Making the case for a new kind of visual history, The Goddess and the Nation charts the pictorial life and career of Bharat Mata, “Mother India,” the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country’s diverse communities. Soon after Mother India’s emergence in the late nineteenth century, artists, both famous and amateur, began to picture her in various media, incorporating the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Filled with illustrations, including 100 in color, The Goddess and the Nation draws on visual studies, gender studies, and the history of cartography to offer a rigorous analysis of Mother India’s appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the mutual entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history; they actively make it. In The Goddess and the Nation, she teaches us about pictorial ways of learning the form of the nation, of how to live with it—and ultimately to die for it.

"Making the case for a new kind of visual history, The Goddess and the Nation charts the pictorial life and career of Bharat Mata, 'Mother India', the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country's diverse communities. Soon after Mother India's emergence in the late nineteenth century, artists, both famous and amateur, began to picture her in various media, incorporating the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Filled with illustrations, including 100 in color, The Goddess and the Nation draws on visual studies, gender studies, and the history of cartography to offer a rigorous analysis of Mother India's appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the mutual entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history; they actively make it." -- Back cover.

Explores how a secret cabal of influential families has shaped the United States according to the principles of sacred geometry and Goddess veneration • Exposes the esoteric influences behind the National Grange Order of Husbandry • Examines the sacred design and hidden purpose of the Washington Monument • Reveals how the three obelisks in New York City depict the stars of Orion’s Belt • Explains how every baseball diamond is actually a temple to the Goddess In America: Nation of the Goddess, Alan Butler and Janet Wolter reveal how a secret cabal of influential “Venus” families with a lineage tracing back to the Eleusinian Mysteries has shaped the history of the United States since its founding. The evidence for such incredible assertions comes from American institutions such as the National Grange Order of Husbandry and from the man-made landscape of the United States where massive structures and whole cities conform to an agenda designed to elevate the feminine within religion and society. The authors explain how the Venus families, working through the Freemasons and later the Grange, planned the American Revolution and the creation of the United States. It was this group who set the stage for the Founding Fathers to create Washington, D.C., according to the principles of sacred geometry, with an eye toward establishing the New Jerusalem. The authors explore the sacred design of the Washington Monument, revealing its occult purpose and connections to the heavens. They reveal how the obelisks in New York City depict the stars of Orion’s Belt just like the Giza pyramids and how the site of one of them, St. Paul’s Chapel, is the American counterpart to Rosslyn Chapel in Scotland. Exposing the strong esoteric influences behind the establishment of the Grange in the United States, they connect this apparently conservative order of farmers to the Venus families and trace its lineage back to the Cisterians, who were a major voice in the promotion of the Crusades and the establishment of the Knights Templar. The authors conclude with the startling revelation that nearly every city in America has a temple to the Goddess hidden in plain sight--their baseball diamonds--exposing the extent to which the Venus families are still at work behind the scenes.

Who and what are marriage and sex for? Whose practices and which ways of talking to god can count as religion? Lucinda Ramberg considers these questions based upon two years of ethnographic research on an ongoing South Indian practice of dedication in which girls, and sometimes boys, are married to a goddess. Called devadasis, or jogatis, those dedicated become female and male women who conduct the rites of the goddess outside the walls of her main temple and transact in sex outside the bounds of conjugal matrimony. Marriage to the goddess, as well as the rites that the dedication ceremony authorizes jogatis to perform, have long been seen as illegitimate and criminalized. Kinship with the goddess is productive for the families who dedicate their children, Ramberg argues, and yet it cannot conform to modern conceptions of gender, family, or religion. This nonconformity, she suggests, speaks to the limitations of modern categories, as well as to the possibilities of relations—between and among humans and deities—that exceed such categories.

Reciting the Goddess presents the first critical study of the Svasthanivratakatha (SVK), a sixteenth-century Hindu narrative textual tradition. The extensive SVK manuscript tradition offers a rare opportunity to observe the making of a specific, distinct Hindu religious tradition. Jessica Vantine Birkenholtz argues that the SVK serves as a lens through which we can observe the creation of modern 'Hinduism' in the Himalayas, as the text both mirrored and informed key moments in the self-conscious creation of Nepal as the 'world's only Hindu kingdom' in the late medieval and early modern period. Birkenholtz mines the literary historiography that is contained within the SVK text itself, chronicling the text's literary and narrative development as well as the development of the Svasthani goddess tradition. She outlines the process whereby the SVK gradually transformed into a Purana text, and became a critical source for Nepali Hindu belief and identity. She also examines the elusive character of the goddess Svasthani whose identity is tied to the pan-Hindu goddess tradition, and the representation of women in the SVK and the ways in which the text influenced local and regional debates on the ideal of Hindu womanhood. Reciting the Goddess presents Nepal's celebrated SVK as a micro-level illustration of the powerful ways in which people, place, and literature intersect to produce new ideas and concepts of identity and place, even in a historically non-literate culture.

From the dawn of writing in Sumer to the sunset of the Islamic empire, Founding Gods, Inventing Nations traces four thousand years of speculation on the origins of civilization. Investigating a vast range of primary sources, some of which are translated here for the first time, and focusing on the dynamic influence of the Greek, Roman, and Arab conquests of the Near East, William McCants looks at the ways the conquerors and those they conquered reshaped their myths of civilization's origins in response to the social and political consequences of empire. The Greek and Roman conquests brought with them a learned culture that competed with that of native elites. The conquering Arabs, in contrast, had no learned culture, which led to three hundred years of Muslim competition over the cultural orientation of Islam, a contest reflected in the culture myths of that time. What we know today as Islamic culture is the product of this contest, whose protagonists drew heavily on the lore of non-Arab and pagan antiquity. McCants argues that authors in all three periods did not write about civilization's origins solely out of pure antiquarian interest--they also sought to address the social and political tensions of the day. The strategies they employed and the postcolonial dilemmas they confronted provide invaluable context for understanding how authors today use myth and history to locate themselves in the confusing aftermath of empire.

The authors discuss how to love America and how to be a patriotic Christian. They sound an alarm within the church and invite readers to open themselves to God's judgment so that they may respond faithfully in a time of widespread injustice and human suffering.