Saturday, March 4, 2017

Why bra-panties are not bombs- TOI


Why bra-panties are not bombs

 | Feb 5, 2017, 10.00 AM IST 
Link- http://timesofindia.indiatimes.com/home/sunday-times/why-bra-panties-are-not-bombs/articleshow/56975342.cms

A college play was at the centre of a controversy recently for using the two words that denote women's underwear. Sunday Times looks at our long tradition of squeamishness


Halfway through 36 Chowringhee Lane, Aparna Sen's classic work, there was a fleeting but memorable scene: the ageing and lonely Violet Stoneham (Jennifer Kendall) has offered the use of her drawing room to a young poet who is looking for some intimacy with his girlfriend. As she readies to leave home for work, Violet asks to be excused, quickly goes to the clothesline and pulls off her bra and panty and shoves it into a laundry bag.



We had laughed in the darkened hall then; it was a greying, granny bra and panty and Violet was too old to play coy, but we understood. Some strong social code that we absorbed from our mothers, grandmother and aunts was deeply chiselled deep into our sensibility - women's underclothes cannot be publicly visible or talked about, certainly not in mixed company.



Remember Lucille Ball once asking her daughter: "Where is my B-R-A?" looking pointedly at her son who tells her poker-faced: "It is hanging on the L-I-N-E mom."



Decades down the line, the squeamishness appears to be still in place. The panel judging a university theatre festival hosted by Delhi government's Sahitya Kala Parishad reportedly threw out a play produced by Kamala Nehru College for using the words bra and panty along with "other cuss words". And this at a time when the world is celebrating Beyonce's already-iconic baby bump photo in burgundy bra and ruffled panties (mismatched, please note).



The sarkari decision, which smacked of the whole "haw, hai" attitude to any mention of women's underthings, was rolled back after widespread condemnation. As the spirited response from the girls pointed out, if you said banian and chaddi instead you wouldn't be asked to wash out your mouth with soap.



Spunky theatre actor Mallika Taneja, who is a product of college dramatics, has gone beyond saying bra and panty on stage — she actually appears on stage stripped down to her underwear in her scathingly funny 10-minute act, Thoda Dhyan Se, and proceeds to swaddle herself in a suffocating shroud of clothes to "stay safe" on streets. The play is a resounding hit especially in women's colleges where it is always greeted with howls of laughter and support.



"I find it embarrassing that the judges are embarrassed. We put a panty on the stage for our play on incest more than a decade ago when I was in college, for heaven's sake. University theatre is a place for bold experiments that challenge all kinds of stereotypes. This is just another episode in the increasing clampdown that all arts are facing," she says.\



It is clear where the horror of having the two words thrown at you comes from. There are some unwritten, accepted social conventions around all things intimately feminine. But to start with the bra and panty. First, they can't be openly hung on an open clothesline, you have to shroud them with a towel. Because who knows what kind of idea they could give people about you by implying unmentionable body parts?



If you carried your washing, you picked the farthest, darkest corner to hang your underthings. If there were men around you left them damp in the bathroom till the coast was clear. Considerate men would look away. None of these shifty rigours applied to the janghia, langot that could wave breezily in the sun.

Recall too the cringe-worthy experience of shopping in the callow Libertina years before the word lingerie came to be widely used, before women in uniforms sold you multinational stuff at malls and before online shopping made bra shopping a breeze. Usually it was some benign uncleji who sold undergarments in the generic "Ladies Fashion Shop" alongside bindi, bangles and safety pins. Some would have a woman assistant, others would do the deed themselves. "Size?" he would ask matter-of-factly, half the eye looking you in the face and the other half gliding down to assess for himself. And you grabbed whatever you got and ran for your life to get over the embarrassment of it all.


It is not just the small clothes that make us squirm. There are other things that are firmly marked Ladies Only - these are all too femininely mysterious and icky for common consumption.




One of the funniest scenes in the 50s classic Chalti ka Naam Gaadi involved Anoop Kumar, painfully shy of women, picking up Madhubala's lipstick by mistake, leaping up in horror as realises what it is and screaming 'Kartooooos!' The ordinary sanitary napkin is one such kartoos for the general population.


As Twinkle Khanna pointed out in her Sunday Times column , sanitary pads are treated like radioactive isotopes at shops, to be packaged first in newspapers and then handed out in a black plastic bag in case anyone saw it and figured that you bled once every month. The other "kartoos" is all mention of blood in periods - recall the online spoofs last year on the clean blue "blood" in all sanitary napkin ads? Then there is vagina, lactation...the list is a long one.


Responding to the masculine revulsion that greeted the graphic ads for her company's period panties, US entrepreneur Miki Agarwal had this to say: "We were talking about what happens to half the world's population here." Indeed, half the world's population uses, washes and changes you-know-what and you-know-what every day. Get used to it.





Multiple Truths- Devdutt Patnaik- Scroll and TOI

A plea for ‘alternative facts’: When truth is singular it becomes a territory and thus, a battlefield

February 13, 2017, 6:45 AM IST  in TOI Edit Page | Edit PageIndia | TOI LINK- http://blogs.timesofindia.indiatimes.com/toi-edit-page/a-plea-for-alternative-facts-when-truth-is-singular-it-becomes-a-territory-and-thus-a-battlefield/
Once upon a time, there was a girl who heard from all her relatives that her father was a loving and kind husband, father, son and friend, who died young under tragic circumstances. She grew up adoring this absent father.
During her teenage years, the girl learned the police had killed her father in an encounter. That he was a murderer who tried to escape from jail during his trial. What was the truth, she wondered: was her father the good person of the stories she heard as a child, or was he the criminal as per all newspaper reports?
Then, as an adult, she learned from various activists and politicians of the dominance of certain privileged communities who controlled the state police and legal apparatus, who branded those who spoke up against the system as criminals, and shot them if they did not submit. Suddenly, the girl realised her father was a revolutionary, a misunderstood hero, who sought the betterment of society and was crushed by evil forces.
What is the truth? The family memory, or the newspaper report, or the narrative of the activist or politician?
The family memory, where the father is the hero, is pre-modern truth. The newspaper report, where the father is the villain, is the modern truth, based on facts. The activist or political narrative, where the father is the victim, is the postmodern truth that locates fact in an ecosystem of power. Things get even more complicated depending on whether the girl is Dalit, Rajput, Tamil, or Muslim. For who is allowed to be a victim?
Who decides what is truth?
Academicians and journalists typically have strong views on what is truth, who should be victims, and so are shocked when the electoral process unfolds a worldview quite contrary to their own. As words like post-truth and alternative-facts emerge after the US presidential elections, truth has clearly become a territory. And it is evident the world is being divided into two groups, each one accusing the other of propagating falsehood, or should we say myth-making. Underlying this accusation is the rather contentious word, truth.
In my work as a mythologist, the idea of truth has always fascinated me. For this word is a religious concept, not a scientific one. In science, there is no truth, there are only measurable and verifiable objective facts that inform knowledge. Facts are always located outside the human mind, untainted by human perception, hence the value placed on measuring instruments and the disdain for subjectivity. As more facts are gathered, knowledge expands. And since the universe is infinite, a good scientist knows that all knowledge is incomplete, valid only in a certain frame of reference, and based on certain assumptions. In fact, new facts can render old facts, and old knowledge, invalid. We are constantly learning.
The words “knowledge” and “truth” are used interchangeably. But knowledge is fluid and truth is seen as fixed. Initially, the source of truth was the mother who gave birth and nurtured the child. Then it was the alpha male who provided for the family. Then the leader behind whom the tribe rallied itself to ensure survival, then the shaman whose visions located truth outside humanity in something supernatural. The shaman became the priest who legitimised the king’s rule, by making him the representative of the supernatural on earth. But then came the philosopher, who rejected the mystical visions, and the supernatural, and saw reason as the source of all understanding.
The scientist eventually replaced the philosopher. Scientists gave greater value to measurable facts than rationality, for clever people can rationalise anything. Facts work well in the realm of material sciences, but not in the realm of social sciences (politics, economics), which is why social sciences are no longer referred to as sciences but as the humanities. Today, technocrats are replacing the scientist. We are being told that artificial intelligence will solve our problems, as a machine is far more objective than any human can be. The politician, activist, priest, shaman is fighting back.
How did truth become singular?
The idea of truth as something singular and definitive can be traced to Middle Eastern tribes, and to urbanisation in Egypt and Mesopotamia. As multiple tribes with multiple gods and multiple customs sought shelter in crowded cities, the most efficient way to regulate them was with one law coming from one god. To make this happen, the chief god of a tribe taking shelter had to submit to the chief god of the tribe who controlled the city. Thus in early cities, while every clan or tribe or community or group had their own god, there was a main dominant alpha city god. Later, to avoid quarrels, only one god was allowed to exist, and his customs and beliefs were allowed to prevail. Thus polytheism gave way to monotheism, to create an efficient society.
Secular societies may have abandoned god but not truth. To create efficient urban spaces, secular societies see the value of getting everyone to align to one truth. This truth is not supernatural – it is of people, by people, for people. It is democratic and common truth.
But what if different people want different things in the same city?
This is most obvious in Singapore, which though controlled by the dominant Chinese community, plays down Confucian culture behind the steel-glass façade of financial secularism. People are expected to merge into the system, abandoning individuality, focussing on stability and efficiency, like bees in a beehive collecting honey, restricting all cultural activities to carefully regulated spaces. But Confucian secularism, which works so well in the financial world, is being threatened by Christian radicalism that encroaches into the private world. Though highly westernised and developed, Singapore is uncomfortable with LGBTQ rights, as Jesus allegedly forbids it. Of course, this is not presented as religious dogma, it is marketed as traditional cultural values.
When truth becomes singular and definitive, truth invariably becomes territory – a battlefield. The warriors here are not just religious radicals, but also politicians fighting to make India or America or Britain great again, and of course, academicians and activists and journalists, armed with facts.
Why can’t truth be plural?
In the last few years, diversity has reared its ugly head. The doctrine of equality is increasingly seen as malevolently homogenising. We want everyone to move from a developing economy to a developed economy: we want Mumbai to be Shanghai, and Shanghai to be New York. But when an aboriginal tribe resists this idea and points to its grotesque nature, we wonder: can there be development without cutting down those trees of that sacred mountain, or mining those hills where ancestors reside, or polluting the river which is the goddess? Whose view should prevail? Surely there is one truth. Or is there?
Take the case of Islam. Does Islam mean the religion of submission, or the religion of peace? Can submission lead to peace? Of course, it can. It does. Can the two meanings co-exist? Of course, they can. But what motivates people to choose one translation over the other. It is often politics. For embedded in meaning is power. The word “submission” carries the connotation of Islam as a dominating religion. The word “peace” grants Islam nobility. Whose view should matter, the insiders or the outsiders? Can there be an objective academic view of religion that is purely ontological (devoid of subjectivity)?
Take the case of Hinduism and India. A large number of scholars, often seeking grants from European and American universities, and validation from Western institutions, write tomes informing us that Hinduism and India did not exist before the modern era, and that these are unifying constructions of colonial and post-colonial forces. This confuses the average Hindu who has spent all his life performing the ancient sankalpa ritual before any ceremony, which continuously refers to ancient India as Jambudvipa, Bharata, and Aryavarta. Surely, the idea of India predates colonialism. But when they speak up and share the transmitted cultural memory they are contemptuously silenced as upper caste Hindu supremacists. Why can’t the two views coexist?
Take the word mythology. In the 19th century, European Orientalists used it to mean false faiths. They used the word to describe polytheistic faiths (Greek, Roman) to distinguish them from monotheistic faiths (Christianity, especially).
Mythology was defined as falsehood, monotheism was equated with religion and study of God (singular and definitive) became theology, distinguishing it from mythology.
In the 20th century, as rationality made atheism the dominant discourse, religions were put on the backfoot with monotheism, religion and theology also being classified as mythology, which is now defined as subjective truth of a community expressed through stories, symbols and rituals.
However, by this definition, in the 21st century, even ideology – the faith of atheists, born of reason, materialism and measurement – is just another mythology, without god.
This is problematic. We cannot accept that justice and equality and human rights are just human assumptions, at best aspirations, hardly real or rational, that manifest only when believed in, like any god or goddess. As realisation dawns, the rationalist, the secularist, the atheist – ever eager to give up gods – stakes a claim to the truth, and finds himself contending with traditionalists, supremacists, scientists and shamans.
Looking at truth quantitatively
Hindu ideas challenge all conventional dominant notions of justice and equality, confounding the Western scholar, who takes refuge in reducing Hinduism to casteism, feudalism and Brahminism.
The thought that distinguishes Indian philosophy is the idea of infinity (ananta). Infinite space, infinite time, infinite matter, infinite forms. The world is infinite. Infinite things constitute it. It goes through infinite transformations. It is perceived by infinite beings. Each being can perceive it in potentially infinite ways. So truth is infinite. And because truth is infinite it cannot be fixed, made singular or definitive. It always exists in context.
This framework can accommodate multiple truths and so Hinduism can be simultaneously polytheistic, monotheistic and atheistic. It is what makes Hinduism so difficult to define.
So while in English the words “satya” and “mithya” were translated as “truth” and “falsehood” using a 19th century understanding, today we realise that the more appropriate meanings for these words would be “limitless” and “limited truths”. One who has access to limitless truth is bhagavan, a title given to the Buddha, to the great tirthankaras of the Jain faith, and to god in the Hindu faith.
This paradigm is excluded from global conversations, and is dismissed as exotic by Western discourse that seeks centre stage as well as complete territorial control on what truth should be. Yet, it offers a way out from the combative and confrontational nature of world politics today.
It allows for mutual respect for alternate truths, and alternate facts, that is held in contempt by intellectuals today. Different people do see the world differently today, and that is okay.
The same Quran can be read differently in different parts of the world, and Wahhabism is just one form of Islam that seeks to dominate. And simply because it seeks to dominate does not make it valid or invalid. It needs to exist in relationship with other views on Islam. Just as casteist Hinduism will always exist but will be contained by other forms of Hinduism that are agnostic about caste. Confucian secularism must coexist with radical Christianity if Singapore has to thrive. It is not about either/or in the new world order. It is about and. If we want to believe in a diverse world, we have to make room for diversity, and diverse views. Keeping alternate views out of universities, or gagging them in press, is certainly not the way forward.
Excerpted from an article that originally appeared in Scroll.in

American Presidents and Journalists ... Times Of India

Not un-presidented: When Donald Trump dissed journalists, he wasn’t the first US president to do so

February 20, 2017, 2:00 AM IST  in Ruminations | Edit PageWorld | TOI Link- http://blogs.timesofindia.indiatimes.com/ruminations/not-un-presidented-when-donald-trump-dissed-journalists-he-wasnt-the-first-us-president-to-do-so/
Many American politicians, including presidents, have had a tortured relationship with the country’s press going back to the Founding Fathers. Thomas Jefferson felt “advertisements are the most truthful part of a newspaper”, and observed sourly that “truth itself becomes suspicious by being put into that polluted vehicle”. Franklin Roosevelt is said to have once admonished an irksome reporter by giving him a dunce cap and ordering him to sit in a corner, while Lyndon Johnson thought that a man becoming a newspaper reporter “is evidence of some flaw of character”.
“An editor is one who separates the wheat from the chaff and prints the chaff,” Adlai Stevenson, sometimes described as the best president America never had, scoffed breezily. Some years later, the country’s disgraced vice-president and President Nixon’s political hitman Spiro Agnew called scribes “the nattering nabobs of negativism” for their propensity to dispense gloom and doom although they were only shining a light into the duo’s dark deeds.
You get the drift? Long before Donald Trump came on the scene, the press and American pols have had a peevish and prickly relationship.
What the press thinks of politicians would fill tomes, but the fact that US presidents are elected seems to give them the license to treat journalists as whipping boys, which no one has done quite with the same contempt and severity as Trump. Still, as Oscar Wilde recorded for posterity, “In America the president reigns for four (or eight) years … journalism governs for ever and ever.” So, unless Trump plans to change the rules of the game, there can be only one victor in this unnecessary scrap that has gone from bad to ugly.
In the Department of Self-Deprecation, a politician cannot hold a candle to the journalist, and American scribes are particularly self-effacing. The humorist-parodyist Dave Barry echoed this when he sneered that “If you’re not part of the solution, you’re a newspaper columnist.” The greatest strength of journalism is not just self-disparagement but also its survivability, in one form or another, and to dust itself off from scorn and insults and get on with its imperfect work.
Which is why, for all his skepticism of the media, Jefferson echoed Voltaire’s capacious support to a critic whose writing he detested, but for whose freedom to write he would give his life. “Were it left to me to decide whether we should have a government without newspapers, or newspapers without a government, i should not hesitate a moment to prefer the latter,” said the nation’s third president, adding, “Our liberty depends on the freedom of the press, and that cannot be limited without being lost.” Tremendous words!

Friday, March 3, 2017

Why doctors need humanities:- Times Of India

Why doctors need humanities: Including it in medical education is the best way to bring back humanism to the profession

February 28, 2017, 2:12 AM IST  in TOI Edit Page | Edit PageIndia | TOI  Link- http://blogs.timesofindia.indiatimes.com/toi-edit-page/why-doctors-need-humanities-including-it-in-medical-education-is-the-best-way-to-bring-back-humanism-to-the-profession/
Medicine is defined as the art and science of healing. Today globally, science has largely overridden the art part of healing. In India, entrance to medical schools is based entirely on tests based on scientific facts and concepts with a little of logical/critical thinking – areas handled by the left side of the brain.
Our medical curriculum requires hours of drudgery in trying to remember facts and figures. Almost no medical school in India lays any emphasis on art in medical curriculum. The right side of the brain is concerned with fine arts including imagery, poetry and drawing. As someone said “medical school attracts those who are of left brain, but then proceeds to atrophy what is left of their right brain”.
Unlike physics or chemistry, medicine is not a pure science. Medicine is largely an applied science and it requires certain skills that are developed by observation, practice and experience – similar to the arts more than science. It can be said that medicine is science when it is used to study disease but becomes an art when it is used to practice healing.
While medicine has a long and distinguished history of caring and comforting, the scientific basis of medicine is recent. That medicine is a science is nevertheless the popular belief, and this has been reinforced by the advent of ‘evidence-based medicine’. Scientific truths are not true for all times, unlike truths in the field of the arts. In art there is no right or wrong but only a perspective or a point of view, whereas in medicine one being right or wrong is life determining.
Ideas on causation, diagnosis and management of diseases change with passage of time and advent of new technology or understanding. Even in a given time, one medical practitioner may have a genuinely different opinion of diagnosis and treatment about a particular case with respect to another colleague based on his or her experience and expertise.
With progress of science and its application, there has been a rapid decline in the human element of health care provision. The current technological advances have worsened this divide. The art of clinical medicine is dying in the present set-up with high-tech gadgets. The recent upsurge of doctors being abused and manhandled especially in casualties and emergencies is a consequence of this.
This is occurring not because of their lack of scientific knowledge but is related to their insensitive behaviour which emanates from their ignorance as well as inability to handle the emotional distress of sick individuals and their near and dear ones. Doctors should not allow scientific medicine to blunt their humanity, ignore ethics and the need for empathy.
A typical consultation today is of less than ten minutes and consists of a few cursory questions followed by a long list of investigations and medicines to be taken with poor explanation of whys and hows. Genuine doctor-patient relationships do not exist any longer. In early seventies, when the Framingham Heart study in United States subjects were being recruited through their doctors, most of them opined that while their own physician was a good one, others were no good – clearly an impossible phenomenon! Today in India even that is unlikely. Doctor-patient trust is at its lowest and doctor shopping is blatantly practised.
All doctor-patient interactions, whether these are in a hospital or in the community, require a caring attitude from the doctor coupled with communication. Today science has given doctors far more ammunition than ever before to fight disease, but the repeated bombarding has made them deafer than ever and they can no longer hear the cries of their patients. A good clinician is one who is armed with scientific knowledge, practices using clinical judgment, compassion and understanding.
In India, we need to reverse the pendulum that has swung fully to the science from the art side in medicine. An infusion of arts in medical education might be the solution to this all pervasive deafness of medical professionals. Many medical educationists have argued that art and literature should have a place in the medical curriculum because art helps doctors to understand experiences, illness and human values and that art itself can fulfill a therapeutic role.
This kind of education can help doctors grapple with the kinds of existential questions that they expect their patients to answer and that they themselves may not be equipped to answer. All medical colleges usually have a cinema and literary club. They do little to promote either cinema or literature. There is a need to go beyond these tokenisms and aim for some structural changes in medical education in India.
It is time the Medical Council of India or its newer avatar considers inclusion of arts in the medical curriculum from first year itself. The importance of humanities in medical education is being realised across the globe and steps are being taken to introduce it in medical schools. India should not be left behind.
Today patients in India are being squeezed between incompetence on one side (thanks to a floundering medical education industry) and corruption on the other (thanks to a commission culture set up by drug and investigative industry); and from the top by arrogance of medical professionals. Instilling empathy among medical practitioners may be the best way to start addressing all these malpractices jointly.

Why some Indian idioms are just untranslatable- Times Of India

 | Updated: Feb 20, 2017, 12.25 PM IST 
Link- http://timesofindia.indiatimes.com/home/sunday-times/why-some-indian-idioms-are-untranslatable/articleshow/57225670.cms



Ever tried to describe the sun playing hide and seek with the hills or the sound of heavy rain? And yes, we do have words for both. Ahead of International Mother Language Day on Tuesday, here's a quick tour of India's idiomatic landscape




To the string of picturesque epithets he has acquired, Rahul Gandhi can add another: Dhakhla Patil. "The English word closest to it is 'scion', but this Marathi word is meant to parody a leader or man of importance," says literary critic G N Devy. The phrase (fittingly, 'little leader') could also be addressed affectionately by mother to son, with a teasing jab at the husband. Alternatively, if she'd rather a direct endearment, she could try ponnum kudam - literally a vessel of gold in Malayalam, but figuratively, a term of affection to signify a precious possession.


"An English translation of Thakazhi Sivasankara Pillai's classic novel, Chemmeen, translated this term quite literally and caused quite an uproar," recalls K Sachidanandan, the Malayali poet and critic, "But a subsequent translation made do with an English term of endearment like 'darling', I think. Not the same thing."





A translation is not always the spitting image of a language. In fact, a word may often feel it has entered a semantic hall of mirrors when confronted with the distortions of itself in another language. Like the Marathi 'iblis'."It doesn't simply imply someone who is street-smart, but one who can even outsmart a crook by out-strategising him," says Devy , chairman, People's Linguistic Survey of India. There is no equivalent word for it in English, although the Spanish picaro is kindred, he adds.





Nor is there a sister word for bazar basavi, another Marathi term for a woman who will destroy a home and bring a family to ruin, hers or another's, by her want of 'virtue'. The English language doesn't lack in fantastical pejoratives for women (termagant, harpy, vixen), but none that include the woman's demolition drive. Naeka refers to a different feminine wile. The Bengali word signifies a form of coquetry, says translator Arunava Sinha, but not quite that either. "It could suggest coyness, but also a highly affected manner. The meaning of the word is contextual, but it is not easily reducible to one meaning; one could have shades of the other," says Sinha. Another example of a Bengali phrase that doesn't quite cross the Eng lish Channel is hath bhuli ye deva. "It means to lightly run one's fingertips along another's face or arms," says Sinha. "It's an expression of sympathy or affection, but sounds creepy in English, like you're coming on to a person."









An article in Scientific American suggests that it is the 'untranslatability' of a word in English (or any lin gua franca) that makes it "so potentially intriguing", because it piques our interest about overlooked or undervalued phenomena in non-English speaking cultures. The Rosetta Stone of a culture, language and its 'untranslatables' codify experiences that are fundamental, and often, exclusive to it. India's 860 spoken languages brim with them. The Hindi coinage, jugaad (a low-cost innovation or solution), has already been inducted into Oxford Advanced Learner's Dictionary , such is its currency. Seeing how multilin gualism is the word on the street, who knows, we may soon be on speaking terms with lexical rarities from other Indian languages. Like the word lethi. In Oriya, a ripened mango that has dropped naturally from a tree, lethi is distinct from a mango that has been plucked. Lethi, says linguist Mahendra Kumar Mishra, derives from the onomatopoeic 'lath', to vocalise the sound of something falling lightly.


While away from the orchard, on the horizon, the intermittent sight of the rising or setting sun appearing and disappearing behind close-set hills is best described by lihi-lihi aad, he says.










In Tamil Nadu, if you were invited to a wedding, you wouldn't want to be seated in the very last panthi, the word for a batch of people seated in rows for a meal. The bigger the wedding, the more the batches. And of course the wedding itself wouldn't have materialised without the pen paar, the formal visit paid by the man and his family to the home of the prospective bride to size her up, points out S Ramakrishnan, publisher at Cre-A that specialises in Tamil dictionaries.


In the Kumaoni language, when one remembers another from the very depths of the heart -the word for it is narai, says Shekhar Pathak, former professor of history at Kumaon University , Nainital. It is more than just a 'recollection', which lacks the ringing emotional resonance suggestive of this word.Could the remoteness of the mountains have something to do with it?





"These words are intrinsic to the life and culture of a people. I don't think all words can be translated. They come with their own belief system and worldview," muses Esther Syiem, writer and academic who teaches in Shillong. In cultures where a landscape, an object or an action is central to life, a whole lexicon of associated words spring from it.





Noted linguist Anvita Abbi, says Khasi has 55 words for walking. "When I go to Shillong, I become conscious of my walk," laughs Abbi, who is honorary director of the Centre for Oral and Tribal Languages at Sahitya Akademi. In her paper on Expressive Morphology she lists the different compound words for walking: 'iaid bak bak (to go hurriedly); iaid bran bran (to go very fast); iaid kjik kjik (to walk as if on pins); iaid kthai kthai (to walk well dressed)...'






"We live in a hilly place and until a few years back we'd walk everywhere," explains Esther Syiem. "People would walk with firewood and goods in their baskets from distant villages to faraway towns and after they'd sold their wares in the market, they'd pick up rocks on the return journey. Because they were worried they'd be blown away. The rocks would then be used to build houses."



Lexical richness signals a finer perception, an alertness to nuance on the part of its speakers. 'Consider the range of perceptive powers of speech of the Naga, Kuki-Chin, Khasi and Meitei communities,' Abbi writes in the same paper. Take Meitei for example: cro cro is the sound of heavy rain. Brek brek is the sound of discontinuous rain accompanied by hail.




New research recommends we chew on new words from across cultures to cultivate not only a deeper empathy for the other, but to enrich and vivify our own experience of the world. "It is not just the perception of the world, but the narration of it that is vital. Having the language to describe or narrate the vicissitudes of life only makes the experience richer," observes Devy.




The view is shared by Tim Lomas, a lecturer in positive psychology from the University of East London, who is developing The Positive Lexicography Project, an online repository of 'untranslatable' words related to well-being from across the world. Lomas believes that articulating these words may bring us to identify positive feelings, and relish them fully. And so it is with a sense of santhushti that this writer wraps up this piece.

Moral of a lady oriented film: And examples from Hindu Mythology Times Of India Pavan Verma

Moral of a lady oriented film: CBFC under Nihalani has become Victorian, he should read some Hindu mythology

March 4, 2017, 2:00 AM IST  in TOI Edit Page | EntertainmentIndia | TOI  Link- http://blogs.timesofindia.indiatimes.com/toi-edit-page/moral-of-a-lady-oriented-film-cbfc-under-nihalani-has-become-victorian-he-should-read-some-hindu-mythology/
English is not the first language for a great many Indians, but even so, the choice of words used by the Central Board of Film Certification (CBFC) to deny certification to Prakash Jha’s film Lipstick Under My Burkha is quite bizarre. The Board says that what is objectionable is that it is a “lady oriented film”, focussing on their “fantasy above life”. It is far from clear why a film that is “lady oriented” is bad, or why women’s fantasies can only have a certain altitude.
Pahlaj Nihalani is also against the “sexual scenes”, “audio pornography” and “abusive words” in the film. Since countless films have all of these three elements, are we to understand that these become unacceptable only if a film is “lady oriented” with “fantasy above life”?
Since Nihalani and his moral brigade have a problem with a “lady oriented film”, perhaps it may be instructive for them to learn about what, according to Hindu mythology, Parvati said to Siva after he had burnt the god of love, Kama, for disrupting his meditation.
Ask for a boon, Siva told Parvati, and the goddess replied: “Now that Kama has been burnt, what can I do with a boon from you today? For, without Kama there can be – between man and woman – no emotion, which is like ten million suns. When emotion is destroyed, how can happiness be attained?” Revive Kama Parvati said, for without him she did not wish to request anything at all. And so, Kama was reborn, this time, according to the Bhagwata Purana, as Pradhyumna, the son of Krishna and Rukmini.
No doubt the revival of Kama was a “lady oriented” request. In the Saura Purana, Kama declares that, “There is no hero, no proud woman, no learned man too powerful for me. I pervade the whole universe, moving and still, beginning with Brahma the Creator.” But apparently, Nihalani feels that however powerful Kama may be, he should not affect women.
Perhaps then he should read how evocatively a sacrificial fire is described in the Brihadaranyaka Upanishad: “Woman is fire, Gautama: the phallus is her fuel; the hairs are her smoke; the vulva is her flame; when a man penetrates her, that is her coal; the ecstasy is her sparks.”
Our sages knew how to put sensuality in the right perspective. I don’t know if the venerable members of CBFC have read the Kamasutra (and not merely seen the illustrations). In the very first chapter of the manual, sage Vatsyayana is asked by an imaginary interlocutor on the need of such a book. And, Vatsyayana says that there are four purusharthas or goals in this world: dharma, artha, kama and moksha.
Each of the first three, pursued in the right proportion, and not in exclusion, as part of a balanced life, lead automatically to the last, moksha. Hence there is philosophical validity for desire, and if so, it is not enough just to be a lover, one must, especially for the sake of women, strive to be an accomplished one.
The gopis who frolicked with Krishna in Vrindavana were not concerned about whether the blue god was encouraging “lady oriented” things. They were assertive and uninhibited in their desire, and this is chronicled in explicit detail in the Harivamsha, the Vishnu Purana, and the Bhagwata Purana.
Jayadeva in his immortal Gita Govinda, writes gloriously on the love play between Krishna and Radha, not caring if any censors considered such fantasies to be “above life”. If Krishna was Sringaramurtimam, the epitome of the sensual mood, Radha was Raseshwari, his full-blooded counterpart. In medieval times, Bihari, Chandidasa and Vidyapati wrote love poetry that would have left Lady Chatterley’s Lover asleep at the post.
So why is CBFC so prudish? All of this sensuality was out there in the public realm. I would urge Nihalani saheb to see the Basohli and Kangra paintings of the 18th century or the palm leaf drawings on erotica in Odisha. A visit to Khajuraho and Konarak, where ladies are equal participants in all kinds of “fantasy above life”, is also highly advised. Perhaps, he may also find Kalidasa’s graphic erotic descriptions of interest.
It was our colonial masters who considered Indians to be “disgusting” and “immoral” and full of “horrible beliefs and customs and un-mentionable thoughts”. Ironically, CBFC, that Nihalani arrogantly says “is accountable for preserving the culture and tradition of India”, has become the mouthpiece of Victorian morality, equating sex with sin and desire with guilt.
Frankly, in a changing India, where, especially among the young cutting across religious divides, inhibitions are breaking, cyber space is ubiquitous, women are more self-confidently aware of their sexuality, and fossilised citadels of patriarchy need to be broken, one wonders which world the CBFC is living in. Its own guidelines explicitly state that creative freedom should not be unduly curbed.
But, Nihalani thinks his outdated job is that of a moral policeman. The result is that in a country where the vast majority venerates Shakti as the supreme female power, a film that has won accolades across the world is being denied certification because it is “lady oriented”.