Voice Of The Vanquished

The epic tale of victory and defeat... The story of the Ramayana had been told innumerable times. The enthralling story of Rama, the incarnation of God, who slew Ravana, the evil demon of darkness, is known to every Indian. And in the pages of history, as always, it is the version told by the victors, that lives on. The voice of the vanquished remains lost in silence. But what if Ravana and his people had a different story to tell? The story of the Ravanayana had never been told. Asura is the epic tale of the vanquished Asura people, a story that has been cherished by the oppressed outcastes of India for 3000 years. Until now, no Asura has dared to tell the tale. But perhaps the time has come for the dead and the defeated to speak. "For thousands of years, I have been vilified and my death is celebrated year after year in every corner of India. Why? Was it because I challenged the Gods for the sake of my daughter? Was it because I freed a race from the yoke of caste-based Deva rule? You have heard the victor's tale, the Ramayana. Now hear the Ravanayana, for I am Ravana, the Asura, and my story is the tale of the vanquished." "I am a non-entity-invisible, powerless and negligible. No epics will ever be written about me. I have suffered both Ravana and Rama - the hero and the villain or the villain and the hero. When the stories of great men are told, my voice maybe too feeble to be heard. Yet, spare me a moment and hear my story, for I am Bhadra, the Asura, and my life is the tale of the loser." The ancient Asura empire lay shattered into many warring petty kingdoms reeling under the heel of the Devas. In desperation, the Asuras look up to a young saviour-Ravana. Believing that a better world awaits them under Ravana, common men like Bhadra decide to follow the young leader. With a will of iron and a fiery ambition to succeed, Ravana leads his people from victory to victory and carves out a vast empire from the Devas. But even when Ravana succeeds spectacularly, the poor Asuras find that nothing much has changed for them. It is when that Ravana, by one action, changes the history of the world.

This book argues that the voice is a crucial link between bodies, thought, and mortal identity in the tragedies of Aeschylus. It first presents conceptions of the voice in Greek poetry and philosophy and then shows how Aeschylus' tragedies gain meaning from the rubric and performance of voice.

The Spanish Civil War (1936-1939) pitted conservative forces including the army, the Church, the Falange (fascist party), landowners, and industrial capitalists against the Republic, installed in 1931 and supported by intellectuals, the petite bourgeoisie, many campesinos (farm laborers), and the urban proletariat. Provoking heated passions on both sides, the Civil War soon became an international phenomenon that inspired a number of literary works reflecting the impact of the war on foreign and national writers. While the literature of the period has been the subject of scholarship, women's literary production has not been studied as a body of work in the same way that literature by men has been, and its unique features have not been examined. Addressing this lacuna in literary studies, this volume provides fresh perspectives on well-known women writers, as well as less studied ones, whose works take the Spanish Civil War as a theme. The authors represented in this collection reflect a wide range of political positions. Writers such as Maria Zambrano, Mercè Rodoreda, and Josefina Aldecoa were clearly aligned with the Republic, whereas others, including Mercedes Salisachs and Liberata Masoliver, sympathized with the Nationalists. Most, however, are situated in a more ambiguous political space, although the ethics and character portraits that emerge in their works might suggest Republican sympathies. Taken together, the essays are an important contribution to scholarship on literature inspired by this pivotal point in Spanish history.

This book provides a new introduction to the study of Christian spirituality, exploring it through the human sciences and ranging from philosophy and hermeneutics to psychology, history, sociology and anthropology. Systematic and progressive, it introduces the key approaches and shows how they relate to the understanding, study and practice of spirituality. Covering a vast amount of ground - from traditional themes such as images of God, spiritual direction and pilgrimage to more contemporary issues, such as place and space, cyberspace and postcolonialism - the author takes an ecumenical, inclusive stance, allowing the book to be used in a wide variety of courses and across denominations.

Following the “globetrotting supernatural adventure” (Publishers Weekly) of Damned, the riveting conclusion to the Crusade trilogy pushes the power of love to its limits. Hope is in short supply, but courage runs deep as the Salamancan hunters recover from a devastating loss. Jenn knows she must rally her team against the Cursed Ones, but her focus is shattered. She’s torn between passion for Antonio, who once fought by her side, and hate for the bloodthirsty vampire he’s become. His volatility is tearing apart their team...and Jenn’s trust. As the Cursed Ones amass new strength, Team Salamanca must strike together if they hope to survive, let alone defend humanity. Jenn wants to believe Antonio’s loyal to their cause—and their love—but she’s slowly losing her heart to Resistance fighter Noah. And if Antonio’s not careful, he may just end up with a stake in his. This gripping conclusion to an epic trilogy pairs steamy romance with heart-stopping action, and delivers an ending as dramatic as it is unexpected.

Seneca�s masterful essay On Benefits (De Beneficiis) explores the nature of favors; what it means to do someone a favor and what to expect back, if anything.

Seneca, the favourite classic of the early fathers of the church and of the Middle Ages, whom Jerome, Tertullian, and Augustine speak of as "Seneca noster," who was believed to have corresponded with St. Paul, and upon whom [Footnote: On the "De Clementia," an odd subject for the man who burned Servetus alive for differing with him.] Calvin wrote a commentary, seems almost forgotten in modern times. Perhaps some of his popularity may have been due to his being supposed to be the author of those tragedies which the world has long ceased to read, but which delighted a period that preferred Euripides to Aeschylus: while casuists must have found congenial matter in an author whose fantastic cases of conscience are often worthy of Sanchez or Escobar. Yet Seneca's morality is always pure, and from him we gain, albeit at second hand, an insight into the doctrines of the Greek philosophers, Zeno, Epicurus, Chrysippus, &c., whose precepts and system of religious thought had in cultivated Roman society taken the place of the old worship of Jupiter and Quirinus. Since Lodge's edition (fol. 1614), no complete translation of Seneca has been published in England, though Sir Roger L'Estrange wrote paraphrases of several Dialogues, which seem to have been enormously popular, running through more than sixteen editions. I think we may conjecture that Shakespeare had seen Lodge's translation, from several allusions to philosophy, to that impossible conception "the wise man," and especially from a passage in "All's Well that ends Well," which seems to breathe the very spirit of "De Beneficiis."