avatara


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avatara

avatara (ăvˌətârə) [Skt.,=descent], incarnations of Hindu gods, especially Vishnu. The doctrine of avatara first occurs in the Bhagavad-Gita, where Krishna declares: “For the preservation of the righteous, the destruction of the wicked, and the establishment of dharma [virtue], I come into being from age to age.” Vishnu is believed to have taken nine avatara, in both animal and human form, with a tenth yet to come. The avatara of Shiva are imitations of those of Vishnu.
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(104) See Marcelle Saindon, 'Le Buddha comme neuvieme avatara du dieu hindou Visnu', Studies in Religion/Sciences Religieuses 32, 3 (2003): 304-8.
An inclusion of this connection between bhakti and the role of an avatara would have further substantiated the arguments put forward by Horstmann, especially with regard to that aspect of Jaisingh's policy which is considered to be the central concern of his kingship and gives the book its title: "Der Zusammenhalt der Welt" (coherence of the world).
First published in Dutch as De niet-Westerse Jezuz: Jezus als bodhisattva, avatara, goeroe, profeet, voorouder of genezer?
She found it increasingly difficult as the years passed to think of herself as "Avey" or even "Avatara"?
The Ibos' geographical mobility and Avatara's spiritual agency stand in stark contrast to the social and economic injustice that traps Avey and her husband Jay/ Jerome, as well as many other African Americans) As Eugenia DeLamotte explains, Avey's memories of her life depict "contemporary African Americans' ostensible mobility through labor in the American economic system as silencing African American voices, masking African American reality, and replacing meaningful journeys with empty, parodic journeys equivalent to stasis" (83-84).
Whenever evil forces threaten to destroy human values, an Avatara or a descent of the divine in human form appears.
(43.) The tenth avatara of Vishnu, Kalki, will appear riding a white horse and brandishing a blazing sword at the end of the Age of Strife to restore right and justice.
First up are the Three Mantras, preludes to each of the acts of Foulds' abandoned Sanskrit opera Avatara. Never played until 1988, well over 50 years after their composition, these movements fizz with coruscating, modernistic energy, driving rhythms reminiscent of Stravinsky's Rite of Spring and Prokofiev's Scythian Suite.
Its present form dramatises several legends centring on the emanations (avatara) of Visnu, without focussing on Krsna, though.
Like Beloved, the story is "built up from fragments", in this case as Avey gradually makes connections and is guided by others to make connections among her fragmented memories, and between these memories and her present experiences, eventually reconstructing her self as Avatara - an avatar of all the past and present consciousnesses that have contributed to the making of Avey Johnson.