invocatory การใช้

• An invocatory item may usually follow the " varnam ".
• Thus, they dance forward to the accompaniment of drumbeats and invocatory song.
• These invocatory inchantations must be accompanied with piring ( ritual offerings ) to appease the gods invoked during the restival.
• Concerts usually begin with a " varnam " or an invocatory item which will act as the opening piece.
• Sopanam is religious in nature, and developed through singing invocatory songs at the Kalam of Kali, and later inside temples.
• The fist invocatory song in Kanada is in Sanskrit and in here one can read the mudrai " Hitha kunjara bhanita " in the charanam.
• From an invocatory verse in the text, another probable reason is also proposed, in that, being a Jain, Nagavarma II saw all languages as equals.
• The show will open with Narthana Ganapathy an invocatory piece in Raag Hamsadhwani, and will include a Malay song, Perpaduan, and a Chinese number, Pearl Of The Valley.
• It has its beginnings through the practice of singing invocatory songs in front of the'Kalam'( a stylised five-colour carpet drawing on the floor using natural powders ) of Goddess Kali.
• He sings a line of invocatory song while all the others play the musical instruments, flex the knees bobbing up and down and alternately raise the right and left heels and stamp these on the ground in time to the drum-beats.
• Sometimes they break away from the line formation and the four dancers standing in the four corners sing an invocatory song, play the musical instruments and dance flexing the knees and raising the right and left heel alternately and stamping these on the ground.
• In light of this and other events, B . A . Saletare has described Tipu Sultan as a defender of the Hindu dharma, who also patronised other temples including one at Melkote, for which he issued a Kannada decree that the Shrivaishnava invocatory verses there should be recited in the traditional form.
• The poems were created by the bardic authors between 100 BCE and 200 CE . The poems were collected into the various anthologies; colophons were added and the poems classified into various " thinais " around the eighth century CE . Still later, the invocatory poems were added to the collection.
• Lacan identifies four partial drives : the oral drive ( the erogenous zones are the lips, the partial object the breast, the verb is " to suck " ), the anal drive ( the anus and the faeces, " to shit " ), the scopic drive ( the eyes and the gaze, " to see " ) and the invocatory drive ( the ears and the voice, " to hear " ).
• He also corresponded with the Sringeri Shankaracharya  expressing grief and indignation at a raid by Maratha bandit horsemen ( called Pindari ), which killed many and plundered the monastery of its valuable possessions, patronised the Melkote temple ( which has gold and silver vessels with inscriptions indicating that they were presented under the Sultan ), for which a Kannada decree was issued that the Shrivaishnava ( Hindu sectary ) invocatory verses there should be recited in the traditional form.
• The most common version of Thiyyattu involves four phases of presentation : a ) Kalamezhuthu ( sketching the kalam picture of Ayyappa using natural pigments ), b ) Kottum Pattum ( rendition of invocatory songs of Ayyappa and a stylised narration of the story of his birth ), c ) Koothu gesture-laden dance enacting the build-up story to the delivery of the lord ) and d ) Velichchappaadu ( the slow-paced to frenzied dance of the oracle who eventually erases the kalam the image of the lord sketched on the sanctified floor ).
• Another invocatory technique that the magician can employ is called the " assumption of godforms "  where with " concentrated imagination of oneself in the symbolic shape of any God, one should be able to identify oneself with the idea which [ the god ] represents . " A general method involves positioning the body in a position that is typical for a given god, imagining that the image of the god is coinciding with or enveloping the body, accompanied by the practice of " vibration " of the appropriate god-name ( s ).
• At the oral level, it is the nothing; at the anal level, it is the locus of the metaphor-one object for another, give the feces in place of the phallus-the anal drive is the domain of the gift; at the scopic level, we are no longer at the level of demand, but of desire, of the desire of the Other; it is the same at the level of the invocatory drive, which is the closest to the experience of the unconscious . " The first two relate to demand, the second pair to desire.