaba durante su vida que después de su muerte

TAGORE’S IDEA OF WORLD LITERATURE 1 A IDEIA DE LITERATURA MUNDIAL DE TAGORE

Though it seems to have re-surfaced in a dramatic way,Rabindranath Tagore’s essay remained untranslated till 2001.Though Tagore only comes to world literature in the end, theessay is an important statement of Tagore’s view of the purposeof human life and the role art in its fruition; indeed, we mightconsider the essay to be a concise formulation of Tagore’saesthetic philosophy itself. What Tagore meant by worldliterature was the essential unity of human experience andtherefore of human creativity

Gandhiism vs. Gandhigiri : the Life and Afterlife of the Mahatma

This paper, which contrasts Rajkumar Hirani's Lage Raho Munna Bhai (2006) with Richard Attenborough's Gandhi (1982), is as much a celebration of Bollywood as of Gandhi. It is to the former that the credit for most effectively resurrecting the Mahatma should go, certainly much more so than to Gandhians or academics. For Bollywood literally revives the spirit of Gandhi by showing how irresistibly he continues to haunt India today. Not just in giving us Gandhigiri-a totally new way of doing Gandhi in the world-but in its perceptive representation of the threat that modernity poses to Gandhian thought is Lage Raho Munna Bhai remarkable. What is more, it also draws out the distinction between Gandhi as hallucination and the real afterlife of the Mahatma. The film's enormous popularity at the box office-it grossed close to a billion rupees-is not just an index of its commercial success, but also proof of the responsive chord it struck in Indian audiences. But it is not just the genius and inventiveness of Bollywood cinema that is demonstrated in the film as much as the persistence and potency of Gandhi's own ideas, which have the capacity to adapt themselves to unusual circumstances and times. Both Richard Attenborough's Oscar-winning epic, and Rajkumar Hirani's Lage Raho Munna Bhai show that Gandhi remains as media-savvy after his death as he was during his life.Este artículo, que contrasta dos películas, Lage Raho Munna Bhai (2006) de Rajkumar Hirani y Gandhi (1982) de Richard Attenborough, celebra tanto el cine de Bollywood como la figura de Gandhi. El mérito por haber resucitado al Mahatma de una forma muy eficaz debería adjudicarse a la primera de las dos, mucho más que a los expertos de Gandhi o a los académicos. Esto es debido a que Bollywood literalmente reanima el espíritu de Gandhi demostrando cómo la sombra de su persona persiste en la India de hoy. Lage Raho Munna Bhai destaca no solamente porque nos presenta Gandhigiri - una manera totalmente nueva de hacer de Gandhi en el mundo - sino en la representación suspicaz de la amenaza que el pensamiento de Gandhi plantea para la modernidad. Además traza una diferencia entre Gandhi como una alucinación y la existencia del Mahatma después de su muerte. La buena aceptación de la película - las ganancias de los cines ascendieron a casi un billón de rupias - no solamente indica el éxito comercial, sino que pone de manifiesto hasta qué punto caló hondo entre el público indio. Sin embargo, la película no demuestra solo el genio y la inventiva del cine de Bollywood, también celebra la persistencia y el poder de las ideas de Gandhi, que han podido adaptarse a unas circunstancias y a un tiempo poco corrientes. Tanto la épica de Richard Attenborough, ganadora de un óscar, y Lage Raho Munna Bhai de Rajkumar Hirani demuestran que Gandhi sigue sabiendo utilizar los medios de comunicación con la misma astucia que empleaba durante su vida que después de su muerte

Mysticism in Indian English Poetry (Sri Aurobindo, Puran Singh, Sri Ananda Acharya, Krishnamurti, India)

359 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1985.Defining mysticism as the quest for, and the attainment of, complete self-realization, this dissertation examines the work of four major and nine minor Indian English mystical poets. The study devotes a chapter each to mysticism in the poetry of Sri Ananda Acharya, Jiddu Krishnamurti, Puran Singh, and two chapters to Sri Aurobindo, the former on his mystical poetry, except Savitri, and the latter on the epic. A long chapter examines the minor mystical poets, Swami Rama Tirtha, Swami Paramananda, Paramahansa Yogananda, Swami Vivekenanda, Swami Sivananda, Mohan Singh, Nissim Ezekiel, Girdhari Tikku, and Syed Amanuddin.In the chapters on the major poets, each poet's mysticism is considered as a unity with a four-fold division consisting of the mystical experience itself, other goals besides the mystical experience, the way to these goals, and the incentives to spiritual life. These chapters also contain a biographical sketch of the author, and a description of his major works. In the case of the minor mystical poets, little biographical and bibliographical detail is provided, and the focus is primarily on the mystical experience. The introduction offers a historical perspective on mysticsm in Indian English poetry, explains the key terms and the methodology used, and clarifies the bases for the selection of the chosen poets. The conclusion outlines the common features of the mystical experience in these poets, which include dissolution or disintegration of the ego or the limited self; union with the Absolute, whether known as the Beloved, God, Guru, or Truth; a transformation and expansion of consciousness; an experience of ineffable joy and bliss; and the ending of suffering, confusion, and doubt. It also synthesized a universe in which these poets function by comparing the major patterns of imagery used by them. The Appendix is a partially annotated bibliography of Indian English religious poetry. To sum up, this is an exploratory and descriptive study, highlighting an area that has hitherto received little attention.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD