Dictionary of Hindu Lore and Legend by Anna L. Dallapiccola

By Anna L. Dallapiccola

Presents over 1,000 available, informative and authoritative entries that resolution any significant query approximately Hinduism, it's mythology, practices, customs and legislation India is so monstrous that every of its areas is a land in its personal correct, with varied languages, customs, and cultural traditions. but shared social structures, firmly grounded in non secular ideals, give you the cohesive strength that unites over one thousand million humans of alternative backgrounds. Hinduism is the most faith of India, and this new dictionary presents an unequalled perception to all facets of Hindu lifestyles, previous and current. a few thousand illustrated entries elucidate the historical past of Hinduism, its mythology, artwork, structure, faith, legislation, and folklore. the advance of Hinduism is gifted from its historic manifestations in neighborhood cults and epic poems to modern day fairs and customs world wide. The advanced dating among the multitude of gods, goddesses, and semi-divine beings is delivered to gentle within the articles on faith and mythology, whereas its wealthy imagery is published within the entries on structure, sculpture, portray, dance, and theater, together with artistic endeavors illustrated the following for the 1st time. meals and etiquette, the caste process, Ayurvedic drugs, love and marriage, and modern practices are only many of the themes explored. Maps and entries at the significant towns and areas of pilgrimage in India, in addition to a concise chronology and a listing of relevant dynasties, offer a transparent review of the geography, heritage, languages, and colourful spiritual and cultural traditions of Hinduism. This quantity will function a full of life and vital consultant for these getting ready a trip to India, for Indians residing within the West, for college kids, or for somebody attracted to the subcontinent. 275 b/w illustrations.

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But it is the title on which attention should first be focused: Shir ha-Shirim, The Song of Songs, a superlative expression which declares that what is claimed for the work is that it is the finest of all songs––the song of songs. Thus, in the context of the biblical literature––compiled by ‘editors’ who understood the material in a way hardly possible for us––this title can only mean that the work is the supreme example of singing the praises of God. The word shir, including both the noun ‘song’, and the verb ‘to sing’, occurs about 125 times14 in the Hebrew Bible in the context of praising God.

In the Old Testament Moses is pure ‘Bride’ in relation to God in, for instance, his unwillingness to act (Exod. 3: 7–4: 13)––a characteristic of the Bride temperament which desires not so much to act as to be acted in. Among the prophets, there is not a hint of bridal imagery in Amos, whereas Hosea, no less in anguish about the sins of the people, is a principal witness to the metaphor of marriage between God and Israel. The perception that the biblical literature may yield two radically different accounts of the same myth, one dominated by the masculine principle and the other by the female, is expounded by Ilana Pardes in an essay, ‘The Biography of Ancient Israel: Imagining the Birth of a Nation’, in which she 18 The Song of Songs and the Eros of God examines the contrasts between the deliverance of the children of Israel from Egypt in Exodus, and the adoption of the foundling by God in Ezekiel 16.

It was in this changed climate that the cult of the Virgin Mary began to flourish. The development of Rabbinic Judaism in the early centuries CE was marked by the dominance of the male principle which, not without exception, continued throughout the first millennium. But sometime circa the seventh century the meaning of the term Shekhinah––which had always meant simply God himself, that is, God in so far as he is present in a particular place or at a particular event––began to undergo a change. Early medieval Jewish philosophers saw a danger to pure monotheism in the concept of the Shekhinah as it had developed and they all, from Saadya to Maimonides, declared that the Shekhinah was God’s free creation, and therefore, as a creature, had no part in the divine being or unity of God.

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