{"product_id":"journey-of-goddess-durga-india-java-and-bali-nak294","title":"The Journey of The Goddess Durga (India, Java and Bali)","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eNAK294\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/fr\/book-author\/ni%20wayan%20pasek%20ariati\" class=\"underlined\" title=\"Ni Wayan Pasek Ariati\"\u003eNi Wayan Pasek Ariati\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/fr\/book-publisher\/international%20academy%20of%20indian%20culture%20and%20aditya%20prakashan\" class=\"underlined\" title=\"International Academy of Indian Culture and Aditya Prakashan\"\u003eInternational Academy of Indian Culture and Aditya Prakashan\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2016\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e9788177421521\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e315 (23 Color and 31 B\/W Illustration)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e11.5 inch X 8.5 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e1.20 kg\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003ccenter\u003e \u003cb\u003eAbout the Book\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e Written by a Baliness historian this volume traces the long journey of images of the goddess Durga within India in the 1st millennium Ce and then the long evolution of these images in java and Bali Beginning c.700 CE in the Early Mataram kingdom of ancient Java. In Addition to being a historical study this volume also document the author’s personal journey. Raised in a rural village of Bali, the author experienced images of Durga as an awe-inspiring and terrifying goddess renowned as the patroness of the black arts. During a two-year period of work and study in India (2001-2003) the author was exposed to images of the goddess Durga that depict her as a beautiful warrior goddess who protects the community of her worshippers. This work grows out of the author’s experience of seeking to understand the historical factors that led to the stark contrast of images of Durga that we see when comparing contemporary India and Bali.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Dr. Ariati first traces the development of images of Durga in the “great” and Little” traditions of India, calling attention especially to the evidence of the markandeya Purana for a movement of myths about the goddess from north to south India. She then traces the development of unique” Javanese panthe on”that includes images of Durga as a goddess who presides over the northern direction and pr9otects the kingdom and reigning monarch from danger. Dr. Ariati then draws on the evidence of the Javanese exorcistic text Sudamala and reliefs illustrating this work at Candi tigawangi, a temple constructed c. 1406 CE by a branch of the Majapahit dynasty.Nothing that this is the starting point for depictions of demonic forms of Durga in Java, Dr. Ariati calls attention to the special role played by a male authority figure who exorcizes a demonic form of the goddess Durga and returns her to her benign form as the goddess Uma, or Parvati. Dr. Ariati traces the further development of this exorcistic theme in the Calon rang tale of Bali and images of the “divine witch” Rangda. She concludes her study by drawing parallels between the demonization of female images in myth and ritual and a campaign of disinformation that led to the destruction of Indonesia’s first women’s movement during the tumultuous early years of the New Order government.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e The author makes frequent use of texts in the Old Javanese and Balinese languages that enrich her historical study by introducing themes common to Balinese understanding of Durga that she groups in terms of the three roles of goddess in creation (utpatti), preservation (sthiti) and dissolution (Pralina)\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e Dr. Ni Wayan Pasek Ariati is the Academic Director of the SIT Study Abroad Program: Indonesia-Arts, Religion and Social Change. She completed her doctoral studies at Charles Darwin University of the Northern Territory, Australia with a dissertation in history studying changing representations of the goddess Durga between India, Java and Bali. Her work with Javanese and Balinese communities who are the hosts for the SIT Study Abroad Program in Indonesia allows her to develop her research interests at the same time that she is able to introduce North American students to the rich cultural traditions and welcoming society of contemporary Indonesia.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Dr. Ariati has served in the past as a Lecturer in Indonesian language form the SIT Program in Indonesia (1992-1996) and for Charles Darwin University (1996-1999). In summer 1996 she served as the Fulbright lecturer in Indonesian for the Southeast Asian Studies Summer Institute (SEASS) at Arizona State University. Her published articles include \"Theodicy in Paradise\" (South and Southeast Asia Culture and religion, the SSEASR Journal, Vol III, (June 2009).\u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eForeword\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e The work you have in your hands is a historical study of the development of images of the goddess Durga in a journey that began in India and continued to Java and Bali. It is also the story of my journey and experiences while writing this book, so I will begin with a little bit about my life story. I was born in a farming village in the interior of Bali at the time that Mount Agung erupted, bringing with it famine and food shortages at the same time that political turmoil had become the trigger for the tragedy of the mass executions that took place two years after my birth. When I was a child I was terrified of the goddess Durga, because according to my grandfather, who was a temple priest in the Pura Dalem temple of our village, Durga is the goddess who is worshipped in that temple in a terrifying form as the queen and goddess of all those who practice \"left-hand\" magic and is called ratuning leyak kabeh, \"queen of all black magicians.\"\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e The journey of my career began when I graduated from the Department of English at the Faculty of Letters of Udayana University in Denpasar in 1988. Three years later I began teaching Bahasa Indonesia, the Indonesian language, to North American college undergraduates on the SIT Study Abroad Program in Bali, Indonesia. My experience teaching Indonesian language to American students opened up new horizons for me, and was able to learn more about the wider world while working to build cultural bridges between Indonesia and the United States.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e In 2001 the SIT Study Abroad Program in Bali\/Indonesia was temporarily suspended due to security concerns and my husband and I were transferred to Jaipur, Rajasthan to work for a program in North Indian Arts and Culture that was also conducted by the SIT Study Abroad branch of World Learning, its parent organization. While working in India I was struck almost immediately by the images of the goddess Durga that I encountered there, which were so different from what I knew from my home in Bali. In India Durga is pictured as a Warrior Goddess of great beauty who gives protection to her devotees, while in Java and Bali she is pictured as a demoness who dwells in the graveyard called Gandamayu (\"Fragrant Scent of Corpses\") and is worshipped in the Pura Dalem along with the god Shiva, known in Bali as Dewa Siwa.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Seeing such an extreme difference between what I knew from my childhood and what I experienced in India gave rise to my resolve to learn more about the factors behind the differences between images of Durga in India and Bali. From that time I began to read widely, conduct informal interview and make personal observations with the aim of understanding how the change had happened. My interest in deepening my knowledge about representations of the goddess Durga took a fortunate turn when I was able to apply for a fellowship to complete a doctoral dissertation in history at Charles Darwin University (CDU) in the Northern Territory of Australia. I was fortunate that my proposal to complete a dissertation on transformations of images of the goddess Durga between India, Java and Bali was accepted. I would like to express my sincere gratitude here to Dr. Christine Doran of the School for Creative Arts and Humanities at CDU, who agreed to be my supervisor and patiently guided me through every step of the process of completing my dissertation.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e In late 2006 I was appointed Academic Director of the SIT Study Abroad Program in Indonesia, and so after that had to divide my time between my working duties on the one hand and my field work and meetings with my supervisor on the other. The combination was lucky, however, because I was able to meet many students and scholars from Indonesia, Australia and North America who helped me to broaden my horizons. One scholar whose work influenced my study for the doctorate was that of Saskia Wierenga, who has written an important historical study of the way that members of the Indonesian women's movement were demonized during the tumultuous transition from Old Order to New Order Indonesia.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Saskia Wierenga's work inspired me to look at possible parallels between the fate of the Indonesian Women's Movement of Old Order Indonesia and the extreme change between Indian images of a beautiful warrior goddess and Balinese images of a demoness who lives in the Gandamayu cemetery. In this picture the older image of the Women's Movement is one of an organization that was progressive and popular, whereas in the generations that followed this organization had been marginalized and made a taboo subject through false accusations that they had been the masterminds behind the tragic murder of six of Indonesia's most famous and influential generals in mid-1965.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e In January 2012 I was invited to participate in an International Symposium on Conflict and Resolution that was held in Kigali, Rwanda with the sponsorship of World Learning, I learned a great deal at this symposium and concluded that in resolving past conflicts there is nothing more important than discussion and mutual acceptance, whether on the side of those who were responsible for acts of violence or on the side of the victims. I learned from our Rwandan hosts that there is always a way to heal old wounds, even when the past is as difficult as the one experienced in Rwanda in 1974.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e My work for SIT Study Abroad and World Learning has allowed me to participate in international seminars, and has convinced me that I should publish my dissertation as a book, even though several chapters discuss matters that are still considered taboo by many people. It is my hope that in the future history will deal truthfully with the past so that we can all life peacefully and create a stronger society.\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eContents\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"10%\"\u003e \u003c\/td\u003e \u003ctd width=\"80%\"\u003e LIST OF MAPS AND FIGURES\u003c\/td\u003e \u003ctd width=\"10%\"\u003e IX\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e FOREWORD\u003c\/td\u003e \u003ctd\u003e XI\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e A NOTE ON SPELLING\u003c\/td\u003e \u003ctd\u003e XIV\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003ePROLOGUE: MY PILGRIMAGES, BALINESE WOMAN'S JOURNEY INTO THE REALM OF THE GODDESS\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e1\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e Introduction: Yatra and Jatra\u003c\/td\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e My Jatra\u003c\/td\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e My Yatra\u003c\/td\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eINTRODUCTION: THE POWER OF MYTH AND THE POWER OF MEDIA\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e18\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e A Rationale for Studying the Transformations of Images of the Goddess Durga\u003c\/td\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e Review of the Literature\u003c\/td\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e Methodology and Sources\u003c\/td\u003e \u003ctd\u003e 30\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e Outline of Chapters\u003c\/td\u003e \u003ctd\u003e 34\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER ONE: TRACING THE ANCIENT ROOTS OF THE GODDESS\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e40\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e Indus Valley Civilization: Mohenjo-Daro and Harappa (C.3000-1500 BCE)\u003c\/td\u003e \u003ctd\u003e 42\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e The Indo-Aryan Civilization\u003c\/td\u003e \u003ctd\u003e 48\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e The Origin of the Mother Goddess\u003c\/td\u003e \u003ctd\u003e 51\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e Resurrection of the Mother Goddess in the Vedic Tradition\u003c\/td\u003e \u003ctd\u003e 52\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e Post-Vedic Goddesses in the Epic and Puranic Literature\u003c\/td\u003e \u003ctd\u003e 54\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vi\u003c\/td\u003e \u003ctd\u003e The Markandeya Purana\u003c\/td\u003e \u003ctd\u003e 59\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e The Devi Mahatmya, the Glorification of the Goddess\u003c\/td\u003e \u003ctd\u003e 63\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e An Overview of the Devi Mahatmya\u003c\/td\u003e \u003ctd\u003e 65\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ix\u003c\/td\u003e \u003ctd\u003e The Myth of the Durga Mahisasura-mardini, the Slayer of the Buffalo Demon\u003c\/td\u003e \u003ctd\u003e 67\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e x\u003c\/td\u003e \u003ctd\u003e A summary of the Myth of Durga Mahisasura-mardini, based on Cantos Two and Three of the Devi Mahatmya\u003c\/td\u003e \u003ctd\u003e 68\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xi\u003c\/td\u003e \u003ctd\u003e Conography of Durga Mahisasura-mardini\u003c\/td\u003e \u003ctd\u003e 72\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xii\u003c\/td\u003e \u003ctd\u003e Analysis and Interpretation\u003c\/td\u003e \u003ctd\u003e 73\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xiii\u003c\/td\u003e \u003ctd\u003e Conclusions\u003c\/td\u003e \u003ctd\u003e 76\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER TWO: THE GODDESS DURGA IN JAVA: TWO FORMS OF REPRESENTATION\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e78\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e The Beginnings of Hinduism in the Malay-Indonesian Archipelago\u003c\/td\u003e \u003ctd\u003e 81\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e The Beginnings of Shaivism in Java: The Canggal Inscription (732 CE)\u003c\/td\u003e \u003ctd\u003e 86\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e The Candi Prambanan Complex as a Source of Data on Early Javanese Hinduism\u003c\/td\u003e \u003ctd\u003e 88\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e The Pantheon of Candi Shiva of Prambanan and other Shaivite Shrines\u003c\/td\u003e \u003ctd\u003e 90\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e The Image of Durga Mahisasura-mardini in the North Cella\u003c\/td\u003e \u003ctd\u003e 91\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vi\u003c\/td\u003e \u003ctd\u003e The Role of the goddess Durga in the Central Javanese Inscriptions\u003c\/td\u003e \u003ctd\u003e 94\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e The Shift of Political Power from Central Java to East Java\u003c\/td\u003e \u003ctd\u003e 97\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e Tantric Influence in East Java: Defining and Classifying Tantrism\u003c\/td\u003e \u003ctd\u003e 99\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ix\u003c\/td\u003e \u003ctd\u003e The Position of the Goddess Durga during the East Javanese Period\u003c\/td\u003e \u003ctd\u003e 104\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e x\u003c\/td\u003e \u003ctd\u003e The Terep Inscription (1032 CE) of King Airlangga\u003c\/td\u003e \u003ctd\u003e 105\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xi\u003c\/td\u003e \u003ctd\u003e The Camundi Inscription (1292 CE) of Kertanegara\u003c\/td\u003e \u003ctd\u003e 106\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xii\u003c\/td\u003e \u003ctd\u003e The Petak and Trilokyapuri Inscriptions of 1486 CE\u003c\/td\u003e \u003ctd\u003e 111\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xiii\u003c\/td\u003e \u003ctd\u003e The Transitional Portrayal of the Goddess Durga in Kakawin Works: the Ghatotkacasraya, Sumanasantaka and Sutasoma\u003c\/td\u003e \u003ctd\u003e 112\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xiv\u003c\/td\u003e \u003ctd\u003e The Kakawin Ghatotkacasraya\u003c\/td\u003e \u003ctd\u003e 113\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xv\u003c\/td\u003e \u003ctd\u003e The Kakawin Sumanasantaka\u003c\/td\u003e \u003ctd\u003e 116\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xvi\u003c\/td\u003e \u003ctd\u003e The Kakawin Sutasoma\u003c\/td\u003e \u003ctd\u003e 117\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xvii\u003c\/td\u003e \u003ctd\u003e Conclusions\u003c\/td\u003e \u003ctd\u003e 119\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER THREE: THE TRANSFORMATION OF DURGA IN THE RELIEFS OF CANDI TIGAWANGI\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e120\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e Introduction: Textual and Visual Reflections of Majapahit Religious and Political Concerns\u003c\/td\u003e \u003ctd\u003e 120\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e Historical Background: East Java in the Fourteenth Century\u003c\/td\u003e \u003ctd\u003e 125\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e The Link between the Sraddha rites for Rajapatni and the Sudamala Story\u003c\/td\u003e \u003ctd\u003e 127\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e The Tale of Sudamala in Literary and Visual Representation\u003c\/td\u003e \u003ctd\u003e 128\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e Discussion of the Reliefs of the Sudamala tale at Candi Tigawangi\u003c\/td\u003e \u003ctd\u003e 134\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vi\u003c\/td\u003e \u003ctd\u003e The Sraddha rites of Rajapatni and the demonic form of Durga in the Sudamala Reliefs of Candi Tigawangi\u003c\/td\u003e \u003ctd\u003e 136\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e The Transformation of Ra Nini and the Role of Bhatara Guru\u003c\/td\u003e \u003ctd\u003e 140\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e Conclusions\u003c\/td\u003e \u003ctd\u003e 144\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER FOUR: THE GODDESS DURGA IN BALl: HISTORICAL PERSPECTIVES\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e145\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e Historical Background: Bali before the Inscriptional Record\u003c\/td\u003e \u003ctd\u003e 150\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e Historical Background: Bali during the early inscriptional period\u003c\/td\u003e \u003ctd\u003e 151\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e Javanese influences on Bali\u003c\/td\u003e \u003ctd\u003e 152\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e The Influence of the Javanese Kadiri dynasty (1042-1222 CE)\u003c\/td\u003e \u003ctd\u003e 152\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e The Subjugation of Bali by King Kertanegara of Singhasari in 1284 CE\u003c\/td\u003e \u003ctd\u003e 158\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vi\u003c\/td\u003e \u003ctd\u003e The Conquest of Bali by the Majapahit dynasty in 1343 CE\u003c\/td\u003e \u003ctd\u003e 164\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e The Goddess Durga in Bali: Mythological and Literary Perspectives\u003c\/td\u003e \u003ctd\u003e 170\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e Mythological Background: Definition and Application\u003c\/td\u003e \u003ctd\u003e 176\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ix\u003c\/td\u003e \u003ctd\u003e Conclusions\u003c\/td\u003e \u003ctd\u003e 180\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER FIVE: THE MINOR ROLES OF GODDESS DURGA: CREATOR AND PRESERVER\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e181\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e The Role of the Goddess Durga in Creation (utpatti)\u003c\/td\u003e \u003ctd\u003e 181\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e The Role of Durga as the Progenitor of the World\u003c\/td\u003e \u003ctd\u003e 184\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e The Role of Durga as Progenitor of the Resi, Shaivite and Buddhist Sages\u003c\/td\u003e \u003ctd\u003e 187\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e The Role of Durga in Inflicting and Curing Diseases\u003c\/td\u003e \u003ctd\u003e 193\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e The Goddess Durga as a Protector and a Preserver of Life (Sthiti)\u003c\/td\u003e \u003ctd\u003e 197\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vi\u003c\/td\u003e \u003ctd\u003e The Goddess Durga as a Protector of Sima Lands and a Granter of Victory\u003c\/td\u003e \u003ctd\u003e 200\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e The Goddess as a Preserver of Life and as the Patron of Black and White Magic Practictioners\u003c\/td\u003e \u003ctd\u003e 205\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e Mantras to the Goddess: Definition and Applications\u003c\/td\u003e \u003ctd\u003e 206\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ix\u003c\/td\u003e \u003ctd\u003e Magical Drawings (Rerajahan) used as Amulets\u003c\/td\u003e \u003ctd\u003e 207\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e x\u003c\/td\u003e \u003ctd\u003e Narratives of Healing and Protection in the Usada Manuscripts\u003c\/td\u003e \u003ctd\u003e 208\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xi\u003c\/td\u003e \u003ctd\u003e Conclusions\u003c\/td\u003e \u003ctd\u003e 213\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER SIX: THE ROLE OF THE GODDESS AS A DESTROYER (PEMRALlNA)\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e214\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e The Goddess Durga as a destroyer described in the form of mantras\u003c\/td\u003e \u003ctd\u003e 215\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e The Goddess Durga as a destroyer described in geguritan poetry\u003c\/td\u003e \u003ctd\u003e 219\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e The Goddess Durga as a destroyer described in prose works\u003c\/td\u003e \u003ctd\u003e 227\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e The Goddess Durga as a destroyer narrated in the wayang theatre\u003c\/td\u003e \u003ctd\u003e 238\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e Conclusions\u003c\/td\u003e \u003ctd\u003e 244\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003eCHAPTER SEVEN: THE CONVERGENCE OF ANCIENT AND MODERN FORMS OF MYTH-MAKING IN INDONESIA\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e246\u003c\/strong\u003e\n\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e Mythic Transformation of an Indic Goddess: Durga in India, Java and BaIi\u003c\/td\u003e \u003ctd\u003e 246\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e Historical Background of Gerwani\u003c\/td\u003e \u003ctd\u003e 248\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ix\u003c\/td\u003e \u003ctd\u003e The Membership of Gerwani\u003c\/td\u003e \u003ctd\u003e 251\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e x\u003c\/td\u003e \u003ctd\u003e The Account of a Gerwani leader\u003c\/td\u003e \u003ctd\u003e 251\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xi\u003c\/td\u003e \u003ctd\u003e Gestapu (Gerakan September Tiga Puluh): the \"30th of September Movement\"\u003c\/td\u003e \u003ctd\u003e 253\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xii\u003c\/td\u003e \u003ctd\u003e Key Actors of the \"Abortive Coup\" of 30 September 1965\u003c\/td\u003e \u003ctd\u003e 256\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xiii\u003c\/td\u003e \u003ctd\u003e The Goddess Durga and Gerwani\u003c\/td\u003e \u003ctd\u003e 259\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xiv\u003c\/td\u003e \u003ctd\u003e Negative Images of Female Warriors: Durga and Gerwani\u003c\/td\u003e \u003ctd\u003e 262\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xv\u003c\/td\u003e \u003ctd\u003e The Demonization of images of women: Durga and Gerwani\u003c\/td\u003e \u003ctd\u003e 265\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xvi\u003c\/td\u003e \u003ctd\u003e The Dance of Destruction: What was the Tari Harum Bunga?\u003c\/td\u003e \u003ctd\u003e 268\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xvii\u003c\/td\u003e \u003ctd\u003e The Exorcism of Durga and the domestication of women in the New Order regime\u003c\/td\u003e \u003ctd\u003e 275\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e xviii\u003c\/td\u003e \u003ctd\u003e Conclusions: Can the deconstruction of New Order mythologies lead to the empowerment of Indonesian women outside the domestic realm\u003c\/td\u003e \u003ctd\u003e 278\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e GLOSSARY OF TERMS AND ABBREVIATIONS\u003c\/td\u003e \u003ctd\u003e 280\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e WORKS CITED\u003c\/td\u003e \u003ctd\u003e 287\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e INDEX\u003c\/td\u003e \u003ctd\u003e 296\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003ccenter\u003e \u003cb\u003e\u003cu\u003e\u003cfont color=\"red\" size=\"5\"\u003eSample Pages\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294a.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294b.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294c.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294d.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294e.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294f.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294g.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294h.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294i.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294j.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294k.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294l.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294m.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nak294n.jpg\"\u003e\n\u003c\/center\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default 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