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Annual Bulletin
Director / President's Note Since 2004, Purba Paschim beginning to roll, the philosophical base has been leading us in making better productions, arranging theatre workshops, seminar, exhibition, social awareness with our artists, members along with reputed theatre personalities, artistes, writers of fame, who have been interacted with us. Apart, every year we are publishing an Annual Theatre Magazine with rich contents and photographs. We also have been able to hold the Twelveth Annual Theatre Festival in November 2019. We are happy to revive this year one of our remarkable production ‘Potol Babu Film Star’ and this production had visited Darshana, Bangladesh in Anirban Theatre Festival along with other shows. It is needless to mention that with the revival of this production we have been able to perform more than 180 shows till it's first premiere a decade ago. Moreover, our regular productions 'Ek Mancha Ek Jibon' and 'Athoijol' have simultaneously been performed in different stages both from our end and also invitation. We have invited Mr Manish Mitra, to prepare a workshop based production involving our talents ‘O' Rom Mone Hoi’ and it also have been successfully staged and performed 11 shows. Purba Paschim have been invited in various theatre festival in different states of the country and different parts of West Bengal, amongst Paschimbanga Natya Academy. The most vital thing of our group is getting an invitation to prepare a special production on the Bi Centenary of Iswar Chandra Vidyasagar specially his meeting with Sri Ramakrishna Dev. Eastern Zonal Cultural Centre invited Purba Paschim and ‘ Yugo Drashta’ (Man of the Epoch) written by Ujjwal Chattopadhyay and directed by Soumitra Mitra was staged at EZCC auditorium in Kolkata. -
1 Curriculum Vitae Dr Rituparna Roy E-Mail: Rituparna [email protected] Address: Van Heenvlietlaan 154, 1083 CM Amsterdam, Th
Curriculum Vitae Dr Rituparna Roy E-mail: [email protected] Address: Van Heenvlietlaan 154, 1083 CM Amsterdam, The Netherlands Academic Qualifications: Jan 2009-April 2012: Post-doctoral Fellowship at the International Institute for Asian Studies (IIAS), The Netherlands. Topic: “Partition on the Bengal border: a comparative study of fictional narratives in Bangla and English”. 2008: Awarded Ph.D. in English Literature by the University of Calcutta. Thesis Topic: “The Theme of Partition in Selected English Novels of the Subcontinent” Advisor: Dr. Esha Dey 2005-2007: Awarded a Teacher Fellowship (given to UGC-post holding, full-time, permanent lecturers of 3+ years’ experience) for the completion of Ph.D. thesis, under the UGC Faculty Improvement Program (FIP) of the Xth Plan. 1999-2001: Awarded Junior Research Fellowship (JRF) by the University Grants Commission (UGC) of India. 1998: Passed the qualifying examination for Lectureship in India, NET (National Eligibility Test), with distinction. 1995-1997: Master of Arts (M.A.) in English Literature from the University of Calcutta, India. Specialization: Indian-English literature. 1992-1995: Bachelor of Arts (B.A.) in English Literature from Presidency College, (affiliated to the University of Calcutta), India. (Ranked second in the University.) Teaching Experience: 2015-2016: Will teach two courses at Leiden Institute of Area Studies (LIAS), in the Spring Semester – a 2nd year course on ‘Nation, Community, Self - Introduction to South & Southeast Asia’ & a 3rd year ‘BA Thesis Seminar’. Will co-teach the course ‘Global Challenge: Diversity’ again at LUC, in Block-4. 2014-2015: Taught two courses at Leiden University College (LUC), The Hague - ‘Introduction to Gender Studies’ & the pilot course ‘Global Challenge: Diversity’. -
1506LS Eng.P65
1 AS INTRODUCED IN LOK SABHA Bill No. 92 of 2019 THE CONSTITUTION (AMENDMENT) BILL, 2019 By SHRI RAVI KISHAN, M.P. A BILL further to amend the Constitution of India. BE it enacted by Parliament in the Seventieth Year of the Republic of India as follows:— 1. This Act may be called the Constitution (Amendment) Act, 2019. Short title. 2. In the Eighth Schedule to the Constitution, entries 3 to 22 shall be re-numbered as Amendment entries 4 to 23, respectively, and before entry 4 as so re-numbered, the following entry shall of the Eighth Schedule. 5 be inserted, namely:— "3. Bhojpuri.". STATEMENT OF OBJECTS AND REASONS Bhojpuri language which originated in the Gangetic plains of India is a very old and rich language having its origin in the Sanskrit language. Bhojpuri is the mother tongue of a large number of people residing in Uttar Pradesh, Western Bihar, Jharkhand and some parts of Madhya Pradesh as well as in several other countries. In Mauritius, this language is spoken by a large number of people. It is estimated that around one hundred forty million people speak Bhojpuri. Bhojpuri films are very popular in the country and abroad and have deep impact on the Hindi film industry. Bhojpuri language has a rich literature and cultural heritage. The great scholar Mahapandit Rahul Sankrityayan wrote some of his work in Bhojpuri. There have been some other eminent writers of Bhojpuri like Viveki Rai and Bhikhari Thakur, who is popularly known as the “Shakespeare of Bhojpuri”. Some other eminent writers of Hindi such as Bhartendu Harishchandra, Mahavir Prasad Dwivedi and Munshi Premchand were deeply influenced by Bhojpuri literature. -
Paper Teplate
Volume-05 ISSN: 2455-3085 (Online) Issue-08 RESEARCH REVIEW International Journal of Multidisciplinary August-2020 www.rrjournals.com[Peer Reviewed Journal] DOI: https://doi.org/10.31305/rrijm.2020.v05.i08.016 The Confluence of Bhojpuri and Bengali Folk Culture *1Dr Chintu and 2Dr Ashutosh Kumar 1Assistant Professor, A.S. College, Bikramganj (Rohtas), VKSU (Ara), Bihar (India) 2Guest Faculty, Rajdhani College (NCWEB), Delhi University, Delhi (India) ARTICLE DETAILS ABSTRACT Article History Understanding Culture is essential to any study or discussion about the social and Published Online: 17 August 2020 political enquiry. The paper seeks to understand the complexities and coexistence of Bhojpuri and Bengali folk culture. Whether it is songs, theatre or film, both seem to Keywords influence and complementary to each other. This paper is an attempt to understand Confluence, Culture, Convergence, Bidesiya, the amalgamation of different cultures and how they have been enriching their cultural transformation, composite culture, Folk folk tradition without harming and destroying each other. The article is also an attempt culture. to analyse how Bhikhari Thakur who is called the Shakespeare of Bhojpuri has played * Corresponding Author an essential role in the confluence of Bhojpuri and Bengali folk culture and voicing the Email: chintumkumaril[at]gmail.com issues and aspirations of the oppressed in his art form Bidesiya. 1. Introduction 2. Kalcutta (Calcutta) as Perceived in the Songs and Culture is defined as a set of values, beliefs, symbols, Theatre of Bhikhari Thakur ideas, forms of behaviour and style of art and craft which the Bhikhari Thakur (1887–1971), a poor lower-caste barber members of a group have evolved to streamline their social life, who worked as a migrant labourer in Kolkata, developed the and thereby distinguished themselves from other groups. -
Secondary Indian Culture and Heritage
Culture: An Introduction MODULE - I Understanding Culture Notes 1 CULTURE: AN INTRODUCTION he English word ‘Culture’ is derived from the Latin term ‘cult or cultus’ meaning tilling, or cultivating or refining and worship. In sum it means cultivating and refining Ta thing to such an extent that its end product evokes our admiration and respect. This is practically the same as ‘Sanskriti’ of the Sanskrit language. The term ‘Sanskriti’ has been derived from the root ‘Kri (to do) of Sanskrit language. Three words came from this root ‘Kri; prakriti’ (basic matter or condition), ‘Sanskriti’ (refined matter or condition) and ‘vikriti’ (modified or decayed matter or condition) when ‘prakriti’ or a raw material is refined it becomes ‘Sanskriti’ and when broken or damaged it becomes ‘vikriti’. OBJECTIVES After studying this lesson you will be able to: understand the concept and meaning of culture; establish the relationship between culture and civilization; Establish the link between culture and heritage; discuss the role and impact of culture in human life. 1.1 CONCEPT OF CULTURE Culture is a way of life. The food you eat, the clothes you wear, the language you speak in and the God you worship all are aspects of culture. In very simple terms, we can say that culture is the embodiment of the way in which we think and do things. It is also the things Indian Culture and Heritage Secondary Course 1 MODULE - I Culture: An Introduction Understanding Culture that we have inherited as members of society. All the achievements of human beings as members of social groups can be called culture. -
Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations. -
Reading Culture: the Marginalisation of Bhojpuri
READING CULTURE: THE MARGINALISATION OF BHOJPURI Indira Prasad I Literature, in the ordinary sense of the term, refers to creative expression in a written medium. Such a definition of literature does not hold either in the case of Bhikhari Thakur’s works1 or for Bhojpuri literature to which it belongs. Bhojpuri is one of the forty- nine mother tongues subsumed under Hindi (Census data, 2001).2 The literary canon of Hindi comprises texts from the oral3 as well as the written traditions of these languages and operates in a dense multi-lingual context. The case of Hindi is a particularly compelling one for a definition of what constitutes literature. Of the large number of languages and their traditions covered under Hindi, only some, like Braj, Awadhi and Maithili, have a written literary tradition that is not of recent origin, along with an oral tradition that runs parallel to it. The rest of the languages have vibrant oral traditions, which may or may not have been transcribed. Some, like Bhojpuri have, apart from oral and transcribed literature, a written literary canon4 of recent origin and a nascent corpus of criticism written in Bhojpuri and Hindi. It is to the modern period of Bhojpuri literature that Bhikhari Thakur’s works belong. Most critics apply to Bhojpuri literature, the scheme of periodisation followed in Hindi literature: some, like Manager Pandey whose views have been given below, offer an alternative scheme. Questions raised tentatively during the early years of the publication of Sarasvati5 about the relationship of the ‘bolis’ (or dialects) with the newly standardised Hindi under which they were submerged, have of late, mutated into a call for an independent consideration of their literary context, as in the case of Bhojpuri. -
Multi- Hazard District Disaster Management Plan
DISTRICT DISASTER MANAGEMENT PLAN 2019-20 DISTRICT DISASTER MANAGEMENT SECTION PURBA MEDINIPUR 1 Government of West Bengal Shri Partha Ghosh(WBCS Exe.) Office of the District Magistrate & Collector District Magistrate & Collector Tamralipta,Purba Medinipur,Pin-721236 Tamralipta,Purba Medinipur,Pin-721236 Ph. No.-03228-263329, Fax No.:– 03228–263728 Ph. No.-03228-263098, Fax No.:– 03228–263500 Email address: [email protected] Email address: [email protected] Foreword Purba Medinipur district is situated in the southern part of the state of West Bengal.Total geographical area covered by the district is 4713 sq Km.This district extended from 22031‘ North to 21038‘ North latitude and from 88012‘ East to 87027‘ East longitudes. This District has a Multi-Hazard geographical phenomenon having a large area falls under Bay of Bengal Coastal Zone. Digha,Mandarmoni,Shankarpur and Tajpur are the important tourist spots where a huge numbers of tourists come regularly.To ensure the safety and security of tourist involving all stakeholders is also a challenge of our District. The arrangement of Nulias for 24x7 have been made for safety of tourist.200 Disaster Management volunteers have been trained under ―Aapda Mitra Scheme‖ for eleven(11) Blocks,43 nos Multi-Purpose Cyclone Shelters(PMNRF-15,NCRMP-28) have also been constructed to provide shelter for people and cattle during any emergency need. Basic training for selected volunteers(@10 for each Block and @5 for Each GP) have also been started for strengthening the Disaster Management group at each level.A group of 20 nos of Disaster Management volunteers in our district have also been provided modern divers training at Kalyani. -
Dr. Babasaheb Ambedkar Writings & Speeches Vol. 4
Babasaheb Dr. B.R. Ambedkar (14th April 1891 - 6th December 1956) BLANK DR. BABASAHEB AMBEDKAR WRITINGS AND SPEECHES VOL. 4 Compiled by VASANT MOON Dr. Babasaheb Ambedkar : Writings and Speeches Vol. 4 First Edition by Education Department, Govt. of Maharashtra : October 1987 Re-printed by Dr. Ambedkar Foundation : January, 2014 ISBN (Set) : 978-93-5109-064-9 Courtesy : Monogram used on the Cover page is taken from Babasaheb Dr. Ambedkar’s Letterhead. © Secretary Education Department Government of Maharashtra Price : One Set of 1 to 17 Volumes (20 Books) : Rs. 3000/- Publisher: Dr. Ambedkar Foundation Ministry of Social Justice & Empowerment, Govt. of India 15, Janpath, New Delhi - 110 001 Phone : 011-23357625, 23320571, 23320589 Fax : 011-23320582 Website : www.ambedkarfoundation.nic.in The Education Department Government of Maharashtra, Bombay-400032 for Dr. Babasaheb Ambedkar Source Material Publication Committee Printer M/s. Tan Prints India Pvt. Ltd., N. H. 10, Village-Rohad, Distt. Jhajjar, Haryana Minister for Social Justice and Empowerment & Chairperson, Dr. Ambedkar Foundation Kumari Selja MESSAGE Babasaheb Dr. B.R. Ambedkar, the Chief Architect of Indian Constitution was a scholar par excellence, a philosopher, a visionary, an emancipator and a true nationalist. He led a number of social movements to secure human rights to the oppressed and depressed sections of the society. He stands as a symbol of struggle for social justice. The Government of Maharashtra has done a highly commendable work of publication of volumes of unpublished works of Dr. Ambedkar, which have brought out his ideology and philosophy before the Nation and the world. In pursuance of the recommendations of the Centenary Celebrations Committee of Dr. -
GIPE-017778.Pdf (8.718Mb)
EASTERN BENGAL JJISTRIG'l GAZETTEERS. -- DINAJfUR. · . EASTERN BENGAL DISTRICT GAZETTEERS DIN·AJPUR :BY F. W. STRONG, INDU.N CIVIL IERVIOE. ALLAHABAD. 'l'Bll: PIONEER PR!il 19U •• . • ita EngZarall, 4s. 611.] [Price in In:.t.aa., R•· 8 • - .' PLAN OF CONTENTS. CHAPTER PAGES I.-PHYSICAL AsPECTs .... 1-16 H.-HISTORY 17-29 III.-THE PEOPLE .•• ... 30-43 IV .-PUBLIC HEALTH 44-51 V.-AGRICULTURE ... 52-63 VI.-NATURAL CALAMITIES 64--69 -VII.-RENTS, WAGES AND PRICES 70-77 VIII.-OccUPATIONS, MANUFACTURES AND TRADE 78--86 IX.-MEANs oF CoMMUNICATION • -87-94 X.-LA.ND REVENUE ADMINISTRATION 95-108 XI.-GENERAL ADMINISTRATION 109-115 XII.-LOCAL SELF-GOVERNMENT ... 116-119 XII I.-EDUCATION ... -120-126 XIV.-GAZETTEER ... 127-143 BIBLIOGRAPHY 144 INDEX ••• ... 145-153 PREFACE. I AM indebted to Babu Karuna Kumar Datta Gupta, District Engineer of Dinajpur, and to Babu Gobinda Chandra· Sen, Collectorate Sharistadar, for much valuable assistance, both in collecting material for the present Gazetteer, and in correcting errors and omissions in the MS. DINA.JPUR: } F. W. STRONG .. Th• 20th March 1911. TABLE OF CONTgNTS. CHAPTER I. PHYSICAL ASPECTS. PAGES GENERAL DESCRIPTION-Origin of name-Boundaries-General configu· ration-Natural divisions-RIVER SYSTEM- Nagar-Mahananda Chhiramati-Tiingan-Punarbha.bil.-Dhepii.-Atrai-J a. m unii.-Kara· toyii.-GEOLOGY-BOTANY-FAUNA-Mammals-Birds -Reptile a Fish-CLIMATE-Temperature-Humidity-Winds-Rainfall ... 1-16 CHAPTER II. HISTORY. LEUENDARY HISTORY-PlL DYNASTY-SEN DYNASTY-AFGINS- MoGHALs-DrNllPUR Rlz-BaiTISH ... 17-29 CHAPTER III. THE PEOPLE. GROWTH ou THE PoPULATION-Census of 1901-GENERAL CHARACTERIS• Tics-Density of population-Migration-Towns and villages- Sex Language-RAcEs·-RELIGioNs-M uhammadans-Fakirs of Baliyadighi ·-Hindus-Christians-Animists-TRIBES AND C.A.sTEs-Shekhs Hindu castes-Brahmans-Kayesthas-Rajputs-Kaibarttas-Haris- Other Hindu castes-Semi-Hindu castes-CHARACTER OJ' THE PEOPLE, • 30-U CHAPTER IV. -
Politics of Misrepresenting the Oppressed: a Critique of Abdus Samad’S Urdu Novel Dhamak*
mohammad sajjad Politics of Misrepresenting the Oppressed: A Critique of Abdus Samad’s Urdu Novel Dhamak* Abdus Samad (ʿAbduíṣ-Ṣamad) is known less as a teacher of political science and more as a famous Urdu fiction writer. Starting his literary career with short story writing, he later began writing novels. All five of his novels are accounts of the politics of twentieth-century Bihar. The first, Dō Gaz Zamīn (Two Yards of Land, 1988), deals with the politics of the partitions of the Indian subcontinent (first of India in 1947 and then the dismemberment of Pakistan in 1971) and depicts its impact on a declining Muslim feudal family of Bihar Shareef, roughly from the 1920s to the 1970s (Ghosh 1998, 1ñ40; Qasmi 2008, 24ñ26). It earned great praise from Urdu literary critics and in 1990 received the prestigious Sahitya Academy Award. His second novel Mahātmā (The Great Soul, 1992), the least appreciated of his novels critically, is a pessimistic account of the deep decline in the quality of higher education. His third novel, Khvābōñ kā Savērā (Dawn of Dreams, 1994), is the most critically acclaimed in terms of theme, technique, style, treatment, and so on. It deals with Muslims and their engagement with (or place in) the secular democracy of India in an increasingly communalized polity and society. In a quote appearing on the cover of his fourth novel Mahāsāgar (The Ocean, 1999), he is very explicit about why he gives primacy to the subject of politics in his writing. [Ö] in todayís life political factors have a deep impact since politics is no *I am thankful to Prof. -
Dance of India Download
IAS YAN An initiative of APTI PLUS Dances Inofd ia Indian folk dances, which typically consist of a few simple steps, are performed throughout the world to celebrate a new season, childbirth, weddings, festivals, and other social occasions. In some Indian folk dances, men and women perform separately; in others, they dance together. On most occasions, the dancers will sing accompanied by musicians. Most folk dances have intricately-designed costumes. Although a number of structured, ancient folk and tribal dances exist, many others are evolving. Andhra Pradesh Kuchipudi, Vilasini Natyam, Andhra Natyam, Bhamakalpam, Veeranatyam, Dappu, Tappeta Gullu, Lambadi, Dhimsa, Kolattam, Butta Bommalu. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai. Bihar Jata-Jatin, Bakho-Bakhain, Panwariya, Sama Chakwa, Bidesia. Gujarat Garba, Dandiya Ras, Tippani Juriun, Bhavai. Haryana Jhumar, Phag, Daph, Dhamal, Loor, Gugga, Khor, Gagor. Himachal Pradesh Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Nati, Dangi. Jammu and Kashmir Rauf, Hikat, Mandjas, Kud Dandi Nach, Damali. Karnataka Yakshagan, Huttari, Suggi, Kunitha, Karga, Lambi. Kerala Kathakali (Classical), Ottamthullal, Mohiniattam, Kaikottikali. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dasavtar or Bohada. Odisha Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan. Punjab Bhangra, Giddha, Daff, Dhaman, Bhand, Naqual. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Kalbeliya. Tamil Nadu Bharatanatyam, Kumi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Uttarakhand Garhwali, Kumayuni, Kajari, Jhora, Raslila, Chappeli. Goa Tarangamel, Koli, Dekhni, Fugdi, Shigmo, Ghode, Modni, Samayi nrutya, Jagar, Ranmale, Gonph, Tonnya mell. Madhya Pradesh Jawara, Matki, Aada, Khada Nach, Phulpati, Grida Dance, Selalarki, Selabhadoni, Maanch.