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Meditations through the Rig Veda: Four-Dimensional Man, by Antonio de Nicolas
Download Ebook Meditations through the Rig Veda: Four-Dimensional Man, by Antonio de Nicolas
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This book reconstructs the original and origins of the Rig Veda, (between 5.000 to 2.500 B.C,) the first Indo-European written document ever to show the origin of cultures and the power of music in the recitation and construction of the original hymns. Here we find the original geometries, original forms, original sacrifice of any form to claim supremacy over the others and the continued movement of human life. This book brings together early humans with modern neurobiological discoveries and shows the origins of multiple centers of knowing (the gods), the movement of the singer and the song in a world that avoids idolatry of substances by insisting in the constant movement of singer, song, and music. If you thought you knew all there is to know about the language you use, read this book and find out the idolatry of its imagery and the possible sacrifice needed for a happy, communal and divine life.
- Sales Rank: #2237044 in Books
- Published on: 2003-02-26
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .81" w x 6.00" l, 1.08 pounds
- Binding: Paperback
- 322 pages
About the Author
Dr. Antonio T. de Nicolas is Professor Emeritus of Philosophy at the State University of New York, at Stony Brook. He has written, translated or edited some twenty seven books. And is as well know for his prose as his poetry.
Most helpful customer reviews
1 of 4 people found the following review helpful.
unreadable
By jorgy40
for 'scholars' only. My eyes read the words in this book but I have no idea what he said. I retained nothing from this book - he might as well have written the entire thing in Sanskrit.
4 of 5 people found the following review helpful.
A Classic in Indic Studies for over thirty years.
By A Customer
I am a writer and scholar, April 20, 2003,
Modelling language relationships by sound and movement.
The distinguishing 'linguistic' and epistemological feature of the Rig Veda hymns is the manner in which they are grounded in sound and movement and demand a selection amongst alternative musical patterns. Since the number of tonal systems is infinite, the selection of a finite number of them by the singer/musician at the moment of execution, not only closes him/her within a certain limitation or determination (eg just tuning, equal temperament) but, more radically, it forces him/her to constantly face the internal incompatibility of any such systems, the tones of every conceivable system must constantly face and submit to a radical sacrifice to permit others to emerge (1978,2003, p. 12). 'Therefore, from a linguistic and cultural perspective, we have to be aware that we are dealing with a language where tonal and arithmetical relations establish the epistemological invariances. Language grounded in music is grounded thereby on context dependency; any tone can have any possible relation to other tones, and the shift from one tone to another, which alone makes melody possible, is a shift in perspective which the singer himself embodies. Any perspective (tone) must be 'sacrificed' for a new one to come into being; the song is a radical activity which requires innovation while maintaining continuity, and the 'world' is the creation of the singer, who shares its dimensions with the song'. (1978,2003 p. 57). A new Epilogue retraces the different schools and indiduals most influenced by this book in the last thirty years. A Classic.
Also recommended: His books: Moksha Smith: Agni's Warrior-Sage. Also: Avatara ( a New Edition is about to come out)
1 of 4 people found the following review helpful.
A Classic in Indic Studies for over thirty years.
By A Customer
I am a writer and scholar, April 20, 2003,
Modelling language relationships by sound and movement.
The distinguishing 'linguistic' and epistemological feature of the Rig Veda hymns is the manner in which they are grounded in sound and movement and demand a selection amongst alternative musical patterns. Since the number of tonal systems is infinite, the selection of a finite number of them by the singer/musician at the moment of execution, not only closes him/her within a certain limitation or determination (eg just tuning, equal temperament) but, more radically, it forces him/her to constantly face the internal incompatibility of any such systems, the tones of every conceivable system must constantly face and submit to a radical sacrifice to permit others to emerge (1978,2003, p. 12). 'Therefore, from a linguistic and cultural perspective, we have to be aware that we are dealing with a language where tonal and arithmetical relations establish the epistemological invariances. Language grounded in music is grounded thereby on context dependency; any tone can have any possible relation to other tones, and the shift from one tone to another, which alone makes melody possible, is a shift in perspective which the singer himself embodies. Any perspective (tone) must be 'sacrificed' for a new one to come into being; the song is a radical activity which requires innovation while maintaining continuity, and the 'world' is the creation of the singer, who shares its dimensions with the song'. (1978,2003 p. 57). A new Epilogue retraces the different schools and indiduals most influenced by this book in the last thirty years. A Classic.
Also recommended: His books: Moksha Smith: Agni's Warrior-Sage. Also: Avatara ( a New Edition is about to come out)
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