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KERALA SOLID WASTE MANAGEMENT PROJECT (KSWMP) with Financial Assistance from the World Bank
KERALA SOLID WASTE MANAGEMENT Public Disclosure Authorized PROJECT (KSWMP) INTRODUCTION AND STRATEGIC ENVIROMENTAL ASSESSMENT OF WASTE Public Disclosure Authorized MANAGEMENT SECTOR IN KERALA VOLUME I JUNE 2020 Public Disclosure Authorized Prepared by SUCHITWA MISSION Public Disclosure Authorized GOVERNMENT OF KERALA Contents 1 This is the STRATEGIC ENVIRONMENTAL ASSESSMENT OF WASTE MANAGEMENT SECTOR IN KERALA AND ENVIRONMENTAL AND SOCIAL MANAGEMENT FRAMEWORK for the KERALA SOLID WASTE MANAGEMENT PROJECT (KSWMP) with financial assistance from the World Bank. This is hereby disclosed for comments/suggestions of the public/stakeholders. Send your comments/suggestions to SUCHITWA MISSION, Swaraj Bhavan, Base Floor (-1), Nanthancodu, Kowdiar, Thiruvananthapuram-695003, Kerala, India or email: [email protected] Contents 2 Table of Contents CHAPTER 1. INTRODUCTION TO THE PROJECT .................................................. 1 1.1 Program Description ................................................................................. 1 1.1.1 Proposed Project Components ..................................................................... 1 1.1.2 Environmental Characteristics of the Project Location............................... 2 1.2 Need for an Environmental Management Framework ........................... 3 1.3 Overview of the Environmental Assessment and Framework ............. 3 1.3.1 Purpose of the SEA and ESMF ...................................................................... 3 1.3.2 The ESMF process ........................................................................................ -
Addendum to Notice of 2Nd/2016-17 Extra Ordinary General
The Indian Performing Right Society Limited CIN: U92140MH1969GAP014359 Regd. Office: 208, Golden Chambers, New Andheri Link Road, Andheri (West), Mumbai– 400053 Tel: 2673 3748/49/50/6616 Fax: 26736658. Email:[email protected] Website: www.iprs.org ADDENDUM TO THE NOTICE Addendum is hereby given to the Original Notice of the 2nd/2016-17 Extra-Ordinary General Meeting (‘EOGM’) of the Members of The Indian Performing Right Society Limited which will be held at Shri Bhaidas Maganlal Sabhagriha, U-1, J.V.P.D. Scheme, Vile Parle (West), Mumbai – 400 056 on Friday, the 31st day of March, 2017 at 10:30 A.M. to transact the following business: FOLLOWING RESOLUTIONS VIDE ITEM NOS. 6 TO 11 BEING RESOLUTIONS FOR APPOINTMENT OF NOMINEE DIRECTORS OF AUTHOR/COMPOSER MEMBERS, ARE FOR VOTING BY AUTHOR/ COMPOSER MEMBERS ONLY IN ACCORDANCE WITH ARTICLE 24(i) OF THE ARTICLES OF ASSOCIATION OF THE COMPANY: 6. To consider and if thought fit, to pass, with or without modification(s), the following resolution as an Ordinary Resolution: “RESOLVED THAT pursuant to the provisions of Sections 152 and 160 and other applicable provisions, if any, of the Companies Act, 2013 read with the Companies (Appointment and Qualification of Directors) Rules, 2014 (including any statutory modification(s) or re-enactment thereof for the time being in force) and in accordance with Article 24 of the Articles of Association of the Company, Mr. Javed Jannisar Akhtar, who fulfills the criteria for appointment of Director in accordance with Article 20(b) of the Articles of Association of the Company and in respect of whom the Company has received a notice in writing from him under Section 160 of the Companies Act, 2013 along with necessary security deposit amount, proposing his candidature for the office of Author/Composer Director-Region-West, be and is hereby appointed as a Director of the Company who shall be liable to retire by rotation. -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Indian Movies, Brand Australia and the Marketing of Australian Cosmopolitanism
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2013 Indian movies, brand Australia and the marketing of Australian cosmopolitanism Andrew Hassam University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Hassam, Andrew, "Indian movies, brand Australia and the marketing of Australian cosmopolitanism" (2013). Faculty of Law, Humanities and the Arts - Papers. 919. https://ro.uow.edu.au/lhapapers/919 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Indian movies, brand Australia and the marketing of Australian cosmopolitanism Abstract Indian movies shot overseas have attracted the attention of not only advertising agencies keen to see their clients' brands appearing on-screen, but also government tourism commissions eyeing India's growing middle classes as potential visitors. Australian federal and state governments offer Indian film producers financial incentives to film in Australia, and Australian cities now regularly supply Indian movies with backdrops of upmarket shopping malls, stylish apartments and exclusive restaurants. Yet in helping to project the lifestyle fantasies of India's new middle classes, Australian government agencies are supporting an Indian view of Australia. While this image may attract Indian tourists to Australia, it presumes Australia is culturally White and British, and as a result Australian agencies market an Australian cosmopolitanism defined not in terms of cultural diversity but in terms of the availability of global brands. -
Online Piracy of Indian Movies: Is the Film Industry Firing at the Wrong Target?
ONLINE PIRACY OF INDIAN MOVIES: IS THE FILM INDUSTRY FIRING AT THE WRONG TARGET? Arul George Sea ria* INTRODUCTION .......................................................................................... 648 I. ONLINE PIRACY OF INDIAN MOVIES ................................................... 649 II. EFFECTIVENESS OF THE LEGAL MEASURES AGAINST ONLINE PIRACY ................................................................................................ 657 III. SUSTAINABLE SOLUTIONS FOR ONLINE PIRACY ................................ 660 CONCLUSION .............................................................................................. 663 ABSTRACT India has recently introduced some digital rights management (DRM) provisions to the Indian copyright law with the objective of providing "adequate" protection for copyrighted material in the online digital environment. Film industry was one of the biggest lobbying groups behind the new DRM provisions in India, and the industry has been consistently trying to portray online piracy as a major threat. The Indian film industry also extensively uses John Doe orders from the high courts in India to prevent the access of Internet users to websites suspected to be hosting pirated material. This paper explores two questions in the context of the new DRM provisions in India: ( 1) Is online piracy a threat to the Indian film industry? and (2) Are the present measures taken by the film industry the optimal measures for addressing the issue of online piracy? Based on data from an extensive empirical -
Karan Johar Shahrukh Khan Choti Bahu R. Madhavan Priyanka
THIS MONTH ON Vol 1, Issue 1, August 2011 Karan Johar Director of the Month Shahrukh Khan Actor of the Month Priyanka Chopra Actress of the Month Choti Bahu Serial of the Month R. Madhavan Host of the Month Movie of the Month HAUNTED 3D + What’s hot Kids section Gadget Review Music Masti VAS (Value Added Services) THIS MONTH ON CONTENTS Publisher and Editor-in-Chief: Anurag Batra Editorial Director: Amit Agnihotri Editor: Vinod Behl Directors: Nawal Ahuja, Ritesh Vohra, Kapil Mohan Dhingra Advisory Board Anuj Puri, (Chairman & Country Head, Jones Lang LaSalle India) Laxmi Goel, (Director, Zee News & Chairman, Suncity Projects) Ajoy Kapoor (CEO, Saffron Real Estate Management) Dr P.S. Rana, Ex-C( MD, HUDCO) Col. Prithvi Nath, (EVP, NAREDCO & Sr Advisor, DLF Group) Praveen Nigam, (CEO, Amplus Consulting) Dr. Amit Kapoor, (Professor in Strategy and nd I ustrial Economics, MDI, Gurgoan) Editorial Editorial Coordinating Editor : Vishal Duggal Assistant Editor : Swarnendu Biswas da con parunt, ommod earum sit eaqui ipsunt abo. Am et dias molup- Principal Correspondent : Vishnu Rageev R tur mo beressit rerum simpore mporit explique reribusam quidella Senior Correspondent : Priyanka Kapoor U Correspondents : Sujeet Kumar Jha, Rahul Verma cus, ommossi dicte eatur? Em ra quid ut qui tem. Saecest, qui sandiorero tem ipic tem que Design Art Director : Jasper Levi nonseque apeleni entustiori que consequ atiumqui re cus ulpa dolla Sr. Graphic Designers : Sunil Kumar preius mintia sint dicimi, que corumquia volorerum eatiature ius iniam res Photographe r : Suresh Gola cusapeles nieniste veristo dolore lis utemquidi ra quidell uptatiore seque Advertisment & Sales nesseditiusa volupta speris verunt volene ni ame necupta consequas incta Kapil Mohan Dhingra, [email protected], Ph: 98110 20077 sumque et quam, vellab ist, sequiam, amusapicia quiandition reprecus pos 3 Priya Patra, [email protected], Ph: 99997 68737, New Delhi Sneha Walke, [email protected], Ph: 98455 41143, Bangalore ute et, coressequod millaut eaque dis ariatquis as eariam fuga. -
Some People Spend a Lot of Time Trying to Find out Who They
What Kind of Experience Do You Need to Be a Successful Franchise Owner? By: Heather Rosen “Knowing yourself is the beginning of all wisdom” -– Aristotle ome people spend a lot of time trying to find out who they are Sand what they want in life. This is a good thing - to constantly reinvent, contemplate, and revisit until you think you are on the right path - at least at this point in your life, because things will inevitably change and then it’s time to reinvent, contemplate and revisit all over again. If you are creative and motivated enough to figure out what path to follow, you should be able to find something that aligns with your strengths and interests. I haven’t always known what I have wanted in life, but I have always had a natural drive to identify com - plex problems and find solutions. So naturally, I spent the first part of my career as a lawyer. I was good at my job and enjoyed it. I used my listening and problem solving skills to help companies make acquisi - tions, win litigation and come out ahead in contract negotiations, and to help musicians get paid for their art. That part was great, but being an attorney also has an ugly side. On occasion, the work I was asked to do for a company ended up hurting their employees or customers. For example, I spent four months doing mortgage foreclosures for a bank and reading heartbreaking letters every day from people who were about to lose their homes. The day finally came where I realized I no longer loved what I was doing, and I took a step back and reflected. -
Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion. -
Order to Create New Names in a Field. Naming Units Involves Substance Such As Human Knowledge, Human Cognitive Abilities, and Experiences
order to create new names in a field. Naming units involves substance such as human knowledge, human cognitive abilities, and experiences. Onomasiology is inter-related between human minds/cognitive and word formation. Conclusion When morphology enters in word formation automatically semantics changes will occur consequently. There is a clear vision in this word formation which follows the flow as first morphological process and next is semantic change. In between this there is a strong relation between two words while merging together to deliver one meaning. Humans mind is just like a scanner because it will scan object with similar qualities to name another new object they see every day. Onomasiological relation defines relation between two words merged together to deliver one meaning. In this paper, we have offered an overview of word-formation literatures in the light of its sub- domains, namely, Morphology, Lexical, Lexical-semantics, Collocation and Onmasiology. Along the way, we offered a comparative look between popular lexical fraction in Tamil and English, to show that both have almost similar components. Nevertheless, the studies in Tamil on lexical and its semantics confined within grammar framework, yet accrossed the limit to discover its true ability extensively. Only minimal number of studies are available. On the other hand, studies in English in line with the field under observation has been extensively studied. Our expectation is that the lucaritive field of study should be honoured with its deserved stake, proper investigations in Tamil. Bibliography CaritaParadis. (2013). Lexical Semantics. In C. C. A (Ed.), The Encyclopedia of Applied Lingustics. United Kingdom: Wiley-Blackwell: Oxford. -
2 Apar Gupta New Style Complete.P65
INDIAN LAWYERS IN POPULAR HINDI CINEMA 1 TAREEK PAR TAREEK: INDIAN LAWYERS IN POPULAR HINDI CINEMA APAR GUPTA* Few would quarrel with the influence and significance of popular culture on society. However culture is vaporous, hard to capture, harder to gauge. Besides pure democracy, the arts remain one of the most effective and accepted forms of societal indicia. A song, dance or a painting may provide tremendous information on the cultural mores and practices of a society. Hence, in an agrarian community, a song may be a mundane hymn recital, the celebration of a harvest or the mourning of lost lives in a drought. Similarly placed as songs and dance, popular movies serve functions beyond mere satisfaction. A movie can reaffirm old truths and crystallize new beliefs. Hence we do not find it awkward when a movie depicts a crooked politician accepting a bribe or a television anchor disdainfully chasing TRP’s. This happens because we already hold politicians in disrepute, and have recently witnessed sensationalistic news stories which belong in a Terry Prachet book rather than on prime time news. With its power and influence Hindi cinema has often dramatized courtrooms, judges and lawyers. This article argues that these dramatic representations define to some extent an Indian lawyer’s perception in society. To identify the characteristics and the cornerstones of the archetype this article examines popular Bollywood movies which have lawyers as its lead protagonists. The article also seeks solutions to the lowering public confidence in the legal profession keeping in mind the problem of free speech and censorship. -
Akshay Kumar
Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012.