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(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Making Women Visible: Gender and Race Cross-Dressing in the Parsi Theatre Author(S): Kathryn Hansen Source: Theatre Journal, Vol
Making Women Visible: Gender and Race Cross-Dressing in the Parsi Theatre Author(s): Kathryn Hansen Source: Theatre Journal, Vol. 51, No. 2 (May, 1999), pp. 127-147 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/25068647 Accessed: 13/06/2009 19:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Theatre Journal. http://www.jstor.org Making Women Visible: Gender and Race Cross-Dressing in the Parsi Theatre Kathryn Hansen Over the last century the once-spurned female performer has been transformed into a ubiquitous emblem of Indian national culture. -
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. -
Stamps of India Collectors Companion
ISSN 0972-3587 Stamps of India Collectors Companion The News, Views, & Features on Philately & Postal Services of India December 15, 2011 | Published Every Thursday | Edited by Madhukar and Savita Jhingan | 501 Back Issues http://www.stampsofindia.com/newssite/Download/archives.htm Unsubscribe http://www.stampsofindia.com/other/unsubscribe.htm l In This Issue New Record Price of Mahatma Gandhi 1948 Forthcoming Stamp Issues New Stamp Released Dandi March Postcards My Stamp Update Parcel Packing Centres at Post Offices Sharp Decline in Post Card’s Usage Stamps of India Online Offers Recent & Forthcoming Events NewsScan: Postal Dept Stares At R 6,000-Crore Loss, Blames Managerial Failure For Sales Dip Jhingans Jottings Hi Many thanks for your good wishes for this digital weekly reaching the milestone of 500th issue. With this issue we rededicate ourselves not only to carry on but also to improve in many ways for enhanced reading experience. As always we seek your inputs and suggestions. Until next week, please enjoy the rest of the newsletter. - M&SJ Our thanks to the Contributors and Sources to this issue: Gautam Rohatgi, Dipak Dave, Prashant H Pandya, K G Balakrishnan, Ganesh Bhat, Mahesh Reddiar We invite your inputs [email protected] New Record Price of Mahatma Gandhi 1948 An un-mounted mint set of Mahatma Gandhi issue of 1948 with lower margins was Lot# 647 estimated at £170-190 at the Stanley Gibbons public auction sale # 5864 held at London. It was sold to a bidder in the auction room for a whopping £460 + 15% Buyers Premium + VAT on December 8, 2011 in the afternoon session. -
Shankar Jaikishan – Emperors of Music by Ashwini Kumar Rath
Shankar Jaikishan – Emperors of Music By Ashwini Kumar Rath Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated album Raga in Jazz Style, and background music for documentary Everest expedition among many others. If we look at the popular impact by any personalities in the field of music during the post-independence period in India, the obvious choice is Shankar Jaikishan. Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. While Shankar's musical jhankar propels divine dwellers to zoom in unison with ecstasy, romantic effervescence of Jaikishan music brings divine feelings on to earth. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non- drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social. -
Uncorrected/ Not for Publication-07.08.2014 1 TDB/MP/1A/11.00 the House Met at Eleven of the Clock, MR. CHAIRMAN in the Chair.
1 Uncorrected/ Not for Publication-07.08.2014 TDB/MP/1A/11.00 The House met at eleven of the clock, MR. CHAIRMAN in the Chair. ----- MR. CHAIRMAN: Question No.421. ...(Interruptions)... SHRI DEREK O’BRIEN: Sir, we have given a notice... ...(Interruptions)... SHRI TAPAN KUMAR SEN: Sir, FDI is being introduced in Railways. ...(Interruptions)... MR. CHAIRMAN: Please allow the Question Hour. ...(Interruptions)... This is not the time for it. ...(Interruptions)... SHRI TAPAN KUMAR SEN: Sir, FDI cannot be allowed in Railways. It is a serious issue, and it should be discussed. It is not in the national interest. ...(Interruptions)... MR. CHAIRMAN: This is not the time for it. ...(Interruptions)... Please allow the Question Hour to proceed. ...(Interruptions)... SHRI DEREK O’BRIEN: Sir, last night, there was a Cabinet meeting... ...(Interruptions)... 2 Uncorrected/ Not for Publication-07.08.2014 MR. CHAIRMAN: Please allow the Question Hour. ...(Interruptions)... Please allow the Question Hour. ...(Interruptions)... SHRI TAPAN KUMAR SEN: Sir, the hon. Prime Minister is also sitting here. ...(Interruptions)... SHRI SITARAM YECHURY: Sir, this is a serious matter. You just give a ruling that you will permit it in the Zero Hour. ...(Interruptions)... MR. CHAIRMAN: You raise a discussion on it. But you can’t do it during the Question Hour. ...(Interruptions)... SHRI SITARAM YECHURY: Sir, there is already a notice on it. ...(Interruptions)... Sir, a notice is there. ...(Interruptions)... SHRI DEREK O’BRIEN: Sir, there is a notice. ...(Interruptions)... SHRI SITARAM YECHURY: Sir, a notice is there. So, we want you to, at least, say that you will allow this to be discussed at 12 o’clock. -
INDIA PERSPECTIVES MARCH 2003 2 Beyond Khardungla the VALLEY of NUBRA
INDIA PERSPECTIVES MARCH 2003 2 Beyond Khardungla THE VALLEY OF NUBRA Text & Photographs: ANIL MEHROTRA e left the town of Leh (11000 ft) dominated by Wthe massive, nine-storey Palace of Sengge Namgyal – the king of Leh, at about 10 am on a cool May morning. The Palace is an exquisite piece of Tibetan architecture, believed to have been the inspiration behind the construction of the Dalai Lama’s famous Potala Palace in Lhasa, Tibet. The road and the surrounding terrain dictates the abject need for moving in an absolutely reliable, sturdy and powerful vehicle. Meandering along the single-lane, rough road, blacktopped in stretches, we headed towards Khardungla, which, at 18,300 ft, qualifies as the highest motorable road in the world. Enroute, the air with just sufficient oxygen was crisp and fresh. With clinical precision it cut through layers of woollens and jackets we had optimistically covered ourselves with. Every now and then, cute little brownish marmots, resembling well fed, overgrown distant cousins of cats, would emerge, bounce around on the rocks and teasingly run along the car at a very safe distance. Our attempts to stop for a photo opportunity with them proved futile, as no sooner did the car stop, they, too, ducked The Nubra Valley. INDIA PERSPECTIVES MARCH 2003 3 and vanished in the rocky looked around in awe. In the bleak mountainside. snowscape, hundreds of multicolored prayer flags did The sky above Leh and around is a precisely what they were meant perpetual inky blue, thanks to the for – praying silently through their absence of the omnipresent flutter, appeasing the mountain god pollution of the plains. -
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. -
CIN L21011WB1936PLC008726 Company Name STAR PAPER MILLS LTD
CIN L21011WB1936PLC008726 Company Name STAR PAPER MILLS LTD. Date Of AGM(DD-MON-YYYY) 21-SEP-2012 Sum of unpaid and unclaimed dividend 254290 Sum of interest on unpaid and unclaimed dividend 0 Sum of matured deposit 0 Sum of interest on matured deposit 0 Sum of matured debentures 0 Sum of interest on matured debentures 0 Sum of application money due for refund 0 Sum of interest on application money due for refund 0 First Name Middle Name Last Name Father/Husband First Father/Husband Middle Father/Husband Last Name Address Country State District PINCode Folio Number of Investment Type Amount Proposed Date of Name Name Securities Due(in transfer to IEPF Rs.) (DD-MON-YYYY) ARATI SINHA BIJOY KR SINHA ROY KUNJA GHUTIA BAZAR PO & DIST HOOGHLY WEST BENGAL INDIA WEST BENGAL HOOGHLY A 000427 Amount for unclaimed and unpaid dividend 175.00 16-MAY-2015 AMITA YADAV S S YADAV 1622/L VE GURJER INDIA DELHI NEW DELHI A 000793 Amount for unclaimed and unpaid dividend 2.00 16-MAY-2015 A CHAKRABORTTY LATE SANTI RAM CHAKROBORTY C/O LATE SANTIRAM CHAKRABORTY MERIA KALITALA PO AKNA HOOGHLY INDIA WEST BENGAL HOOGHLY A 001323 Amount for unclaimed and unpaid dividend 2.00 16-MAY-2015 BANSIDHAR CHAKRABARTI KAVIRAJ NA 220 HARARBAG BANARES INDIA DELHI NEW DELHI B 000042 Amount for unclaimed and unpaid dividend 420.00 16-MAY-2015 BIHARILAL KHANNA D P KHANNA C/O M/S KHANNA AUTOMOBILES REWA (M.P.) INDIA MADHYA PRADESH REWA B 000110 Amount for unclaimed and unpaid dividend 79.00 16-MAY-2015 BABUBHAI GORDHANDAS PATEL NA C/O DIPAK & CO MANDVI ROAD BARODA INDIA GUJARAT -
Early Marathi Cinema. Prabhat Studios and Social Respectability
Early Marathi Cinema: Prabhat Studios and Social Respectability Hrishikesh Ingle Abstract The history of Marathi cinema, one of the first formations of regional cinema in India, can be traced from the studio era (1929-1953), specifically through Prabhat Studios. Prabhat Studios was situated in Kolhapur and Pune in western India. This paper analyzes two historical characteristics of Prabhat: how the studio imagined a cinema through linguistically specific regional content and forms of performance, and how this filmmaking was institutionalized as an example of artistic excellence, therefore conforming to the notion of social respectability. I argue that the filmmaking practices engendered by Prabhat aimed to project the studio, and cinema itself, as a respectable creative enterprise to Marathi society. This article accesses anecdotal biographies, archival materials, and existing Prabhat films to evaluate this tendency towards social respectability. A significant aspect of this historical account is the spatial spread, or movement, of early Marathi cinema, as it intersects other cultural forms to negotiate modernity. Keywords: Cultural studies; Indian film history; Indian studio era; Marathi cinema; Prabhat Studios; regional filmmaking; social space. rabhat Studios, along with New Theatres and Bombay Talkies, was one of the important spaces defining the Indian studio era (1920s-1953).1 Prabhat rose to prominence due to the technical excellence and variety of thematic content that it P engaged with in the late colonial period (1930s-1947).2 The history of Prabhat, apart 1 The studio era in India is understood as the period where studio-based production was the primary mode of filmmaking dominating the film industries of Bombay, Calcutta and Madras from the 1920s to 1953. -
Realism and Fantasy in Hindi Cinema
Excerpt • Temple University Press Introduction M ir r o r a n d L a m p n 2013 India celebrated a hundred years of cinema. During its century this cinema, and in particular Hindi-language popular cinema, arguably the Imost important of several cinema industries in the Subcontinent, has been both mirror and lamp—reflecting “Indianness” back to Indians at home and abroad, but also shaping Indianness. Movie-going in India is a special sort of pleasure—for many affording rare access to privacy, a sometimes three-hour- long respite from noise and heat in an air-conditioned, carpeted interior, where one can be alone with oneself among others, in the dark. This pleasure neces- sarily induces a different relation to interior, psychic space, without having to submit to sleep, even absenting the enjoying ego from the enjoyment: this is as close to accessing (unconscious) desire as most ever come, and could even be considered a kind of wild psychoanalysis. For many Indians without the means, it affords opportunities to travel (“transport”?), if only on the wings of fan- tasy: to alternative realities, foreign locales, alien cultures, unfamiliar aesthet- ics of self and unaccustomed social arrangements, pleasurable disorientations of everyday life. The “dream machine” is also a space-time travel machine— “motion” pictures move us to different zones, to unaccustomed emotions. Sitting in darkened cinema theaters in India, the spectator might also be struck by how often Indianness itself is what is being screened—in both senses. Hindi cinema has been, to change metaphors, a “dream machine,” producing images of collective or national identity that, with every iteration, prove more transitional, contradictory, and elusive or enable us to screen truths about our- selves from ourselves. -
Sankeet Natak Akademy Awards from 1952 to 2016
All Sankeet Natak Akademy Awards from 1952 to 2016 Yea Sub Artist Name Field Category r Category Prabhakar Karekar - 201 Music Hindustani Vocal Akademi 6 Awardee Padma Talwalkar - 201 Music Hindustani Vocal Akademi 6 Awardee Koushik Aithal - 201 Music Hindustani Vocal Yuva Puraskar 6 Yashasvi 201 Sirpotkar - Yuva Music Hindustani Vocal 6 Puraskar Arvind Mulgaonkar - 201 Music Hindustani Tabla Akademi 6 Awardee Yashwant 201 Vaishnav - Yuva Music Hindustani Tabla 6 Puraskar Arvind Parikh - 201 Music Hindustani Sitar Akademi Fellow 6 Abir hussain - 201 Music Hindustani Sarod Yuva Puraskar 6 Kala Ramnath - 201 Akademi Music Hindustani Violin 6 Awardee R. Vedavalli - 201 Music Carnatic Vocal Akademi Fellow 6 K. Omanakutty - 201 Akademi Music Carnatic Vocal 6 Awardee Neela Ramgopal - 201 Akademi Music Carnatic Vocal 6 Awardee Srikrishna Mohan & Ram Mohan 201 (Joint Award) Music Carnatic Vocal 6 (Trichur Brothers) - Yuva Puraskar Ashwin Anand - 201 Music Carnatic Veena Yuva Puraskar 6 Mysore M Manjunath - 201 Music Carnatic Violin Akademi 6 Awardee J. Vaidyanathan - 201 Akademi Music Carnatic Mridangam 6 Awardee Sai Giridhar - 201 Akademi Music Carnatic Mridangam 6 Awardee B Shree Sundar 201 Kumar - Yuva Music Carnatic Kanjeera 6 Puraskar Ningthoujam Nata Shyamchand 201 Other Major Music Sankirtana Singh - Akademi 6 Traditions of Music of Manipur Awardee Ahmed Hussain & Mohd. Hussain (Joint Award) 201 Other Major Sugam (Hussain Music 6 Traditions of Music Sangeet Brothers) - Akademi Awardee Ratnamala Prakash - 201 Other Major Sugam Music Akademi