अनन्त का छंद – 7 प्रसन्न कुमार चौधरी घ. चेतन अस्तित्व सामान्य 96. अपने जीवनयापन के क्रम में मनुष्य निरन्तर अपनी समृति में डूबता-उतराता रहता है, अपने होने के अनेको अर्थ उलीचता जाता है, अपने को परिभाषित और पुनर्परिभाषित करने की ज़द्दोज़हद में उलझा पाता है । मैं नहीं जानता मैं क्या हूँ, मेरा मन भटकता फिरता है । ऋग्वेद के एक श्लोक का कुछ ऐसा ही भावार्थ है । स्मृति ही भौतिक जीवन के परस्पर विरोधी…
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It’s hard to know where to start in tallying up the explosive revelations in the Panama Papers, an analysis of leaked documents from global law firm Mossack Fonseca revealed by the International Consortium of Investigative Journalists (ICIJ).
Ladies of the Zenana (Womens Quarters) on a Terrace at Night - 17th Century Rajput Painting
Artist : Ruknuddin
Ruknuddin was active at the court in Bikaner ca. 1650-97. especially under the patronage of Anup Singh. Ruknuddin was a master of color and patterns. In this work, the exquisitely rendered folds of Vishnu’s robe, the semitransparent fabrics of the women presenting gifts to the divine couple, and the subtle shading of the faces are obviously reminiscent of Mughal painting. Beautiful women, even in a secular context, were among Ruknuddin’s favorite subjects. If one compares such pictures from the 1660s and 1670s as a group, one is particularly struck by the porcelain-like treatment of the faces that recurs in works of this period. Ruknuddin accompanied the rulers of Bikaner on their military campaigns to the Deccan, which were conducted as part of their contractural service to the Mughal court. He is associated with a number of portraits painted there in a distinctly Mughal manner, reflecting his exposure to further currents of influence. (via)
—Jessica Greenbaum, Poetry, July/August 2012 At the Los Angeles Review of Books, Lisa Russ Spaar reviews Greenbaum’s The Two Yvonnes, mentioning “the abecedarian ‘A Poem for S.,’” above.
The Pivot to Class
King articulated an anti-capitalist analysis of the U.S.
Source: The Pivot to Class
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Untitled by Ivana Stojakovic Via Flickr:
Haile Gerima: I’m not sure I deserve such an honor because of the few films I have done in the world. I didn’t have the resources to have done more. Sankofa (1993), I should have done at least ten sequels because I have fifteen scripts. And so, in a world where one is denied the tools and resources, in that kind of dire state of struggle to gain my right to tell a story, to think of such very insightful emotional dynamics in my work is really a blessing. Now for me, I am a human being who’s been lied to. So when I shoot, it’s, for me, a rifle, it’s a gun, it’s an explosion. Every film is a staircase to respond to my interest to cleanse my own state of occupation. It’s kind of a decolonizing journey, and no one is going to finance me, no one is going to say, “Here’s money to tell another story.” Unless she drives Miss Daisy I have no chance of being financed by the present arrangement.
Read: Love Visual: A Conversation with Haile Gerima on Aperture Magazine’s website.
The Opposition Path and China’s Future.
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'Naitaavad enaa, paro anyad asti' (There is not merely this, but a transcendent other). Rgveda. X, 31.8.
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