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India ODI Strike Rate Sachin Sourav Rahul R Tendulkar C Ganguly Dravid Mohammad Yuvraj Virender Mahendra Azharuddin Singh Sehwag S Dhoni Sunil Mohammad Virat Vinod Alaysinhji Kapil M Gavaskar Kaif Kohli G Kambli D Jadeja Dev Manoj Rohit Irfan Nayan Ajit VangipurappuM VPrabhakarG Sharma K Pathan R Mongia B Agarkar S Laxman Dillip Navjot Javagal Yashpal Hemang Yusuf Robin B Vengsarkar Dinesh Srinath Sharma K Badani K Pathan V Uthappa S Sidhu Mongia Rabindra Roger M Woorkeri Kiran Praveen Raman Sunil S More K Amre R Singh Lamba H Binny V Raman B Joshi Harbhajan Singh Syed M Saba Ajinkya Hrishikesh Ashok Nikhil H Kirmani Karim M Rahane H Kanitkar Chopra Suresh Malhotra Gautam Zaheer Khan K Raina Sameer Brijesh Bapu K Yalaka Vijay Chandrakant S Dighe P PatelVenkatesh PrasadVenugopal Rao Dahiya Gambhir S Pandit Krishna K Chetan Sanjay D Karthik Sharma Murali Atul Jacob Chetandra P Rohan Amay Vijay C Bedade J Martin S ChauhanS GavaskarR Khurasiya V Manjrekar Ravindra Reetinder S Sodhi A Jadeja AshishRavichandranArunLakshmipathyVijay Arshad Vikram Nehra Ashwin Lal Balaji Yadav Ayub Gundappa S Rathore R Viswanath Gagan Surinder Syed Ajay Vakkadai Sandeep Praveen AmarnathAbid Ali RatraB Chandrasekhar Sanjay Vijay R K Khoda M Patil Kumar R Bhardwaj Pathiv B Bangar Sridharan Jai SanjeevSubramaniamMunaf Krishnamachari Farokh SriramP YadavK SharmaBadrinathM Patel Ravishankar A Patel Ajay M Engineer Surinder Rajesh Jatin K Sharma K Chauhan Ajit ManinderIshantSarandeepAshok Kirtivardhan C Khanna KarsanL WadekarV ParanjpeSinghSharmaSinghV Mankad J Shastri Mohinder Azad D Ghavri ShanthakumaranDeep PiyushSudhirJoginder SandanandDasguptaSreesanthP ChawlaS NaikSharma Srikkanth Ghulam Mannava S Amarnath ViswanathBalwinder Salil Atul Rajiv Anil A Parkar K Prasad Manoj Aashish S SandhuR KapoorA AnkolaS WassanR Kulkarni Sadagopan Sharma K TiwaryShikhar SagiDebashish L AbeyVivek Kumble DevangPragyan Madan Lal Anshuman Dharwan VenkatapathyS Mohanty KuruvillaRajuRazdan Ramesh D Gaekwad Ramesh Murali J GandhiP OjhaAbhimanyuSairaj Rudra P MithunParthasarathy R Powar Kartik SrinivasaghavanSubrotoShivBishenEknathV Bahutule Singh Jr S Bedi BharathiH Sharma VenkataraghavanT BanerjeeS Das D SolkarArun.

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In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being.
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2-10 Conferences
2nd Conference to 10th Conference Second TANA Conference (Detroit 1979) Tummala Madhava Rao Kakarla Subba Rao - President Souvenir Editorial Co-ordinators Famous artist Puranam Subrahmanya Sarma Nanduri Rammohana Rao S.V. Rama Rao Prof. C.R.Rao P.V. Narasimharao Akkineni Nageswara Rao P.V. Narasimharao Dasaradhi Rangacharya Prabhakar Kakarala Ramoji Rao Committee Chairman Raghavendra Prasad Avula Sambaiva Rao Veeragandham Subbarao, with Lakshmi Parvathi Left to right Bandla Hanumaiah, Madhavarao Tummala, Tirupataiah Tella, Satyanarayana Nallamothu, Gangadhar Nadell, Prabhakar Kakarala, Chandrasekhara rao Kakarala Third TANA Conference (Chicago 1981) Conference Venue - Oak Park and River Forest High School Tella Tirupatiah Tummala Madhava Rao RavindranathGuttikonda Tirupataiah tella,r k , Tella Tirupathaiah Tummala Madhava Rao Narayanganj Bhatnagar M. Baga Reddy C. Narayana Reddy with Tirupathaiah right last Nallamotu Satyanarayana in the middle Mullapudi Harischandra Guttikonda Ravindranath, Padma Prasad Nadella Bhaskar NTR with Tirupathaiah Ramoji Rao, Nadella Bhaskar Tirupathaiah Tella, Narayanganj Saluri Rajeswara Rao Sri Sri Yadlapati Venkata Rao Fourth TANA Conference (Washington DC 1983) Venue of the Conference Chennareddy Tella Titupataiah S.V.Rao Art committee Chairman Jakkampudi Subbaraidu convenor from left 3rd N.G. Ranga, Guttikonda Ravidranath Fifth TANA Conference (Los Angeles 1985) Long Beach Convention Long Beach Convention Center Raghavendra Prasad Potturi Venkateswara Upendra Vasantha Nageswara Rao Mandapaka Sarada Sobhanaidu
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Bapubomma” and Her Idealisation
© 2018 JETIR June 2018, Volume 5, Issue 6 www.jetir.org (ISSN-2349-5162) TIED IN TRADITION: THE “BAPUBOMMA” AND HER IDEALISATION D. Sreeja Abstract-The “BapuBomma” (Bapu’s dolls/ Bapu’s drawings) is a familiar term in Telugu language, and it refers to the ideal Telugu woman, as picturised by SattirajuLakshminarayana (1933-2014), commonly known as ‘Bapu’, through his artwork. Bapu was a painter, cartoonist, and filmmaker and in all three mediums he has constructed the image of the Telugu maiden as sensuous and domestic. There has been research done in the field of the Telugu literary tradition, but contemporary art remains unexplored, and there is no study of Bapu’s work in these three mediums, especially his portrayals of women. This paper will be looking exclusively at the artworkconsidered the traditional “BapuBommas”. Through a semiotic analysis, the paper will study the symbols embedded within the paintingsand place them in the context of Telugu society to study their nature and implications. Being part of the mainstream, his work has managed to do much more than express the prevailing artistic tradition of his times- it creates and reflects society directly. The paper will also look at how this image has percolated into another form of art- film, in order to substantiate this argument. In a postcolonial and increasingly westernised context, there is a strong urge to retain a certain identity that is rooted in what is understood as rural and traditional, and this urge is depicted extensively in Bapu’s work. Keywords-Bapu, Telugu, art, cultural identity, femininity, performativity, popular culture, commercial art In popular culture, there are no mere works of art; there are phenomena, spectacles, trends, and entire narratives that depend on much more than just the artist.
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What They Say
WHAT THEY SAY What THEY SAY Mrs. Kishori Amonkar 27-02-1999 “It was great performing in the new reconstructed Shanmukhananda Hall. It has improved much from the old one, but still I’ve a few suggestions to improve which I’ll write to the authorities later” Pandit Jasraj 26-03-1999 “My first concert here after the renovation. Beautiful auditorium, excellent acoustics, great atmosphere - what more could I ask for a memorable concert here for me to be remembered for a long long time” Guru Kelucharan Mohapatra 26-03-1999 “It is a great privilege & honour to perform here at Shanmukhananda Auditorium. Seeing the surroundings here, an artiste feeling comes from inside which makes a performer to bring out his best for the art lovers & the audience.” Pandit Birju Maharaj 26-03-1999 “ yengle mece³e kesÀ yeeo Fme ceW efHeÀj DeekeÀj GmekeÀe ve³ee ©He osKekeÀj yengle Deevevo ngDee~ Deeies Yeer Deeles jnW ³en keÀecevee keÀjles ngS~ μegYe keÀecevee meefnle~” Ustad Vilayat Khan 31-03-1999 “It is indeed my pleasure and privilege to play in the beautiful, unique and extremely musical hall - which reconstructed - renovated is almost like a palace for musicians. I am so pleased to be able to play today before such an appreciative audience.” § 34 § Shanmukhananda culture redefined2A-Original.indd 34 02/05/19 9:02 AM Sant Morari Bapu 04-05-1999 “ cesjer ÒemeVelee Deewj ÒeYeg ÒeeLe&vee” Shri L. K. Advani 18-07-1999 “I have come to this Auditorium after 10 years, for the first time after it has been reconstructed.
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The Journal of International Communication Film Remakes As
This article was downloaded by: [Mr C.S.H.N. Murthy] On: 08 January 2015, At: 09:46 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Journal of International Communication Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rico20 Film remakes as cross-cultural connections between North and South: A case study of the Telugu film industry's contribution to Indian filmmaking C.S.H.N. Murthy Published online: 13 Nov 2012. To cite this article: C.S.H.N. Murthy (2013) Film remakes as cross-cultural connections between North and South: A case study of the Telugu film industry's contribution to Indian filmmaking, The Journal of International Communication, 19:1, 19-42, DOI: 10.1080/13216597.2012.739573 To link to this article: http://dx.doi.org/10.1080/13216597.2012.739573 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
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Megastar: Chiranjeevi and Telugu Cinema After N T Ramo Rao/ S.V
After NTR Telugu Mass Film and Cinematic Populism Tn the previous chapter, I discussed the critical importance of the •J. social history of the cinema hall. Now I will focus on films, which are, after all, the reason why the populace gathers before the screen. In my examination of the films of Chiranjeevi, I will ask if there is anything at all in these films that can give us insights into the 'excessive' responses we encountered in the previous chapter. While I have suggested that these responses are usefully located as cinephiliac, the task of demonstrating their relationship to the screen remains. In this chapter and the rest of the book, I examine the Telugu film 'genre' locally known as the mass film, which was, by far, the most influential and economically important genre in the Telugu film industry in the 1980s and 1990s. Chiranjeevi is closely identified with the mass film but all other major Telugu stars of his generation featured in films of this genre. The mass film is useful for opening up the question of how the cinema may be political. This question will be an important focus of my discussion of the genre. Furthermore, in the mid-1990s the mass film and its stars became a part of a major crisis in the Telugu film industry. The crisis was, in part, a result of the collapse of the mass film, as also its past success. The examination of the mass film allows us to see how populism and blockage dovetail and in turn implicate Telugu cinema's superstars.
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Leadership in Banking Through Technology
Leadership in banking through technology 22ND ANNUAL REPORT AND ACCOUNTS ON THE MOVE 2015 - 2016 AT OUR PLACE AT YOUR PLACE CONTENTS 1 Leadership through Technology 2 ICICI Bank at a Glance 4 Financial Highlights 6 Message from the Chairman 8 Message from the Managing Director & CEO 10 Board and Management 11 Messages from Executive Directors 12 Banking on the Move 16 Banking at Your Place REGISTERED OFFICE 18 Banking at Our Place Landmark 20 Promoting Inclusive Growth Race Course Circle 24 Awards Vadodara 390 007 25 Directors’ Report Tel : +91-265-3263701 CIN : L65190GJ1994PLC021012 77 Auditor’s Certificate on Corporate Governance 78 Business Overview CORPORATE OFFICE 92 Management’s Discussion and Analysis ICICI Bank Towers 116 Key Financial Indicators: Last Ten Years Bandra-Kurla Complex Mumbai 400 051 FINANCIALS Tel : +91-22-33667777 Fax : +91-22-26531122 117 Independent Auditors’ Report – Financial Statements of ICICI Bank Limited STATUTORY AUDITORS B S R & CO. LLP 122 Financial Statements of ICICI Bank Limited 1st Floor, Lodha Excelus 193 Independent Auditors’ Report – Consolidated Apollo Mills Compound Financial Statements N. M. Joshi Marg 198 Consolidated Financial Statements of Mahalaxmi ICICI Bank Limited and its Subsidiaries Mumbai 400 011 243 Statement Pursuant to Section 129 of Companies Act, 2013 REGISTRAR AND 245 Basel Pillar 3 Disclosures TRANSFER AGENTS 246 Glossary of Terms 3i Infotech Limited International Infotech Park Tower 5, 3rd Floor ENCLOSURES Vashi Railway Station Complex Vashi, Navi Mumbai 400 703 Notice Attendance Slip and Form of Proxy LEADERSHIP THROUGH TECHNOLOGY... Digital technology is transforming the way we lead our lives today. The banking and financial services industry is a clear representation of this transformation.
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1) Mana Desam ( Category/Genre = Social ) (Date: 24.11.1949 )
1) Mana Desam ( Category/Genre = Social ) (Date: 24.11.1949 ) 2) Shavukaru ( Category/Genre = Social ) (Date: 07.04.1950 ) 3) Palleturi Pilla ( Category/Genre = Social ) (Date: 27.04.1950 ) 4) Maya Rambha ( Category/Genre = Mythological ) (Date: 15.09.1950 ) 5) Samsaram ( Category/Genre = Social ) (Date: 29.12.1950 ) 6) Pathala Bhairavi ( Category/Genre = Classical ) (Date: 15.03.1951 ) 7) Mallishwari ( Category/Genre = Historical ) (Date: 20.12.1951 ) 8) Pelli Chesi Choodu ( Category/Genre = Social ) (Date: 29.02.1952 ) 9) Daasi ( Category/Genre = Social ) (Date: 1952 ) 10) Palleturu ( Category/Genre = Social ) (Date: 1952 ) 11) Ammalakkalu ( Category/Genre = Social ) (Date: 12.03.1953 ) 12) Pitchi Pulliah ( Category/Genre = Social ) (Date: 17.07.1953 ) 13) Chandi Rani ( Category/Genre = Classical ) (Date: 28.08.1953 ) 14) Chandraharam ( Category/Genre = Classical ) (Date: 06.01.1954 ) 15) Vaddante Dabbu ( Category/Genre = Social ) (Date: 19.02.1954 ) 16) Thodu Dongalu ( Category/Genre = Social ) (Date: 15.04.1954 ) 17) Rechukka ( Category/Genre = Classical ) (Date: 23.05.1954 ) 18) Raju Peda ( Category/Genre = Classical ) (Date: 25.06.1954 ) 19) Sangam ( Category/Genre = Social ) (Date: 10.07.1954 ) 20) Aggiramudu ( Category/Genre = Social ) (Date: 05.08.1954 ) 21) Parivarthana ( Category/Genre = Social ) (Date: 01.09.1954 ) 22) Iddaru Pellalu ( Category/Genre = Social ) (Date: 06.10.1954 ) 23) Missamma ( Category/Genre = Social ) (Date: 12.01.1955 ) 24) Vijaya Gowri ( Category/Genre = Classical ) (Date: 30.06.1955 ) 25) Cherapakura
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Keynote Address
Ind J Clin Biochem (Dec 2012) 27(Suppl 1):S1–S114 DOI 10.1007/s12291-013-0298-z KEYNOTE ADDRESS RISK MANAGEMENT BEYOND PATIENT SAFETY Endang Hoyaranda Prodia Group - Jakarta – Indonesia Managing risk in the medical laboratory is not merely iden- involve e.g. medical record data loss due to insufficiently tifying and controlling laboratory error sources which cause functioning back-up systems, unsustainability of manage- direct harm to patient, e.g. a hyperglycemic glucose result ment functions due to change of officers or malpractice when the patient is hypoglycemic. This aspect of risk to or fraud by officers, etc. patients has been a subject of various quality control and A risk management program which covers the prevention quality assurance as well as certification and accreditation and mitigation of all possible hazards, even indirectly, to programs and education sessions for decades. The medical the healthcare system, should be in place at all medical laboratory professionals worldwide has become increasingly settings including laboratory medicine. aware and knowledgeable about the potentials of direct hazards to the patient by understanding various principles Among various mechanisms to manage risk, the medical and techniques like Pareto, FMEA (Failure Modes and Ef- laboratory management should verify the frequency vs the fects Analysis) and FRACAS (Failure Reporting, Analysis impact of each identified hazard in each type of possible and Corrective Action Systems). risk like the security risk, competency risk, business risk, etc, and then categorize each risk against action taken Apart form the direct hazards imposed to the patient, a if risk arise. The whole process should be implemented number of other risks may indirectly affect the patient.
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E:\GR Sharma\JOURNALS 2015\IJ O
IJHDIS: Vol. 8, No. 1 (January-June 2015) pp. 59-74 ISSN : 0974-3529 CULTURAL COMMUNICATION IN CINEMATOGRAPHY: ANALYSIS OF BOLLYWOOD PERSPECTIVE Akanksha Shukla* Abstract: This paper is a study of recent box office hits where colour has been used emotively, intelligently and at times in a crafty manner to evoke sentiments irrespective of the diversity that Indian population comprises. An analysis of content and treatment of colour along with usage of lights will be used to evaluate phenomenon of box office success. Methodology used is content analysis frames drawn from films belonging to different generas and directed by different film makers so that any inherent biases can be eliminated.The usages of colours as used in psychological and cinematographic aspect have few studies about association of colour with mood. Emotions are aroused by specific objects or events whereas mood has no such specific referent. (And usually lasts for a relatively large period of time). Keywords: Visual Culture, Hegemony, Visual Style, Indian Cinema, Indian Television, Indian Advertising 1. Introduction INTRODUCTION With marketing becoming the key player in ensuring the success or failure of its product, it has become imperative for the general public to understand the nuances that comprise the process and treatment of film- making. The technical aspects of films treatment that this paper focuses on is the use of color in Indian cinema particularly – red, white and black. Cultural connotations are linked to these basic colors . Red in its various shades is the colors of the vermilion used by an Indian woman to exhibit her marital status. Ensurely red as used in motion pictures ranges from war scenes to romantics.
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F.) Praes. BEZ (JOHANN FRIEDRICH). --- Resp. See PFAFF (CM
BEZ (FRANCISCUS LUDOVICUS). --- See MAI (F.) praes. BEZ (JOHANN FRIEDRICH). --- resp. See PFAFF (C.M.) praes. BEZA (MARCU). --- Byzantine art in Roumania. Lond., 1940. ear r --- Another copy. Fine Art Lib. BEZA (THEODORE. CORRESPONDENCE Correspondance de Theodore de Beze. Recueillie par H. Aubert. Publ. par F. Aubert et H. Meylan (and A. IYufour). Tom. 1- [Tray . d'Human. et Renaissance, 40, 49, 61,74,96, 113, 136. (Societe du Musee Historique de la Reformation).] Geneve. .2812 Bez. 1. 1539-1555. 196o. 2. 1556-1558. 1962. 3. 1559-1561. 1963. 4. 1562-1563. 1965. 5. 1561. 1968. 6. 1565. 1970. 7. 1566. 1973. --- Another copy. Tom. 1- New Coll. Lib. [Continued overleaf.] ADDITIONS BEZA (MARCU ) . --- The Rumani an church. Lond.,1943. New Coll. Lib. EEZA (THEODORE. CORRESPONDENCE V -- Correspondance de Theodore de Beze. Rec olaillie pas H. Aubert Publ. par H. Meyl an , A. Dufour, C. Chimelli et M. Turchetti. Tom. 8.- [Tray . d'Humanisme et Renaissance, 146,%4, (Societe du Musee Historique de la Reformation.)] '^^ Geneve. .2842 Bez. 8. 1567. Avec une table des lettres et documents des tomes 1 a 8. 1976. 9. 1568. 1978. lo. 1569. 1980. 11. 1570. 1983. BEZA (THEODORE) [continued]. CORRESPONDENCE [continued] --- Epistola ... B. Passavantii ad ... P. Lysetum. See below under SINGLE WORKS. --- Epistolarum theologicarum ... liber unus. Genevae, 1573. Dd.6.20. xxx Clement Litil Bequest, 1580. --- 2a ed., ab ... autore recognita. Genevae, 1575. A.17.33• Nairne Bequest. SINGLE WORKS --- [Abraham sacrifiant.] A tragedie of Abrahams sacrifice. Written in French by T.B. and tr. into English by A. Golding. Ed. with an introd., notes and an appendix containing the Abraham sacrifiant of T.B., by M.W.
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Ugc Major Research Project: Factors Inhibiting and Promoting Change in Development and Welfare
FACTORS INHIBITING AND PROMOTING CHANGE IN DEVELOPMENT AND WELFARE PROGRAMMES AMONG THE TRIBAL COMMUNITIES: A STUDY IN THE TRIBAL AREAS OF ANDHRA PRADESH Major Research Project Report Sponsored by University Grants Commission Bahadur Shah Zafar Marg, New Delhi Sri D RAMESH PROF. CH BAPU HARANATH (Rtd) Assistant Professor (SG) & Co-Investigator Principal Investigator DEPARTMENT OF ANTHROPOLOGY ANDHRA UNIVERSITY VISAKHAPATNAM 530003 ANDHRA PRADESH Acknowledgement This project work is the out come of financial support provided by the University Grant Commission under Major Research Project Scheme. We are great full to UGC for sanctioning the Major Research Project. We would like to express our thanks to the University administration for their support. Our gratitude to Prof. P D S Pal Kumar the Head of the Department of Anthropology and Prof. G Jaikishan (Rtd) the ex-Head of the Department for their support thorough out the Project. Our special thanks are due to Prof. P Vijay Prakash (Rtd) for his constant encouragement throughout the project. We would like to express our appreciation to Dr V Venkata Lakshmi, Sri B. S S Mruthym Jai research scholars for their services (hiring charges) during the study. Special thanks are due to Sri Chetti Srinivas and Sri P Appala Naidu, for their assistants during the analysis, tabulation, typing and finalization of the report. Thanks are also due to Smt G Bhagyalakshmi and Smt Chelli Avanthi for their assistances in the preparation and analysis of the schedules. We would like to thank Dr. P Bindtiya, Assistant Professor, Department of Biotechnology, Andhra University for her help in the preparation of Genealogies.
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