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Odisha Review
ODISHA REVIEW VOL. LXXI NO. 6 JANUARY - 2015 MADHUSUDAN PADHI, I.A.S. Commissioner-cum-Secretary RANJIT KUMAR MOHANTY, O.A.S, ( SAG) Director DR. LENIN MOHANTY Editor Editorial Assistance Production Assistance Bibhu Chandra Mishra Debasis Pattnaik Bikram Maharana Sadhana Mishra Cover Design & Illustration D.T.P. & Design Manas Ranjan Nayak Hemanta Kumar Sahoo Photo Raju Singh Manoranjan Mohanty The Odisha Review aims at disseminating knowledge and information concerning Odisha’s socio-economic development, art and culture. Views, records, statistics and information published in the Odisha Review are not necessarily those of the Government of Odisha. Published by Information & Public Relations Department, Government of Odisha, Bhubaneswar - 751001 and Printed at Odisha Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Messages Editorial Shree Jagannath : Lord of the Universe Dr. Pradeep Ku. Choudhury ... 1 Good Governance ... 5 Making of the Constitution of India : A Critical Analysis Dr. Abhijit Sahoo ... 7 Dr. Tusarkanta Pattanaik Lion-hearted Fighter Jayee Rajguru Samiksha Das ... 16 Vivekananda : The Humanist Dr. Somarani Chand ... 18 Swell of 'Purna Swaraj' in Odisha and the Importance of 26th January Dr. Janmejay Choudhury ... 21 India's Missile Programme and Odisha : A Study Sai Biswanath Tripathy ... 25 My Grandfather’s Shop - a Space for Culture and Translation ... 31 Indecent Representation of Women : Role of Media and Law Deepak Ranjan Sahoo ... 35 The Still Sad Music of Dangara Field (Essay on Bonda agriculture system.) Dr. -
Sadir, Bharatanatyam, Feminist Theory Sriv1dya
ANOTHER STAGE IN THE LIFE OP THE NATION: SADIR, BHARATANATYAM, FEMINIST THEORY A THESIS SUBMITTED TO THE UNIVERSITY OF HYDERABAD FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF HUMANITIES SRIV1DYA NATARAJAN FEBRUARY, 1997 CERTIFICATE This is to certify that Ms. Srividya Natarajan worked under my supervision for the Ph.D. Degree in English. Her thesis entitled "Another Stage in the Life of the Nation: Sadir. Bharatanatyam. Feminist Theory" represents her own independent work at the University of Hyderabad. This work has not been submitted to any other institution for the award of any degree. Hyderabad Tejaswini Niranjana Date: 14-02-1997 Department of English School of Humanities University of Hyderabad Hyderabad February 12, 1997 This is to certify that I, Srividya Natarajan, have carried out the research embodied in the present thesis for the full period prescribed under Ph.D. ordinances of the University. I declare to the best of my knowledge that no part of this thesis was earlier submitted for the award of research degree of any University. To those special teachers from whose lives I have learnt more than from all my other education put together: Kittappa Vadhyar, Paati, Thatha, Paddu, Mythili, Nigel. i ACKNOWLEDGEMENTS In the course of five years of work on this thesis, I have piled up more debts than I can acknowledge in due measure. A fellowship from the University Grants Commission gave me leisure for full-time research; some of this time was spent among the stacks of the Tamil Nadu Archives, the Madras University Library, the Music Academy Library, the Adyar Library, the T.T. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Witness to Marvelssufism and Literary Imagination
6 Pragmatics of Pīr Kathā Emplotment and Extra-Discursive Effects In the Kali Age people reap misery as the fruit of their actions. Recognizing that, the Lord created a way to alleviate the suffering. For the express purpose of saving all peoples, that Great Protector manifested himself in this world, wearing the garb of one who begs for food. The Lord Himself extended his immanent dominion across the earth. He appeared as Satya Pīr, the perfection of all phakīrs. Listen one and all and be glad at heart, for your misery will flee, your afflictions will disappear, and happiness will to you accrue. Dvija Ghanarām has composed this sweet song— Now Lord, may you quickly fulfill every heart’s dreams and desires. —Ghanarām Cakravarttī, Satyanārāyaṇ ras sindhu 6.1. FROM LITERARY EMPLOTMENT TO SOCIAL DISCOURSE It would have been easy to have ended this book with the conclusions of the last chapter, marking the subtle shift in the tenor of the narratives of the fictionalpīrs and bibīs. The literatures of Satya Pīr taken by themselves—and they constitute the largest block of stories dedicated to a single figure—not only confirm this trans- formation but demonstrate how the tales enter the political world of the last two centuries. In a sense, the tales of Satya Pīr serve as bookends to the pīr kathās; they are the earliest of the fictional pīrs to emerge in the manuscript archive, and they actively span the centuries with new stories being generated up to the pres- ent. Especially notable is the upsurge of activity that occurred with the advent of inexpensive printing in the decades of the late nineteenth and early twentieth 189 190 Chapter Six centuries. -
Folk Hinduism in West Bengal
1 Folk Hinduism in West Bengal In the rural areas of India, we see a variety of notions about the nature of gods and goddesses. They are not “high gods,” as we see in the pan-Indian brahmanical forms of Hinduism, but rather regional deities, intimately associated with villages and towns. Indeed, some would not be characterized as gods and goddesses by most people, for those supernatural entities given offerings and worship include ghosts, ancestors, water and plant essences, guardian spirits, and disease con- trollers. We see some overlap of tribal deities, the deities of non-Hindu or semi- Hindu villagers, with the village gods or gramadevatas of village Hinduism. These may be µeld or mountain spirits, or angry ghosts of women who died violent deaths. All of these may be seen in the large area of folk Hinduism. There is no sharp differentiation between the tribal deities, village deities, and gods and god- desses of brahmanical Hinduism. Rather than a polarity, we see a continuum, for these traditions worship many deities in common. Some themes that may be noted in the worship of folk gods and goddesses: Regionalism: These deities are associated with speciµc places, temples, µelds, and streams. The Kali of one village is not the same as the next village’s Kali. One Chandi gives good hunting, another Chandi cures disease. Goddesses are not pan-Indian; they are speciµc to a person’s tribal or caste group, ex- tended family, neighborhood, or village. Pragmatism: These deities are rarely worshiped in a spirit of pure and ab- stract devotion. -
Shemaroo Entertainment Limited
DRAFT RED HERRING PROSPECTUS Dated September 19, 2011 Please read section 60B of the Companies Act, 1956 (This Draft Red Herring Prospectus will be updated upon filing with the RoC) 100% Book Building Issue SHEMAROO ENTERTAINMENT LIMITED Our Company was originally incorporated as a private limited company under the Companies Act, 1956 on December 23, 2005, with the name Shemaroo Holdings Private Limited. Subsequently, pursuant to a Scheme of Arrangement approved by the Hon’ble High Court of Bombay vide order dated March 7, 2008 and by the special resolution of our shareholders dated May 28, 2008, the name of our Company was changed to Shemaroo Entertainment Private Limited and a fresh certificate of incorporation was granted to our Company on June 3, 2008, by the RoC. Thereafter, pursuant to a special resolution of our shareholders dated March 26, 2011, our Company was converted to a public limited company and a fresh certificate of incorporation consequent to the change of status was granted on April 1, 2011, by the RoC. For further details in connection with changes in the name and registered office of our Company, please refer to the section titled “History and Certain Corporate Matters” on page 95 of this Draft Red Herring Prospectus. Registered and Corporate Office: Shemaroo House, Plot No.18, Marol Co-operative Industrial Estate, Off Andheri Kurla Road, Andheri East, Mumbai- 400059 Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 Contact Person and Compliance Officer: Mr. Ankit Singh, Company Secretary; Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 E-mail: [email protected]; Website: www.shemaroo.com PROMOTERS OF OUR COMPANY: MR. -
Farmerprotestsflare Upagain,Manyinjured Inharyanacrackdown
eye THE SUNDAY EXPRESS MAGAZINE In the Light of Ye sterday KOLKATA,LATECITY Once there wasaKabul that AUGUST29,2021 wasacityofdreamersand 18PAGES,`5.00 poets, kite flyersand (EX-KOLKATA`7,`12INNORTHEASTSTATES&ANDAMAN) children trudging to school DAILY FROM: AHMEDABAD, CHANDIGARH, DELHI, JAIPUR, KOLKATA, LUCKNOW, MUMBAI, NAGPUR, PUNE, VADODARA WWW.INDIANEXPRESS.COM PAGES 13, 14, 15 ED summons BKU ISSUES CALL TO FARMERS TO GATHER to Abhishek, wife; Mamata Farmerprotestsflare says agencies upagain,manyinjured ‘let loose’ inHaryanacrackdown Lathicharge on protestagainsta Abhishek,Rujiraare facing a BJP meetchaired moneylaundering case by CM; Khattar says if violence, EXPRESSNEWSSERVICE NEWDELHI,KOLKATA, ‘police have to act’ AUGUST28 THE ENFORCEMENT Directorate EXPRESSNEWSSERVICE (ED) has summonedsenior Afghans queue up forone of Italy’s lastmilitaryaircraftout of Kabul, Friday. Italysaid it had evacuated 4,890 people in all. Reuters CHANDIGARH,AUGUST28 Trinamool Congress leader and Chief MinisterMamata THE AGITATION againstfarm Police break up the protestatBastara toll plaza, Karnal. Express Banerjee’s nephewAbhishek laws enacted lastyear returned Banerjee and his wifeRujirafor First outreach signal: UNSC drops to the spotlight Saturdaywhen questioning in connection with a Haryana Police crackeddownon case of moneylaundering asso- farmers in Karnal, leaving sev- If someone breaches ciated with alleged pilferageof eral injured in alathicharge at coal from Eastern Coalfield Taliban reference in line on terror the Bastara toll plaza on the na- cordon, make sure has a Limited mines. tional highway. Abhishek,anMPfrom The farmers were protesting Diamond Harbour,has been India chair,itmentionedTaliban on Aug16; onlytalksofAfghan groups Aug27 againstaBJP meeting on the broken head: IAS officer asked to appear before the forthcoming panchayatpolls — Investigating Officer on ity as the chair forthis month. -
O Rigin Al a Rticle
International Journal of Textile and Fashion Technology (IJTFT) ISSN (P): 2250-2378; ISSN (E): 2319-4510 Vol. 8, Issue 4, Aug 2018, 11-18 © TJPRC Pvt. Ltd. SIGNIFICANT RITUALS OF KASHMIRI PANDITS: A PERSPECTIVE SIMRAN KAUR & AMITA WALIA Department of Fabric and Apparel Science, Institute of Home Economics, University of Delhi, New Delhi, India ABSTRACT The study was done to deeply understand the diversity in traditions, cultures, and customs of Kashmiri Pandits. The paper gives details of attires worn by Kashmiri Pandits throughout the most important and meaningful ceremonies of their lives. Kashmir is home to an array of distinct ceremonies and traditions. Mundan, Namakarana, Yagnopavit are some of the most significant ceremonies after the birth of a child. Pre-wedding ceremonies like engagement, Divgun, Mehendiraat and the wedding ceremonies and Lagan hold great significance in their culture. Ceremonies related to death are also performed in their own way. The paper concludes with the various ceremonies in a lifetime of a Kashmiri Pandit. KEYWORDS: Yagnopavit, Divgun, Shran sonder, Kahnethar, Tarang & Lagan Received: May 11, 2018; Accepted: Jun 01, 2018; Published: Jul 07, 2018; Paper Id.: IJTFTAUG20183 Article Original INTRODUCTION Various states of India exhibit unique diversity in their traditions, culture, and rituals. They showcase different religions and distinct practices. These rituals are an integral part of the individuality of these states and their cultural practices. Kashmir, as much as it is famed for its beauty, is also celebrated for its people and their unique way of life. The aesthetics and rituals of the people of Kashmir keep them close to their distinctive yet unparalleled traditions. -
HINDU WEDDING by Dipti Desai All Images Provided by Dipti Desai Copyright 2006
2 HINDU WEDDING By Dipti Desai All images provided by Dipti Desai Copyright 2006 Published by Henna Page Publications, a division of TapDancing Lizard LLC 4237 Klein Ave. Stow, Ohio 44224 USA All rights reserved. Printed in the United States of America No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles or reviews. Henna artists may freely use these patterns as inspiration for their own hand-drawn henna work. Library of Congress Cataloging in-Publication Data Dipti Desai Hindu Wedding Henna Traditions Weddings Hindu Traditions Copyright © 2006 Dipti Desai Tapdancinglizard.com This book is provided to you free by The Henna Page and Mehandi.com 3 Hindu Wedding © 2006 Dipti Desai Terms of use: you must agree to these terms to download, print, and use this book. All rights reserved. Terms of use for personal use: You may not sell, offer for sale, exchange or otherwise transfer this publication without the express written permission of the publisher. You may make one (1) printed copy of this publication for your personal use. You may use the patterns as inspiration for hand rendered ephemeral body decoration. You may not sell, lend, give away or otherwise transfer this copy to any other person for any reason without the express written permission of the publisher. You may make one (1) electronic copy of this publication for archival purposes. Except for the one (1) permitted print copies and the one (1) archival copy, you may not make any other copy of this publication in whole or in part in any form without the express written permission of the publisher. -
Haunting the Tradition of the Novel : Generic Double Play in Diasporic
HAUNTING THE TRADITION OF THE NOVEL: GENERIC DOUBLE PLAY IN DIASPORIC FICTION by Shan Qiang He B.A., Shanghai International Studies University, 1982 M.A., Shanghai International Studies University, 1985 M.A., Simon Fraser University, 1989 THESIS SUBMlTIED IN PARTIAL FULFLLLMENT OF THE REQUIREMENTS FOR THE DEGREE OF in the Department of English @ ShanQiang He SIMON FRASER UNIVERSITY April 1995 All rights reserved This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: Shan Qiang He Degree: Doctor of Philosophy Title of thesis: Haunting the Tradition of the Novel: Generic Double Play in Diasporic Fiction Examining Committee: Chair: Prof Paul Budra Prof Paul Delany Senior Supervisor Prof Samuel Wong Department of English Prof Paul Matthew St Pierre Department of English Prof Gail Faurschou School of Communication Faculty of Applied Sciences Prof Sneja Gunew External Examiner Department of English University of Victoria Date Approved: April 10, 1995 PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser Universi the right to lend my thesis, pro'ect or extended essay (the title oB which is shown below) to users o f' the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is,understood that copying or publication of this work for financial gain shall not be allowed without my written permission. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Final Senior Fellowship Report
FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God.