On Corelations, Cokernels, and Coequations (original) (raw)
Ṛgvedīya-Bonda-Lakṣaṇa (387, 789, 938) The numbers 387, 789 and 938 refer to Parameswara Aithal’s descriptive bibliography “Veda- Lakṣaṇa”. (387) Ṛgvedīya-Bonda-Lakṣaṇa: “Ascribed to Śaunaka. The text is identical with the Pada-gāḍha published by Satyavrata Samasrami in the Sanskrit journal Uṣā “(1895). (789) Pada-Gāḍha: “Ascribed to Śākalya or to Śaunaka. A treatise consisting of words occurring in the Ṛgveda and presenting certain common peculiarities, regarding accent, endings, etc.” (938) Bonta-(or Bontha- or Bonda-)Lakṣaṇa: “Enumeration of instances of peculiarities in pronunciation, spelling, accents, etc. in the Ṛgveda. The words have been arranged according to their repetition, i.e. twice, thrice and so on, up to 96 times. Instances in each group are given in the order of the Ṛgveda. The text is more or less the same as the one published by Satyavrata Samasrami under the title Pada-gāḍha.” Structure of Ṛgvedīya-Bonda-Lakṣaṇa (387): The first 3 khaṇḍas are called Sarvasamānāni, Sarvavivṛttāni and Sarvanavatpadāni. The text continues with words which are repeated twice (Dvisaṁkhyākāni) consisting of 8 khaṇḍas 2(8). Repetitions of words continue 3(16), 4(8), 5(8), 6(4), 7(4), 8(3), 9(7), 10(4), 11(2), 12(2), 13(4), 14(6), 15(2), 16(5), 17(2), 19(2), 21(1), 22(2), 24(2), 30(1), 31(1), 44, 46, and 50. The next sections are called Pūrvarūpāṇi (5), Akhaṇḍitāni (2), Khaṇḍitāni (2), Dvaipadāni, Padagāḍhaḥ (14) and Rephakārikā.
Totalitarianism and music in the context of the 20th century
Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, 2013
The article Totalitarianism and Music evaluates the system of totalitarianism and realization of its ideologies in arts. The article does not aspire to provide comprehensive and detailed analysis of totalitarianism, its purpose is to create an informed impetus for further in-depth studies of totalitarianism, the objectives are to (1) comprehend the totalitarian systems and the musical culture politics established in 1930ies by the most notable examples of totalitarianism – USSR and Germany (3rd Reich), (2) to compare these examples, highlighting the main ideological conceptions of the realization of the aforementioned culture politics (socialistic realism, songs of masses, degenerate music, censorship, ceremonial, music outside the law, et al), (3) to observe differences and similarities in the perceptions of the ideological criteria of “correct” art (principle of party and principle of nationalism), (4) to define the place and role of the artist – creative personality – in these sy...