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When was Umm ar-Rasas created?
Umm ar-Rasas was created in 2004.
What has the author Neerja Arun written?
Neerja Arun has written: 'A practical guide to Indian aesthetics' -- subject(s): Indic Aesthetics, Sanskrit poetry, Dhvani (Poetics), History and criticism, Rasas
What has the author Chantal Maillard written?
Chantal Maillard has written: 'Rasa' -- subject(s): Aesthetics, Indic, History and criticism, Indic Aesthetics, Indic poetry, Rasas 'Azul en re menor' 'Sabiduria Como Estetica, La - China' 'Hainuwele'
How many facial expressions are there?
IN total there are 9 facial expressions called as 'Navarasas'.Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the followingŚringāram-Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.Hāsyam - Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.Raudram - Fury. Presiding deity: Rudra. Colour: red.Kārunyam -Compassion, Mercy. Presiding deity: Yama. Colour: grey.Bībhatsam -Disgust, Aversion. Presiding deity: Shiva. Colour: blueBhayānakam- Horror, Terror. Presiding deity: Kala. Colour: blackVīram-Heroic mood. Presiding deity: Indra. Colour: yellowishAdbhutam-Wonder, Amazement. Presiding deity: Brahma. Colour: yellowNavarasaAbhinavagupta suggested a ninth rasa when only eight were accepted and it had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue.Shāntam Peace or tranquility. deity: Vishnu. Colour: blueIn addition to the nine Rasas, two more appeared laterVātsalya or Parental LoveBhakti or Spiritual Devotion
What is Navras in Marathi?
The NatyaShastra describes nine rasas or NavaRasas that are the basis of all human emotion. Each is commented upon in detail. It is useful to keep in mind that a rasa encompasses not just the emotion, but also the various things that cause that emotion. These two things go hand in hand and are impossible to treat separately. This duality is part of every rasa to varying degrees. Today we try to bring to you a flavour of each of these nine rasas, explaining what each one means and presenting it to you through some Indian art form. ShringaraShringara means love and beauty. This is the emotion used to represent that which appeals to the human mind, that which one finds beautiful, that which evokes love. This is indeed the king of all rasas and the one that finds the most frequent portrayal in art. It can be used for the love between friends, the love between a mother and her child, the love for god or the love between a teacher and his disciples. But the Shringara or love between a man and a woman is easily the most popular form of this rasa. Rich imagery is associated with this love and it gets portrayed at many different intensities esp in Classical Indian dance. The sweet anticipation of a woman as she waits for her lover is as much Shringara as the passion she feels for her first love, a passion that so heightens her sensitivity that even the moonbeams scorch her skin. In Indian music too this rasa finds wide portrayal through beautiful melodies. HasyaHasya it the rasa used to express joy or mirth. It can be used to depict simple lightheartedness or riotous laughter and everything in between. Teasing and laughing with a friend, being amused and carefree or simply feeling frivolous and naughty -- these are all facets of hasya. Lord Krishna's childhood, when he was the darling of all Gokul is filled with many stories of his naughty activities. This mirth, which endeared him to all, is one of the common sources of hasya in all ancient Indian art forms. Clearly, where there is hasya, all is well with the world, there is joy all around and all are of good cheer. BhibatsyaBhibatsya is disgust. The emotion evoked by anything that nauseates us, that revolts or sickens us is Bhibatsya. When something comes to our notice that is coarse and graceless, beneath human dignity, something which revolts or sickens us it is Bhibatsya that we feel. When Prince Siddhartha, as a young nobleman, saw for the first time sickness, old age and death, he was moved to disgust which later metamorphosed into sorrow, deep introspection and peace, as he transformed into Gautama, the Buddha -- or the Enlightened one. Not surprisingly, this emotion is usually represented fleetingly. It usually acts as a catalyst for higher and more pleasant emotions. RowdraRowdra is anger and all its forms. The self-righteous wrath of kings, outrage over audacious behaviour and disobedience, the fury caused by an offense, the rage evoked by disrespect and anger over injustice are all forms of Rowdra, probably the most violent of rasas. Rowdra also encompasses divine fury and the fury of nature which is used to explain unexpected calamities and natural disasters. In Indian mythology, Lord Shiva, the Destroyer, is thought of as the master of all disharmony and discord. Shiva performing the tandav -- a violent dance -- is what creates havoc in the three worlds namely the sky, the earth and the nether world. ShantaShanta is serenity and peace. It represents the state of calm and unruffled repose that is marked simply by the lack of all other rasas. Because all emotions are absent in Shanta there is controversy whether it is a rasa at all. According to Bharata, the author of NatyaShastra, the other eight rasas are as proposed originally by Brahma, and the ninth, Shanta, is his contribution. Shanta is what the Buddha felt when he was enlightened, when he reached the higher spiritual plane that led him to salvation or nirvana and freed him from the cycle of life and death. Shanta represents complete harmony between the mind, body and the universe. Sages in India meditate for entire lifetimes to attain this state. In music it is often represented through a steady and slow tempo. Shanta is a clear and cloudless state. Shanta is untroubled steadiness. Shanta is the key to eternity. VeeraVeera is heroism. It represents bravery and self-confidence. Manliness and valiance are the trademarks of a Veer or a fearless person. Courage and intrepidity in the face of daunting odds is heroism. Boldness in battle, the attitude with which martyrs go to war, and the valour with which they die are all aspects of heroism. Rama, the hero of the Ramayan, is typically the model for this Rasa. His confidence and heroism while facing the mighty ten-headed demon king Ravana is part of Indian legend, folklore and mythology. A somewhat different type of heroism is displayed by characters like Abhimanyu, who went to war knowing fully that he would be severely outnumbered and almost certainly die and yet fought so bravely as to earn accolades even from his enemies. In Indian music this rasa is represented by a lively tempo and percussive sounds. BhayaBhaya is fear. The subtle and nameless anxiety caused by a presentiment of evil, the feelings of helplessness evoked by a mighty and cruel ruler, and the terror felt while facing certain death are all aspects of bhaya. The fear for one's well being and safety is supposed to be the most primitive feeling known to man. Bhaya is the feeling evoked while facing something that is far bigger and more powerful than oneself and which is dead set on one's destruction. Bhaya is the feeling of being overwhelmed and helpless. Dread, cowardice, agitation, discomposure, panic and timidity are all aspects of the emotion of fear. Bhaya is also used to characterize that which causes fear. People and circumstances that cause others to cower in terror before them are as central to portrayal of this rasa as those feeling the fear. KarunaKaruna is grief and compassion. The feelings of unspeakable tragedy and despair, utter hopelessness and heartbreak, the sorrow caused by parting with a lover, the anguish caused by the death of a loved one are all Karuna. So also, the compassion and empathy aroused by seeing someone wretched and afflicted is Karuna. The sympathy and fellow feeling that sorrow engenders in the viewer is also karuna. Karuna can be of a personal nature as when one finds oneself depressed, melancholy and distressed. More impersonal sorrows relate to the despair regarding the human condition in general, the feeling that all human life is grief and suffering. It is Karuna of this sort that the Buddha was trying to overcome on his path to salvation. AdbhutaAdbhuta is wonder and curiosity. The awe that one feels when one comes across something divine and supernatural, some power or beauty that is remarkable and never seen or imagined before is Adbhuta. Adbhuta is the curiosity of man regarding the creation of the world and all its wonders, the astonishment caused by seeing something unusual and magical. The appreciation of a marvel that goes beyond the routine and the mundane is Adbhuta. The glory of a king returning from a successful battle, the magical feats of a god are both adbhuta to a common man. Adbhuta is when divinity makes a surprise appearance in the world of men.
What does cayos mean in spanish?
If you want the definition in Spanish.Según la Real Academia Española:CAYO s, masc.Cada una de las islas rasas, arenosas, frecuentemente anegadizas y cubiertas en gran parte de mangle, muy comunes en el mar de las Antillas y en el golfo mexicano.Nombre propio: Cayo Julio César.With an accent on the final 'o'., it would be the third person singular, preterite tense, of 'caer' - to fall,i.e. 'You(formal)/he/she/it fell'
What is the meaning of viva la raza?
Viva La Raza means long live the race, it's typically used by Latinos more specifally Mexicans to show pride in their race, I remember Eddie Guerrero(Rest In Peace) the wrestler used to say that a lot. But La Raza is also a gang that started in Chicago, IL in 1972 so u might wanna be careful walkin around yellin La Raza if ur not apart of the La Raza Nation
What is the zip code of Amman?
LocationZip codeAMMAN CENTRAL11110AL -ABDALI11190AL - SUWAIFIYAH11185JORDAN UNIVERSITY11942AL-JUBAIHA11941TLA" ALI11953JORDAN HOTEL11180AL-WEHDAT11152MARKA11134EL-MUHAJREIN11115JABAL -AL-HUSSAIN (W)11192AL - HUSSAEN (E)11121AL - WEIBDEH11191AL -HASHMI AL-SHMALI11123AMMAN CITY CENTER11118AL -MAHATTAH11131ZAHRAN11183JABAL AMMAN11181AL-HASHMI AL-JANOUBI11120JABAL AL - NASER11140SUWALEH11910DHAHIYAT AL-YARMOUK 11954AL-MQABALAIN11623KHREBET AL-SUQ11621AL-YADUDAH11610JABAL AL - TAJ11141AL - SHIMAISANI11194TAREQ11947AL- ZUHUR11163ABU ALANDA11592AL-MADINA AL-RIYADHIYAH11196JABAL AL - JUFAH11145HAI AL- MAZARI11133AL-QUWEISMEH11593DHAHIYAT AL-AMIR RASHED11831UM AS -SUMMAQ & KHULDA11821SHAFA BADRAN11934APPLIED SCIENCE UNIVERSITY POST OFFICE11931ABU NUSSAIR HOUSING POST OFFICE11937HAI-NAZZAL11171JABAL AL- NUZHA11124HAI AL - MANARA11143CITY TERMINAL of R.J. POST OFFICE11187ABU ALIA / TAREQ POST OFFICE11946AL-BURJ POST OFFICE /AMMAN11184QASER AL-ADEL POST OFFICE111105PRIME MINISTERY POST OFFICE COUNTER11111PARLMENT HOUSE P.O11101JABAL AL - QUSUR11122LICENCE AUTHORITY P . O .11130JEBEL AL - NAZEEF P . O .11161SALYAH16663AL -RAM16665AL - GIZA16010UM - QUSIR16173NA'UR11710AL - RAWDAH17129UM EL - BASATIN17138AL - HUSSAIN MEDICAL CITY11855AL - MUWAQQAR16310IRAQ AL - AMIR11874ALIA HOUSING11731DABOUQ POST OFFICE11822MARJ AL-HAMAM11732DHAHIYAT AL AMIR HAMZAH11733AL - ABDALI11531AL - FAISALIYEH /MADABA16384AL - LUBBAN11652HUSBAN POST OFFICE17127AL- MUSHAQQAR17198AL - RAWNAQ11844BADER AL -JADIDEH11891BAYADER WADI AL -SEER11814SAHA'B11511SAHAB INDUSTRY POST OFFICE11512WADI AL SEER11810UM RUMMANEH16194UM -AL- RASAS16610UM EL- AMAD16197
Quanto tempo leva para o plastico se decompor?
Os resíduos sólidos de origem urbana, popularmente denominados de lixo, normalmente em muitos países, inclusive no Brasil, são descartados pela maioria da população como materiais inúteis ou inservíveis, apesar de muitos materiais serem potencialmente recicláveis.Aspectos relacionados a renda, clima, cultura, hábitos de consumo, atividade econômica do município, índice de urbanização, localização geográfica, vias de acesso etc, são fatores determinantes na quantidade e qualidade dos produtos consumidos e de resíduos gerados e descartados pelas comunidades. Assim, os materiais descartados como lixo, à exemplo de papel, papelão, plástico, vidro, metais ferrosos e não ferrosos, matéria orgânica ,restos de comida, verduras, frutas, apara de grama, poda de árvores, etc, dentre outros materiais, variam quantitativamente e qualitativamente ao longo do ano.De acordo com a composição bioquímica dos resíduos descartados no lixo, há um gradiente de tempo para que ocorra sua degradação no meio ambiente. Muitos livros que tratam desse tema apresentam dados gerais sobre o tempo de degradação, porém, quase sempre a abordagem é feita de forma superficial, sem entretanto, discuti-lo dentro do contexto que o tema requer, a exemplo do Quadro 01 a seguir:Quadro 01: Tempo de Decomposição de Alguns MateriaisMATERIAL TEMPOJornais 2 a 6 semanasEmbalagens de Papel 1 a 4 mesesCasca de Frutas 3 mesesGuardanapos de papel 3 mesesPontas de cigarro 2 anosFósforo 2 anosChicletes 5 anosNylon 30 a 40 anosSacos e copos plásticos 200 a 450 anosLatas de alumínio 100 a 500 anosTampas de garrafas 100 a 500 anosPilhas 100 a 500 anosGarrafas e frascos de vidro ou plástico indeterminadoCom o avanço tecnológico, as indústrias se diversificaram e produzem os bens de consumo em escala cada vez maior para atender a demanda de mercado, que atrelado à estrutura do comércio e dos recursos de marketing de vendas, cada vez mais sofisticado para seduzir o consumidor, numa relação direta de causa e efeito, todo esse complexo sistema tem custado um preço considerável para o meio ambiente, face ao significativo aumento na geração de lixo.Na prática, deve-se levar em consideração que há uma estreita inter-relação entre fatores físicos, químicos e biológicos que interferem no processo de degradação dos resíduos, mas, da forma como os dados vêm sendo apresentados em muitas tabelas, muitas vezes não permite essa compreensão.Para melhor entendimento sobre esse tema devemos questionar sob que condições o lixo foi ou está submetido, pois a degradação dos materiais ocorre em função de uma complexa combinação de fatores, tais como, temperatura, pH do meio, teor de umidade, luminosidade, pressão atmosférica, etc.Antes de qualquer avaliação cronológica, tempo que um determinado material leva para degradar-se,, deve-se considerar sob que condições o,s, resíduo,s, que compõe o lixo encontra-se: a céu aberto ou enterrado; está numa região como a floresta Amazônica ,úmida e quente, ou no deserto de Saara ,seca e quente durante o dia e fria à noite,; está na terra ou dentro do meio aquático; se dentro do meio aquático, está no água doce ,rio, ou na água salgada ,mar,; está sob águas rasas ou profundas; encontra-se depositado numa região de água mais quente como no litoral nordestino ou em água mais gelada como na Antártida; o lixo está numa região a nível do mar ou está numa região de altitudes elevadas como nos Alpes Suíços; etc.Diante de tantas variáveis, supondo que tomássemos como exemplo o papel, será que o tempo de degradação vai ser o mesmo nos diferentes pontos da terra? Considerando que as condições do meio são tão distintas nos diferentes pontos do planeta, certamente não será difícil concluirmos que não é simples estabelecermos tempo de degradação do material no meio ambiente, pois a interação de fatores interfere na atividade dos microorganismos decompositores.Há determinados produtos que para preservar suas propriedades quanto ao cheiro, cor, sabor, etc, requer envase em embalagens especiais, tipo Tetra Pak, constituído por camadas, tais como plástico, papelão, alumínio. Se por um lado este tipo de embalagem permite que tenhamos alimento preservado por um período mais longo, propiciando inclusive o consumo em período fora da safra, por outro lado considerando a baixa degradabilidade desse tipo de embalagem, é muito elevado o custo ambiental quando é descartado no meio.Apesar da tabela informar que jornais degradam com 2 a 6 semanas, foram encontrados jornais intactos ,permitindo inclusive identificar a data que fora impresso, em um aterro sanitário existente nos Estados Unidos, depois de aproximadamente quarenta anos de desativado. Portanto, as condições a que esse material foi submetido, luminosidade, temperatura, umidade, pressão, etc, permitiu que o tempo de degradação não necessariamente ocorresse conforme o tempo descrito na tabela. Cabe então a pergunta: afinal para que servem essas tabelas se na prática os dados referentes ao tempo de degradação são tão discrepantes?Finalmente é fundamental uma reflexão sobre o que estamos descartando como materiais inúteis e/ou indesejáveis, antes mesmo de discutirmos quanto tempo levará esses materiais para degradar-se no meio ambiente. É de fundamental importância pensarmos efetivamente que contribuição podemos dar para que tenhamos um modelo sustentável, ecologicamente equilibrado, contemplando os Rs mágicos: Redução, Reutilização e Reciclagem, permitindo economia de matéria prima e energia. Assim, sugerimos Repensar nosso modelo de consumo e descarte, mudar atitudes e nos levar por caminhos seguros, para essa e para as futuras gerações.Fonte : Rede Ambiente.
