Diss. Ph. D.--Delhi--University of Delhi. / Le dos de la page de titre porte la mention : "Kabir-kavya ke sanskritik sroat" / Vineeta Kumari. Bibliogr. p. 311-320.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1976. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Banaras Hindu University. / In Hindi. Includes bibliographical references (p. 382-388).

Texte remanié de: Doct.-diss.--Philosophy--University of Delhi, 1976. Titre de soutenance : Kabīr Kī Bakti Bhāvanā. / Notes bibliogr. Glossaire p. 283-300. Index.

Em. Phil.--Hindī--Śimalā--Himācala Pradeśa viśvavidyālaya. / Le dos de la page de titre porte la mention : "Kabeer aur Tulsi ki samajik drishti ka tulnatmak adhyayan" / Sarita Rai. Bibliogr. p. 77-78. Notes bibliogr.

Pī. Eca. Ḍī.--Pūnā--Pūnā viśvavidyālaya, 1989. / Mention parallèle de titre ou de responsabilité : Jaina-philosophy and Kabīr : a comparative study / by Jaina Sādhvī Dr. Mañjuśrī. Bibliogr. p. 443-456.

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The Kabir Project (K.P.) was born in Bangalore, India, in 2002, after the Gujarat pogrom, which occurred in the same year. In the context of increasing divisions in Indian society, defined by religion, social class, caste and gender, this research explores how this initiative, through live concerts and documentary films, spreads the folk music traditions of the 15th century mystic poet Kabir along with his messages of unity and understanding between confronted identity groups. This study presents the context of violence between Muslims and Hindus since the Indian Partition and the reasons for gendered violence in the conflict. It focuses also on the connections between globalization and minorities’ prosecution in liberal democracies; on the colonial roots and socioeconomic reasons which led to the Gujarat massacre in 2002; and the social role of the mystic as bridging cultural and religious differences. Through two complementary methods: in-depth interviews to audiences and organizers at the K. P. festivals in Bangalore and survey questionnaires distributed to the Kabir Festival Mumbai audiences, this study tries to answer the following questions: What is the potential for social change of the K. P. in the world-views of today's Indian citizens? Are the messages presented by films and folk music capable of generating positive attitudes towards dialogue between confronted identity categories? In which ways?The research reveals the success of the K. P. to challenge audiences’ minds through communication for development events, whose objectives are reached by spreading Kabir values through artistic forms, and by creating shared spaces between confronted identity sections. Festivals in rural areas help to diminish the distance between those antagonized communities. In addition, urban festivals also generate positive attitudes in elites towards dialogue and coexistence, since that is the social profile of the audience.

<p>In his own time, the nirguna poet-saint Kabir was a controversial figure. He spoke ill of Islam and Hinduism alike, yet, in the end, both groups claimed him as their own. In this essay, various images of Kabir are discussed. Kabir as he appears in legends; Kabir as he appears in his poems; Kabir as a historical figure. But more importantly, Kabir as he is perceived as today. The image of Kabir, as it were. The question of ‘who Kabir was’ is posed to members of two groups in the city of Banaras, India — one group Muslim (Julaha), the other Hindu (Yadav).</p> / <p>Under sin egen tid var nirguna helgonpoeten Kabir, en kontroversiell figur. Han pratade illa som såväl Islam som Hinduism --- men till slut kom ändå båda grupperna att anamma honom som sin egen. I den här uppsatsen diskuteras olika bilder av Kabir. Kabir som han beskrivs i legender; Kabir som han träder fram i sina dikter; Kabir som en historisk figur. Men kanske viktigast av allt, bilden av Kabir idag. Frågan om "vem Kabir var" ställs till personer ur två grupper i staden Banaras, Indien --- en grupp Muslimer (Julaha), den andra gruppen Hinduer (Yadav).</p>

In his own time, the nirguna poet-saint Kabir was a controversial figure. He spoke ill of Islam and Hinduism alike, yet, in the end, both groups claimed him as their own. In this essay, various images of Kabir are discussed. Kabir as he appears in legends; Kabir as he appears in his poems; Kabir as a historical figure. But more importantly, Kabir as he is perceived as today. The image of Kabir, as it were. The question of ‘who Kabir was’ is posed to members of two groups in the city of Banaras, India — one group Muslim (Julaha), the other Hindu (Yadav). / Under sin egen tid var nirguna helgonpoeten Kabir, en kontroversiell figur. Han pratade illa som såväl Islam som Hinduism --- men till slut kom ändå båda grupperna att anamma honom som sin egen. I den här uppsatsen diskuteras olika bilder av Kabir. Kabir som han beskrivs i legender; Kabir som han träder fram i sina dikter; Kabir som en historisk figur. Men kanske viktigast av allt, bilden av Kabir idag. Frågan om "vem Kabir var" ställs till personer ur två grupper i staden Banaras, Indien --- en grupp Muslimer (Julaha), den andra gruppen Hinduer (Yadav).