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Read this essay on does shakespeare reinforce or question contemporary attitudes to society's values and william shakespeare's othello. Answer: william shakespeare's "othello" can be read from a feminist perspective a feminist analysis of the play othello allows us to judge the different social. The values, attitudes natural order were restored which was much to the liking of the elizabethan society values in william shakespeare's tragedy, othello,. William shakespeare's othello is a dramatic exploration of the society present in venice in the early 1600s, and shows an insight into the roles of the men and women.
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Was watching ATK / CI do a pepper encrusted beef tenderloin. One end of the loin was somewhat thicker than the other, so they tucked under the thinner end so entire thing would be more uniform thickness--understood that.
But then they tied the other (thicker, non-tucked end) with 2 or 3 pieces of twine, each about 2 inches apart. Didn't understand that. Couldn't understand her explanation, even upon rewind. Something about
"keeping the diameter of the meat even" or something? Meat was not stuffed, nor was it rolled or loose uneven pieces that needed to be tied to be kept together. It was just a single round evenly shaped loin end. Why tie only the "other" (non-tucked under) end?
(In this case, how does tying keep diameter even? To me it only creates temporary ridges and uneven meat denseness in an otherwise evenly shaped loin?) Maybe I just missed something?
Thanks for any thoughts / suggestions.

subset: commoncrawl


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This will be an in depth guide to using the pen tool. Although based around the current version found in Photoshop CS 2 this guide should work for most image editors that have the same tool, give or take a few aspects of it. I will fill you in on the basics and guide you onto some pro applications of this tool.
Before and After
So why use the pen tool when the selection tools do such a good job... reasonable question isn't it?
The selection tool is a crude way of making quick selections. It has very little scope and once a selection is made there isn't a lot you can do to it once done... other than start again and remake the selection. This can be a pain when you have just spent 45 minutes getting a selection just right only to notice it isn't.
The pen tool is vastly more powerful when making selections and you'll thank me once you have learnt how to use it.
So where is the pen tool in Photoshop?
As seen here, in the main tools palette.
Note there are secondary options from this tool bar (above)
and the pen palette (seen below).
As seen here, in the main tools palette.
Note there are secondary options from this tool bar (above)
and the pen palette (seen below).
The Pen tool is a vector based way of making selections. We will come back to vectors, but for now know that this make your life easier and will provide you with some pretty cool ways of improving your workflow and editing your images.
The first thing you need to know about making your selections is that they are based on 'ANCHORS'. An anchor is a selection point that you can edit, as you go along or once you are happy with all the anchors you lay down.
To start laying down anchors, first open an image that you wish to edit and decide on an aspect of it that you wish to make a selection of and then isolate.
The best way to demonstrate this is perhaps with an image of mine that needs some basic editing via a pixel perfect selection.
Here you will see an image of a Celtic cross/tombstone. I want to edit this, the cross is great but I want to improve the background. I need to isolate the cross first.
Note that I will appear to be making more than one path. As far as your image editor is concerned, it is one single path. These multiple paths are there to isolate the interior of the cross as well.
Note I have demonstrated the main anchors in the
animation, the internal anchors haven't been animated.
I am going to make some intentionally very crude anchor points. The animated GIF above will give you an idea of what is happening. Select the PEN TOOL and start to lay down the anchor points. To make a selection complete via the pen tool you have to tie up the two ends. Although this is obvious, not all applications of the pen tool need to have tied ends. So like the marquee tool, hover the pointer over the start anchor and click on it to complete the selection area.
GURU TIP: Sometimes the view of the pen tool can be a real pain If you are working on a selection that needs that extra degree of precision you can change the way it looks. By toggling the CAPS LOCK button you can change the view from the large nasty cumbersome 'fountain nib pointer' to a more useful 'cross hair pointer'. Note that you can do this to most tools in PS.
So now we have our selection made... well technically this isn't a selection yet. It is a PATH, remember that name. The path needs to be converted into a selection. But the path is too crude and we have to edit it! You are now on path to enlightenment... ok a bad pun, but you truly are.
How to edit a path!
Once you have laid out all you anchors you may want to edit them before turning it into a selection. You can not do this with the selection tools. The editing options you have for the anchors are numerous. We will start with the simple edit functions and work onto the more complicated methods.
To edit a single anchor point:
You will need to have the 'Convert Pen Tool' active. By clicking and holding the left mouse button down on the pen tool you will be presented with this option.
Then click on the path and the single anchor point you wish to convert. By using the arrow keys on the keyboard you can nudge (key nudging) this anchor around to your hearts desire.
GURU TIP: Whilst the pen tool is active you are able to toggle to nearly any other tool. So for example, whilst laying down a path or nudging an anchor with the convert tool you can switch to the magnify tool for example. This is great if you want to zoom right in for more accuracy, something you can not do with the selection tools.
In our working example we will want to curve the anchor point. Each anchor point and the curve is based on 4 anchor lines. To see this, hold the mouse over a given anchor point press down and drag the anchor lines out. Initially you will only see two. These two anchor lines work together on the first drag of the anchor and give you a smooth curve based on the direction and distance of the drag.
Drag these lines out to the desired point and let go...
you can then click on each of the anchor lines little
solid boxes and move these to perfect your desired curve.
Note if you ever go back and click on the original anchor point once, it will revert to its original layout and you can re-edit the curve. If you have done this by mistake... have no fear. Just Press CTRL-ALT-Z to step back once in the edit history.
This gives us a problem however. Say we edit a point and are not happy with it. We have to select that anchor point with a click... but hang on! That reverts the line/curve back to its original form! So what do I do?
I don�t know the official way of reselecting an anchor point without reverting it, but this is what I do. Identify the anchor point you wish to edit. If there is another anchor point very close to it, zoom in so you have a little room between them. Place the mouse just off the anchor point add drag the mouse over the anchor point, effectively making a selection of the point. You'll be presented with the anchor lines again and you may edit them with the curve still intact.
So where are the other two anchor lines? Well if you look at the anchor points on either side of the selected anchor point you will see two more anchor lines. These lines can be edited to determine how the curves from two anchors interact with each other. See how they work and get some experience in fine tuning your curves.
Move on, select another anchor and get your path just right.
What happens if I want to move a whole bunch of anchor points, keeping the curves intact as well?
This is quite simple. Just make a selection of the anchor points with the mouse as demonstrated when selecting a single anchor. Or if this isn't possible, select one or more, then press the CTRL key down and make some more selections till you have all the points you want. Then by place the cursor over a point on the line, note not the anchor, and dragging it or key nudging it... you can move all these selections.
So where is the selection we set out to achieve?
Right in front of you! Bring up your PATHS PALETTE and select the path you have just created, click on it once if it isn�t highlighted. At the base of this palette you will see an option to load the path as a selection. Simple click on that. You'll be presented with a few options at this point.
The one you want is load path as new selection. You will have other options, such as 'subtract from selection', 'add to selection' and so forth. I hope these seem simple and straight forward enough.
Now you have your perfect selection. As you can see from my images, I can now edit the final look of the background and improve the foreground independently of each other.
Wow!!! That was a bit long winded! Was it worth it?
Well that�s down to you to find out. Say you wish to edit that selection a few days later, no history to fall back on... oh dear!
Never fear! Just go back into the PATHS PALETTE, click the path you want... and edit it again to your hearts content. Now did that not just save you a heap of work?
Remember you can also export your paths as shapes for use at a later point.
You can add Anchors to a path if you wish. Use the 'Add Anchor Point Tool', select anywhere on your path to add the point. Then with the 'Convert Point Tool' move and edit the curve to get the desired aspects right. Equally you can use the 'Delete Anchor Point Tool' to remove given anchors on your path. Simply hover over the anchor, left click and it is gone, remember to deselect this tool when done... I have deleted many anchors by mistake whilst not concentrating.
This article and images included are protected by copyright: Contravisual Media � 2005.
Permission is given to HTMLfourms to publish this article at www.htmlforums.com
Please do not publish this article elsewhere without express permission.
Permission is given to HTMLfourms to publish this article at www.htmlforums.com
Please do not publish this article elsewhere without express permission.


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Dominating selection criteria for applicable Rotary kiln
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Rotary kiln can be divided accoding to two approaches. The first dividing method of rotary kiln is by structure. It can be divided into horizontal rotary kiln and vertical rotary kiln. The second method is by manufacturing type. It can be divided into wet method rotary kiln and dry method rotary kiln. Wet type rotary kiln is mainly used in cement wet type production. Cement wet type rotary kiln is used to process material slurry made of raw material and water which make up around 35%. Because slurry inside rotary kiln has mobility and all kinds of material inside rotary kiln mixed fully and evenly, the cement clinker calcined in rotary kiln has very good quality. All these are the advantages of wet type production by rotary kiln. While different from wet type rotary kiln, dry method rotary kiln has opposite benefits. Dry method rotary kiln is used to process raw material of dry powder which has water less than 1%. Therefore, Dry method rotary kiln can save the energy which is used to evaporate water in wet type rotary kiln. However, the energy consumption of dry method rotary kiln is still not low because the high temperature of waste gas. And material inside dry type rotary kiln mixes badly and components of material inside dry type rotary kiln distributes unevenly. So, the most popular kind rotary kiln is wet method rotary kiln.
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Dictionary Definition
Extensive Definition
Ganesha (Sanskrit: ; ; listen), also spelled Ganesa or Ganesh and known as Ganapati, Vinayaka, Pillaiyar. Ganesha is one of the best-known and most worshipped deities in the Hindu pantheon. His image is found throughout India. Hindu sects worship him regardless of other affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many other attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the Remover of Obstacles and more generally as Lord of Beginnings and Lord of Obstacles (Vighnesha, Vighneshvara), patron of arts and sciences, and the deva of intellect and wisdom. He is honoured at the start of rituals and ceremonies and invoked as Patron of Letters during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in clearly recognizable form in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. His popularity rose quickly, and he was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya, (Sanskrit: ; ), who identified Ganesha as the supreme deity, arose during this period. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
Etymology and other names
Ganesh has many other titles and epithets, including Ganapati and Vigneshvara. The Hindu title of respect Shri (Sanskrit: ; , also spelled Sri or Shree) is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana (Sanskrit: ; ), meaning a group, multitude, or categorical system and isha (Sanskrit: ; ), meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva (IAST: ). The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the " to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati (Sanskrit: ; ), a synonym for Ganesha, is a compound composed of , meaning "group", and , meaning "ruler" or "lord". The Amarakośa, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, (equivalent to Vignesha), (one who has two mothers), (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana (IAST: ) ; having the face of an elephant).
Vinayaka (Sanskrit: ; ) is a common name for Ganesha that appears in the and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the . The names Vignesha (Sanskrit: ; ) and Vigneshvara (Sanskrit: विघ्नेश्वर; ) (Lord of Obstacles)
A prominent name for Ganesha in the Tamil language is Pille or Pillaiyar (Little Child). A. K. Narain differentiates these terms by saying that pille means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk of an elephant", but more generally "elephant". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
Iconographyseealso Sritattvanidhi
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The figure shown to the right is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
Common attributes
Ganesha is often shown riding on or attended by a mouse or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle only in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names (mouse-mount) and (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret 's mouse, do so negatively; it symbolizes as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word (mouse) is derived from the root (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāmata-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
Ganesha is Vighneshvara or Vighnaraja, the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation." Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. However, both functions continue to be vital to his character, as Robert Brown explains, "even after the is well-defined, in art remained predominantly important for his dual role as creator and remover of obstacles, thus having both a negative and a positive aspect".
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
Ganesha is identified with the Hindu mantra Aum (, also called Om). The term (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air ]. You are the sun ] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
First chakra
According to Kundalini yoga, Ganesha resides in the first chakra, called . Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine []." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".]]
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths disagree about his birth. He may have been created by Shiva, or by Parvati, or by Shiva and Parvati, or appeared mysteriously and was discovered by Shiva and Parvati.
The family includes his brother Skanda, who is also called Karttikeya, Murugan, and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacārin. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: ). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had two sons: (prosperity) and (profit). In northern Indian variants of this story, the sons are often said to be (auspiciouness) and . The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, and Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
Worship and festivals
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Ganapataye Namah (Om, , Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a . Because of his identification with the color red, he is often worshipped with red sandalwood paste () or red flowers. grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are "the Vināyaka caturthī (Ganesh Chaturthi) in the (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the jayanti ('s birthday) celebrated on the cathurthī of the (fourth day of the waning moon) in the month of māgha (January/February)."
Ganesh Chaturthi
An annual festival honours Ganesha for ten days, starting on Ganesh Chaturthi, which typically falls in late August or early September. The festival culminates on the day of Ananta Chaturdashi, when images (murtis) of Ganesha are immersed in the most convenient body of water. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai and in the surrounding belt of Ashtavinayaka temples.
TemplesIn Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (); as a deity related to the principal deity (); or as the principal deity of the temple (), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati's doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (Sanskrit: अष्टविनायक; ; lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend; together they "form a mandala, demarking the sacred cosmos of Ganesha".
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dhokala, and Balsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; Hampi, Kasargod, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below trees […], in a niche […] in temples of (Vishnu) as well as (Shiva) and also in separate shrines specially constructed in temples […]; the figure of is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal, and in several western countries.
Rise to prominence
First appearance
Ganesha appeared in his classic form as a clearly-recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
[W]hat is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
Possible influences
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In this search for a historical origin for Gaņeśa, some have suggested precise locations outside the tradition.... These historical locations are intriguing to be sure, but the fact remains that they are all speculations, variations on the Dravidian hypothesis, which argues that anything not attested to in the Vedic and Indo-European sources must have come into religion from the Dravidian or aboriginal populations of India as part of the process that produced Hinduism out of the interactions of the Aryan and non-Aryan populations. There is no independent evidence for an elephant cult or a totem; nor is there any archaeological data pointing to a tradition prior to what we can already see in place in the literature and the iconography of .
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century AD the elephant-headed form exists it cannot be presumed to represent . There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four . In Hindu mythology, the were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century.
Vedic and epic literatureThe title "Leader of the group" (Sanskrit: ) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to —who is the deity of the hymn—and only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet '', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, (2.9.1) and (10.1), appeal to a deity as "the tusked one" (), "elephant-faced" (Hastimukha), and "with a curved trunk" (). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk () and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for 's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term is found in some recensions of the and that are regarded as interpolations. A reference to ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
Puranic period
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th century philosopher popularized the "worship of the five forms" () system among orthodox Brahmins of the Smārta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, , and . instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
ScripturesOnce Ganesha was accepted as one of the five principal deities of Brahmanism, some chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana—and their dating relative to one another—has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
Beyond India and HinduismCommercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of many Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. The period from approximately the 10th century onwards was marked by the development of new networks of exchange, the formation of trade guilds, and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to the Malay Archipelago and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the Malay Archipelago in great numbers, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The gradual spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Even today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. A few examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god , but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god , he is often shown dancing. This form, called Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is very popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by , a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
- Goddess Vināyakī: The Female
- The Practical Sanskrit Dictionary (fourth revised and enlarged edition).
- Śāradā Tilaka Tantram (1993 reprint edition).
- Ganeśapurāna: Introduction, translation, notes and index
- The Cultural Heritage of India Four volumes.
- Ganesh: Studies of an Asian God
- Glory of Ganesha
- The meaning of Ganapati
- Merriam-Webster's Encyclopedia of World Religions
- An Introduction to Hinduism
- .
- Ganapati: Song of the Self
- Karttikeya: The Son of Shiva
- The Problem of Ganapati
- The Book of Hindu Imagery
- Ganesha-Karttikeya
- Gaņeśa: Unravelling An Enigma
- Mythical Animals in Indian Art
- A Practical Sanskrit Dictionary
- Gaņeśa: The Enchanter of the Three Worlds
- Temples and Legends of Maharashtra
- A Concise History of India
- The Cult of Vinayaka
- .
- Ganesh: The Benevolent
- The Compendium on Gaņeśa
- . Source text with a commentary by Bhāskararāya in Sanskrit.
- Understanding Gaņapati: Insights into the Dynamics of a Cult
- Rgveda-Samhita, Text in Devanagari, English translation Notes and indices by H. H. Wilson, Ed. W.F. Webster
External links
ganesa in Afrikaans: Ganesha
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ganesa in Bulgarian: Ганеша
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ganesa in Modern Greek (1453-): Γκανέσα
ganesa in Spanish: Ganeṣa
ganesa in Persian: گانش
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ganesa in Gujarati: ગણેશ
ganesa in Korean: 가네샤
ganesa in Hindi: गणेश
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ganesa in Malay (macrolanguage): Bentara Ganesha
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ganesa in Nepali: गणेश
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ganesa in Simple English: Ganesha
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ganesa in Tamil: விநாயகர்
ganesa in Telugu: వినాయకుడు
ganesa in Thai: พระพิฆเนศวร
ganesa in Turkish: Ganeşa
ganesa in Ukrainian: Ґанеша
ganesa in Urdu: گنیش
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The strong evolution of lumber industry
North America`s lumber industry helped define what it means to build in the modern era. With the invention of the light balloon-frame, lumber became an indispensable resource to the quickly expanding United States in the 19th century. Over the past 150 years, the process and politics of wood have shaped a highly efficient industry that still provides the vast majority of the U.S.`s house-building material. With new technology, wood is pushing into new territories, and the lumber industry is bracing to respond to these demands. In North America and Europe, long gone are the days of clear-cutting forests and destroying an entire region`s ecology. While clear-cutting "slash and burn" operations still happen in parts of South America and Africa, they are due to the expanding, unregulated livestock and agriculture industries, not the timber industry. The careful regulation and scientific study of the lumber industry in the United States and Canada have led to a net increase of 1 percent of forested land over the last 50 years. That means the forests of North America are stable, with a slight increase, even as roughly 45.5 billion board feet of lumber are harvested in the United States in a single year. This is thanks to precise tree selection, sometimes using satellite imagery and GPS, and aggressive tree-growing programs. Most notably, the Canada-U.S. softwood lumber dispute is considered one of the greatest points of trade tension between the two countries. The disagreement is directly linked to how and where lumber is coming from. In the United States, most lumber comes from the property of 11 million private U.S. landowners. In Canada, most land dedicated to lumber harvesting is owned by the government. In the interest of maintaining a healthy economy, Canadian provincial governments subsidize the industry, effectively keeping the price of lumber low and stable. This is in direct conflict with the private-market-driven prices U.S. companies charge. Over the past 40 years, a number of lawsuits and agreements have been filed and disputed between the two countries over Canada`s subsidies and the movement of lumber over the border. While this dispute is currently at an uneasy truce, the potential of new wood technologies is promising to drive the demand for lumber to new heights. Source article and image: https://archpaper.com
November 24, 2017
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Building as tall as trees at Timber Expo - Press Release
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DREMA 2018 towards Industry 4.0
Building as tall as trees at Timber Expo - Press Release
China has increased its sales of softwood from Europe


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so I guess after yesterday's game TSN recorded their stadium to be louder. Hmmmm not sure if I like it
No announcement yet.
Loudest stadium
new posts
Loudest stadiumTags: None
I've got some doubts regarding these db recorders. According to this link, each 10db increase is 10x louder.
So, according to th Guiness Book Arrowhead in KC has the record at 142db - http://www.guinnessworldrecords.com/world-records/loudest-crowd-roar-at-a-sports-stadium
If IGF and NMS are around 100db, that means Arrowhead is 40x louder (that is impossible). At 120db, it says that is the threshold of pain with hearing loss after very brief exposure.
I really don't think any of these tests are that accurate tbh.
There was a lady in the stands at new Mosaic's LDW game said she recorded 111.7db.
On the field TSN got 104db in SK, but 108db in Wpg. Thus Wpg has the 'claim' to being the loudest according to TSN's records, but I can tell you (& Kevin Glenn would agree) that new Mosaic gets (& maintains being) louder in many places - esp in the north end. Overall they're about the same - both very loud & consistently.
I agree with the folks above, these dB readings simply don't seem accurate from 1 league to the other. We experienced Winnipeg's IGF yesterday and similar to other years, it was loud... But it's a cheering/cowbell (not sarcasm, cowbells are huge at bomber games for some reason) high pitch loud, where as Mosaic is a lower thunderous loud. People in Regina seem to use the "DDDDDDD" (lower bass tone) when our defense is on the field, and people in Winnipeg seem to cheer when their defense is on the field. It's loud, but a different type of loud.
IGF's roof material has a big factor in appearing to change the tone of the sound. It's like the echo you'd get when yelling near a tin building... You can definitely hear the different tone. I think it's great and wish we would have went with a similar material (for the sound reasons) but I understand why the fiberglass cloth material was used instead.
A few notes from yesterday's game:
-The IGF in house announcer is unbelievably good at getting the crowd pumped. His voice, tone and timing really drive through a party like atmosphere.
-IGF in stadium audio crew should get credit. They play songs with high bass while the defense is on the field and that bass mixes with the crowd noise to create a great mix of audio assisted crowd noise. Perfectly legit and a great idea.
-IGF speakers have more bass tuned in and less treble. This means the audio doesn't sound as good, but it creates a party/club like atmosphere.
-Any Bomber fan complaining about the Riders playing music or having announcer talking/encouraging noise while the opponents are on offense should simply visit IGF for a game. The Bombers use the exact same timing and audio queues as the Riders (or vice versa). Audio straight up until the offense breaks the huddle.
-As cheezy as it may sound, the Bombers do a great job of pumping up the crowd at every kickoff. They play some high beat song, the announcer fires everyone up with some yelling and the crowd continues to cheer. A lot of the kickoffs are after a TD or field goal so it's a great way to keep the positive energy flowing while the teams kicks the ball off... And that then continues on when the defense takes the field. Kudos on this one.
- 1 like
Pretty simple way to take the loudest stadium title away from Winnipeg - beat 108db at any one of our soldout games the rest of the season!
Now that Rider fans know what we have to beat we can bring in more cowbells/thundersticks etc. to beat the record. I'm sure there's some way for the team to market this & make a lot of money off of some merchandised noisemaker.
I've never quite understood why having a loud stadium is some sort of badge of honour resulting in a "my stadium is better than your stadium" bravado. Lots of variability in loudness which is influenced by providing free noise makers or the prompting by the PA announcer or video screen. Who cares which is loudest? Both stadiums are great with each having some aspects which are slightly better than the other.
- 1 like
Senior Member
- Apr 2017
- 5035
I've been to both, several times.
IGF is louder. Most of that's based on construction. It's a smaller footprint and the roof is designed to keep noise in. In part for a home field advantage but mainly to reduce outside noise in the neighbourhood. Regina has translucent fabric that absorbs sound as opposed to the Winnipeg roof that "pushes" it back down.
I have no problem giving IGF the crown of loudest stadium in the league. Doesn't mean their fans are better.Last edited by Bingo_Arms; 09-10-2017, 08:26 AM.
- 2 likes
One way that New Mosaic is better than IGF is our stadium actually reduces (massively) the amount of wind on the field. I've been amazed that on some very windy day games (30km+ wind) there has been almost no wind on the field - goalpost flags not even moving. Winnipeg's reduces the wind somewhat too being built below ground, but somehow it doesn't reduce it as much. Edmonton's & Calgary's fields are also below ground level - but Calgary's especially doesn't reduce the wind much at all.Last edited by Jiminy; 09-10-2017, 08:34 AM.
Originally posted by Jiminy View PostOne way that New Mosaic is better than IGF is our stadium actually reduces (massively) the amount of wind on the field. I've been amazed that on some very windy day games (30km+ wind) there has been almost no wind on the field - goalpost flags not even moving. Winnipeg's reduces the wind somewhat too being built below ground, but somehow it doesn't reduce it as much. Edmonton's & Calgary's fields are also below ground level - but Calgary's especially doesn't reduce the wind much at all.
It was funny watching one of ball boys trying to chase it down.
Senior Member
- Apr 2017
- 117
Who really cares?
No announcement yet.
No announcement yet.


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Meditations on Amos 4:13
Hatred and Its Many, Many Sides
Curing Thru Confession
Weekly Brief – 03/14/2017
New Covenant Theology
MONDAY BRIEF – March 6th, 2017
The Anatomy of God
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Demetrius Williamson
Jeffrey Hays
Monday Brief – 0617
Civil War
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Assigned Faith
When I was a child, I spoke like a child, I thought like a child, I reasoned like a child. When I became a man, I gave up childish ways. (1 Corinthians 13:11)The Bible teaches that there are two stages in life; childhood and adulthood. The notion of adolescence is a contemporary cultural creation. Adolescence is some homogenous, unknown period of time when a person is no longer understood as a child, and yet not recognized as an adult. We reject this notion and opt for a more Biblical perspective. Around the time a child has reached puberty they are transitioning between childhood and adulthood. It's at this time that we encourage parents to begin training their children to start thinking of themselves as adults. This also is why we encourage high-school students to join their parents in the adult Bible study as opposed to having another class for the adolescent age. The Scriptures teach the folly of wasting our youth on things that are of no value. We believe that adolescence is one of those philosophies of man that encourages just that.
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