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SYLLABUS BA/B.Sc
SYLLABUS FOR B.A./B.Sc. (12+3 SYSTEM OF EDUCATION) (SEMESTER–II) Examinations: 2015-16 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 B.A./B.Sc. (Semester System) (12+3 System of Education) (Semester–II) INDEX OF SEMESTER–II Sr.No. Subject Page No. FACULTY OF ARTS & SOCIAL SCIENCES 1. Political Science 5-6 2. History 7-8 3. Defence and Strategic Studies 9-11 4. Journalism and Mass Communication (Vocational) 12-13 5. Mass Communication and Video Production (Vocational) 14-16 6. Public Administration 17 7. Sociology 18 8. Women Empowerment 19 9. Psychology 20-22 10. Geography 23-26 FACULTY OF ECONOMICS & BUSINESS 11. Economics 27 12. Industrial Economics 28 13. Quantitative Techniques 29 14. Agricultural Economics and Marketing 30 15. Rural Development 31 16. Office Management and Secretarial Practice (Vocational) 32-36 17. Travel and Tourism 37-38 18. Tourism and Hotel Management (Vocational) 39 19. Tourism and Travel Management (Vocational) 40-41 20. Tax Procedure and Practice (Vocational) 42-43 21. Advertising Sales Promotion and Sales Management (Vocational) 44-45 22. Commerce 46-47 2 B.A./B.Sc. (Semester System) (12+3 System of Education) (Semester–II) FACULTY OF SCIENCES 23. Mathematics 48-49 24. Statistics 50-53 25. Chemistry 54-58 26. Physics 59-63 27. B.Sc. Geography (Geophysics) 64-65 28. Home Science 66-67 29. -
Ma Gurmat Sangeet
M.A. GURMAT SANGEET PART - II SEMESTER - III (2017-2018) Paper I HISTORICAL PERSPECTIVE OF GURMAT SANGEET Time: 3 hrs. Max. Marks : 75 Internal Assessment : 25 Marks Pass Marks : 35 % Assessment Test : 15 Total Teaching Hours : 75 Attendance : 10 INSTRUCTIONS FOR THE PAPER-SETTER AND THE CANDIDATES The question paper will consist of three sections A, B & C. Sections A & B will have 5 questions of 8 marks each from the respective sections of the syllabus and acandidates are required to attempt three questions from each section. Section C will consist of 9 short answer type questions of 3 marks each, which will cover the entire syllabus uniformly. Students are required to attempt all questionos of Section C. Section - A 1. Evolution and Development of Gurmat Sangeet during a) Guru Nanak period b) Guru Angad Dev to Guru Arjan Dev period c) Guru Hargobind to Guru Gobind Singh period 2. Taksaal tradition of Gurmat Sangeet with reference to a) Damdami taksaal b) Jawaddi Taksaal 3. Contribution of Rabaabi tradition in Gurmat Sangeet. Section – B 1. Historical development of Kirtan Chauki tradition a) Upto Guru Arjan Dev period. b) Tradition of Sri Harimandir Sahib 2. Analytical study of basic sources of Gurmat Sangeet with reference to a) Sri Guru Granth Sahib b) Panth Parkaash 3. Contribution of different scholars towards Gurmat Sangeet with special reference to the 19th century. BOOKS PRESCRIBED 1 Gurmat Sangeet : Vibhin Pripekh, Gurnam Singh (Dr.) (Editor), Punjabi University Patiala, 1995 2. Gurmat Sangeet : Prabandh te Pasaar Gurnam Singh (Dr.), Punjabi University, Patiala. 2012 3. Gurmat Sangeet da Sangeet Vigyan, Varinder Kaur (Dr.), Amarjit Sahit Parkashan, Patiala 2005 4. -
Song and Memory: “Singing from the Heart”
SONG AND MEMORY: “SINGING FROM THE HEART” hir kIriq swDsMgiq hY isir krmn kY krmw ] khu nwnk iqsu BieE prwpiq ijsu purb ilKy kw lhnw ]8] har kīrat sādhasangat hai sir karaman kai karamā || kahu nānak tis bhaiou parāpat jis purab likhē kā lahanā ||8|| Singing the Kīrtan of the Lord’s Praises in the Sādh Sangat, the Company of the Holy, is the highest of all actions. Says Nānak, he alone obtains it, who is pre-destined to receive it. (Sōrath, Gurū Arjan, AG, p. 641) The performance of devotional music in India has been an active, sonic conduit where spiritual identities are shaped and forged, and both history and mythology lived out and remembered daily. For the followers of Sikhism, congregational hymn singing has been the vehicle through which melody, text and ritual act as repositories of memory, elevating memory to a place where historical and social events can be reenacted and memorialized on levels of spiritual significance. Hymn-singing services form the magnetic core of Sikh gatherings. As an intimate part of Sikh life from birth to death, Śabad kīrtan’s rich kaleidoscope of singing and performance styles act as a musical and cognitive archive bringing to mind a collective memory, uniting community to a common past. As a research scholar and practitioner of Gurmat Sangīt, I have observed how hymn singing plays such a significant role in understanding the collective, communal and egalitarian nature of Sikhism. The majority of events that I attended during my research in Punjab involved congregational singing: whether seated in the Gūrdwāra, or walking in a procession, the congregants were often actively engaged in singing. -
NAAC Bangalore Submitted By:- Dr. Hsgosal Principal, GNC, Narangwal Website
Submitted to:- NAAC Bangalore Submitted By:- Dr. H.S.Gosal Principal, GNC, Narangwal Website:- www.gncnarangwal.com EMail:- [email protected] Phone:- (M) 9872900720 (O) 0161-2864239 1 Self Study Report Contents Page No. I. Executive Summary 3 - 8 II. Profile of the College 9-19 III. Criterion-Wise Inputs Criterion 1: Curricular Aspects 20-32 Criterion 2: Teaching, Learning 33-58 and Evaluation Criterion 3: Research, Consultancy 59-83 and Extension Criterion 4: Infrastructure and 84-105 Learning Resources Criterion 5: Students Support and 106-127 Progression Criterion 6: Organisation and Management 128-142 Criterion 7: Healthy Practices 143-157 IV. Inputs from Departments: 1. Department of Computer Science 158-162 2. Department of Chemistry 163-167 3. Department of Economics 168-172 4. Department of English 173-177 5. Department of History 178-182 6. Department of Mathematics 183-189 7. Department of Physical Education 190-200 8. Department of Physics 201-206 9. Department of Police Administration, 207-210 Human Right and Duties 10. Department of Political Science 211-215 11. Department of Punjabi 216-225 V. Abbreviation 226 VI. Declaration by the Head of the Institution 227 2 Executive Summary The Patna Sahib Education Trust was set up on 13th August, 1962 by visionary personality S. Joginder Singh of village Narangwal with the aim of establishing a Medical college for rural area on pattern similar to Guru Nanak Engineering College, Ludhiana. However, the basic plan however could not materialize because of the untimely death of S. Partap Singh Kairon, then Chief Minister of Punjab. S. Joginder Singh, founder of Patna Sahib Education Trust seriously felt the dire need to establish rural college/university to meet the requirements of rural areas. -
Strategies and Approaches in Translating Cultural Punjabi Terms
Strategies and Approaches in Translating Cultural Punjabi Terms Kulwindr Kaur alp Gurdial Singh Faculty of languages and Linguistics University of Malaya Abstract This paper discusses approaches and strategies in translating various culrnral kinship terms, sweets, jewellery etc. from English to PW1jabi. This paper will show how these precise terms are able to convey the correct ambience and flavour for an accurate translation from English to Punjabi. This experience will help develop a useful methodology in translating cultural elements, and contributes towards the general theory of translation. It will suggest using the Skopos Theory by Vermeer, Oxford's (1990) Taxonomy of Language Learning Strategies, Sager's (1994) approaches to translating, Bell's (1991) translating strategies and Abdullah Hassan and Ainon Mohd.'s (2005) techniques for translating cultural items. Introduction According to the Cambridge Advanced Learner's Dictionary (2005:302), culture means "the way of life, especially the general customs and beliefs, of a particular group of people at a particular time." Cultural is defined as "relating to the habits, traditions and beliefs of a society Snell-Hornby, (1988:40) suggests, "firstly, the concept of culture as a totality of knowledge, proficiency and perception, secondly, its immediate connection with behaviour (or action) and events, and thirdly, its dependence on norms, whether those of social behaviour or those accepted in language usage." Snell-Hornby, (1988:42) suggests that if language is an integral part of culture, the translator needs to be proficient not only in the source and target languages that helshe is translatingin but also has to be at home in two cultures. -
Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia. -
Punjab Board Class 9 Social Science Textbook Part 1 English
SOCIAL SCIENCE-IX PART-I PUNJAB SCHOOL EDUCATION BOARD Sahibzada Ajit Singh Nagar © Punjab Government First Edition : 2018............................ 38406 Copies All rights, including those of translation, reproduction and annotation etc., are reserved by the Punjab Government. Editor & Co-ordinator Geography : Sh. Raminderjit Singh Wasu, Deputy Director (Open School), Punjab School Education Board. Economics : Smt. Amarjit Kaur Dalam, Deputy Director (Academic), Punjab School Education Board. WARNING 1. The Agency-holders shall not add any extra binding with a view to charge extra money for the binding. (Ref. Cl. No. 7 of agreement with Agency-holders). 2. Printing, Publishing, Stocking, Holding or Selling etc., of spurious Text- book qua text-books printed and published by the Punjab School Education Board is a cognizable offence under Indian Penal Code. Price : ` 106.00/- Published by : Secretary, Punjab School Education Board, Vidya Bhawan Phase-VIII, Sahibzada Ajit Singh Nagar-160062. & Printed by Tania Graphics, Sarabha Nagar, Jalandhar City (ii) FOREWORD Punjab School Education Board, has been engaged in the endeavour to prepare textbooks for all the classes at school level. The book in hand is one in the series and has been prepared for the students of class IX. Punjab Curriculum Framework (PCF) 2013 which is based on National Curriculum Framework (NCF) 2005, recommends that the child’s life at school must be linked to their life outside the school. The syllabi and textbook in hand is developed on the basis of the principle which makes a departure from the legacy of bookish learning to activity-based learning in the direction of child-centred system. -
Sitar) Course Subject Papers Papers Code Time Credits External Internal Total (Hours/Week) Category Marks L+T+P
Kurukshetra University, Kurukshetra M. A. Music Credits According to CBCS in the Course Structure w.e.f 2016-17 1 credit =25 marks , the value of L+T+P is = 1+1+2 1 lecture = 1 credit, 1 Tutorial = 1 Credit, 2 Practical = 1 Credit M.A. Ist SEMESTER (Sitar) Course Subject Papers papers Code Time Credits External Internal Total (Hours/Week) Category Marks L+T+P M.A. Sitar Core-1 General and MMU411 3 hours 4 80 20 100 4+0+0 Applied Music Theory Core-2 History of Indian MMU412 3 hours 4 80 20 100 4+0+0 music Core-3 Stage performance MMUS413 35 to 45 min 4 80 20 100 0+0+8 Core-4 Viva –Voce & MMUS414 35 to 45 min 4 80 20 100 0+0+8 Comparative Study of Raga Core-5 Lecture MMUS415 35 to45 min 4 80 20 100 0+0+8 Elective Demonstration Total 20 400 100 500 32 1 M.A. IInd SEMESTER Course Subject Papers Papers Code Time Credits External Internal Total L+T+P Category Marks M.A. Sitar Core-1 General and Applied MMU421 3 hours 4 80 20 100 4+0+0 Music Theory Core-2 History of Indian MMU422 3 hours 4 80 20 100 4+0+0 music Core-3 Stage performance MMUS423 35 to 45 4 80 20 100 0+0+8 min Core-4 Viva –Voce & MMUS424 35 to 45 4 80 20 100 0+0+8 Comparative Study min of Raga Core Lecture MMUS425 35 to45 4 80 20 100 0+0+8 Elective Demonstration min Open Open elective OE 426 3 hours 2 40 10 50 2+0+0 Elective Total 22 440 110 550 34 2 M.A.IIIrd SEMESTER. -
Historical Study of Indian Music Class : M.A
Department of Music Paper II : Historical Study of Indian Music Class : M.A. Music Vocal Semester: I Objectives of the Course: The aim and objective of the course is to train the students in different fields of Music: Classical Music, Light Music, Folk Music, and Devotional Music for direction, composition, performance, teaching and other allied fields of modern period. Course Outcomes: 1. Knowledge and Understanding : How to define Gayan shallies of Indian Music Contribution of different Musicologysts towards Indian music. To understand study of Varindgaan,Geeti Gaan,Time theory, Shruti Swar Sthapna and Folk Music of Punjab. To understand Historical development of solo singing. To understand Music after Independence. Knowledge of Merits and De-merits of Academic training of Indian Classical Music. B. Intellectual( Cognitive/ Analytical) Skills : Analyze different Gayan shallies of Indian Music. Critically define the relevance Varindgaan,Geeti Gaan,Time theory, Shruti Swar Sthapna. Compares Music after Independence with present time. C. Practical Skills To understand Gayan shallies. To understand Folk Music of Punjab. To understand Varindgaan, Geeti Gaan. Practice of Solo singing. D. Transferable Skills : Students will be able to Improvisation of different Singing styles. Presentation techniques in folk Music. Knows how to present Solo Singing. Understand the Merits and De-merits of Academic training of Indian Classical Music. Paper I: Theoretical Survey of Indian Music Class: M.A. Music Vocal Semester: I Objectives of the Course: The aim and objective of the course is to train the students in different fields of Music: Classical Music, Light Music, Folk Music, and Devotional Music for direction, composition, performance, teaching and other allied fields of modern period. -
The Sikh Diaspora Global Diasporas Series Editor: Robin Cohen
The Sikh diaspora Global diasporas Series Editor: Robin Cohen The assumption that minorities and migrants will demonstrate an exclusive loyalty to the nation-state is now questionable. Scholars of nationalism, international migration and ethnic relations need new conceptual maps and fresh case studies to understand the growth of complex transnational identities. The old idea of “diaspora” may provide this framework. Though often conceived in terms of a catastrophic dispersion, widening the notion of diaspora to include trade, imperial, labour and cultural diaporas can provide a more nuanced understanding of the often positive relationships between migrants’ homelands and their places of work and settlement. This book forms part of an ambitious and interlinked series of volumes trying to capture the new relationships between home and abroad. Historians, political scientists, sociologists and anthropologists from a number of countries have collaborated on this forward-looking project. The series includes two books which provide the defining, comparative and synoptic aspects of diasporas. Further titles, of which The Sikh diaspora is the first, focus on particular communities, both traditionally recognized diasporas and those newer claimants who define their collective experiences and aspirations in terms of a diasporic identity. This series is associated with the Transnational Communities Programme at the University of Oxford funded by the UK’s Economic and Social Research Council. Already published: Global diasporas: an introduction Robin Cohen New diasporas Nicholas Van Hear Forthcoming books include: The Italian labour diaspora Donna Gabaccia The Greek diaspora: from Odyssey to EU George Stubos The Japanese diaspora Michael Weiner, Roger Daniels, Hiroshi Komai The Sikh diaspora The search for statehood Darshan Singh Tatla © Darshan Singh Tatla 1999 This book is copyright under the Berne Convention. -
Syllabus All Class1
B.A. MUSIC (VOCAL) SEMESTER-1 THEORY Total Marks: 100 Time: 3 Hours Theory Marks: 35 Practical Marks: 40 Internal Assessment: 25 Instructions given to the examiners are as under: I. While sending the syllabus to paper setter in theory the syllabus prescribed for the practical paper should also be sent. II. The paper setter will set Ten questions in all. 1st question will consist of 7 objective type questions which will be compulsory to all carrying I mark each. III. The candidate may be asked to attempt Five questions in all. THEORY 1. Historical Development of Indian Music in Vedic Period. 2. Definition and explanation of the following Musical Terms: Sangeet, Swar, Naad. Saptak, Jati. 3. Method of tuning your instrument (Tanpura). 4. Contribution and Life Sketches of the following musicians: Tanscn, Swami Hari Das, Abdul Karim Khan. 5. Description and notation of the following Ragas: Bilawal, Khamaaj and Bhopali. 6. Description and notation of the following Taals: Teentaal, Dadra. 7. Elementary knowledge of Wedding Song of Punjabi culture with special reference to Ghorian. 8. Knowledge of the following non - detailed Ragas: Alahaiya Bilawal and Deshkaar. 9. Contribution of Sri Guru Nanak Dev Ji towards Indian Music. 10. Definition and explanation of the following terms in the context of Gurmat Sangeet:Raga, Mohalla, Rahao, Rababi. 1 B.A MUSIC (VOCAL) SEMESTER-1 (PRACTICAL) Time: 20 Minutes for each student 1. One Drut Khayal in each of the following Ragas with simple Alaps and Tanas: Bilawal, Khamaaj and Bhopali. 2. One Sargam Geet from prescribed Ragas. 3. Ability to play five alankars on the Harmonium based on the Bilawal Thata. -
SCHEME of EXAMINATION for M.A. MUSIC(VOCAL & INSTRUMENTAL) (2013-14) SEMESTER-I Max. Internal Total Time Marks
SCHEME OF EXAMINATION FOR M.A. MUSIC(VOCAL & INSTRUMENTAL) (2013-14) SEMESTER-I Max. Internal Total Time Marks Assessment Marks Written: Vocal and Instrumental Music Paper-I General & Applied Music Theory 80 20 100 3 Hours Paper –II History of Indian Music 80 20 100 3 Hours (Vedic Period to 13th Century) SEMESTER-II Written: Vocal and Instrumental Music Paper-I General & Applied Music Theory 80 20 100 3 Hours Paper –II History of Indian Music 80 20 100 3 Hours (Vedic Period to 13th Century) PRACTICALS Paper-III Practical 100 30-40 Minutes Paper-IV Practical-Stage Performace 100 30-40 Minutes Paper-V Practical 100 30-40 Minutes SEMESTER-III Written: Vocal and Instrumental Music Paper-I Applied Music Theory & Musical 80 20 100 3 Hours Compositions Paper –II General Study and History of Music 80 20 100 3 Hours (13th Century to the present day) SEMESTER-IV Written: Vocal and Instrumental Music Paper-I Applied Music Theory & Musical 80 20 100 3 Hours Compositions Paper –II General Study and History of Music 80 20 100 3 Hours (13th Century to the present day) PRACTICALS Paper-III Practical 100 30-40 Minutes Paper-IV Practical-Stage Performace 100 30-40 Minutes Paper-V Practical-Revision of the 100 30-40 Minutes Basic Ragas, Light & Folk Styles And creative Music SYLLABUS AND COURSES OF READING SEMESTER-I PAPER-I General and Applied Music Theory M.M.: 80+20 Time: 3 Hours Note: There shall be ten questions, two questions from each unit. The candidate shall be required to attempt five questions in all, selecting one question from each unit.