Alaka Atreya Chudal – författare

The Swasthani Vrata Katha is the most widely read, recited, and listened-to devotional text among Hindu laity in Nepal. Originating in the late sixteenth century, the Swasthani tradition encompasses three interrelated elements: the goddess Swasthani, revered as the goddess of "one's own place"; the goddess's story (katha) and its annual recitation; and the month-long ritual vow (vrat) undertaken by women to honor Swasthani. Today, the Swasthani blends widely circulating Hindu myths—featuring Shiva, Sati, and Parvati—with local folk narratives that reflect women's everyday hardships and the worldly and spiritual rewards of fulfilling one's dharma and devotion to Swasthani.This textual and ritual practice devoted to the goddess Swasthani centers women's roles, expectations, and responses and has significantly shaped Nepali Hindu identity and practice for both women and men. In Nepal, the Swasthani holds cultural, religious, and social significance comparable to the Ramayana and Mahabharata epics elsewhere in the Hindu world. Its characters—Goma, her son Navaraj, and his wife Chandravati—similarly offer a familiar local cultural vocabulary through their trials and triumphs.This book presents the first full-length scholarly English translation of this important text from the original Nepali. As Parvati once brought Swasthani's story from the divine to the human realm, this translation brings it from Nepal to a broader English-speaking audience.This is an open access title available under the terms of a CC BY-NC-ND 4.0 International license. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

Vaishnava sadhu. Arya Samajist. Buddhist monk.Hindi nationalist. Communist. These are the identities Rahul Sankrityayan (18931963), born a sanātanī Brahmin, donned during the early 20th century. Widely known in the field of Buddhist studies and Hindi literature, Sankrityayan was also a prolific writer whose varied ideological stances have baffled his critics and admirers alike. While several works have tried to analyse Sankrityayans life through the lens of these identities, few have delved deep into the ambivalence that marked his thoughts and writings as he shifted his allegiance between these identities. A Freethinking Cultural Nationalist takes, as its starting point, the insight that Sankrityayans personality was a product of the Indian renaissance period, and situates his life and work critically within the wider framework of his times. By exploring the thread that held together the different aspects of his personality, it presents a multifaceted picture not just of the man, but of India itself.