DSYL - Yoga - Poses with a Chair for Postural Integrity

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blusodvelmasac.ml/map17.php Review of Clinical EEG. Encyclopedia of Clinical Pharmacy. Clinical Cases in Physical Therapy 2nd Edition. Drawbacks of Android Application Overheating is a common issue with Android phones, especially when playing games loaded with heavy graphics or while indulging in hardcore productivity tasks. The overheating tends to be more prevalent during summers than winters. Application of Quality Tools. This book has educated me in the importance of remaining in control and exactly how beneficial it is to be in charge of our behaviors and act in a way of service to other people.

The examples described within the book made less complicated to view the concepts that Dale is teaching. I propose this book if you want to boost the with individuals. This book is especially beneficial this sort of implementing their businesses and shut relationships.. The ebook itself and illustrations are absolutely, incredibly extraordinary. This was a first recorded historic event of a government writing policies for conservation and protection of forest and wild animals Gautam and Rajan, In brief, the teachings of Buddha and Mahavira though preached in ancient times are still valid and useful for the contemporary situations that are prevalent on the globe where environment and its degradation are burning issues today Satyapala, Protecting forests, water bodies and sacred groves for cultural and religious reasons is an ancient practice worldwide.

Scriptures and historical documents provide account of rulers, setting aside forests for sages who provide spiritual guidance and disseminate knowledge Ramakrishnan and Saxena,: Spiritual ecology, through which humans connect themselves with the cosmos, has evolved over time. Today, it is an emerging idea in ecological conservation Kala,: Kautilya s Arthasastra, Third Century BC manual of statecraft mentions princely hunting preserves and elephant preserves for capturing elephants for the army Gadgil, Maintaining proper sanitation was considered to be the duty of everyone and any default was a punishable offence.

Hindu society did not even consider it proper to throw dust on public path and places. The punishment of one eight Pana should be awarded to those who throw dust on roads. If latrine is thrown or caused near a temple, well or pond, sacred place or government building, then the punishment should increase gradually by one Pana in each case Kautilya, Arthashasta, 2.

This ethical component itself proves how in ancient India the environmental consciousness has been elaborated in historical literature. Environmental pollution was identified in the Hindu scriptures many centuries ago. The author of Charaksamhita, a classical text on Indian medicine wrote about vikrti pollution mentions air pollution specifically as a cause of many diseases and warned people about side effects of it Dwivedi and Tiwari, Royal Dynasties and Delineation of Environment and Ecology: The Mauryas were succeeded in the north India by the Sungas and Kushanas and in the south by the Satavahanas of Andhra who also gave emphasis on the preservation and protection of environment.

Depiction of animal figures, trees and vegetal motifs in fact dominated the Post-Mauryan art and sculpture. The Gupta period which is considered the golden age of the ancient Indian history marked significant developments in the arena of environment. It was an age of prosperity and is known as the classical age in the Indian history.

The poets, astronomers and scientists of the Gupta period were greatly influenced by the environment. Kalidas, the renowned literary figure of ancient India who probably belongs to the reign of Chandragupta II, in his work Ritusamhara describes the six seasons in relation to Shringara. Meghaduta, cloud messenger another poetical work written by him reflects various aspects of nature, especially of clouds. From the foregoing analysis it is evident that the early Indian attitude towards nature was a conglomeration of spiritual and philosophical thinking as well as social awareness and environmental ethics.

The early Indians realizing the contribution and value of nature gave it prime importance and devised the ways that how nature could be protected from destruction and environment be made free of pollution. While framing other norms of life they tried to formulate some principles to make the society conscious about the adverse effects of pollution and thereby not to disturb eco-balance. In contemporary historiography environmental and ecological approach to history is widely accepted trend worldwide. As we have discussed numerous literary aspects as a subset during ancient times, basically it is a multidisciplinary research area and need of a time to inculcate sustainable use of natural resources by understanding man-environment harmonious relationship in bygone days.

It is worth noticeable fact that ecological or environmental unconsciousness of the Harappans resulted into downfall of the Indus Valley Civilization pointed out by scholars like Shereen Ratnagar, Koyner and others in a pioneering work recently by Centre for Science and Environment.

Environmental history is now taught at hundreds of universities around the world. Therefore, any mass oriented and highly potential issues should be brought under historical explorations and discourses for making society conscious regarding environmental conservation and restoration. The study of environment in recent times not only confined to the scientists, engaged in various branches of biology and ecology rather calls for an active and independent role of historians to develop a new paradigm for the future. Gautam Chandan and Rajan Anand Environment in Early India: A Historical Perspective in Environment: Traditional and Scientific Research Vol.

Environment and Buddhism in World Focus, Vol. Leelawati Arvind Patil Mr. Tejas Yashwant Bhosale Kiran Sarjerao Pawar Mr. Art is a very precious heritage in the culture of a people. It is more so in India, where the story of art is as old as the history of the race- a panorama of five thousand years. The essential quality of Indian art is its preoccupation with things of the spirit. Art in India did not aim at objective presentation of the human or social facets of life.

It was primarily the fruit of the artist s creative meditation and effort to project symbols of divine reality as conceived and understood by the collective consciousness of the people as a whole.

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It is a vast, unending social and religious endeavor of devotees to depict the forms of the gods and goddesses they worshipped. The aim of present paper is to reveal the cultural heritage of Indian art, and architecture which prevails in India right from the ancient period till today. Any worthwhile cultural pattern attaches great importance to the dynamism and vitality of social, political and economic growth.

Among the early cultures, the Greek and Roman cultural systems stood in addition, for the development of the rational, ethical and aesthetic faculties in man. In India, spirituality- not an anemic but a dynamic and all embracing spirituality has been the dominant strain in her culture from its very dawn. Ancient Indian culture stood for an infinite variety of symbols and rituals. The fine arts were valued in ancient India primarily for their capacity to reveal something of the beauty and sublimity of the Divine. Sri Aurobinda has brought out beautifully in the Foundations of Indian culture, The representative Indian attitude, as expressed in the Vedas, was not one of an anemic spirituality.

India is the only country with the largest and most diverse mixture of tradition and culture. The fascinating nation is so enticing where the exotic monuments and enchanting destinations speak volumes about the tradition and culture of Indian people.

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India is home to many of the finest cultural symbols of the world which includes temples, churches, mosques, forts, performing arts, classical dances, sculptures, paintings, architecture, literature etc. The culture of India is one of the oldest in the world which is rich and diverse. Culture is everything in a particular society and Indian culture is no easy composite of varying styles and influences.

Indian culture was molded throughout various eras of history. It is a medley of amazing diversities and startling contradictions, but above all, it represents the multifaceted aspects of India as a whole. India is the birthplace of renowned religions such as Hinduism, Sikhism, Buddhism and Jainism, which have a strong prevalence and influence not only over India, but also the whole world.

India has managed to preserve its culture and traditions through the ages, all the while absorbing customs, traditions and ideas from both invaders and immigrants. Many cultural practices, languages, customs and dances are examples of this co-mingling over centuries. Thus, Indian culture is a composite mixture of varying styles and influences. It would not be an exaggeration to note that all diverse in nature encompass to form the culture of India. Very few countries in the world have such an ancient and diverse culture as India.

India s cultural history of several thousand years shows that the subtle but strong thread of unity which runs through the infinite multiplicity of her life, was not woven by stress or pressure of power groups, but the vision of seers, the vigil of saints, the speculation of philosophers and the imagination of poets and artists, and that these are the only means which can be used to make this national unity wider, stronger, and more lasting. Indian culture has a long and continuous history. It extends over years. In spirit, however, it was quite in keeping with the indigenous doctrines and ideas.

This accounts for the long and continuous period of Indian culture. It is this characteristic of Indian culture that enabled it to withstand many vicissitudes and to continue to mould the life of Indians. The most outstanding feature that has made Hindu culture a living force is the tradition of tolerance.

Indian culture is primarily and fundamentally religious. The religious note generally permeates all the intellectual and artistic creations of the Hindus. Hinduism believes in Universal toleration and accepts all religions as true. The Hindu mind is all embracing. This is seen in the word manavadharma or manavasamskriti or human culture which the Hindus gave to their culture.

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Indian culture is comprehensive and suits the needs of everyone, irrespective of caste, creed, color or sex. It has universal appeal and makes room for all. It has the modesty to admit the propriety of other points of view. This idea has been beautifully developed in the Jaina theory of Syadvada or the theory of may be. According to this theory no absolute affirmation or denial is possible. As all knowledge is probable and relative, the other man s point of view is as true as anybody s.

In other words, it suggests that one must show restraint in making judgments. This is a very healthy principle. One must know that the judgments are true only partially and can by no means be regarded as true in absolute terms. It is this understanding and catholicity of outlook that have been largely responsible for the advancement of Indian culture. This attitude has helped to bring together the divergent races with different languages and religious persuasions.

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And this spirit explains the existence of a common culture from the Himalayas in the North to Cape Comorin in the South. From the earliest times, India followed a policy of live and let live. She was not averse to contact with foreign cultures. In fact, it is her contacts with the outside elements that have added to the richness and variety of her culture. Besides the earliest races like the Negritos, Proto-Austroloids, Dravideans and Aryans, who have contributed a good deal to her composite culture, India saw the advent of many foreign hordes like the Indo- Greeks, the Scythians or the Sakas, the Pahlavas or the Parthians, the Kushans, the Huns, the Gujars and others from the second century B.

She welcomed them and absorbed their best elements in her culture. In the words of Murthy and Kamath , In medieval times, the advent of Islam into India created many cultural complications. For a time India stood surprised. But it is to the credit of Indian culture that it Indianised Islamic culture by absorbing the best elements.

Today there are about seventy million Muslims living in India. It is gratifying to note that in spite of the political complications arising out of the secession of the predominantly Muslim provinces and their constitution into a separate State. India has successfully upheld her tradition or religious and social toleration by her unbending insistence on the secular character of the state and her stern refusal to convert into a Hindu nation.

India also gave shelter to the Jews and the Zoroastrians who were forced to leave their lands. They still live in India today quite in harmony with other communities by pursuing their avocations without any let or hindrance. The same may be said of the Christians who are seen in Indian society since the second century A. Their numerical strength increased with the political domination of India by the European powers.

It is this spirit of accommodation that accounts for the continuity of Indian culture. As Pratt aptly remarks, The tendency of Hinduism to absorb its children and the urge felt by its rebelling children to fall back into the family fold has been illustrated many times in Indian history. The process is going on today. This has been the rock-bottom basis of Indian culture. Indian culture is vibrant due its incredible understanding of the nature of man and his relationship with other beings in the universe.

The association of man with the bio-diversity is indicative of a healthy attitude towards nature. The same holds true of mountains and rivers, which are treated in a higher pedestal in Indian life. The influence of the majestic Himalayas in shaping the life of Indians is worth mentioning. Many holy places like Amarnath, Badrinath and Kedarnath are situated in the mountains. The rivers are also considered sacred and venerable. Indians have a strong belief that a dip in the waters of holy rivers wash off all sins.

River Ganga plays an important role in the religious life of the Hindus. On the banks of the sacred rivers numerous religious congregations and celebrations are held drawing hordes of pilgrim tourists participating with lot of verve and devotion. The Bodhi tree under which Gautam Buddha attained enlightenment is worshipped and treated with awe and respect. The practice of totemism i. Indian culture, thus takes into its fold all nature. Of course, Indian culture holds significance as a living culture. The present generation, taking inspiration from the strong foundation erected by the eminent personalities need to further broaden the spiritual heritage of nation.

All that there is in Indian culture of lasting value, is based on the deeper knowledge of man and the universe. The Indian word for culture is sanskriti, from a root which means to purify, to transform, to sublimate, to mould and to perfect. As per belief it is discipline or sanskara that raises us to a higher status in life. Drastic changes have taken place in the research methods as regards history, making the approaches more analytical and objective, and as a result more new evidences and elaborations have been employed to examine the past with rationality.

Historians are more aware now about the socio-political ethics of recording history during early times. Without compromising on the authenticity and veracity, historians are able to contribute more to the social milieu Modern Indian history has developed during the past two centuries. The distorted versions of history due to certain mindset and theories have bit the dust. Indian history has to overcome the colonial hangover and the controversies that surfaced because of it. The essence of Indian culture is assimilated by many factors outside the ambit of Sanskrit language, literature and records.

A peculiar type of culture and civilization, utterly different from any other type in the world, has been evolved among the diverse peoples of India This culture has a fundamental unity. In spite of different languages, customs and political disunity, a uniform cultural stamp was printed upon the literature and thought of all the different units of India. There has been a basic unity of literary ideas, philosophy, conventions and outlook upon life throughout the country. The cultural unity and homogeneity is also reflected in the social ceremonies and the religious rites, festivals and modes of life which are the same in both, the north and the south.

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The sanctity of the family, the rules of the castes, the sanskars the rite of cremating a dead body, the cleanliness of kitchen, etc, are common to all the communities and sects. The Rakshabandhan, Dussehra, Diwali, Holi and Ramdan arecelebrated throughout the length and breadth of the country mostly in a uniform way. Indian Art And Architecture Art, is a very precious heritage in the culture of a people.

Any tourist desirous of understanding the real significance of Indian art should be prepared patiently to go to the length and breadth and savor deep of the symbolic meanings that make up a world of their own.

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The essential truth in the art of India is the tribute to the abstract and unmanifest power behind the material world, the primeval source of all things. Agrawala enumerates four elements of Indian art for its theme, namely, the divine principles, the cosmos in its two fold manifestation of good and evil, man and the material world. The Indus Valley people were prolific in the arts of house-building, stone and clay statuary, bronze-casting, making of ornaments of gold and silver, and cutting of beads in various semiprecious stones like agate, carnelian, chalcedony, ivory-carving and weaving.

The beautiful objects of domestic use that have been unearthed reflect the refined taste of their makers. The symbolism of Indian art attained its highest expression in the Saranath capital, which is as much Buddhist as Vedic in the significance of its several parts. The tradition of folk art was supplemented in the Mauryan period by a court art of great vitality and technical competence.

Mauryan art is notable for the bewildering variety of its creations there are pillars, railings, parasols, capitals, animal and human sculptures and several other motifs. It was during the Sunga age that sculpture and architecture witnessed a new efflorescence. Art was developed at many centre 3 3.

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A similar art movement flowered during the Kushana period and Mathura emerged as the new centre of art. This art movement was the offshoot of the aesthetic endeavour that started in full swing. During the period of the Kushana emperors an exceedingly active school of sculpture and architecture flourished in Gandhara, that is, from Taxila to the Swat Valley. During the Saka-Satavahana period, an aesthetic movement of great magnitude expressed itself in the form of several monumental stupas loaded with sculptures and bas-reliefs of exquisite beauty.

The stupas of Amaravati and Nagarjunakonda have produced art specimens of matchless beauty. There was a grand upsurge of the national art during the golden age of the Gupta emperors. Gupta art is beautiful in both its outer form and its inner inspiration. Beauty and virtue seved as the ideals of the age. The best examples of Gupta images are the standing Buddhas from Mathura and the seated Buddha delivering the first sermon at Sarnath.

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DSYL - Yoga - Poses with a Chair for Postural Integrity - Kindle edition by Charlotte Watts, Charlene Hutsebaut. Download it once and read it on your Kindle. DSYL - Yoga - Poses with a Chair for Postural Integrity eBook: Charlotte Watts, Charlene Hutsebaut: linawycatuzy.gq: Kindle Store.

Pottery constituted an equally noteworthy part of the artistic productions of the Gupta age. The master piece works of Chalukyan art comprises the group of temples at Badami and Aihole. Both the sculpture and architecture of the kailasha temple at Ellora bear testimony to the creative spirit of the Rashtrakuas.

The Pallavas were great patrons of art, especially cave and temple architecture. In the southern region of Karnataka a distinctive style of architecture was developed during A. D known as the Hoysala style. The greatest achievement of Hoysala art is the temple of Hoysaleshvara at Halebid, Agrawala, marks the climax of Indian architecture and its most prodigal sculptured magnificence. The Pala school of sculpture and architecture which Taranatha refers to as the Eastern school flourished in Bihar and Bengal from the 8th to the 13 th centuries.

It was a vital and creative effort which handled stone sculpture, architecture, bronzes and paintings with equal facility. Nalanda was its greatest and most active centre during the 9th and 10th centuries. The Khajuraho group of temples were erected under the patronage of the Chendela kings dedicated to Shiva, Vishnu and the Jaina pontiffs. The arrival of Islam in revolutionised Indian architecture.

The Muslim monuments in India comprise mosques, mausoleums, palaces, citadels and cities.

Their special features include the dome, arch, perforated Jail work, inlay decoration as well as artistic calligraphy. The art of metal casting always received great attention in India and is of the highest antiquity. The southern school of Indian bronzes, which flourished between the tenth and thirteenth centuries, was of such aesthetic quality and creative abundance that it is regarded as representing that art at its best. One of the great creations of Indian art is Shiva Nataraja. Indian painting has a history of over two thousand years and presents a comprehensive record of the religious and emotional life of the people.

The art of painting was widely cultivated in the Gupta period and is best known through the paintings surviving in the Ajanta Caves, and also in the Bagh caves. It was, therefore, necessary to activate the citta shakthi to revivify the experience, shape its rupa form and give it a nama name. Ancient India understood that art form change according to time and place, and according to the period of history and region. It also understood that there should be no reproduction of nature except as seen through intuitive absorption of trance.

Art in India has been intimately concerned with the experience of ramanyata-the beautiful. It is said to release the flow of creative energies in a person s being. It constitutes the core of the aesthetic state which vitalizes the individual consciousness of man. An artist s work is an explosion of the human spirit- revealing beauty and bliss. India is the custodian of valuable traditions, social, moral and artistic. The concept of traditional culture, introduces new complexities. It implies that what is traditional is always worth conserving. The tradition in folk art reflects the continuous play of line and color which is native to the mind of India.

The growing number of private art galleries in the metropolitan cities of India has played a significant role in the promotion of contemporary art. The Lalit Kala Academy and the State Academies subsidized by the government do undertake the promotion of contemporary art. Contemporary Indian art is yet to attain the level of greatness of ancient Indian art states Pran Nath Mago. The creative scene and the art market in modern India, particularly in big cities, seem to have converged, with the blossoming of successful artists, seeking the limelight of the market place.

However, it is not only art awareness that has contributed to the growing interest in acquiring works of art. The market for contemporary Indian art has grown as a result of economic changes, an open economic policy and the growth of the private sector. Indian art is an immediate expression 4 4.

It represents beliefs and philosophies, ideals and outlooks, the materialized vitality of the society and its spiritual endeavors in varying stages of development. To understand the art of India it is necessary to estimate the formative influences that have gone into the molding of the aesthetic sensitiveness of the people. A comprehensive approach is necessary to understand and identify the many examples of India s past art that survive and continue into India s historical present. The art of Dhulichitra a form of painting with powders , as one of the many examples, can be placed in its cultural setting today as a continuity of a great tradition of the past.

The cultural heritage of India dots a special place among the countries of the globe. With the passage of time, its significance is getting even more realized and recognized, to the extent of considering culture as the mainstay of the largest democracy in the world. Incredible India campaign has risen to a higher pedestal owing to the importance being given to the cultural symbols of the country. The socio-economic, political, legal, environmental and technological vibes of India are closely knitted to form part and parcel of the nation s culture- where in lies its strength and indomitable spirit.

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In the realm of domestic tourism too, the diverse cultural expressions have played a great role. The backgrounds of artistic productions are unique to India. Yet, the humility and unclenched commitment to the society, which were the hallmarks of early artists, are depreciating in the 21st century. This is not at all a good sign for the cultural elation and dignity of the nation. On the basis of the pattern and direction of selective cultural adaptation that is taking place in India in the process of globalization of culture, and considering the historical features of its social structure and institutions it could be concluded that the Indian culture, whether local or national has sufficient resilience to succeed in preserving its cultural identity and also workout a successful and creative synthesis between the global and the local, regional and national levels of cultural styles, forms, and practices.

I, The Ramakrishna Mission, Calcutta. Abstract Gauri Deshpande was the famous novelist, short story writer, poet, translator and freelance writer too. The Lackadaisical Sweeper is the only collection of short stories written in English by Gauri Deshpande. Her stories like Map, Vervain, and The Lackadaisical Sweeper record the history of women's marginalization. Seeta is the representative of the marginalized women while Narain is the representative of traditional husbands in The Lackadaisical Sweeper.

Narain is a selfish man who looks down upon women and the downtrodden people. He wants his wife Seeta to be no more than a domestic slave and a goddess, a mythicalallegorical being devoid of female sexuality and humanness. And Seeta is in no position to do anything about it. She was bound to try and excel at wifely virtues. The theme of love attains its height with the theme of colonialism in the story Map.

The theme of man-woman relationship is expanded on a wider scale here. History of women s marginalization and double colonization is drawn powerfully by Gauri Deshpande in this allegorical story Map. Vervain is the story which makes us aware of the fact that a woman is taken for granted, and treated in the inferior manner by the men.

So the condition of a woman is the same everywhere in the world. It brings out the grief of a common woman who has to suffer because of men; she has to lose her identity but gets oppression, betrayal and restlessness in return. In this sense this is truly the feministic story of marginalization. Marginalization, colonialism,double colonization, oppression,feministic story of marginalization etc.

The Lackadaisical Sweeper Gauri Deshpande was the famous novelist, short story writer, poet, translator and freelance writer too. Gauri Deshpande was the granddaughter of MaharshiDhondoKeshavKarve, the great social reformer who worked especially for the betterment of widows through remarriage and education. Her uncle, RaghunathKarve also worked for the betterment of women through family planning. He did operation of family planning on himself without having any child.

But, because of his stern and outspoken nature, his work was not accepted by the society. He lived, worked and died in utter poverty and negligence.

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Like MaharshiKarve and RaghunathKarve, Gauri also worked for the betterment of the women through literature. Like her father she tried to reform the society through her stories. Colonialism refers to the rule of British in India. Marginalization refers to the secondary treatment given to women in patriarchy.

Double Colonization means the oppression of women in colonised India by colonizers and native men. Seeta in The Lackadaisical Sweeper is the representative of the marginalized women. She is the smallest, slowest and least enthusiastic woman. She is brought up in Bangalore by liberal, post-independent parents who are members of the Caste Eradication Society.

They are pragmatic enough to find spouses in caste and to teach their daughter to be an obedient wife. Seeta is actually smart and educated; but her B. And here she is in Hong Kong with her educated, good-looking husband, Narain. Her marriage is arranged by both sets of parents making reasonable demands. After marriage she wants a fashionable name but Narain writes Seeta in the heap of grain with the diamond ring presented by her father. He expects her to be an epitome of wifely virtue like Seeta and she also accepts it. Similarly when it comes to the issue of having children, it is Narain who decides that he doesn t want any for at least three years.

Seeta, in whose womb the baby will grow, isn t in the picture at all! Seeta is a plump young woman and after marriage she gets so plumper that people suspect that she may be pregnant. As slim women are admired in Hong Kong, Narain carelessly suggests her that she should 6 6. Narain gives her permission taking care that he would be properly attended by her and she should give him priority. She has been raised to believe that no husband wants a skinny scarecrow for a wife. But it doesn t occur to her that the reverse could also be considered: She is a large, tall, vigorous, voluble, bonhomous, blond woman visibly pregnant and visibly and audibly American.

She is so frank and talkative that she always has a cheerful, polite bunch of friends around her. Seeta learns that Sheila is six months pregnant and to control her weight she regularly attends morning walk. Sheila is actually Jew by birth. Jake is Sheila s husband. He loves his wife very much and enjoys his father-inlaw s property.

He is an airline steward. He involves in smuggling which brings him in trouble. Shaila is so talkative that Seeta learns all about her private life which she further shares with her shrewd husband, Narain. He takes disadvantage of it and manages to obstruct Sheila s property and compels her to return home hurriedly in her difficult condition to join her husband in trouble.

Seeta becomes nervous to notice that she is in part responsible for her friend s troubles. She helps her husband unknowingly and deceives her friend. She feels pity for Sheila as both are marginalized on account of femininity. But she gets confused and can t decide what is right and what is wrong. She knows that her husband dominates her.

He is unsympathetic towards her friend and she expresses her disgust towards her husband who always thinks about caste, religion and use of friends. But she does not revolt further. She continues to be his little pussycat and so her name is also significant one. In short, she is a typical small-town bourgeois woman who is moulded to fit in wifely virtues. There is only one thing common in between Seeta and Sheila their gait, a manner of walking. Otherwise they both are completely different by nature. In a way every day they meet the Lackadaisical Sweeper who is one more significant character in this story.

He is a street cleaner. He is low on the ground, about the height of a good-sized Great Dane and hunchbacked to boot LS He has small, red, almost-shut eyes. He is indolent, idle and unheedful to the passerby. He neither replies their smile nor their greetings. Sheila gives him a name too, Oscar Chang.

She tries almost all known languages to make him reply to her greetings during her morning walk but in vain. At the end of the story he mutters something to Seeta s Good morning and she feels very happy by his response. Perhaps he is the representative of Seeta who seems to be a common woman at the beginning but starts thinking at the end.

Perhaps she feels guilty for her friend and tries to minimize this guilty consciousness by fulfilling Sheila s wish to make this surly pigmy to respond. Narain wants his wife Seeta to be no more than a domestic slave and a goddess, a mythical-allegorical being devoid of female sexuality and humanness.

He looks unsympathetically at Seeta s friendship with Sheila, who is a Jew and wife of an ordinary airline steward. He is a selfish man who looks down upon women and the downtrodden people. He takes disadvantage of Seeta s innocent faith and friendship for his own economic benefit. He does not care for even his wife s emotions. Thus Narain is a selfish, unsympathetic and domineering husband who represents patriarchy here. Germany is the locale and Li-Ta is the protagonist of this story. She was born in to Ria and Hans- Joachim. She is the favourite girl-child of her father who is an accountant in the Wehrmacht.

Her father gives her this strange but unique name. But the situation forces her to be a common woman, unsuitable to her extraordinary name. When a war is declared her father and the eldest brother, Hans-Ernst both have to go on a war. The remaining family the mother, two younger sons and little five year old Li-Ta have to face hardship, deprivation, flight and fight for survival.

In order to save from war and bombs the family leaves their house in the city and goes to live on a farm. They take shelter in one house and live in utter poverty there. They think that Li-Ta is just a baby to miss the house, streets and city like them. She has to beg very 7 7.