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Bhaktapur Card Article
The Town of Bhaktapur - A Study of Structural Changes over Time - Prof. Sudarshan Raj Tiwari Department of Architecture Introduction: Why a study of Bhaktapur ? The presence of non-Sanskrit speaking and possibly non-Vedic Kirats in the Kathmandu Valley since long before its Lichchhavi takeover around the first century AD is now generally recognized. However little or no physical remains of this period have been discerned from archaeological explorations. Kirat funerary mounds are strewn all over the valley. Few of them, like the 'thudos' of Patan have been meekly recognized by some authors including Mary Slusser. Many road side stone, quite a few 'Kuldevata' stones and some 'Kumaries' on mounds near rivers or just out of towns are possibly also Kirat funerary sites1. Existence of several non-Sanskrit place names, administrative office titles, river names in Lichchhavi inscription is generally cited as proof of developed state of the valley during the Kirat rule. Particularly as some settlements continued to go by their non-Lichchhavi name even after long period of Sanskritization, it would be logical to assume that socially closely knit original settlers and their settlements continued strongly in their original sites even after the change of ruling houses. This paper looks into the structure of the town of Bhaktapur, the first capital town of the Malla with an objective to establish its link to its structure in Kirat and Lichchhavi days. Bhaktapur should provide a possibility of discerning Kirat structure of town, since Lichchhavis do not seem to have materially intervened in the general area. It is also logical to assume that since the Mallas chose to make their capital in Bhaktapur, that their social costoms were close to the original settlers and possibly Malla modifications to the structure of Bhaktapur was sympathetic to the existing structure. -
Activity Report 2009 – 2010
Activity Report 2009 – 2010 L V Prasad Eye Institute Kallam Anji Reddy Campus L V Prasad Marg, Banjara Hills Hyderabad 500 034, India Tel: 91 40 3061 2345 Fax: 91 40 2354 8271 e-mail: [email protected] L V Prasad Eye Institute Patia, Bhubaneswar 751 024 Orissa, India Tel: 91 0674 3989 2020 Fax: 91 0674 3987 130 e-mail: [email protected] L V Prasad Eye Institute G M R Varalakshmi Campus Door No: 11-113/1 Hanumanthawaka Junction Visakhapatnam 530 040 Andhra Pradesh, India Tel: 91 0891 3989 2020 Fax: 91 0891 398 4444 L V Prasad Eye Institute e-mail: [email protected] Excellence • Equity • Effi ciency Art with vision, for vision Artist-in-residence Sisir Sahana in his workshop on A view of the Art Gallery on Level 6 at Hyderabad LVPEI’s Kallam Anji Reddy campus, Hyderabad creating campus, where several works by Mr Surya Prakash, one of his signature glass sculptures. Inset: A piece from our senior artist-in-residence are on display. his latest collection, entitled “The long climb”. Inset: The hand that wields the paintbrush! L V Prasad Eye Institute Committed to excellence and equity in eye care Activity Report April 2009 – March 2010 Collaborating Centre for Prevention of Blindness L V Prasad Eye Institute, a not-for-profi t charitable organization, is governed by two trusts: Hyderabad Eye Institute and Hyderabad Eye Research Foundation. Donations to Hyderabad Eye Research Foundation are 175% exempt under section 35 (i) (ii) and donations made to Hyderabad Eye Institute are 50% exempt under section 80G of the Income Tax Act. -
Andhra Bank - 1876 1 M
SOUVENIR - 2019 ANDHRA BANK - 1876 1 M. PULLAIAH A.KODUR 72 K. SOBHARANI ANANT APUR 143 SUNDARI KIRAN BANDLA GUD AJAGIR 2 P . C.KEASA VULA REDDY A.PALLI 73 Y . AP ARNA ANANT APUR 144 G . VENKA T ARAO BANDLAMUDI 3 S. SW ARNALA THA ABBANIKUNT A 74 U. GUGEANESWAR ANANT APUR 145 S. SARANY A BANDLAMUDI 4 KAPPET ASUBBAREDDY ABBIPURAM 75 M. SHASHIDHAR ANANT APUR 146 C. PRASANNA BANGALORE 5 G . PRA VEEN ACHAMPET 76 P . JA Y ASUDHA ANANT APUR 147 B. SREEDHAR NAIK BANJARUP ALLI 6 KORAKOPPULA SURESH ADARSHANAGAR 77 D. VENKA T A SUNEETHA ANANT APUR 148 N. RAM CHANDER BANSWADA 7 B. SHANTHI ADDANKI 78 A.V . NAGENDRA ANANT APUR 149 DHUPY A NUNA V A TH BANSWADA 8 CH. ARJUN ADDANKI 79 B. TULASI ANANT APUR 150 SONY DILEEP KALINTHA BAP A TLA 9 K. MAST AN V ALI ADDANKI 80 G . SARALA DEVI ANANT APUR 151 N. ANIL KUMAR BAP A TLA 10 P . VIJA Y A PRASANN KUMAR ADDANKI 81 J. OMSUNDEEP KUMAR ANANT APUR 152 K. GOP AL BASAPURAM 1 1 B. DIWAKAR ADILABAD 82 MAHESHWARI CHAKALA ANANT APUR 153 A VULA SURESH BASWAPURAM 12 B. ASHOK KUMAR ADILABAD 83 GUTHIKONDA SW A THI ANANT APUR 154 SAKE SUR Y ANARA Y ANA BA THALAP ALLI 13 P . RENUKA ADILABAD 84 C. AMRUTHA ANANT APUR 155 THANDRA SANJEEV BAZARHA THNOOR 14 PRAMOD KUMAR BALI ADILABAD 85 K. CHANDRAKALA ANANT APUR 156 DASARI UJWALA BEJJANKI 15 K. RA VI KUMAR ADILABAD 86 M. SRA V ANI ANANT APUR 157 S. SIDDHARTHA BELLAMP ALL Y 16 E. -
The Rhetoric of Masculinity and Machismo in the Telugu Film Industry
TAMING OF THE SHREW: THE RHETORIC OF MASCULINITY AND MACHISMO IN THE TELUGU FILM INDUSTRY By Vishnupriya Bhandaram Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Master of Arts Supervisors: Vlad Naumescu Dorit Geva CEU eTD Collection Budapest, Hungary 2015 Abstract Common phrases around the discussion of the Telugu Film Industry are that it is sexist and male-centric. This thesis expounds upon the making and meaning of masculinity in the Telugu Film Industry. This thesis identifies and examines the various intangible mechanisms, processes and ideologies that legitimise gender inequality in the industry. By extending the framework of the inequality regimes in the workplace (Acker 2006), gendered organisation theory (Williams et. al 2012) to an informal and creative industry, this thesis establishes the cyclical perpetuation (Bourdieu 2001) of a gender order. Specifically, this research identifies the various ideologies (such as caste and tradition), habituated audiences, and portrayals of ideal masculinity as part of a feedback loop that abet, reify and reproduce gender inequality. CEU eTD Collection i Acknowledgements “It is not that there is no difference between men and women; it is how much difference that difference makes, and how we choose to frame it.” Siri Hustvedt, The Summer Without Men At the outset, I would like to thank my friends old and new, who patiently listened to my rants, fulminations and insecurities; and for being agreeable towards the unreasonable demands that I made of them in the weeks running up to the completion of this document. -
FRIGHT NIGHT: FACES of KALI Saturday 31 October 2015, 7.30Pm, Rich Mix, London
FRIGHT NIGHT: FACES OF KALI Saturday 31 October 2015, 7.30pm, Rich Mix, London Akademi curates an evening inspired by the violent obliteration of evil by the Hindu goddess Kali. Become bewitched by fierce and intense Kali performances including classical Indian dance, storytelling and music. Kali, also known as Kalika is the Hindu goddess associated with empowerment. She illustrates the ferocious and forceful side of the goddess Durga (Parvati). The evening combines the celebrations of Halloween with that of Kali Puja. Kali is portrayed wearing a garland of human skulls, clad in tiger’s skin with lolling tongue and vicious stare. Introduction Narrated by Seema Anand Devi Stuti Invoking Goddess Bhagawati while seeking her blessings. Artist: Pallabi De Music: Pandit Birju Maharaj At one time, when the Gods’ of heaven where constantly being defeated by ‘Mahisasur’(the ruler Choreography: Pandit Birju of the deamons); Lord Brahma, Vishnu and Shiva created Devi Durga also known as Bhagawati . Maharaj readapted by Pallabi De Equipped with weapons on her ten hands, the Devi killed Mahisasur after a fierceful battle and saved the Gods’ from the tyranny of the ‘Asuras’. A battle of good over evil, we thus pray to the Devi to eradicate all evil and sorrow. The Devi is a mother too; blessing her sons for ages. This dual nature of the Devi who is a symbol of ‘Shakti’ and motherhood is revealed in the stuti. Dance Of Death The ego, characterised by anxiety, doubt, fear and rage are inner demons of the human mind and Artists: Kali Chnadrasegaram, proposes a challenge in any situation. -
Annexure 1B 18416
Annexure 1 B List of taxpayers allotted to State having turnover of more than or equal to 1.5 Crore Sl.No Taxpayers Name GSTIN 1 BROTHERS OF ST.GABRIEL EDUCATION SOCIETY 36AAAAB0175C1ZE 2 BALAJI BEEDI PRODUCERS PRODUCTIVE INDUSTRIAL COOPERATIVE SOCIETY LIMITED 36AAAAB7475M1ZC 3 CENTRAL POWER RESEARCH INSTITUTE 36AAAAC0268P1ZK 4 CO OPERATIVE ELECTRIC SUPPLY SOCIETY LTD 36AAAAC0346G1Z8 5 CENTRE FOR MATERIALS FOR ELECTRONIC TECHNOLOGY 36AAAAC0801E1ZK 6 CYBER SPAZIO OWNERS WELFARE ASSOCIATION 36AAAAC5706G1Z2 7 DHANALAXMI DHANYA VITHANA RAITHU PARASPARA SAHAKARA PARIMITHA SANGHAM 36AAAAD2220N1ZZ 8 DSRB ASSOCIATES 36AAAAD7272Q1Z7 9 D S R EDUCATIONAL SOCIETY 36AAAAD7497D1ZN 10 DIRECTOR SAINIK WELFARE 36AAAAD9115E1Z2 11 GIRIJAN PRIMARY COOPE MARKETING SOCIETY LIMITED ADILABAD 36AAAAG4299E1ZO 12 GIRIJAN PRIMARY CO OP MARKETING SOCIETY LTD UTNOOR 36AAAAG4426D1Z5 13 GIRIJANA PRIMARY CO-OPERATIVE MARKETING SOCIETY LIMITED VENKATAPURAM 36AAAAG5461E1ZY 14 GANGA HITECH CITY 2 SOCIETY 36AAAAG6290R1Z2 15 GSK - VISHWA (JV) 36AAAAG8669E1ZI 16 HASSAN CO OPERATIVE MILK PRODUCERS SOCIETIES UNION LTD 36AAAAH0229B1ZF 17 HCC SEW MEIL JOINT VENTURE 36AAAAH3286Q1Z5 18 INDIAN FARMERS FERTILISER COOPERATIVE LIMITED 36AAAAI0050M1ZW 19 INDU FORTUNE FIELDS GARDENIA APARTMENT OWNERS ASSOCIATION 36AAAAI4338L1ZJ 20 INDUR INTIDEEPAM MUTUAL AIDED CO-OP THRIFT/CREDIT SOC FEDERATION LIMITED 36AAAAI5080P1ZA 21 INSURANCE INFORMATION BUREAU OF INDIA 36AAAAI6771M1Z8 22 INSTITUTE OF DEFENCE SCIENTISTS AND TECHNOLOGISTS 36AAAAI7233A1Z6 23 KARNATAKA CO-OPERATIVE MILK PRODUCER\S FEDERATION -
Professionalism in Films and Job-Orientation
Role Name Affiliation Principal Investigator Prof. Sumita Parmar Allahabad University, Allahabad Paper Coordinator Prof. Sisir Basu Banaras Hindu University, Varanasi Content Writer/Author (CW) Shri Arindam Roy Professional Writer, Allahabad Content Reviewer (CR) Prof. Sisir Basu Banaras Hindu University, Varanasi Language Editor (LE) (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women, Media & Films Module Name/ Title Professionalism in films and job-orientation Module ID Course – 10, Module – 32 Pre-requisites The reader is expected to have the knowledge about the status of the professional and working women in India. They should have an idea about the problems they face in promoting their cause. Objectives To make the readers aware about the long and arduous journey of women in the film industry, their low presence as technicians, such as, directors, producers, writers, cinematographers, etc. Also, the struggle for the industry to become organized and the harsh realities of the casting couch. What is the way ahead for women in cinema. Keywords Bollywood, Hollywood, Gender, Male Gaze, Taboos, Conflict, History, Identity, Organized, Disorganized, Casting Couch, Exploitation, Parivarvaad, Star-kids, Hindi Cinema, Regional Cinema, Popular Films, World Cinema, Diaspora, Feminist Cinema, Women’s Films, Feminism, Feminist Auteurs, Post-feminism, Third Cinema, Reality, Fantasy, Media, Medium, Equal Opportunities, Filmmaking, Filmmaking Institutes 1 Professionalism in Films and Availability of Jobs for Women 1. Objectives As stated earlier in the description of the module the purpose of this unit, in general, is to make the readers aware of the various job opportunities that are available for the women professionals in the Indian film industry. -
Navaratri Navadurga Sadhana 2019 [This Year in the US Navaratri Lasts Only 8 Days, As There Is No Edited by Official Dwitiya Tithi (Second Lunar Day)
Navaratri Navadurga Sadhana 2019 [This year in the US Navaratri lasts only 8 days, as there is no edited by official Dwitiya Tithi (second lunar day). So the sadhanas for Swami Bhajanananda Saraswati both Shalaputri and Brahmacharini should be done today.] PRATIMA TITHI Devi Shailaputri Sunday, September 29th After Her self-immolation in Her incarnation as Sati, Para- Shakti took birth as Parvati, the daughter of the Himalaya. In Sanskrit shaila means mountain, due to which the Goddess is known as Shailaputri, the daughter of the mountain. She is visualized as riding the bull Nandi and holding a trident and lotus. She wears the crescent moon in Her hair. She resides within our body at the base of spine (mulladhara chakra), rules the earth element (prithvi-tattva), and the moon (Chandra). She is invoked on the first day of Navaratri (pratima tithi). Her blessings inspire us to begin our spiritual journey and gives us encouragement along the way. Japa Mantra: oṁ hrīṁ śrī śaila-putrī durgāyai namaḥ Pranam Mantra: oṁ himācala sutānātha samstute parameśvari rūpam dehi jayam dehi jaśo dehi dvisho jahi Shiva, the consort of the daughter of the Himalayas, praises You with hymns, Oh Supreme Goddess. Reveal Yourself. Grant victory. Grant success. Remove ill-feeling.” Devi Brahmacharini Brahmacharini is the form of Para-Shakti as young Parvati during Her practice of severe austerities to attain Lord Shiva as Her husband. She is the ideal disciple and sadhaka. She is visualized as barefooted, holding a pot of holy water and a mala of rudraksha beads. She resides in our body in the reproductive center (svadhistana-chakra), rules the water element (apas-tattva), and the planet Mars (Mangal). -
Times in India, EKT Edition
This is a daily collection of all sorts of interesting stuff for you to read about during the trip. The guides can’t cover everything; so this is a way for me to fill in some of those empty spaces about many of the different aspects of this fascinating culture. THE Once Upon a TIMES OF INDIA PUBLISHED FOR EDDIE’S KOSHER TRAVEL GUESTS, WITH TONGUE IN CHEEK OCTOBER 2014 בן בג בג אומר: ”הפוך בה והפוך בה, דכולא בה“ )אבות ה‘( INDIA! - An Explorer’s Note Thanks to Eddie’s Kosher still dark. Thousands of peo- concept completely. Do not WELCOME Travel and you, I am coming ple were all over the place look upon India with western back to India now for the waiting for trains, I imagine, eyes, and do not judge it. If TO INDIA! 25th time; and every time I’m and sleeping on the station you do, you will diminish not quite sure what type of platforms. Here too, many both it and your experience. India I will find. Over the beggars are already at "work" Learn it. Feel it. Imbibe it. years that I have travelled coming up to me with hands Accept it. Wrap your head here regularly, I have grown outstretched. While I under- around it. Understand it for to love India, specially its stand the Indian worldview of what it is. For it is India. people, who seemed to have caste and karma, and why by an attitude of "there is always and large no one helps the When I was here for the first room for one more." I find poverty stricken, I find it time in 1999, India’s popula- the people in India to be pa- very, very disturbing. -
Sources of Ancient Indian Iconography: - Vedas Are the Primary Sources of All Ideology of the Indian Culture
Sources of Ancient Indian Iconography: - Vedas are the primary sources of all ideology of the Indian culture. Various forms of various deities have been praised in the Vedas, icons or idols have mentioned in the various eulogies of Vedas. Many deities were conceived in Indian religions. Different sect of Brahmin religion such as Shaivite, Vaishnavism, Shakt, and solar belong to Siva, Vishnu, Shakti and Sun deities respectively. Similarly, Jain and Buddhism are related to Tirthankaras and Buddha respectively. The Brahmin literature: - The early literature of various religions gives a description of the imagination, origin and development of various deities. Various stories, events and different themes related to the deities are found in the early religious literatures such as Vedic texts, Puranas and later Vedic literature. In the Rigveda, Yajurveda, Atharvaveda, Taittariya Samhita, Shatapatha Brahmana, Aitreya Brahmana, Ramayan, Mahabharat, Vayu Purana, Vishnu Purana, Shiva Purana, Markandeya Purana, Matsya Purana, Linga Purana, Harivansh Purana, Padma Purana, Brahma Purana, Devi Bhagavata Purana and Garuna Purana has described the character and nature of Gods and Goddesses, their stories, Armaments, hobbies and interrelations etc. In all the Puranas, the ten chapters of the ancient Matsya Purana described the shape and size of the idols. In this Purana, the details related to the Shivalinga and the human idols of Shiva are presented prominently. The sixteen chapter of Agni Purana describe iconography. In addition to the Saiva and Vaishnav idols in this Purana Devi (Goddess) and sun idols have been discussed. The Vishnu Dharmottar Purana is particularly notable in this context, it has a more detailed description than others Purana. -
Pllunp Special Interim
PETRONET LNG LIMITED ‐ SPECIAL INTERIM UNPAID/UNCLAIMED DIVIDEND DETAILS FOR FY 2018‐19 AS ON 31ST DECEMBER, 2018 DPID CLIENTID NAME AMOUNT SHARES 13200 1201320000021453 DILAWAR SINGH 1947.00 354 13200 1201320000102834 SHYAMA DEVI DUBEY 2200.00 400 23900 1202390000169048 JINCY LIYO . 2530.00 460 23900 1202390000237922 PAUL FRANCIS . 2200.00 400 17701 1201770100042919 MOHINI DEVI MEENA 2200.00 400 IN301330 18742064 RAJ PATI DEVI 7700.00 1400 IN302349 10132589 AVTARJIT SINGH MADAN 2200.00 400 IN300394 13712024 MAYANK JAISWAL 4400.00 800 IN301477 20059626 PARTHA PRATIM DHEKIAL 2200.00 400 IN301477 20059556 SUMIT GUPTA 3300.00 600 IN301209 10136043 SARDARI LAL CHOPRA 5500.00 1000 IN300394 13580586 SARITA DOTANIA 4400.00 800 IN300206 10651861 MUKTA JAIN 3300.00 600 IN301127 16324062 PRAVEEN KUMAR JAIN 2200.00 400 IN300118 10432748 BHAGIRATH HUF 2200.00 400 IN300118 10432843 SHIV NARAIN HUF 2200.00 400 IN301774 10573135 RAJEEV DEEWAN 2200.00 400 IN300394 13295433 SURJEET SINGH FLORA 2200.00 400 IN301766 10024830 GULSHAN KUMAR KUMRA 2200.00 400 IN300095 10345027 Jyoti Mukhi 2200.00 400 IN301143 10357542 SURINDER SINGH 2200.00 400 IN301127 15340129 PROMODH CHOPRA 1870.00 340 IN300142 10021901 SUMAN BAHL 2200.00 400 IN300394 13662004 V K POPLI 13200.00 2400 IN301127 16115427 SURJIT SINGH VIRDI 2200.00 400 IN300360 21081209 ANIL SHARMA 4400.00 800 IN300206 10216792 GAURA JOSHI 5500.00 1000 IN300118 10605912 WILLIAM TETE 2200.00 400 IN301143 10358262 JAI ARORA 3300.00 600 IN300214 12526791 PAMIT SINGH 3300.00 600 IN300888 14941037 TAPAN BIMALENDU -
S.No Application Seq Number CANDIDATE NAME FATHER
Application Venue S.No CANDIDATE NAME FATHER NAME Venue Name Seq Number Code 1 Z40011 A. Dhana Lakshmi A. Krishnappa 9105 iON Digital Zone iDZ Zoo Park Tirupathi 2 Z40235 A. Mamatha A. Ramana Reddy 9105 iON Digital Zone iDZ Zoo Park Tirupathi 3 Z40218 A. Subhadramma A. Yanadaiah 9105 iON Digital Zone iDZ Zoo Park Tirupathi 4 Z40180 A. Surekha A. Sreenivasulu 9105 iON Digital Zone iDZ Zoo Park Tirupathi 5 Z40024 A. Vara Lakshmi A. Subbarayudu 9105 iON Digital Zone iDZ Zoo Park Tirupathi 6 Z40179 A. Vara Lakshmi A. Lakshumaiah 9105 iON Digital Zone iDZ Zoo Park Tirupathi 7 Z40037 Adam Shabnam K. Adam Shaheb 9105 iON Digital Zone iDZ Zoo Park Tirupathi 8 Z40332 B DIVYA K RAJA PRASANNA KUMAR 9105 iON Digital Zone iDZ Zoo Park Tirupathi 9 Z40256 B LAKSHMI B VEERBHADRAIAH 9105 iON Digital Zone iDZ Zoo Park Tirupathi 10 Z40307 B SUMALATHA B RAMUDU 9105 iON Digital Zone iDZ Zoo Park Tirupathi 11 Z40344 B SUSHEELA B RATHNAM 9105 iON Digital Zone iDZ Zoo Park Tirupathi 12 Z40226 B. Bhagya Lakshmi B. Venkata Subbaih 9105 iON Digital Zone iDZ Zoo Park Tirupathi 13 Z40234 B. Chandrakala B. Veeranarappa 9105 iON Digital Zone iDZ Zoo Park Tirupathi 14 Z40161 B. Fareeda B. Abbas miah 9105 iON Digital Zone iDZ Zoo Park Tirupathi 15 Z40206 B. Jaya Sudha B. Sreenivasulu 9105 iON Digital Zone iDZ Zoo Park Tirupathi 16 Z40241 B. Kanya Kumari B. Chinnaiah 9105 iON Digital Zone iDZ Zoo Park Tirupathi 17 Z40236 B. Mary Pavani B. Yesu Rathanam 9105 iON Digital Zone iDZ Zoo Park Tirupathi 18 Z40219 B.