Silence and Memory: Violence Against Women During the Partition of 1947
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Karen Occasional Paper.Pmd
Whose Mother (land)?: Visualising and Theorising National Identity - Karen Gabriel - Introduction Using established and familiar iconographic representations of the nation, this paper will make two intertwined arguments. The first of these is that by and large, narrations of the nation have a melodramatic structure. The second is that, the iconic and mythogenic figuring of the nation as Mother India/Bharat Mata, contrary to enduring assumptions about it, is, strictly speaking, not a ‘national’ one at all. To do the above, the paper will critically review the relations between a) melodrama, gender, the organisation of sexuality, the family and the nation; b) The principle of maternality, the maternal body and nation. c) It will examine the ways in which central symbols of the national iconography of Mother India/ Bharat Mata have been cognised and reworked Some art instances and modern cinematic narrativizations and representations of the nation in mainstream Bombay cinema will be used to exemplify the precise nature of the relations set out above and the arguments being made. The argument will rest in the main on the work of cinema, since cinema remains a key representational site at which the mechanics of melodrama as these pertain to the nation-state are clearly deployed and visibilised. This specific dynamic was inevitable, in manner of speaking, given Bombay cinema’s historical involvement with nationalism, the nationalist movement and ideas of nation: this powerful cultural apparatus early on officially declared its commitment to promoting nation-building, national integration and patriotism. In that sense the medium always retained a sharp awareness of the historicity and the material bases of iconography and national discourse. -
Of Sixth Edition
BAYAAZ OF SIXTH EDITION All these nohay are available on: www.youtube.com/OldNohay (Links included with the text of each Nauha) Request to recite Surah-e-Fatiha for: Asghar Mirza Changezi (ibne Mirza Mumtaz Hussain) Noor Jehan Begum (binte Syed Wirasat Ali Rizvi) Agha Meher Qasim Qizalbash (ibne Agha Mumtaz Hussain) Naveed Banoo, Saeed Banoo & Fahmeed Banoo (binte Raza Haider Rizvi) All the Shayar E Ahlebait and Nauhakhwans who have passed away And All Momineen and Mominaat English Transliteration of Contents 1. Janab Aale Raza .................................................................................. 13 1.1. Pukari laash pe Zehra mere Hussain Hussain ....................................................13 1.2. Salaam Khak-na shi no n-pa .......................................................................................13 2. Janab Afsar Lucknowi Sahib ............................................................... 15 2.1. Raat aadhi aa gayi ai Jaan e Madar ghar mein aao .........................................15 3. Janab Ahsan Tabatabai Sahib ............................................................. 16 3.1. Karbala aaye thay Shah, Dunia se jaane ke liye ................................................16 4. Janab Ali Raza Baqri Sahib ................................................................. 17 4.1. Asghar Huñ Maiñ Asghar .........................................................................................17 5. Mohtarma Akthar Sahiba .................................................................... 18 5.1. -
Partition's Hauntings and Bombay Cinema Sarah Waheed Introduction
Postcolonial Text, Vol 12, No 1 (2017) Beyond the Wounded Archive: Partition’s Hauntings and Bombay Cinema Sarah Waheed Davidson College, North Carolina, USA Introduction The year is 1949. It is only two years after independence and the Partition of India, and the first horror film of Hindi-Urdu cinema, the Gothic thriller, Mahal (The Mansion), is a box office hit. Spectators watch the following: it is a dark, stormy night just outside the city of Allahabad, and on the banks of the Yamuna River lies a desolate palatial mansion called Sangam Bhavan, which a young lawyer, Hari Shankar (Ashok Kumar) has just won in an auction. Shankar enters the mansion and is greeted by an elderly gardener who lives on the premises. He tells Shankar the tragic story of Sangam Bhavan’s former inhabitants. The original owner built the mansion for his beloved mistress, Kamini, but drowned one night when his boat capsized in the river. Kamini died pining for him. When the gardener finishes his story, he leaves Shankar alone to explore the mansion. Shankar comes across a painted portrait of the former owner of the mahal, and is stunned to discover that it bears an uncanny resemblance to himself. Suddenly, the clock strikes two. Shankar hears, and then sees, an ethereal woman singing a song of intense yearning for a lover’s return. This is the long dead Kamini (Madhubala) whose wandering spirit inhabits Sangam Bhavan. Convinced he has been re-born for the singular purpose of being re-united with Kamini, and willing to do anything to obtain her—including murder—Shankar descends into obsession, madness, grief, and finally, death. -
Education, Whether at Home Or in the Classroom, Has the Power to Promote Acceptance of Others’ Views and to Challenge Biases and Bigotry
I AM MALALA: A RESOURCE GUIDE FOR EDUCATORS For more information about the resource guide, visit malala.gwu.edu or www.malala.org. A PREFACE FROM MALALA’S FATHER It is the elder generation’s duty to teach children the universal human values of truth, fairness, justice and equality. For this purpose, we have two institutions: families and schools. Education, whether at home or in the classroom, has the power to promote acceptance of others’ views and to challenge biases and bigotry. In patriarchal societies, women are expected to be obedient. A good girl should be quiet, humble and submissive. She is told not to question her elders, even if she feels that they are wrong or unjust. As a father, I did not silence Malala’s voice. I encouraged her to ask questions and to demand answers. As a teacher, I also imparted these values to the students at my school. I taught my female students to unlearn the lesson of obedience. I taught the boys to unlearn the lesson of so-called pseudo-honor. It is similarly the obligation of schools and universities to instill the principles of love, respect, dignity and universal humanism in their students. Girls and boys alike must learn to think critically, to stand up for what they believe is right and build an effective and healthy society. And these lessons are taught at schools through curriculum. Curricula teach young people how to be confident individuals and responsible citizens. I Am Malala is a story about a young girl’s campaign for human rights, especially a woman’s right to education. -
L'inde Et La Chine Se Lèvent Classe Passeport Slumdog Millionaire [Id.] Danny Boyle ¬ GB, 2008, 2H, Coul, Vostf
Programme scolaire À PESSAC ET DANS 36 VILLES EN AQUITAINE e FESTIVAL24 INTERNATIONAL DU FILM D'HISTOIRE Pessac | 18 > 25 novembre 2013 L’inde ET LA CHINE Les géants de l’Asie www.cinema-histoire-pessac.com Édito François Aymé, commissaire général du Festival Kong Dongmei, 41 ans, a été classée par le magazine égard révélatrice. Il faut dire que les fortes croissances cantonais New Fortune au 242e rang des 500 personna- enregistrées simultanément par les « géants » de l'Asie lités les plus riches de Chine. Elle serait à la tête d’une sont inédites par leur ampleur (notamment démogra- fortune de 5 milliards de yuans. Le grand-père de Kong phique) et la rapidité de leur développement. On me- Dongmei a pour nom… Mao Zedong. sure là les enjeux du présent programme pédagogique Début 2013, au cœur d’une actualité rythmée par les qui, à son échelle, peut permettre aux élèves de mieux plans de licenciement, c’est avec l’industriel indien appréhender les transformations des décennies passées Lakshmi Mittal que l’État français a tenté de négocier et à venir. Pour cela, nous proposons une programma- le maintien en activité des hauts fourneaux de Florange. tion accessible, porteuse de sens et de connaissances, Ces deux exemples illustrent à eux seuls la transforma- qui ne sacrifie pas à la qualité esthétique des œuvres. tion radicale, sur les plans politique, idéologique et éco- Par ailleurs, nous insisterons sur la pertinence du ciné- nomique, de l’Inde et de la Chine en l’espace de 30 ans. ma au regard d'un tel sujet. -
Listeréalisateurs
A Crossing the bridge : the sound of Istanbul (id.) 7-12 De lʼautre côté (Auf der anderen Seite) 14-14 DANIEL VON AARBURG voir sous VON New York, I love you (id.) 10-14 DOUGLAS AARNIOKOSKI Sibel, mon amour - head-on (Gegen die Wand) 16-16 Highlander : endgame (id.) 14-14 Soul kitchen (id.) 12-14 PAUL AARON MOUSTAPHA AKKAD Maxie 14 Le lion du désert (Lion of the desert) 16 DODO ABASHIDZE FEO ALADAG La légende de la forteresse de Souram Lʼétrangère (Die Fremde) 12-14 (Ambavi Suramis tsikhitsa - Legenda o Suramskoi kreposti) 12 MIGUEL ALBALADEJO SAMIR ABDALLAH Cachorro 16-16 Écrivains des frontières - Un voyage en Palestine(s) 16-16 ALAN ALDA MOSHEN ABDOLVAHAB Les quatre saisons (The four seasons) 16 Mainline (Khoon Bazi) 16-16 Sweet liberty (id.) 10 ERNEST ABDYJAPOROV PHIL ALDEN ROBINSON voir sous ROBINSON Pure coolness - Pure froideur (Boz salkyn) 16-16 ROBERT ALDRICH Saratan (id.) 10-14 Deux filles au tapis (The California Dolls - ... All the marbles) 14 DOMINIQUE ABEL TOMÁS GUTIÉRREZ ALEA voir sous GUTIÉRREZ La fée 7-10 Rumba 7-14 PATRICK ALESSANDRIN 15 août 12-16 TONY ABOYANTZ Banlieue 13 - Ultimatum 14-14 Le gendarme et les gendarmettes 10 Mauvais esprit 12-14 JIM ABRAHAMS DANIEL ALFREDSON Hot shots ! (id.) 10 Millenium 2 - La fille qui rêvait dʼun bidon dʼessence Hot shots ! 2 (Hot shots ! Part deux) 12 et dʼune allumette (Flickan som lekte med elden) 16-16 Le prince de Sicile (Jane Austenʼs mafia ! - Mafia) 12-16 Millenium 3 - La reine dans le palais des courants dʼair (Luftslottet som sprangdes) 16-16 Top secret ! (id.) 12 Y a-t-il quelquʼun pour tuer ma femme ? (Ruthless people) 14 TOMAS ALFREDSON Y a-t-il un pilote dans lʼavion ? (Airplane ! - Flying high) 12 La taupe (Tinker tailor soldier spy) 14-14 FABIENNE ABRAMOVICH JAMES ALGAR Liens de sang 7-14 Fantasia 2000 (id. -
Globalizing Pakistani Identity Across the Border: the Politics of Crossover Stardom in the Hindi Film Industry
DePaul University Via Sapientiae College of Communication Master of Arts Theses College of Communication Winter 3-19-2018 Globalizing Pakistani Identity Across The Border: The Politics of Crossover Stardom in the Hindi Film Industry Dina Khdair DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/cmnt Part of the Communication Commons Recommended Citation Khdair, Dina, "Globalizing Pakistani Identity Across The Border: The Politics of Crossover Stardom in the Hindi Film Industry" (2018). College of Communication Master of Arts Theses. 31. https://via.library.depaul.edu/cmnt/31 This Thesis is brought to you for free and open access by the College of Communication at Via Sapientiae. It has been accepted for inclusion in College of Communication Master of Arts Theses by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. GLOBALIZING PAKISTANI IDENTITY ACROSS THE BORDER: THE POLITICS OF CROSSOVER STARDOM IN THE HINDI FILM INDUSTRY INTRODUCTION In 2010, Pakistani musician and actor Ali Zafar noted how “films and music are one of the greatest tools of bringing in peace and harmony between India and Pakistan. As both countries share a common passion – films and music can bridge the difference between the two.”1 In a more recent interview from May 2016, Zafar reflects on the unprecedented success of his career in India, celebrating his work in cinema as groundbreaking and forecasting a bright future for Indo-Pak collaborations in entertainment and culture.2 His optimism is signaled by a wish to reach an even larger global fan base, as he mentions his dream of working in Hollywood and joining other Indian émigré stars like Priyanka Chopra. -
Hindi 1509 Song
NO. SONG TITLE MOVIE/ALBUM VERSION HINDI 1509 SONG NO. SONG TITLE MOVIE/ALBUM VERSION 03900 AA AA BHI JA TEESRI KASAM LATA MANGESHKAR JIS DESH MEIN 03901 AA AB LAUT CHALE GANGA BEHTI HAI MUKESH, LATA MANGESHKAR DOOR GAGAN KI 03002 AA CHAL KE TUJHE CHHAON MEIN KISHORE KUMAR 03902 AA DIL SE DIL MILA LE NAVRANG ASHA BHOSLE 03903 AA GALE LAG JA APRIL FOOL MOHD. RAFI 03904 AA JAANEJAAN INTEQAM LATA MANGESHKAR 03905 AA JAO TADAPTE HAI AAWAARA LATA MANGESHKAR 03906 AA MERE HUMJOLI AA JEENE KI RAAH LATA, MOHD. RAFI 03907 AA MERI JAAN CHANDNI LATA MANGESHKAR 03908 AADAMI ZINDAGI VISHWATMA MOHD. AZIZ 03005 AADHA HAI CHANDRAMA NAVRANG MAHENDRA, ASHA BHOSLE 03909 AADMI MUSAFIR HAI APNAPAN LATA, MOHD. RAFI 03910 AAGE BHI JAANE NA TU WAQT ASHA BHOSLE 03007 AAH KO CHAHIYE MIRZA GAALIB JAGJEET SINGH 03911 AAHA AYEE MILAN KI BELA AYEE MILAN KI BELA ASHA, MOHD. RAFI 03912 AAI AAI YA SOOKU SOOKU JUNGLEE MOHD. RAFI 03913 AAINA BATA KAISE MOHABBAT SONU NIGAM, VINOD 03914 AAJ HAI DO OCTOBER KA DIN PARIVAR LATA MANGESHKAR 03009 AAJ KAL PAANV ZAMEEN PAR GHAR LATA MANGESHKAR 03915 AAJ KI RAAT PIYA BAAZI GEETA DUTT 03916 AAJ KI SHAAM TAWAIF ASHA BHOSLE AAJ MADAHOSH HUA JAAYE RE LATA MANGESHKAR, 03917 SHARMILEE KISHORE KUMAR 03918 AAJ MAIN JAWAAN HO GAYI HOON MAIN SUNDAR HOON LATA MANGESHKAR 03012 AAJ MAUSAM BADA BEIMAAN HAI LOAFER MOHD. RAFI 03013 AAJ MERE MAAN MAIN SAKHI AAN LATA MANGESHKAR 03014 AAJ MERE YAAR KI SHAADI HAI AADMI SADAK KA MOHD. RAFI 03919 AAJ NA CHHODENGE KATI PATANG KISHORE KUMAR, LATA A HINDI 1509 SONGS | 01 VER.100 NO. -
Titel Kino 3/2003
EXPORT-UNION OF GERMAN CINEMA 3/2003 AT LOCARNO MEIN NAME IST BACH & DAS WUNDER VON BERN Piazza Grande AT VENICE ROSENSTRASSE in Competition AT SAN SEBASTIAN SCHUSSANGST & SUPERTEX in Competition FOCUS ON Film Music in Germany Kino Martin Feifel, Katja Riemann (photo © Studio Hamburg) Martin Feifel, Katja GERMAN CINEMA KINO3/2003 4 focus on film music in germany DON’T SHOOT THE PIANO PLAYER 14 directors’ portraits THE SUN IS AS MUCH MINE AS THE NIGHT A portrait of Fatih Akin 15 TURNING GENRE CINEMA UPSIDE DOWN A portrait of Nina Grosse 18 producer’s portrait LOOKING FOR A VISION A portrait of Bavaria Filmverleih- & Produktions GmbH 20 actress’ portrait BREAKING THE SPELL A portrait of Hannelore Elsner 22 KINO news in production 28 ABOUT A GIRL Catharina Deus 28 AGNES UND SEINE BRUEDER Oskar Roehler 29 DER CLOWN Sebastian Vigg 30 C(R)OOK Pepe Danquart 30 ERBSEN AUF HALB 6 Lars Buechel 31 LATTENKNALLER Sherry Hormann 32 MAEDCHEN MAEDCHEN II Peter Gersina 32 MARSEILLE Angela Schanelec 33 SAMS IN GEFAHR Ben Verbong 34 SOMMERBLITZE Nicos Ligouris 34 (T)RAUMSCHIFF SURPRISE – PERIODE 1 Michael "Bully" Herbig 35 DER UNTERGANG – HITLER UND DAS ENDE DES DRITTEN REICHES Oliver Hirschbiegel the 100 most significant german films (part 10) 40 WESTFRONT 1918 THE WESTERN FRONT 1918 Georg Wilhelm Pabst 41 DIE DREIGROSCHENOPER THE THREEPENNY OPERA Georg Wilhelm Pabst 42 ANGST ESSEN SEELE AUF FEAR EATS THE SOUL Rainer Werner Fassbinder 43 DER VERLORENE THE LOST ONE Peter Lorre new german films 44 V Don Schubert 45 7 BRUEDER 7 BROTHERS Sebastian Winkels -
Khamosh Pani: Partition Trauma, Gender Violence, and Religious Extremism in Pakistan
Liberal Arts & Social Sciences International Journal (LASSIJ) eISSN: 2664-8148 (online) https://www.ideapublishers.org/index.php/lassij Vol. 5, No. 1, (January-June 2021): 16-27 Research Article | Original Article https://doi.org/10.47264/idea.lassij/5.1.2 Khamosh Pani: partition trauma, gender violence, and religious extremism in Pakistan Faizullah Jan*1 | Syed Irfan Ashraf1 | S. Fawad Ali Shah2 1. Department of Journalism & Mass Communication, University of Peshawar, Peshawar, Pakistan. 2. Department of Communications, Jacksonville State University, Alabama, United States. * Corresponding Author Emails: [email protected] | [email protected] Abstract This paper looks at the question of partition of British India in 1947 and the Article History rise of religious extremism in Pakistan through an analysis of internationally acclaimed and award-winning Pakistani film Khamosh Pani (silent waters). Received: The paper uses Symbolic Interactionism and Feminist Theory with a critical October 19, 2020 perspective to establish how the present-day religious extremism in Last Revised: Pakistan has its roots in the colonial history of the country. However, it also March 6, 2021 highlights the diagnostic inability of Symbolic Interactionism as it smacks of the volunteerism and overlooks how statist and organized institutional Accepted: power infringes upon socio-political meaning making processes. This paper March 3, 2021 argues that the film connects the communal nature of pre-partition violence to grassroots contemporary religious extremism in Pakistan to show how Published: the rupture of a village life is the continuation of colonial heritage of April 9, 2021 communal violence. We argue based on the findings of this study that religious extremism that is manifest in today’s Pakistan is not a break from the past; instead, it is rooted in the colonial history connecting the national Pakistani elite with the regional neo-colonial interests. -
What If a Delivery Drone Falls on Your Head? Thorny Legal Questions Loom As Services Increase
Community Community Five tips to Veena Srivani, make sure a well-known P4 you travel P16 veena player in peace and from India, happiness, performs without ancient string feeling unwell. music in Doha. Friday, October 25, 2019 Safar 26, 1441 AH Doha today: 280 - 350 White noise COVER STORY What if a delivery drone falls on your head? Thorny legal questions loom as services increase. P2-3 CUISINE SHOWBIZ Nutritious chia seeds can Salman expects Radhe to make any food healthier. soar in cop action genre. Page 6 Page 15 2 GULF TIMES Friday, October 25, 2019 COMMUNITY COVER STORY Drone cometh Technology is only part of the puzzle. There are still questions about how drone delivery systems will PRAYER TIME navigate privacy and trespassing issues and concerns Fajr 4.19am Shorooq (sunrise) 5.39am about noise, writes Samantha Masunaga Zuhr (noon) 11.19am Asr (afternoon) 2.34pm Maghreb (sunset) 5pm Isha (night) 6.30pm USEFUL NUMBERS Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat Taxi 44588888 Qatar Airways 44496000 Hamad Medical Corporation 44392222, 44393333 Qatar General Electricity and Water Corporation 44845555, 44845464 Primary Health Care Corporation 44593333 44593363 Qatar Assistive Technology Centre 44594050 Qatar News Agency 44450205 44450333 Q-Post – General Postal Corporation 44464444 Humanitarian Services Offi ce (Single window facility for the repatriation of bodies) Ministry of Interior 40253371, 40253372, 40253369 Ministry of Health 40253370, 40253364 magine you’re standing in Hamad Medical Corporation 40253368, 40253365 your front yard when a drone Qatar Airways 40253374 fl ies overhead, delivering a package to one of your neighbours.