DOCSLIB.ORG

Film Dance, Female Stardom, and the Production of Gender in Popular Hindi Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Dance, Female Stardom, and the Production of Gender in Popular Hindi Cinema FILM DANCE, FEMALE STARDOM, AND THE PRODUCTION OF GENDER IN POPULAR HINDI CINEMA by Usha Iyer B. A. in English Literature, St. Xavier’s College, Bombay, India, 1994 Masters in Communication Studies, University of Pune, India, 1996 M.A. in English Literature, Centre for English and Foreign Languages, Hyderabad, India, 2006 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Usha Iyer It was defended on August 18, 2014 and approved by Marcia Landy, Distinguished Professor, English and Film Studies Lucy Fischer, Distinguished Professor, English and Film Studies Ranjani Mazumdar, Associate Professor, School of Arts & Aesthetics, Jawaharlal Nehru University, India Dissertation Advisor: Neepa Majumdar, Associate Professor, English and Film Studies ii Copyright © by Usha Iyer 2014 iii FILM DANCE, FEMALE STARDOM, AND THE PRODUCTION OF GENDER IN POPULAR HINDI CINEMA Usha Iyer, PhD University of Pittsburgh, 2014 This dissertation undertakes a historical and theoretical analysis of constructions of gender and sexuality through popular Hindi film dance. This hybrid dance form, primarily staged by female performers until recently, has featured a syncretic mix of Indian classical and folk dance traditions as well as transnational dance forms since the early 20th century. My study of this popular cultural form explores the interactions of Hindi cinema with indigenous and foreign dance forms, constructions of the performing body and of spaces of performance, differing narratives and histories of male and female stardom, and the mechanisms for the ideological constitution of the Indian spectator-subject. Drawing on interdisciplinary work on stardom, gender analysis, and performance theories from the contemporary field of dance studies as well as ancient South Asian texts on performance, I investigate the role of dance in the construction of the stardom of four iconic dancer-actresses from the 1930s to the 1990s: Sadhona Bose, Vyjayanthimala, Waheeda Rehman, and Madhuri Dixit. This project employs a body-space-movement framework (studying the spaces of dance, the movement vocabularies used, and the resulting construction of star bodies) to engage in a broader discussion of cinematic representation, body cultures, and the construction of gender. I propose a taxonomy of song-and-dance sequences to consider the various functions of musical and dance sequences in popular Hindi cinema and examine the gendering of performance in each of these registers. Employing the body-space-movement framework, I suggest that dance often iv enables female dancer-actresses to author particular types of cinematic narratives. Each chapter undertakes a historical analysis of the question of respectability that has dominated discourses on dance and film acting by women, and investigates thus the links between ideology, stardom, and constructions of femininity. Through a sustained analysis of film dance, I engage with questions that have long occupied scholars of South Asian cinema: how does popular Hindi cinema generate spectatorial desire and engagement differently than other cinematic cultures, through what mechanisms does the song-and-dance sequence produce romantic, erotic, and communitarian affects, and what are the specific mobilizations of space, movement, and bodies that create the particular address of this cinema? v TABLE OF CONTENTS 1.0 INTRODUCTION: FILM DANCE, FEMALE STARDOM, AND THE PRODUCTION OF GENDER IN POPULAR HINDI CINEMA ............................................ 1 1.1 INFLUENCES ON AND ATTITUDES TO FILM DANCE ........................... 5 1.2 METHODOLOGICAL APPROACH ............................................................... 8 1.3 A BODY-CENTERED TAXONOMY OF SONG-AND-DANCE SEQUENCES ...................................................................................................................... 12 1.3.1 Narrative Numbers/Production Numbers ................................................... 18 1.4 WHY STUDY POPULAR HINDI FILM DANCE? ....................................... 25 1.5 BODY, MOVEMENT, SPACE – AN ORGANIZING FRAMEWORK ...... 31 1.6 FILM DANCE, CLASSICAL DANCE, FOLK DANCE – INFLUENCES, PARALLELS, DIFFERENCES ........................................................................................ 41 1.7 BACKGROUND DANCERS AS THE “FOLK” ............................................ 50 1.8 CHAPTER DESCRIPTION ............................................................................. 53 2.0 THE BHADRAMAHILA DANCER-ACTRESS: SADHONA BOSE AND DISCOURSES OF RESPECTABILITY AROUND DANCE AND FEMALE STARDOM IN THE 1930S AND 1940S ........................................................................................................ 55 2.1 A HOUSE OF MUSIC, DANCE, AND SOCIAL REFORM......................... 59 2.2 KEY INFLUENCES ON BOSE’S DANCE IDIOM....................................... 62 vi 2.3 DANCE BECOMES RESPECTABLE FOR THE BHADRAMAHILA ...... 73 2.4 THE INITIATION OF THE BHADRAMAHILA INTO CINEMA ............ 80 2.5 ALIBABA – GENTRIFYING THE ORIENTAL SPECTACULAR............. 84 2.6 THE SELF-REFLEXIVE DANCE SOCIAL GENRE .................................. 91 2.7 COURT DANCER – THE ORIENTALIZED DANCE SPECTACULAR.... 96 2.8 CONCLUSION ................................................................................................ 105 3.0 TRANSITIONING FROM BAI TO DEVI: NARRATIVIZING DANCE AS PROFESSION IN THE FILMS OF VYJAYANTHIMALA AND WAHEEDA REHMAN IN THE 1950S AND 1960S ..................................................................................................... 109 3.1 DISCOURSES ON WOMEN AND DANCE ................................................ 115 3.2 DANCING BODIES, SPACES, AND MOVEMENT VOCABULARIES . 124 3.3 THE SPACES OF THE BAI AND THE DEVI ............................................ 132 3.4 DANCE FILMS AS WOMEN’S FILMS ....................................................... 137 3.5 SPLITTING OF BODIES AND NAMES ...................................................... 149 3.6 MANAGEMENT OF SPLITS THROUGH STAR TEXTS ........................ 156 3.7 CONCLUSION ................................................................................................ 165 4.0 STARDOM KE PEECHE KYA HAI: MADHURI DIXIT AND THE NEGOTIATION OF THE HEROINE-VAMP DIVIDE IN NINETIES’ HINDI CINEMA…. ............................................................................................................................... 167 4.1 COLLAPSING THE HEROINE-VAMP DIVIDE IN “EK DO TEEN”..... 171 4.2 MANAGING BODIES AND SPACES TO MAINTAIN THE HEROINE- VAMP DIVIDE ................................................................................................................. 177 4.2.1 Altering Performing Bodies or, Smiling through the Pain of Dancing ... 178 vii 4.2.2 Altering Spaces of Performance to Choreograph New Geographies of Desire.. ....................................................................................................................... 183 4.3 SPLITTING FEMALE PRESENCE THROUGH DANCE VOCABULARIES ............................................................................................................ 188 4.4 MANY A SLIP TWIXT THE HEART AND THE BREAST: SPLITTING FEMALE PRESENCE BETWEEN THE PRODUCTION NUMBER AND THE NARRATIVE .................................................................................................................... 196 4.5 DANCE, SPACE, GENDER ........................................................................... 205 4.6 AAJA NACHLE – COMMEMORATING DIXIT AND HINDI FILM DANCE… .......................................................................................................................... 211 5.0 EPILOGUE – BOLLYWOOD AND FILM DANCE TODAY ............................ 219 5.1 FROM THE PRODUCTION NUMBER TO THE ITEM NUMBER ........ 220 5.2 CITATIONS OF THE CINEMATIC PAST THROUGH DANCE ............ 223 5.3 PERFORMING CINEMATIC FANDOM THROUGH DANCE ............... 224 APPENDIX A ............................................................................................................................ 227 BIBLIOGRAPHY ..................................................................................................................... 231 viii PREFACE In completing this dissertation, I have enjoyed the intellectual and emotional support of numerous faculty members, friends, and family. First and foremost, I thank my dissertation chair, Neepa Majumdar, for her commitment towards this project. Her book on female stardom in Indian cinema has been instrumental in shaping this dissertation. An extremely responsive reader and meticulous editor, a constant source of encouragement and motivation to think harder through historical and theoretical issues, an ever-prompt replier to emails requesting all manner of assistance, Neepa has modeled the intellectual and collegial generosity that makes academic work rewarding and pleasurable. I could not have asked for a better mentor. Marcia Landy has been a formative presence through my time at the University of Pittsburgh. In the many courses I took with her, all of them singularly enriching, and through several smoke-filled conversations in her office, she has emphasized the importance of questioning clichéd ways of thinking and writing, and of appraising the stakes – political, historical,
Load more

Recommended publications
  • IME Annual Report 2020-2021 Low Size
    Supported by Annual Report 2020-2021 Only in the darkness can “ you see the stars. ― Martin Luther King “ Namaste We have collectively endured one of the defining experiences of our life and times. What started off as a pause in the hustle and bustle of daily life has now become a happening that will forever define the way we see the world. Many of us experienced loss – of loved ones, of time, of precious moments, and of a sense of normalcy. There were days when I questioned everything, and felt the meaninglessness of it all. At the same time, I realized that the future is built one day at a time, by the seemingly small actions we take each day; that, as Martin Luther King said, everything that is done in the world is done by hope. And so, we see ourselves looking back at a most strange year, but one that I am glad to report has been extremely productive for the Indian Music Experience Museum, in our mission to build community through music. The team at IME seamlessly adapted to the online world. We ensured the continuity of music education at the Learning Centre. We unveiled two new online exhibits through an important partnership with Google Art and Culture. Our work in preserving musical traditions achieved an important milestone through the creation of an online archive on the life and works of legendary violinist and composer, Mysore T. Chowdiah, in collaboration with the Shankar Mahadevan Academy. We presented a wide variety of talks, discussions, workshops, showcases, and exhibit walkthroughs online, growing our audience beyond the geographic limitations of in-person events.
    [Show full text]
  • Influence of Kadambari Devi in Rabindranath Tagore's Paintings
    Journal of Fine Arts Volume 2, Issue 3, 2019, PP 10-12 ISSN 2637-5885 Influence of Kadambari Devi in Rabindranath Tagore’s Paintings Disha Mondal* M.A., English Literature, Visva-Bharati University, Santiniketan, West-Bengal, India *Corresponding Author: Disha Mondal, M.A., English Literature, Visva-Bharati University, Santiniketan, West-Bengal, India, Email: [email protected] ABSTRACT Rabindranath Tagore began painting relatively late in his career when he was in his sixties. Nevertheless he produced thousands of works and was the first Indian artist to exhibit his works across Europe, Russia and the United States in 1930. His painting style was very individual, characterized by simple bold forms and a rhythmic quality, and later served to inspire many modern Indian artists. Tagore painted landscapes, animal figures and human faces. The human faces are a prominent constant in his artistic works. His painted faces depict various moods: fear, romantic, melancholy and many more to say. This paper intends to analyse who were these women who inspired Tagore to produce such paintings. Key Words: women, veil, darkness, emotion “I know not who paints the pictures on memory’s very busy. Now Holidays have begun. I am canvas; but whoever he may be what he is painting thinking of just to sit in a corner and paint. I don’t are pictures; by which I mean that he is not there feel like using my pen…” We can realize that with his brush simply to make a faithful copy of all Rabindranath was engrossed in painting so much that is happening.” Rabindranath Tagore Jivan that he even did not wish to write then.
    [Show full text]
  • INSIDE the Prabhakhaitanfoundationchronicle Their Musicto Life Words to Bring Melodies in Authors String on Musiciansas World Ofbooks Dive Into the POETRY of LIFE 14
    The Prabha Khaitan Foundation Chronicle January 2020 I Issue 10 Dive into the world of books on musicians as authors string melodies in words to bring their music to life POETRY OF HINGLISH ROMANCE IS LIFE BABU WRITE 14 15 13 INSIDE 2 INSIDE MITHILA Music, Memories STORIES 18 and More “If winter comes, can spring be far behind?” — GAMECHANGER Percy Bysshe Shelley. LAUNCH Spring has definitely arrived, bringing with it renewed zeal and spirit, and the Foundation 20 has been taking advantage of the same. It has been our constant endeavour to feature new writers and showcase new genres and WINNING narratives. And like spring, our bouquet of literary events also embodied the new — both WOMAN in terms of essence and faces. Music was the flavour of the season. We 26 have been privileged to host some of the greatest luminaries from the world of music. Their stories unveiled the ordinary behind the A ROOM WITH A extraordinary legends of timeless melodies. Sessions featured maestros of classical music, VIEW stalwarts of the Bollywood music industry, music queens who broke all stereotypes 34 and more. While their stories awed us, their words humbled us. Hope you enjoy reading MANISHA JAIN the extraordinary tales of some of the best of Communications & Branding Chief, music. CAUSE OF THE Prabha Khaitan Foundation Alongside putting together our regular MONTH events, we are busy gearing up for the Ehsaas Conclave. The mantra of the Conclave is 38 ‘Learning, Linking and Leadership.’ Ehsaas Women from all over India and abroad will be coming together at the conclave to bond CELEBRATING over ideas and experiences.
    [Show full text]
  • Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
    Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion.
    [Show full text]
  • The West Bengal College Service Commission State
    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility.
    [Show full text]
  • Pamphlets Email: [email protected] 42 AMIYA CHAKRAVARTY AMIYA CHAKRAVARTY 3 a Saint at Work a Saint at Work
    AMIYA CHAKRAVARTY A Saint at Work William Penn Lecture 1950 WILLIAM PENN LECTURE, 1950 A Saint at Work A View of Gandhi’s Work and Message Delivered at Race Street Meeting House Philadelphia by Amiya Chakravarty Published by The Book Committee Religious Society of Friends Philadelphia and Vicinity 302 Arch Street, Philadelphia 2 AMIYA CHAKRAVARTY AMIYA CHAKRAVARTY 43 A Saint at Work A Saint at Work as to a common bereavement. If this spirit remains with us, then indeed Gandhiji’s suffering will not have been in vain; like the death and suffering of other innocent men, his testimony will be a part of our future. Gandhiji will perhaps succeed with us in his death though we failed him in his life. In a last gesture of farewell, a friend of man folded his hands, and greeted us. And then when his body was carried away to the room where many of us had seen him at work, in happy conversation and full of affectionate joy, he was quiet and still. Perfect peace lay on him, as the candlelight Dedicated in friendship to played on his face and hymns were sung in God’s name, the Blanche And William Stuart Nelson hymns that he had loved. That is the picture of a heroic Howard University saint who conquered. Published 1950 by Philadelphia Yearly Meeting Republished electronically © 2007 by Quaker Heron Press http://www.quaker.org/pamphlets email: [email protected] 42 AMIYA CHAKRAVARTY AMIYA CHAKRAVARTY 3 A Saint at Work A Saint at Work a challenge – a challenge which we cannot ignore.
    [Show full text]
  • Catalogue 2011
    Equipo Cines del Sur Director José Sánchez-Montes I Relaciones institucionales Enrique Moratalla I Director de programación Casimiro Torreiro I Asesores de programación Esteve Riambau, Gloria Fernández I Programador cinesdelsur. ext y Extraño Tanto Mar José Luis Chacón I Gerencia Elisabet Rus I Coordinadora de programación, comunicación, difusión Índice y prensa María Vázquez Medina I Departamento de Comunicación Ramón Antequera Rodríguez-Rabadán I Coordinadora de invitados Marichu Sanz de Galdeano I Coordinador Producción Enrique Novi I Departamento Producción Christian Morales, Juan Manuel Ríos I Jefa de prensa Nuria Díaz I Prensa Nuria García Frutos, Neus Molina I Publicaciones Carlos Martín I Catálogo y revista Laura Montero Plata I Gestión de tráfico de copias Reyes Revilla I Protocolo María José Gómez, Manuel 6 Presentación_Welcome Dominguez I Documentación Audiovisual Festival Jorge Rodríguez Puche, Rafael Moya Cuadros I Coordinador de traducción e interpretación Pedro Jesús Castillo I Traducción Pedro Jesús Castillo, Alexia Weninger, Hiroko Inose, Jesús de Manuel Jerez 11 Jurado_Jury I Secretario Jurado Oficial Toni Anguiano I Imagen del cartel Ángel Lozano I Diseño del premio Luis Jarillo I Cabecera LZ Producciones I +Factor Humano Antonio José Millán I Voluntarios José Ángel Martínez I Jefe técnico de proyecciones José Antonio Caballero Soler I Equipo técnico de proyecciones José Antonio Caballero Martín, José Domingo Raya, 19 Programación_Programming José Antonio Caballero Solier I Diseño Catálogo: Ángel Lozano, Juan Gómez,
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Members of the Local Authorities Alappuzha District
    Price. Rs. 150/- per copy UNIVERSITY OF KERALA Election to the Senate by the member of the Local Authorities- (Under Section 17-Elected Members (7) of the Kerala University Act 1974) Electoral Roll of the Members of the Local Authorities-Alappuzha District Name of Roll Local No. Authority Name of member Address 1 LEKHA.P-MEMBER SREERAGAM, KARUVATTA NORTH PALAPPRAMBILKIZHAKKETHIL,KARUVATTA 2 SUMA -ST. NORTH 3 MADHURI-MEMBER POONTHOTTATHIL,KARUVATTA NORTH 4 SURESH KALARIKKAL KALARIKKALKIZHAKKECHIRA, KARUVATTA 5 CHANDRAVATHY.J, VISHNUVIHAR, KARUVATTA 6 RADHAMMA . KALAPURAKKAL HOUSE,KARUVATTA 7 NANDAKUMAR.S KIZHAKKEKOYIPURATHU, KARUVATTA 8 SULOCHANA PUTHENKANDATHIL,KARUVATTA 9 MOHANAN PILLAI THUNDILVEEDU, KARUVATTA 10 Karuvatta C.SUJATHA MANNANTHERAYIL VEEDU,KARUVATTA 11 K.R.RAJAN PUTHENPARAMBIL,KARUVATTA Grama Panchayath Grama 12 AKHIL.B CHOORAKKATTU HOUSE,KARUVATTA 13 T.Ponnamma- ThaichiraBanglow,Karuvatta P.O, Alappuzha 14 SHEELARAJAN R.S BHAVANAM,KARUVATTA NORTH MOHANKUMAR(AYYAPP 15 AN) MONEESHBHAVANAM,KARUVATTA 16 Sosamma Louis Chullikkal, Pollethai. P.O, Alappuzha 17 Jayamohan Shyama Nivas, Pollethai.P.O 18 Kala Thamarappallyveli,Pollethai. P.O, Alappuzha 19 Dinakaran Udamssery,Pollethai. P.O, Alappuzha 20 Rema Devi Puthenmadam, Kalvoor. P.O, Alappuzha 21 Indira Thilakan Pandyalakkal, Kalavoor. P.O, Alappuzha 22 V. Sethunath Kunnathu, Kalavoor. P.O, Alappuzha 23 Reshmi Raju Rajammalayam, Pathirappally, Alappuzha 24 Muthulekshmi Castle, Pathirappaly.P.O, Alappuzha 25 Thresyamma( Marykutty) Chavadiyil, Pathirappally, Alappuzha 26 Philomina (Suja) Vadakkan parambil, Pathirappally, Alappuzha Grama Panchayath Grama 27 South Mararikulam Omana Moonnukandathil, Pathirappally. P.O, Alappuzha 28 Alice Sandhyav Vavakkad, Pathirappally. P.O, Alappuzha 29 Laiju. M Madathe veliyil , Pathirappally P O 30 Sisily (Kunjumol Shaji) Puthenpurakkal, Pathirappally. P.O, Alappuzha 31 K.A.
    [Show full text]