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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Satsang Sandesh
Satsang Sandesh India Temple Association, Inc. Hindu Temple, 25 E. Taunton Ave, Berlin, NJ 08009 SOUTH JERSEY ♦ DELAWARE ♦ PENNSYLVANIA (Non-Profit Tax Exempt Organization, Tax ID # 22-2192491) Vol. 59 No. 1 Phone: (855) MYMANDIR (855-696-2634) www.indiatemple.org JULY 2015 Religious Calendar July 12 Sunday Kamala Ekadashi July 16, Thursday Last day of Adhik Pu- rushottam Mas July 17, Friday Nij Aashadh July27 Monday Devshayani Ekadashi/ Chaturmas begins/Gauri Vrat starts July 29 Wednesday Jaya Parvati Vrat starts Monthly Activities PURUSHOTTAM MAAS CELEBRATION Kshama Raghuveer 707- Women Volunteers of our Mandir has planned this event on July 15, 332-3400 2015 from 6:00 PM. July 1, Wednesday Puja of Lord Shri Purushottam (Vishnu) will begin at 6:00 PM followed by Shri Satyanarayan Bhajans , Aarti and Prasad. Pooja 6pm All are invited to join our hard working ladies who have planned this event July 3, Friday for the wellbeing of all humans on earth. Vishnu Sahasranama Purushottam Bhagvan’s puja helps the individual to attain good Parayanam @ 8 pm health, wealth and assistance during tough period of life. Most of all, July 18, Saturday it washes away the sins of life. Sunderkand Path 10am July 31, Friday Special Prayers Shri Satyanarayan ITA has a program whereby you can have prayers performed on your behalf every Pooja 6pm year on a special day in your life by pledging $301. Also, at your request, Shri. Bhu- pendra Shuklaji or Shri Sudhir Jhaji will perform a special puja on your behalf, or the Monthly Bhajans regular temple puja performed on the designated day will be dedicated in your name. -
720P Dual Audio Movies Love Guru
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Cultural Mooring in Amish Tripathi's Raavan: Enemy of Aryavarta
INFOKARA RESEARCH ISSN NO: 1021-9056 Cultural Mooring in Amish Tripathi’s Raavan: Enemy of Aryavarta Kavitha Vishnu Sankari.K M.Phil Scholar, PG and Research Department V.O. Chidambaram College Thoothukudi. Affiliated to Manonmaniam Sundaranar University, Tirunelveli Tamilnadu, India. [email protected] Abstract Modern Indian writers had started to review and retell the mythical stories in different perspectives. Amish Tripathi is one among those authors of the new era. His contribution to mythology gave him an outstanding place in Indian English Literature. His books are famous for combining myths with fiction and for creating a new world for the same. In Raavan: Enemy of Aryavarta, the third book of the Ram Chandra Series; has cultural moorings such as code of conduct, traditions, customs and religious practices, lifestyle, music, ethics of war, festivals, languages. Though India has its cultural variations based on regional, linguistics its basic culture is bound to Hindu civilisation. This paper explores the ancientness and mythopoeic facets embedded in the book. Keywords: cultural moorings, ancientness, mythopoeic facets,mythology,cultural history. Volume 8 Issue 11 2019 156 http://infokara.com/ INFOKARA RESEARCH ISSN NO: 1021-9056 Indian writing in English has an independent status in the realm of World literature. Indian novels dealt with wide range of themes and continue to reflect traditional social values and even Indian history through the depiction of life. Over the last few years, mythological fiction has gained vast grounds in India. A number of Indian writers such as Amish Tripathi, Anuja Chandra Mouli, Kavita Kane, Chitra Banerjee Divakaruni, Devdutt Pattanaik, and Anand Neelakandan proved to be the most outstanding authors who have brought a massive change in mythological platform. -
APRIL 2021 Mina—Mesha
Bharatiya Temple & Bharatiya Cultural Center 1612 County Line Road, Chalfont, PA18914, Web: www.b-temple.org, Phone: 215-997-1181 Phalguna—Chaitra APRIL 2021 Mina—Mesha Sun Mon Tue Wed Thu Fri Sat Special Events Krishna Paksha-Panchami Shashti Saptami 10th Ayyappa Puja 21st Sri Rama Navami 1 2 3 11th Gangaur Puja 25th Meenakshi Kalyanam 12th Chandramana Yugadi/Gudi Padwa/Padmavati Kalyanam 26th Satyanarayan Puja 7:15pm Lalitha 9:30am Suprabhatam 13th Baisakhi/Chaitra Navratri Begins 27th Hanuman Jayanti Sahasranama Parayan Balaji Abhishekam 14th Souramana Yugadi/Vishu Kani/Puttandu 29th Sankashti 11:30am Navagraha Puja 18th Murugan Puja 20th Durga Ashtami Havan ( Devotees can participate & sponsor all Pujas and Abhushekams online. Zoom Meeting ID 2485749079. Password is 123456 ) Ashtami Navami Dasami Ekadasi Dwadasi/Trayodasi Trayodasi Chaturdasi 4 5 6 7 8 9 10 9am Lakshmi Narayan 7:15pm Siva Abhishekam 7:15pm Hanuman Pradosham 7:15pm Lalitha 9:30am Suprabhatam Abhishekam Abhishekam 7:15pm Jain Bhavana 6pm Siva Abhishekam Sahasranama Parayan Balaji Abhishekam 10am Sunderkand Parayan Hanuman Chalisa 7:15pm Ayyappa Puja 6pm Krishna Abhishekam Amavasya Sukla Paksha-Prathama Prthama/Dwitiya Tritiya Chaturthi Chaturthi/Panchami Panchami 11 12 6pm Padmavati 13 14 15 16 17 Kalyanam 8:30am Vishu Kani 10am Lakshmi Narayan (See the flyer for details) 5:30pm DurgaAbhishekam Plava Nama Souramana 6pm Chandi Path 6pm Chandi Path 9:30am Suprabhatam Abhishekam 7:15pm Siva Abhishekam 6pm Kalash Sthapan Yugadi/Vishu Kani/ Balaji Abhishekam 2pm Jain Snatra -
Newsletter 3
MI French Interdisciplinary Mission in Sindh FS Edito The first half of the year 2009 was very busy for several reasons. The study group “History and Sufism in the Valley of the Indus” organized a one-day conference in January on Plurality of sources and interdisciplinary approach: a case study of Sehwan Sharif in Sindh. It was attended by senior scholars such as 9 Claude Markovits (CNRS-CEIAS) or Monique Kervran (CNRS), as well as doctoral students such as Annabelle Collinet and Johanna Blayac, and also 0 “post-docs” such as Frédérique Pagani (p. 4-5). The conference was also attended by Sindhis from the very small community settled in Paris. 0 In the same period, two professors working on Sufism in Pakistan were invited by the EHESS. Pnina Werbner, professor of Anthropology at Keele University, was 2 invited by IISMM, an institute centred on the Muslim world and affiliated to r EHESS. Professor Werbner delivered conferences on topics related to Sufism, e and she also headed a workshop for Ph.D. students. She wrote a seminal paper on Transnationalism and Regional Cults: The Dialectics of Sufism in the b Plurivocal Muslim World (p. 6-7) which will be put online on the forthcoming MIFS website. Professor Richard K. Wolf, professor of Ethnomusicology at Harvard University, was invited in May by the EHESS, by Marie-Claude Mahias (CNRS-CEIAS). He tem delivered four lectures, the first one devoted to Nizami Sufism in Karachi and Delhi. Professor Wolf gave a talk at the study group “History and Sufism in the p Valley of the Indus” on “Music in Shrine Sufism of Pakistan” (CEIAS, 28 May 2009). -
School of Journalism and Mass Communication
SCHOOL OF JOURNALISM AND MASS COMMUNICATION L.N.C.T UNIVERSITY BHOPAL MJMC- IV Semester Syllabus/Scheme S. No SUBJECTS THEORY PRACTICAL INTERNAL Film Studies 1. 80 20 (MJMC 401) Environment Journalism 2. 80 20 (MJMC 402) New Media & Digital 3. Journalism 80 20 (MJMC 403) Research Methodology 4. 80 20 (MJMC 404) Project-Viva 5. 100 (MJMC 405) L NCT UNIVERSITY, BHOPAL Programme: MJMC Semester – IV Session – Name of Paper Paper Code Theory FILM STUDIES MJMC 401 L T EST CAT Total 3 1 80 20 100 S. No Units / Topic Hours/Week Introduction to Film Journalism History of Film Journalism 1 Development of Film Journalism in India 4 hrs/week Major/Prominent Critiques Relationship between Cinema & Society Various forms of Cinema Development of Cinema Brief History of World Cinema-Pre Cinema Machines,Silent Era to 4 hrs/week 2 Early Talkies,Big Studios(Paramount,Disney,Warnes Bros,2Oth Century Fox), Changes occurred in Cinema Early Indian Cinema-Heeralal Sen, Dhundi Ji Phalke, Ardeshi Irani, Silent, Primitive & Pioneers, Reference Film-Raja Harishchandra & Alam Ara Emergence of Film Studio-New Theatres, Bombay Talkies, Imperial Theatre, R. K Studio Art Cinema of India-Bhuvan Shome, Uski Roti, Mirch Masala, Neecha Nagar, Mother India, Pather Panchali, Do Bigha Zameen Cinema in Digital Era-Changes of theme in Cinema, Reference Film, Raavan, Krish 3 & Baahubali Understanding Cinema Understanding Cinema/Genres of Film, Cultural Significance in relation to 3 4 hrs/week Film, Film Screening Story Telling Techniques of Cinema-Elements of Story -
A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise En Scene Analysis of Selected Movies
Annals of R.S.C.B., ISSN:1583-6258, Vol. 25, Issue 6, 2021, Pages. 9599 - 9606 Received 25 April 2021; Accepted 08 May 2021. A Study on Visual Story Telling Techniques of Maniratnam Movies: Cinematography and Mise en scene Analysis of Selected Movies 1 2 Mena M, Varun Prabha T 1Post Graduate Student, MA JMC,Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India 2Assistant Professor, Dept.of Visual Media and Communication,Amrita School of Arts and Sciences,Amrita VishwaVidyapeetham, Kochi, India Abstract Visually representing a story is an art. Mastering that art and capturing human minds into the soul of the characters of the film and mirroring the very own society was part of Mani Ratnam’s life for the past three decades. This research paper points towards some of the techniques employed and experiments conducted in visual storytellingin his various projects by using Miseen scene elements and cinematography in beautiful ways. In Roja what he Sasnthosh Sivan and Mani Ratnam experimented was painting the reflectors green, to look the grass greener than it actually is. In Thapalathy, Mani ratnam projected a yellowish light, like an aura into the protagonist which symbolizes his history and background. In Bombay, he throughout kept a blue tone in order to gives an element of mystery in the film. In Raavanan, he played with shades and light and that too in two different ways at the beginning and at the end of the films. In Alaipayuthe he presented the story more through the movements of camera and through micro expressions and symbolizations.Theglobalization and evolution of Indian Cinematography can be traced out through the works of Mani Ratnam. -
Year 2020 Calendar 44955 Cherry Hill Road • Canton, MI 48188 Telephone: (734) 981-8730 [email protected] •
The Hindu Temple of Canton Year 2020 Calendar 44955 Cherry Hill Road • Canton, MI 48188 Telephone: (734) 981-8730 [email protected] • www.thehindutemple.org FIVE REASONS TO WORSHIP LORD GANASHA 1. By worshipping Ganesha one can overcome obstacles. 2. Ganesha worship improves knowledge and intelligence 3. By worshipping Ganesha one can overcome fear and anxiety 4. With Ganesha worship, one earns the grace of Shiva and Parvathi 5. Ganesha worship brings good tidings January - 2020 JANUARY 2020 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 New Year’s Day Sai Sandhya @ 7 Lalita Lord Balaji Moola (Temple Open PM Sahasranamam @ Murthy 8AM – 9PM) 7 PM Abhishekam @ 9AM Sundarkand path 4PM- 7 PM 5 6 7 8 9 10 11 Bhajans/Aarti S hiva Abhishekam Hanuman Chalisa ShrinathJi Sai Sandhya @ 7 Purnima Lord Rama 10AM - Noon @ 7 PM @ 7 PM Satsang @ 7 PM PM Satyanarayan Abhishekam @ 9AM Ekadashi Pradosh Puja@ Puja@6:30 PM 6:30 PM 12 13 14 15 16 17 18 Bhajans/Aarti Shiva Abhishekam Hanuman Chalisa ShrinathJi Sai Sandhya @ 7 Lalita Lord Balaji 10AM - Noon @ 7 PM @ 7 PM Satsang @ 7 PM PM Sahasranamam @ Abhishekam @ 9AM Sankshtahara 7 PM Makara Sankranti/ Chaturthi Pongal 19 20 21 22 23 24 25 Ganesh/ Shiva Abhishekam Hanuman Chalisa ShrinathJi Sai Sandhya @ 7 Lalita Lord Balaji Lakshmi Havan @ 7 PM @ 7 PM Satsang @ 7 PM PM Sahasranamam @ Abhishekam @ 9AM Ekadashi Pradosh Puja@ 7 PM 11 AM - Noon Karthikeya 6:30 PM Amavasya Abhishekam @6PM Martin Luther King Day 26 27 28 29 30 31 Bhajans/Aarti Shiva Abhishekam Hanuman Chalisa ShrinathJi Sai Sandhya @ 7 Lalita 10AM - Noon @ 7 PM @ 7 PM Satsang @ 7 PM PM Sahasranamam @ 7 PM FIVE REASONS TO WORSHIP LORD SHIVA 1. -
Coalition Between Politics & Entertainment in Hindi Films: A
Journal of Education & Social Policy Vol. 1 No. 1; June 2014 Coalition between Politics & Entertainment in Hindi Films: A Discourse Analysis Dr. C. M. Vinaya Kumar Assistant Professor & Head Department of Journalism and Mass Communication Krishna University Machilipatnam-521 001 91-9985085530 Romesh Chaturvedi Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, 91-9721964685 India Shruti Mehrotra Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, India 91-9451177264 Abstract The study attempts to explore dynamics of political discourse as reflected in Hindi films. Political messages in most Hindi films are concealed within entertainment. Films use thrilling & entertaining plots mixed with political content in order to convey their messages to the public. Films not only reflect reality but also construct the political ideology. The public is generally unaware of the extent to which they are being influenced, managed and conditioned by the political discourses in Hindi films. This study attempts to conduct the discourse analysis on the Hindi film “Chakravyuh” to find how politics and entertainment are merged together to influence public opinion. The film is based on the dark, largely-unexposed world of the Naxalites fighting for their land and dignity. Discourse analysis of the film will help in exploring how an entertaining film can carry a meaningful message. For over 40 years in India, since the emergence of the Naxalite rebellion, cinema has drawn inspiration from the rupture caused by this iconic movement in Indian political history. Hindi films seem to have woken up to Naxalism, or Maoism, as it is more commonly known today. -
Vikram Samvat 2076-77 • 2020
Vikram Samvat 2076-77 • 2020 Shri Vikari and Shri Shaarvari Nama Phone: (219) 756-1111 • [email protected] www.bharatiyatemple-nwindiana.org Vikram Samvat 2076-77 • 2020 Shri Vikari and Shri Shaarvari Nama Phone: (219) 756-1111 • [email protected] 8605 Merrillville Road • Merrillville, IN 46410 www.bharatiyatemple-nwindiana.org VIKARI PUSHYA - MAGHA AYANA: UTTARA, RITU: SHISHIRA DHANUSH – MAKARA, MARGAZHI – THAI VIKARI PUSHYA - MAGHA AYANA: UTTARASUNDAY, RITU: SHISHIRA MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY DHANUSH – MAKARASATURDAY, MARGAZHI – THAI VIKARI PAUSHA S SAPTAMI 09:30 ASHTAMI 11:56 NAVAMI 14:02 PUSHYA - MAGHA SUNDAY MONDAY TUESDAY WEDNESDAY 1 THURSDAY 2 FRIDAY 3 SATURDAY 4 AYANA: UTTARA, RITU: SHISHIRA SAPTAMI FULL NIGHT DHANUSH – MAKARA, MARGAZHI – THAI VIKARI PAUSHA S SAPTAMI 09:30 ASHTAMI 11:56 NAVAMI 14:02 PUSHYA - MAGHA SUNDAY MONDAY TUESDAY WEDNESDAY 1 THURSDAY 2 FRIDAY 3 SATURDAY 4 AYANA: UTTARA, RITU: SHISHIRA SAPTAMI FULL NIGHT DHANUSH – MAKARA, MARGAZHI – THAI VIKARI PAUSHA S SAPTAMI 09:30 ASHTAMI 11:56 NAVAMI 14:02 PUSHYA - MAGHA SUNDAY MONDAY TUESDAY WEDNESDAY 1 THURSDAY 2 FRIDAY 3 SATURDAY 4 AYANA: UTTARA, RITU: SHISHIRA SAPTAMI FULL NIGHT DHANUSH – MAKARA, MARGAZHI – THAI VIKARI PAUSHA S SAPTAMI 09:30 ASHTAMI 11:56 NAVAMI 14:02 PUSHYA - MAGHA SUNDAY MONDAY TUESDAY WEDNESDAY 1 THURSDAY 2 FRIDAY 3 SATURDAY 4 AYANA: UTTARA, RITU: SHISHIRA SAPTAMI FULL NIGHT DHANUSH – MAKARA, MARGAZHI – THAI PAUSHA S SAPTAMI 09:30 ASHTAMI 11:56 NAVAMI 14:02 SUNDAY MONDAY TUESDAY WEDNESDAY 1 THURSDAY 2 FRIDAY 3 SATURDAY -
Spiritual Significance of Satyanarayan Puja
Spiritual significance of Satyanarayan Puja Satyanarayan Puja is the most commonly observed puja in India. When people start anything new they normally worship Lord Vishnu through this puja. There is various significance of this Satyanarayan puja. Let's have a look: Spiritual Significance of Satyanarayan Puja Satya means Truth. Narayan means the one that abides in everything and everybody. Therefore, this puja, or the worship of Satyanarayan, a form of the Lord Vishnu, suggests that to overcome problems and difficulties in life caused either due to deeds of previous birth or similar factors can be overcome by worshipping the lord of Truth. Devoting time to the Truth and worshipping is a way of being truthful to oneself and being truthful to others. The more honest and truthful we come, the better we can worship Lord Narayan in ourselves as well as others. The significance of Satyanarayan Puja The Satyanarayan Puja, worship of the Lord Satyanarayana and the embodiment of eternal truth, is the most commonly performed ritualistic prayers in Hindu homes. Enthusiastic devotees have been performing this ritual for several reasons. It is observed that after performing this puja with devotion and faith, devotees generally benefit a lot. Their problems are resolved, and they can get over the difficulties in life. Kartik Maas (also known as Damodar Maas) is the most auspicious month among Hindus. It begins on the day after Deepavali and also marks the beginning of winter season. It begins in the eight month of the year after the sun entering into Tula. The lunar calendar has been divided into two parts Dakshinayana and Uttararyana.