Koro

Koro may refer to one of the following:

Geography

Languages

Polynesian culture

Other

Korođ

Korođ or Korog (Hungarian: Kórógy) is a village in the municipality of Tordinci, Vukovar-Srijem County, Croatia.

References

Coordinates: 45°25′N 18°45′E / 45.417°N 18.750°E / 45.417; 18.750

Koro (band)

Koro were a short-lived hardcore punk band from Knoxville, Tennessee. They released one self-titled 7" EP in 1983 and recorded a demo for an unreleased LP entitled Speed Kills.

The EP consisted of eight short, furious songs in the vein of early Poison Idea and Deep Wound, clocking in at a cumulative total of just over six minutes, and was originally released with a pressing total of 500, although closer to 300 were actually sold. According to guitarist Carl Snow in an interview in 2002, the remainder were given to Jello Biafra when the band opened for the Dead Kennedys in Atlanta, and were subsequently lost. The band split up in 1984.

The self-titled 7" was re-released several times by bootleggers, but did not see official reproduction until the mid-90s, on the US Hardcore label, in a substandard copy of the original. Sorry State Records re-released the 7" in its original format with audio remastering in 2006. The label later released the Speed Kills LP in its entirety in 2006, completely remastered for 12" vinyl.

Lhop people

The Lhop or Doya people are a little-known tribe of southwest Bhutan. The Bhutanese believe them to be the aboriginal inhabitants of the country. The Lhop are found in the low valleys of Samtse and near Phuntsholing in the Duars. They are also known as the Lhops, Lhopu, or Lhokpu and speak a Tibeto-Burman language. They total approximately 2,500 persons.

The dress of the Lhop resembles the Lepcha, but they bear little similarity with the Bhutia in the North and the Toto in the west. The Doya trace their descent matrilineally, marry their cross cousins, and embalm the deceased who are then placed in a foetal position in a circular sarcophagus above the ground. They follow a blend of Tibetan Buddhism mixed with animism.

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List of Lithuanian mythological figures

The list of Lithuanian gods is reconstructed based on scarce written sources and late folklore. Lithuania converted to Christianity in 1387, but elements of the Lithuanian mythology survived into the 19th century. Earliest written sources, authored by foreigners and Christians, only briefly mention the Lithuanian gods. Beginning in the 16th century, the pagan religion received more attention from authors, but often their accounts were confused, contradictory, and heavily influenced by various religious agendas. Collection and recording of folklore began in the 19th century. By that time the pagan mythology became fragmented and mixed with Christian traditions. The cults of old deities transformed into folklore (individual tales, myths, songs, etc.) without associated rituals. Because of such difficulties obtaining data, there is no accepted list of Lithuanian gods. Different authors present wildly contradictory reconstructions of Lithuanian pantheon.

Indian aesthetics

Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically.

Rasa theory

Introduction

Of particular concern to Indian drama and literature are the term 'bhAva' or the state of mind and rasa (Sanskrit रस lit. 'juice' or 'essence') referring generally to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or sahṛdaya or one with positive taste and mind. Rasas are created by bhavas. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory.

Although the concept of rasa is fundamental to many forms of Indian art including dance, music, musical theatre, cinema and literature, the treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinaya, and the huge regional differences even within one style.

Experience of rasa (rasAnubhava)

A rasa is the developed relishable state of a permanent mood, which is called sthAyI bhAva. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, anubhAvas and sancharI/ vyAbhichArI bhavas. The production of aesthetic rasa from bhAvas is analogous to the production of tastes/juices of kinds from food with condiments, curries, pastes and spices. This is explained by the quote below:

Rasa (theology)

Rasa (IAST rāsa) is a Sanskrit theological concept specific to Krishna-centered bhakti traditions, such as Gaudiya Vaishnavism. The theological use of the word can be found early, about two thousand years before the Nimbarka or Caitanya schools of bhakti, in a phrase that Chaitanya traditions frequently quote: "Truly, the Lord is rasa" (raso vai sah) of the Taittiriya Upanishad. This statement expresses the view that God is the one who enjoys the ultimate rasa, or spiritual rapture and emotions.

It is believed Rupa Goswami developed, under the direct guidance of Caitanya, the articulated and formulated theology of rasa as "the soul's particular relationship with the divinity in devotional love".

Rupa's text draws largely from the foundational theory of rasa formed by Bharata Muni, the originator of Sanskrit dramaturgy, or Natya Sastra (perhaps as early as the 2nd century BCE). These relationships with the divinity in devotional love, rasa, can closely resemble the variety of loving feelings that humans experience with one another, such as beloved-lover, friend-friend, parent-child, and master-servant. Rasas are distinguished as lower and higher and according to Bhagavad Gita it appears that the three higher rasas are acknowledged and preferred by Arjuna. The higher rasas are described as loving, friendly, and fraternal types of relationships.