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Indo-Russia-A-Connect-Over-Millennia.Pdf
Autobiography of India Indo Russia Connect Autobiography of India INDIA CONNECTS INDO - RUSSIA A Connect Over Millennia D.K.HARI D.K.HEMA HARI BHARATH GYAN SERIES Bridging Worlds Thru Knowledge Experience The Knowledge Of India Indo – Russia A Connect Over Millennia 2 / 165 Autobiography of India Indo Russia Connect Dedication This book is a part of our series, Autobiography of India, dedicated to our twin nephews, Aditya and Varun, who along with millions of other children world over, represent for us, the future of India and the world. It is our way of transmitting to them what we have learnt from our ancestors, about our ancestors and their way of sustaining themselves and the ecosystem around them for their sustained prosperity. Also, with their names, Aditya, the name for the divine Sun and Varun, the name of the divinity for Rain, they are for us, constant reminders of how blessed this land Bharatavarsha is, to receive bountiful rain and shine consistently. Rain and Shine are what our ancestors had leveraged ingeniously which made them last across generations, as a long-lasting, prosperous civilization and a role model for millennia. Aditya and Varun seem to be telling us all, Of what use is it to complain and whine? If you do not leverage your rain and shine! It is time we also start harnessing the Rain and Shine wisely and with responsibility, for the future of this civilization as well as mankind. We get a Rainbow, Indradhanush, only when there is Rain and Shine together! It is called Indra’s Dhanush, bow, as the spectrum of colours they produce, arc the sky like a bow. -
Pashto Language & Identity Formation in Pakistan
Pashto Language & Identity Formation in Pakistan∗ Tariq Rahmany Contents 1 Linguistic and Ethnic Situation 2 1.1 In Afghanistan . 2 1.2 In Pakistan . 3 2 Pashto and Pakhtun identity 4 2.1 Imperialist mistrust of Pashto . 6 2.2 Pre-partition efforts to promote Pashto . 7 2.3 Journalistic and literary activities in Pashto . 8 2.4 Pashto and politics in pre-partition NWFP. 8 2.5 Pashto in Swat . 10 3 Pashto in Pakistan 11 3.1 The political background . 11 3.2 The status of Pashto . 13 3.3 The politics of Pashto . 15 4 Conclusion 17 References 18 Abstract Traces out the history of the movement to increase the use of the Pashto language in the domains of power in Pakistan. Relationship of the movement with ethnic politics; Linguistic and ethnic ∗Contemporary South Asia, July 1995, Vol 4, Issue 2, p151-20 yTariq Rahman is Associate Professor of Linguistics, National Institute of Pakistan Studies, Quaid-i-Azam University, Islamabad, Pakistan. 1 Khyber.ORG Q.J.k situation in Afghanistan; Pashto and Pakhtun identity; Attitude of the Pakistani ruling elite towards Pashto. Pashto, a language belonging to the Iranian branch of the Indo-European language family, has more than 25 million native speakers. Of these, 16 to 17 million live in Pakistan and 8 to 9 million in Afghanistan.1 Pashto is the official language in Afghanistan, along with Dari (Afghan Persian), but in Pakistan it is not used in the domains of power–administration, military, judiciary, commerce, education and research–in any significant way. The activists of the Pashto language movement of Pakistan have been striving to increase the use of the language in these domains–i.e. -
How Will We Get a Book in Every Child's Hand? Together
How will we get a book in every child’s hand? Together. Annual Report 2016-2017 1 Together, we can. It would be no exaggeration to describe the year gone by as an exceptional one – not only for the expansion of our work, but also for the ways in which this expansion has taken place. We are still relatively small, but collaboration and partnerships have enabled an impact far beyond our expectations. And certainly, farther than what we could have achieved on our own. Together, we’ve managed to create more books, both, in print, as well as digital-first titles. Together, we’ve put our minds to transforming scientific and mathematical concepts into nonfiction stories. Together, we’ve translated stories for different tribes, different regions, and different countries – starting at 21 languages, our family of translators now work in 84 languages. Together, we are creating even more joyful stories as a result of content generation campaigns like Retell, Remix, Rejoice! and Spotathon. In our quest to find new ways to spread the joy of reading among children who have little or no access to supplementary reading books, we have been delighted to discover that digital distribution via our content platform, StoryWeaver, has transformed the landscape. Many organisations have begun to distribute books in their networks, by downloading them from StoryWeaver and either using them digitally or even printing them themselves. Our committed community of donors make a huge impact on thousands of children through our crowdfunding platform, Donate-a-Book, while the equally enthusiastic tribe of Pratham Books Champions, our volunteer storytellers, take the magic of storytelling to more and more kids each year. -
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia. -
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. -
States of Affect: Trauma in Partition/Post-Partition South Asia
STATES OF AFFECT: TRAUMA IN PARTITION/POST-PARTITION SOUTH ASIA By Rituparna Mitra A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English – Doctor of Philosophy 2015 ABSTRACT STATES OF AFFECT: TRAUMA IN PARTITION/POST-PARTITION SOUTH ASIA By Rituparna Mitra The Partition of the Indian subcontinent – into India and Pakistan in 1947 – was one of the crucial moments marking the break between the colonial and postcolonial era. My project is invested in exploring the Partition not merely in terms of the events of August 1947, but as an ongoing process that continues to splinter political, cultural, emotional and sexual life-worlds in South Asia. My dissertation seeks to map analytical pathways to locate the Partition and the attendant formations of minoritization and sectarian violence as continuing, unfolding processes that constitute postcolonial nation-building. It examines the far-reaching presence of these formations in current configurations of politics, culture and subjectivity by mobilizing the interdisciplinary scope of affect-mediated Trauma and Memory Studies and Postcolonial Studies, in conjunction with literary analysis. My project draws on a wide range of cultural artifacts such as poetry, cantillatory performance, mourning rituals, testimonials, archaeological ruins, short stories and novels to develop a heuristic and affective re-organization of post-Partition South Asia. It seeks to illuminate through frameworks of memory, melancholia, trauma, affect and postcoloniality how the ongoing effects of the past shape the present, which in turn, offers us ways to reimagine the future. This dissertation reaches out to recent work developing a vernacular framework to analyze violence, trauma and loss in South Asia. -
DADASAHEB PHALKE AWARD for AMITABH BACHCHAN Relevant For: Pre-Specific GK | Topic: Important Prizes and Related Facts
Source : www.thehindu.com Date : 2019-09-25 DADASAHEB PHALKE AWARD FOR AMITABH BACHCHAN Relevant for: Pre-Specific GK | Topic: Important Prizes and Related Facts Amitabh Bachchan The country’s highest film honour, the Dadasaheb Phalke award, conferred for “outstanding contribution for the growth and development of Indian cinema” will be presented this year to Amitabh Bachchan. The first intimation of it came via a tweet by Information and Broadcasting Minister Prakash Javadekar in which he stated that “The legend Amitabh Bachchan who entertained and inspired for two generations has been selected unanimously for #DadaSahabPhalke award. The entire country and international community is happy. My heartiest congratulations to him. @narendramodi @SrBachchan.” Timely arrival The award, very appropriately comes in the year that marks Mr. Bachchan’s golden jubilee in cinema. He made his debut in 1969 with Khwaja Ahmad Abbas’ Saat Hindustani about seven Indians attempting to liberate Goa from Portuguese colonial rule. The same year he also did the voiceover for Mrinal Sen’s Bhuvan Shome , one of the earliest films of Indian parallel cinema. Interestingly, the Dadasaheb Phalke award itself was first presented in the year of Mr. Bachchan’s debut. It was introduced by the government in 1969 to commemorate the “father of Indian cinema” who directed Raja Harishchandra (1913), India’s first feature film, and it was awarded for the first time to Devika Rani, “the first lady of Indian cinema.” One of the most influential figures in Indian cinema for the past five decades, Mr. Bachchan, with four national awards and 15 Filmfare trophies behind him, has had a many-splendoured stint in the world of entertainment. -
The People of Khyber and the Partition of India
Controversies Regarding the Accession of Tribal Areas to Pakistan: A Case Study of Khyber Agency Javed Iqbal∗ Abstract The partition of Indo-Pak Subcontinent in 1947 was surrounded by many controversies, some of which preceded the partition while others were the product of partition itself. One such controversy was about the accession of the tribal areas of the North West Frontier Province to Pakistan. It initially started between India and Pakistan but in the course of time the players changed and it ended up being a dispute between Afghanistan and Pakistan. Introduction The Federally Administered Tribal Areas of Pakistan or FATA consists of seven contiguous Agencies out of which four were created during the British rule while three were carved out of them after the birth of Pakistan. These seven Agencies include Bajaur, Khyber, Kurram, Mohmand, Orakzai, North Waziristan, and South Waziristan. Apart from these seven Political Agencies, there are also five tribal areas attached to settled districts and known as “Frontier Regions” of Peshawar, Kohat, Bannu, Tank and Dera Ismail Khan. The Tribal Agencies in FATA stretch from North to South on the Durand Line and all have a common and contiguous border with Afghanistan, except the Orakzai Agency. The question of the accession of these tribal areas ∗ Assistant Professor, Department of History, University of Peshawar. 92 Pakistan Journal of History and Culture, Vol. XXXIII, No. 2 (2012) to Pakistan at the time of partition of Indo-Pakistan Subcontinent in 1947 is important in two respects: in respect of the legitimacy of Pakistani authority in the eyes of the tribesmen; and in respect of the claims of Afghanistan’s Government over certain territories to the East of the Durand Line, the boundary between Afghanistan and British India inherited by the independent state of Pakistan as international boundary between Pakistan and Afghanistan. -
Sardar Abdur Rab Nishtar
Reproduced by Sani H. Panhwar SARDAR ABDUR RAB NISHTAR A POLITICAL BIOGRAPHY SYED MUJAWAR HUSSAIN SHAH REPRODUCED BY SANI H. PANHWAR CONTENTS Foreword .. .. .. .. .. .. .. .. .. 1 Preface .. .. .. .. .. .. .. .. .. 2 Acknowledgements .. .. .. .. .. .. .. 3 Introduction .. .. .. .. .. .. .. .. 4 CHAPTER I Family, Early Life and Education .. .. .. .. .. 7 CHAPTER II The North West Frontier Province - A Retrospect .. .. .. 17 CHAPTER III Nishtar's Career as a Politician .. .. .. .. .. .. 34 CHAPTER IV Nishtar and the Freedom Movement Part I .. .. .. .. 47 CHAPTER V Nishtar and the Freedom Movement Part II .. .. .. .. 66 CHAPTER VI Nishtar and the Freedom Movement Part III .. .. .. .. 76 CHAPTER VII Nishtar and the Young Country .. .. .. .. .. .. 102 CHAPTER VIII Nishtar as an Ideologue .. .. .. .. .. .. .. 116 CHAPTER IX Nishtar - Champion of Democracy .. .. .. .. .. 122 CONCLUSION .. .. .. .. .. .. .. .. .. 135 FORWARD The present work is a revised version of an M.Phil dissertation submitted to the Department of History, Quaid-i-Azam University, Islamabad. The book is a political biography of Sardar Abdur Rab Nishtar, a very prominent name amongst the galaxy of the close associates of the Quaid-i-Azam, Mohammad Ali Jinnah in the latter's struggle for the achievement of Pakistan. The author deserves our congratulations and thanks for bringing together a host of source-material scattered in various places. He has attempted to cover almost every detail regarding Sardar Abdur Rab Nishtar's personality. The book is not only a portrayal of Nishtar's political and literary activities but also an attempt in highlighting the various features of the Frontier politics of his times. Apart from enlightening the readers on Nishtar's role in the Pakistan Movement, the book will certainly of value for future researchers and writers interested in this field. -
Anil Biswas – Filmography Source: Hamraz’S Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy)
Anil Biswas – Filmography Source: Hamraz’s Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy) Contents Anil Biswas – Filmography ....................................................................................................................................... 1 1) Dharam Ki Devi ..................................................................................................................... 3 2) Fida-e-Vatan (alias Tasveer-e-vafa) ...................................................................................... 3 3) Piya Ki Jogan (alias Purchased Bride) ................................................................................... 3 4) Pratima (alias Prem Murti) ..................................................................................................... 4 5) Prem Bandhan (alias Victims of Love) .................................................................................. 4 6) Sangdil Samaj ......................................................................................................................... 4 7) Sher Ka Panja ......................................................................................................................... 5 8) Shokh Dilruba ......................................................................................................................... 5 9) Bulldog ................................................................................................................................... 5 10) Dukhiari (alias A Tale of Selfless Love) -
Save Each Drop… Water Is Running Out
PUBLICATION www.developingindiamirror.com Vol. 5, Issue 34, September 2019 | 100 Save Each Drop… Water is running out From the UNI CHAIRMAN'S DESK India has witnessed a golden dawn & it is hoped that a bright day follows Dear readers, n the modern-day world, many countries are blessed allow the administration to function smoothly and we to have democratically-elected governments and pray that public servants shall realise the true meaning Ithe citizens of these nations take considerable of the term that describes them. pride in calling themselves “intellectually mature A heartening fact is that numerous sterling instances and civilised” as compared to other places where the are coming to light with regard to sensitiveness on part right of the populace to choose their rulers is not yet of the bureaucracy and it gladdens the soul when young a glorious reality. officers treat work as worship. Rights are always in tandem with responsibilities, in The judiciary has been playing the role of an fact the former standing by itself would be an invitation understanding family elder and must continue to to upsetting the balance permanently. A trepidation that step in where it feels the other two branches are not often haunts an electorate is a “hung” legislature where fulfilling their duties in letter and spirit. no single political party boasts a clear majority. Past Last, but certainly not the least, the common man. experience has revealed that such a situation invariably If he sits on the sidelines adopting a wait-and-watch translates into a wary dispensation that focuses more policy, India shall go nowhere. -
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Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof.