Final Dividend for FY 2016 ‐2017
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Gujarat Arts & Science College Sydenham Library Audio Books Sr.no Accession Title Authour Reference No 1 EM0001 madiyana pratinithi ekanki Chunilal Madiya GF0002 2 EM0002 Kaka ni Shashi Kanaiyalal munshi GF0004 3 EM0003 Tamara naam nu madhya bindu Shrikant shah GF0011 4 EM0004 Prithvi tirth varsha adalja GF0024 5 EM0005 Samudrantike dhruv bhatt GF0033 6 EM0006 Akshar ni yatra harindra dave GF0059 7 EM0007 Dharti abhna cheta pannalal patel GF0094 8 EM0008 Dhumketuni vartao dhumketu GF0099 9 EM0009 Janmtip ishwar petlikar GF0100 10 EM0010 Kaal ni kedie Dr. I.K.Vijliwala GF0101 11 EM0011 Lohini sagai ishwar petlikar GF0102 12 EM0012 Mari priya lok kathao joravar sinh jadav GF0107 13 EM0013 Premno pagrav Dr. I.K.Vijliwala GF0108 14 EM0014 Pruthivi vallabh K.M.Munshi GF0113 15 EM0015 Navlikao k.M.Munshi GF0117 16 EM0016 Paralysis Chandrakant bakshi GF0123 17 EM0017 Mankhani mirat joseph mekwan GF0126 18 EM0018 tankha mandal 4 dhumketu GF0129 19 EM0019 Saurashtrani rasdhar part-1 zaverchand meghani GF0140 20 EM0020 Saurashtrani rasdhar part-2 zaverchand meghani GF0141 21 EM0021 Saurashtrani rasdhar part-3 zaverchand meghani GF0142 22 EM0022 Saurashtrani rasdhar part-4 zaverchand meghani GF0143 23 EM0023 Saurashtrani rasdhar part-5 zaverchand meghani GF0144 24 EM0024 lopa mudra K.M.Munshi GF0145 25 EM0025 Na hanyate MAITRIE DEVI GF0147 26 EM0026 Algari Rakhadpatti Rasik zaveri GF0184 27 EM0027 Amaasnaa taaraa kishansinh chavda GF0185 28 EM0028 Ashru ghar ravji patel GF0186 29 EM0029 mann no malo Dr. I.K.Vijliwala GF0187 30 EM0030 one night @call -
Reg. No Name in Full Residential Address Gender Contact No
Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 20001 MUDKONDWAR SHRUTIKA HOSPITAL, TAHSIL Male 9420020369 [email protected] RENEWAL UP TO 26/04/2018 PRASHANT NAMDEORAO OFFICE ROAD, AT/P/TAL- GEORAI, 431127 BEED Maharashtra 20002 RADHIKA BABURAJ FLAT NO.10-E, ABAD MAINE Female 9886745848 / [email protected] RENEWAL UP TO 26/04/2018 PLAZA OPP.CMFRI, MARINE 8281300696 DRIVE, KOCHI, KERALA 682018 Kerela 20003 KULKARNI VAISHALI HARISH CHANDRA RESEARCH Female 0532 2274022 / [email protected] RENEWAL UP TO 26/04/2018 MADHUKAR INSTITUTE, CHHATNAG ROAD, 8874709114 JHUSI, ALLAHABAD 211019 ALLAHABAD Uttar Pradesh 20004 BICHU VAISHALI 6, KOLABA HOUSE, BPT OFFICENT Female 022 22182011 / NOT RENEW SHRIRANG QUARTERS, DUMYANE RD., 9819791683 COLABA 400005 MUMBAI Maharashtra 20005 DOSHI DOLLY MAHENDRA 7-A, PUTLIBAI BHAVAN, ZAVER Female 9892399719 [email protected] RENEWAL UP TO 26/04/2018 ROAD, MULUND (W) 400080 MUMBAI Maharashtra 20006 PRABHU SAYALI GAJANAN F1,CHINTAMANI PLAZA, KUDAL Female 02362 223223 / [email protected] RENEWAL UP TO 26/04/2018 OPP POLICE STATION,MAIN ROAD 9422434365 KUDAL 416520 SINDHUDURG Maharashtra 20007 RUKADIKAR WAHEEDA 385/B, ALISHAN BUILDING, Female 9890346988 DR.NAUSHAD.INAMDAR@GMA RENEWAL UP TO 26/04/2018 BABASAHEB MHAISAL VES, PANCHIL NAGAR, IL.COM MEHDHE PLOT- 13, MIRAJ 416410 SANGLI Maharashtra 20008 GHORPADE TEJAL A-7 / A-8, SHIVSHAKTI APT., Male 02312650525 / NOT RENEW CHANDRAHAS GIANT HOUSE, SARLAKSHAN 9226377667 PARK KOLHAPUR Maharashtra 20009 JAIN MAMTA -
Curriculum Framework Bachelor of Education (Two Year) B.Ed
Curriculum Framework Bachelor of Education (Two year) B.Ed. (Based on NCFTE & NEP 2020) of ~ ~ ~~i ~ ~ Rlettflo'l ~~@ct t~ls ~ Indian Institute of Teacher Education Curriculum Framework Bachelor of Education (2-Year) 2020 Curriculum Framework Bachelor of Education (2- Year) B.Ed. From AY 2020-21 Indian Institute of Teacher Education (State Public University established by Govt. of Gujarat) 1 Indian Institute of Teacher Education Curriculum Framework Bachelor of Education (2-Year) 2020 Curriculum Framework Bachelor of Education (2-Year) 2020 Published by Dr. Himanshu C. Patel Registrar Indian Institute of Teacher Education Ramkrushna Paramhans Vidya Sankul, Near KH-5, Sector - 15, Gandhinagar - 382016 Indian Institute of Teacher Education 2 Curriculum Framework Bachelor of Education (2-Year) 2020 From the Desk of Vice-Chancellor…. Dear All, Any curricula at any level should be based on what objectives or goals the educator or educational institution is trying to achieve in regard to students. A course of study for a class that teaches a student how to touch-type should be very different from one that teaches students to write a novel or a poem or even the results of a science experiment. Therefore, a curriculum is of the utmost importance, as it mandates, among other things, how teachers and students will spend their time—in a lab? in clinical practice? in creating? in listening to lectures? It also clearly shows what a class, a department, a school, or an institution values, what these entities see as their mission, and what each expects its graduates to achieve. A curriculum should be the map to the essentials in any course of study, from the classroom level to the institutional level. -
Breath Becoming a Word
BREATH BECOMING A WORD CONTMPORARY GUJARATI POETRY IN ENGLISH TRANSLATION EDITED BY DILEEP JHAVERI ACKNOWLEDGEMENTS My earnest thanks to GUJARAT SAHITYA AKADEMI for publishing this book and to Harshad Trivedi. With his wholehearted support a dream is fulfilled. Several of these translations have appeared in INDIAN LITERATURE- Sahitya Akademi Delhi MUSEINDIA KRITYA- web journals and elsewhere. Thanks to all of them. Cover page painting by Late Jagdeep Smart with the kind permission of Smt Nita Smart and Rajarshi Smart Dedicated to PROF. K. SATCHIDANANDAN The eminent poet of Malayalam who has continuously inspired other Indian languages while becoming a sanctuary for the survival of Poetry. BREATH BECOMING A WORD It’s more than being in love, boy, though your ringing voice may have flung your dumb mouth thus: learn to forget those fleeting ecstasies. Far other is breath of real singing. An aimless breath. A stirring in the god. A breeze. Rainer Maria Rilke From Sonnets To Orpheus This is to celebrate the breath becoming a word and the joy of word turning into poetry. This is to welcome the lovers of poetry in other languages to participate in the festival of contemporary Gujarati poetry. Besides the poets included in this selection there are many who have contributed to the survival of Gujarati poetry and there are many other poems of the poets in this edition that need to be translated. So this is also an invitation to the friends who are capable to take over and add foliage and florescence to the growing garden of Gujarati poetry. Let more worthy individuals undertake the responsibility to nurture it with their taste and ability. -
The Winning Woman of Hindi Cinema
ADVANCE RESEARCH JOURNAL OF SOCIAL SCIENCE A CASE STUDY Volume 5 | Issue 2 | December, 2014 | 211-218 e ISSN–2231–6418 DOI: 10.15740/HAS/ARJSS/5.2/211-218 Visit us : www.researchjournal.co.in The winning woman of hindi cinema Kiran Chauhan* and Anjali Capila Department of Communication and Extension, Lady Irwin College, Delhi University, DELHI (INDIA) (Email: [email protected]) ARTICLE INFO : ABSTRACT Received : 27.05.2014 The depiction of women as winners has been analyzed in four sets of a total of eleven films. The Accepted : 17.11.2014 first two sets Arth (1982) and Andhi (1975) and Sahib Bibi aur Ghulam (1962), Sahib Bibi aur Gangster (2011), Sahib Bibi aur Gangster returns (2013), explore the woman in search for power within marriage. Arth shows Pooja finding herself empowered outside marriage and KEY WORDS : without any need for a husband or a lover. Whereas in Aandhi, Aarti wins political power and Winning Woman, Hindi Cinema returns to a loving marital home. In Sahib Bibi aur Ghulam choti bahu after a temporary victory of getting her husband back meets her death. In both films Sahib Bibi aur Gangster and returns, the Bibi eliminates the other woman and gangster, deactivates the husband and wins the election to gain power. she remains married and a Rani Sahiba. In the set of four Devdas makes and remakes (1927–2009) Paro is bold, shy, glamorous and ultimately liberated (Dev, 2009). Chanda moves from the looked down upon, prostitute, dancing girl to a multilingual sex worker who is empowering herself through education and treating her occupation as a stepping stone to HOW TO CITE THIS ARTICLE : empowerment. -
Unit-2 Silent Era to Talkies, Cinema in Later Decades
Bachelor of Arts (Honors) in Journalism& Mass Communication (BJMC) BJMC-6 HISTORY OF THE MEDIA Block - 4 VISUAL MEDIA UNIT-1 EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA UNIT-2 SILENT ERA TO TALKIES, CINEMA IN LATER DECADES UNIT-3 COMING OF TELEVISION AND STATE’S DEVELOPMENT AGENDA UNIT-4 ARRIVAL OF TRANSNATIONAL TELEVISION; FORMATION OF PRASAR BHARATI The Course follows the UGC prescribed syllabus for BA(Honors) Journalism under Choice Based Credit System (CBCS). Course Writer Course Editor Dr. Narsingh Majhi Dr. Sudarshan Yadav Assistant Professor Assistant Professor Journalism and Mass Communication Dept. of Mass Communication, Sri Sri University, Cuttack Central University of Jharkhand Material Production Dr. Manas Ranjan Pujari Registrar Odisha State Open University, Sambalpur (CC) OSOU, JUNE 2020. VISUAL MEDIA is made available under a Creative Commons Attribution-ShareAlike 4.0 http://creativecommons.org/licences/by-sa/4.0 Printedby: UNIT-1EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA Unit Structure 1.1. Learning Objective 1.2. Introduction 1.3. Evolution of Photography 1.4. History of Lithography 1.5. Evolution of Cinema 1.6. Check Your Progress 1.1.LEARNING OBJECTIVE After completing this unit, learners should be able to understand: the technological development of photography; the history and development of printing; and the development of the motion picture industry and technology. 1.2.INTRODUCTION Learners as you are aware that we are going to discuss the technological development of photography, lithography and motion picture. In the present times, the human society is very hard to think if the invention of photography hasn‘t been materialized. It is hard to imagine the world without photography. -
Trade Marks Journal No: 1897 , 15/04/2019 Class 30 1954573 22
Trade Marks Journal No: 1897 , 15/04/2019 Class 30 1954573 22/04/2010 AROMSA BESIN AROMA VE KATKI MADDELERI SANAYI VE TICARET ANONIM SIRKETI trading as ;AROMSA BESIN AROMA VE KATKI MADDELERI SANAYI VE TICARET ANONIM SIRKETI GEBZE ORGANIZE SANAYI BOLGESI, IHSAN DEDE CADDESI, PK-18 GEBZE- KOCAELI TURKEY MANUFACTURERS AND MERCHANTS A COMPANY REGISTERED UNDER THE LAWS OF TURKEY Address for service in India/Agents address: SELVAM & SELVAM 9/1-VALLIAMMAL STREET, KILPAUK, CHENNAI 600 010 Proposed to be Used CHENNAI COFFEE, TEA, COCOA, SUGAR, RICE, TAPIOCA, SAGO, ARTIFICIAL COFFEE; FLOUR AND PREPARATIONS MADE FROM CEREALS, BREAD, PASTRY AND CONFECTIONERY, ICES; HONEY, TREACLE; YEAST, BAKING-POWDER; SALT, MUSTARD; VINEGAR, SAUCES (CONDIMENTS); SPICES; ICE. 3188 Trade Marks Journal No: 1897 , 15/04/2019 Class 30 REPARE 2409984 11/10/2012 MANKIND PHARMA LIMITED 208, Okhla Industrial Estate, Phase-III, New Delhi – 110020, INDIA MERCHANT AND MANUFACTURER A COMPANY DULY ORGANIZED AND EXISTING UNDER THE INDIAN COMPANIES ACT, 1956 Address for service in India/Attorney address: DASWANI & DASWANI Daswani House, Green Acres 23B, Ahiripukur 1st Lane, Kolkata - 700019 Used Since :01/03/2001 DELHI NUTRITIONAL ADDITIVES, NOT FOR MEDICAL PURPOSES, NJADE-"LROM COFFEE, TEA, COCOA, SUGAR, RICE, TAPIOCA, SAGO, PASTA, CEREALS, FLAVOURINGS (OTHEF^^THAN ESSENTIAL OILS); NON-MEDICATED FOOD IN THE FORM OF BARS, TABLETS AND POWDERS USED AS NUTRITIONAL SUPPLEMENTS, FOOD SUPPLEMENTS, VITAMINS SUPPLEMENTS AND MINERAL SUPPLEMENTS. 3189 Trade Marks Journal No: 1897 , 15/04/2019 Class 30 CRYSTAL CLEAR 2457596 09/01/2013 SOCIETE DES PRODUITS NESTLE S. A. 1800 VEVEY, SWITZERLAND. MERCHANTS & MANUFACTURERS A COMPANY INCORPORATED UNDER THE LAWS OF SWITZERLAND Address for service in India/Agents address: INTTL ADVOCARE. -
Awards & Honours
1st Jan to 15 th Jan AWARDS & HONOURS Following are the top awardees at the 73rd Annual Golden Globe Awards ceremony at, California, United States:- Best Motion Picture Drama: The Revenant Best Motion Picture Musical/Comedy: The Martian Best Director in Motion Picture-Drama: Alejandro Inarritu for The Revenant Best Actor in Motion Picture-Drama: Leonardo DiCaprio for The Revenant Best Actress in Motion Picture-Drama: Brie Larson for Room. BCCI president, Shashank Manohar, presented the BCCI International Cricketer-of-the-Year Award 2014-15 to Test captain Virat Kohli at the ninth BCCI annual awards. He also presented the Col. C.K. Nayudu Lifetime Achievement Award to former India stumper, Syed Kirmani. British writer, Kate Atkinson won the 2015 Costa novel award for her novel “A God in Ruins’, thus becoming the first British author to receive a Costa prize three times. Earlier she had won it for ‘Life After Life’ (2013) and ‘Behind the Scenes at the Museum’ (1995). The Drug Authentication and Verification Application (DAVA) project of The Department of Commerce won the 2015 eASIA Award under Trade Facilitation category. DAVA project was launched by Union Government in June 2015. It seeks to create an integrated platform for implementation of the Track and Trace system for exporters and domestic markets of Drugs and Pharmaceuticals. Lionel Messi won the FIFA world player of the year award for a record fifth time. Ronaldo ended up in second place. The Employees’ Provident Fund Organisation (EPFO) won the National Award on e-Governance 2015-16 for launching the Universal Account Number (UAN). -
Festival Catalogue 2015
Jio MAMI 17th MUMBAI FILM FESTIVAL with 29 OCTOBER–5 NOVEMBER 2015 1 2 3 4 5 12 October 2015 MESSAGE I am pleased to know that the 17th Jio MAMI Mumbai Film Festival is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from 29th October to 5th November 2015. Mumbai is the undisputed capital of Indian cinema. This festival celebrates Mumbai’s long and fruitful relationship with cinema. For the past sixteen years, the festival has continued promoting cultural and MRXIPPIGXYEP I\GLERKI FIX[IIR ½PQ MRHYWXV]QIHME TVSJIWWMSREPW ERH GMRIQE IRXLYWMEWXW%W E QYGL awaited annual culktural event, this festival directs international focus to Mumbai and its continued success highlights the prominence of the city as a global cultural capital. I am also happy to note that the 5th Mumbai Film Mart will also be held as part of the 17th Mumbai Film Festival, ensuring wider distribution for our cinema. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision and wish the 17th Jio MAMI Mumbai Film Festival and Mumbai Film Mart grand success. (CH Vidyasagar Rao) 6 MESSAGE Mumbai, with its legacy, vibrancy and cultural milieu, is globally recognised as a Financial, Commercial and Cultural hub. Driven by spirited Mumbaikars with an indomitable spirit and great affection for the city, it has always promoted inclusion and progress whilst maintaining its social fabric. ,SQIXSXLI,MRHMERH1EVEXLM½PQMRHYWXV]1YQFEMMWXLIYRHMWTYXIH*MPQ'ETMXEPSJXLIGSYRXV] +MZIRXLEX&SPP][SSHMWXLIQSWXTVSPM½GMRHYWXV]MRXLI[SVPHMXMWSRP]FI½XXMRKXLEXE*MPQ*IWXMZEP that celebrates world cinema in its various genres is hosted in Mumbai. -
Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof. -
Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved. -
Working Paper Series
Working Paper Series Naql, Iqtida, Muarada, and Javab g’oi, Sariqa, and Mahumda Sariqa in the Hindi Masala Film1 Anjali Gera Roy Indian Institute of Technology Kharagpur Abstract: In view of the intensified debate on the practice of plagiarism in Bollywood cinema with the tightening of copyright regulations, the practice of copying, if any, in Hindi cinema requires serious investigation. Against the popular perception of the commercial Hindi film as a “bad” copy of the Hollywood film and frequent allegations of plagiarism (Wax 2009), this essay focuses on Perso-Arabic poetic and aesthetic traditions animating Hindi commercial cinema, particularly on the category of naql (transmission, imitation, mimicry) to propose an aesthetics of the copy. The essay demonstrates that the concept of naql, the dominant trope of Perso-Arabic compositions transmitted over the centuries through a class of hereditary performers known as naqals or naqlis, can throw new light on “the culture of copy” that pervades the Hindi film industry. Introduction Commercial Hindi cinema, if not completely elided, was largely dismissed in Euro-American cinematic discourse as unoriginal, derivative, and cannibalistic (Graham 1952; Monthly Film Bulletin 1963),2 a perception that appears to have been shared by film scholars (Chatterjee 2003; Rampal 2007; Minhas 2008),3 English language media (Singh 1976; Batra 1976; Shamim 1976)4 and the English speaking elite in India until quite recently. Rosie Thomas, M. ISSN2253-4423 © MFCO Working Paper Series 2 MFCO Working Paper Series 2016 Madhava Prasad, and Tejsawani Ganti have convincingly exonerated Hindi cinema against plagiarism allegations by throwing light on the complex production, consumption, and aesthetic practices through which cinematic plots are Indianised (Thomas 1985; Prasad 1998; Ganti 2013).