The Year in Which the COVID-19 Pandemic Held the World in a Deadly Grip Has Also Left Behind Some Memories to Cherish
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THE ROMANTIC POETRY Section a Section B Section C
DEPARTMENTDEPARTMENT OF ENGLISH OF ENGLISH MANGALOREMANGALORE UNIVERSITY UNIVERSITY CBCSCBCS MA MASYLLABUS SYLLABUS (Passed(Passed in June in June 2016 2016 BoS, BoS, effective effective from fr 2016om 2016) ) Semester 1 (Hard Core 1) THE ROMANTIC POETRY Hard Core 4 credits End Semester Examination 70 Marks Internal Assessment 30 marks – Monthly Tests/ Assignments/ Class Reports Section A The French Revolution, Rousseau and Voltaire Enlightenment Rationality Romantic Subjectivity American War of Independence Early Industrial Revolution Section B Blake: The Tyger; Poison Tree; The Lamb; Chimney Sweeper (both) Coleridge: Kubla Khan; The Rime of the Ancient Mariner Wordsworth: Lines: Composed a Few Miles...; The Prelude Book 1 (Boat Stealing Episode Lines 340-400 – The Norton Anthology of Poetry); Lines: Composed upon Westminister Bridge; Ode: Intimations of Immortality; The World is Too Much with Us Section C Shelley: Ode to the West Wind; To a Skylark Keats: Ode on a Grecian Urn, Ode to Psyche, Ode to a Nightingale DEPARTMENT OF ENGLISH DEPARTMENT OF ENGLISH MANGALORE UNIVERSITY MANGALORE UNIVERSITY CBCSCBCS MA MA SYLLABUS SYLLABUS (Passed in in June June 2016 2016 BoS, BoS, effective effective from 2016 from) 2016 Semester 1 (Hard Core 2) THE NINETEENTH CENTURY NOVELS (Hard Core) Credits: 4 Examination: End-semester examination: 70 Marks; Internal Assessment: 30 Marks) Internal Assessment: Class presentation, Monthly Test, Seminar—separately or in combination Section-A Background 1. Social problems and cultural transformation during industrial revolution. 2. Urbanization and the migrant population 3. Print media, democratic developments and radicalism 4. The Picaresque and Realism 5. Literature and Culture during Nineteenth Century Section-B Novels 1. -
Great Heritages of Orissa
Orissa Review * December - 2004 Great Heritages of Orissa Dr. Hemanta Kumar Mohapatra Etymologically, 'heritage' is anything that is or Cultural heritages are the creation of human may be inherited. In such case 'heritage' covers beings, who have created it by virtue of their everything that is seen around the human innovative power, creativity, skill and artistic civilization. Heritage is thus natural or created ability. or has evolved in the course of history. It is natural or man-made. Of the man-made Cultural heritages may be tangible or heritages some are already made and existing intangible. Archaeological heritages may be and others are in the process of making. But otherwise called tangible heritages. The everything what we inherit or may be inherited intangible ones may be called living heritages. can not be heritage in the proper use of the But for better comprehension and convenience term. To assume the dimension of heritage such we have discussed the cultural heritages in features must have influenced the socio- entirety under the following sections. economic and cultural life of the people. It must (a) Archaeological heritages (b) Literary have substantially influenced the imagination heritages (c) Religious heritages and life style of the human beings. A society (d) Performing art heritages, (e) Heritage or civilization is known and become unique festivals (f) Art and craft heritages by its own tradition. It gets its identity by its (g) Modern heritages of Orissa. own heritages. The cultural dimension of Orissa is Heritage is something which is specific varied and wide. Every bit of Oriyan culture and typical of a place, area, region or country and tradition is not included in this discussion. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
Krishna Sobti: a Writer Who Radiated Bonhomie
ISSN 2249-4529 www.pintersociety.com VOL: 9, No.: 1, SPRING 2019 GENERAL ESSAY UGC APPROVED (Sr. No.41623) BLIND PEER REVIEWED About Us: http://pintersociety.com/about/ Editorial Board: http://pintersociety.com/editorial-board/ Submission Guidelines: http://pintersociety.com/submission-guidelines/ Call for Papers: http://pintersociety.com/call-for-papers/ All Open Access articles published by LLILJ are available online, with free access, under the terms of the Creative Commons Attribution Non Commercial License as listed on http://creativecommons.org/licenses/by-nc/4.0/ Individual users are allowed non-commercial re-use, sharing and reproduction of the content in any medium, with proper citation of the original publication in LLILJ. For commercial re-use or republication permission, please contact [email protected] 2 | Krishna Sobti: A Writer Who Radiated Bonhomie Krishna Sobti: A Writer Who Radiated Bonhomie Lakshmi Kannan Post Master House, Summer Hill, Shimla. That is where I got to know this legendary writer Krishna Sobti, who carried the weight of her name very lightly. Unlike many famous writers who choose to insulate themselves within a space that they claim as exclusive, Krishnaji’s immense zest for life, her interest in people, her genuine interest in the works of other writers, and her gift for finding humour in the most unlikely situations made her a very friendly, warm and caring person who touched our lives in myriad ways. Krishnaji left us on 25th January this year, leaving behind a tangible absence. Of her it can be truly said that she lived her life to the hilt, scripting a magnificent life for herself while illuminating the lives of many others who had the good fortune to know her. -