Women in Higher Education in India
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The Lost Women of Iraq: Family-Based Violence During Armed Conflict © Ceasefire Centre for Civilian Rights and Minority Rights Group International November 2015
CEASEFIRE centre for civilian rights Miriam Puttick The Lost Women of Iraq: Family-based violence during armed conflict © Ceasefire Centre for Civilian Rights and Minority Rights Group International November 2015 Cover photo: This report has been produced as part of the Ceasefire project, a multi-year pro- Kurdish women and men protesting gramme supported by the European Union to implement a system of civilian-led against violence against women march in Sulaymaniyah, Iraq, monitoring of human rights abuses in Iraq, focusing in particular on the rights of November 2008. vulnerable civilians including vulnerable women, internally-displaced persons (IDPs), stateless persons, and ethnic or religious minorities, and to assess the feasibility of © Shwan Mohammed/AFP/Getty Images extending civilian-led monitoring to other country situations. This report has been produced with the financial assistance of the European Union. The contents of this report are the sole responsibility of the publishers and can un- der no circumstances be regarded as reflecting the position of the European Union. Ceasefire Centre for Civilian Rights The Ceasefire Centre for Civilian Rights is a new initiative to develop ‘civilian-led monitoring’ of violations of international humanitarian law or human rights, to pursue legal and political accountability for those responsible for such violations, and to develop the practice of civilian rights. The Ceasefire Centre for Civilian Rights is registered as a charity and a company limited by guarantee under English law; charity no: 1160083, company no: 9069133. Minority Rights Group International MRG is an NGO working to secure the rights of ethnic, religious and linguistic minorities and indigenous peoples worldwide, and to promote cooperation and understanding between communities. -
Life-Members
Life Members SUPREME COURT BAR ASSOCIATION Name & Address Name & Address 1 Abdul Mashkoor Khan 4 Adhimoolam,Venkataraman Membership no: A-00248 Membership no: A-00456 Res: Apartment No.202, Tower No.4,, SCBA Noida Res: "Prashanth", D-17, G.K. Enclave-I, New Delhi Project Complex, Sector - 99,, Noida 201303 110048 Tel: 09810857589 Tel: 011-26241780,41630065 Res: 328,Khan Medical Complex,Khair Nagar Fax: 41630065 Gate,Meerut,250002 Off: D-17, G.K. Enclave-I, New Delhi 110048 Tel: 0120-2423711 Tel: 011-26241780,41630065 Off: Apartment No.202, Tower No.4,, SCBA Noida Ch: 104,Lawyers Chamber, A.K.Sen Block, Supreme Project Complex, Sector - 99,, Noida 201303 Court of India, New Delhi 110001 Tel: 09810857589 Mobile: 9958922622 Mobile: 09412831926 Email: [email protected] 2 Abhay Kumar 5 Aditya Kumar Membership no: A-00530 Membership no: A-00412 Res: H.No.1/12, III Floor,, Roop Nagar,, Delhi Res: C-180,, Defence Colony, New Delhi 110024 110007 Off: C-13, LGF, Jungpura, New Delhi 110014 Tel: 24330307,24330308 41552772,65056036 Tel: 011-24372882 Tel: 095,Lawyers Chamber, Supreme Court of India, Ch: 104, Lawyers Chamber, Supreme Court of India, Ch: New Delhi 110001 New Delhi 110001 23782257 Mobile: 09810254016,09310254016 Tel: Mobile: 9911260001 Email: [email protected] Email: [email protected] 3 Abhigya 6 Aganpal,Pooja (Mrs.) Membership no: A-00448 Membership no: A-00422 Res: D-228, Nirman Vihar, Vikas Marg, Delhi 110092 Res: 4/401, Aganpal Chowk, Mehrauli, New Delhi Tel: 22432839 110030 Off: 704,Lawyers Chamber, Western Wing, Tis Hazari -
Women and the Glass Ceiling in the Federal Government." ·
Women and the GLASS CEILING A Reportto he President nd the Con ress of the U ited States by the U.S. erit Systems rotection B ard Transmittal Letter U.S. MERIT SYSTEMS PROTECTION BOARD Washington, D.C. 20419 October 1992 Sirs: In accordance with the requirements of the Civil Service Reform Act of 1978, it is an honor to submit this Merit Systems Protection Board report entitled "A Question of Equity: Women and the Glass Ceiling in the Federal Government." · While almost half of white-collar employees in the executive branch are women, only about one in ten senior executives is a woman. This report examines the reasons that so few women are in top-level positions in the Civil Service. Only some of the imbalance between men and women in higher grades can be explained by differences in the amount of education and years of Government service. Women also face unfounded stereotypes and assumptions about their abilities and job commitment that serve as subtle barriers to their advancement. The report discusses these barriers and offers recommendations for ways to achieve greater equity for women. We believe you will find this report useful as you consider issues concerning the effective management of Federal employees. Respectfully, Daniel R. Levinson Chairman ~Qr Antonio C. Amador Jessica L. Parks Vice Chairman Member The President President of the Senate Speaker of the House of Representatives A Special Study A QUESTION OF EQUITY: Women and the Glass Ceiling in the Federal Government U.S. Merit Systems Protection Board DANIEL R. LEVINSON, Chairman ANTONIO C. -
Kendriya Vidyalaya Narangi Panel for Contractual
KENDRIYA VIDYALAYA NARANGI PANEL FOR CONTRACTUAL TEACHERS FOR THE SESSION 2021-22 Post : PRT Sl No Name 1 Laxmi Pandit 2 Subidya Sarmah 3 Nongmaithem Roshni devi 4 REKHA SINGH KUSHWAHA 5 Rezina Begum 6 Mampi Ball 7 Anjali Kumari Singh 8 Debjanee Zaman 9 Punyawati devi 10 Nisha Kumari Dubey 11 Liyaquat ali 12 Sujata Rai 13 ATMIKA CHAUBEY 14 Rekha rani Mandal 15 Dolima Singha 16 Vivek Bharadwaj 17 Prabhati kalita 18 Manish Tripura 19 Junu Devi 20 Sharmila sinha 21 Sikha gogoi borah 22 LEENA SARANIA 23 ANUPAMA KACHARI 24 JULIET DAS Post : PRT Music Sl No Name 1 Nabanita Hazarika 2 Puja Saha 3 Hiramoni Deka 4 Mriganka Kashyap 5 SHUBHASHISH BHATTACHARJEE Post : PRT Dance Sl No Name 1 Sikharani Kalita Mahanta Post : PRT Art and Craft Sl No Name 1 Bhrigu Kumar Kalita 2 Seema Nath 3 Dhrubajit Sarma 4 Kartik Lahkar Post : Sports Coach (Football) Sl No Name 1 VISHAL MARPHEW 2 Rohit saikia Post : Sports Coack(Taekwondo) Sl No Name 1 Sujay shnakar roy 2 Ajay Basfore Post : Yoga Coach Sl No Name 1 Juri konwar 2 Manashi Kalita 3 Sarita Devi 4 Mritunjay Rajak 5 Prasenjit Dey 6 Kumita Rajbongshi 7 BIJIT CHAKROBORTY Post : Computer Instructor Sl No Name 1 Bhaskar Jyoti Hazarika 2 Chandamita Talukdar 3 Surankana Sharma 4 KANIKA TALUKDAR Post : Counselor Sl No Name 1 Pooja Bhatta 2 CIMCIMA HAZARIKA 3 ANURADHA MAHAPATRA 4 Nabanita Hazarika 5 Sharmilli Saha 6 Mausam Duari 7 Vidyapati Kumari Post : Nurse Sl No Name 1 Jagriti Baruah 2 Minu Malakar Post : TGT Assamese Sl No Name 1 DHIRAJ SARMA 2 Mamu Kataki 3 Nayantara Bhuyan 4 RIJU MANI DEKA 5 Doly Mazumder -
In Young India Young in Gold’ Is ‘Old
downloaded from : www.visionias.net downloaded from : https://t.me/Material_For_Exam follow us: friday, february 2, 2018 Delhi City Edition thehindu.com 36 pages ț 10.00 facebook.com/thehindu twitter.com/the_hindu Printed at . Chennai . Coimbatore . Bengaluru . Hyderabad . Madurai . Noida . Visakhapatnam . Thiruvananthapuram . Kochi . Vijayawada . Mangaluru . Tiruchirapalli . Kolkata . Hubballi . Mohali . Malappuram . Mumbai . Tirupati . lucknow In a preelection Budget, Finance Minister Arun Jaitley serves up a mix of populism and prudence FARMER SUTRA Special Correspondent <> The focus of the litre has been levied to fund NEW DELHI Budget is farmers, projects. Unlike excise du With a clear eye on the Lok rural India, ties, the Centre is not re Sabha election, Union Fi healthcare and quired to share cess receipts nance Minister Arun Jaitley with the States. education pulled out all the stops in The government’s inabili Arun Jaitley the Narendra Modi govern Finance Minister ty to give away too many ment’s last full Budget to goodies were largely due to promise a better deal for show that individual busi its scal constraints, with farmers, boost the rural nesspersons paid less aver this year’s scal decit over economy and make the age tax than the salaried shooting the 3.2% of GDP poor less vulnerable to class, he reintroduced a at target and likely to touch health exigencies. 40,000 deduction from 3.5% on account of the GST Responding to the dis taxable income for the latter related issues. Instead of a tress in the agriculture in lieu of the existing tax ex 3% decit in the coming sector that has reared its emptions for transport and year, the Centre settled to head in various States medical allowance and ex target the 3.3% mark, defer over the past year, the tended this relief to pen ring the glide path to 3% to government has decid sioners. -
Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
Ajeeb Aadmi—An Introduction Ismat Chughtai, Sa'adat Hasan Manto
Ajeeb Aadmi—An Introduction I , Sa‘adat Hasan Manto, Krishan Chandar, Rajinder Singh Bedi, Kaifi Azmi, Jan Nisar Akhtar, Majrooh Sultanpuri, Ali Sardar Jafri, Majaz, Meeraji, and Khawaja Ahmed Abbas. These are some of the names that come to mind when we think of the Progressive Writers’ Movement and modern Urdu literature. But how many people know that every one of these writers was also involved with the Bombay film indus- try and was closely associated with film directors, actors, singers and pro- ducers? Ismat Chughtai’s husband Shahid Latif was a director and he and Ismat Chughtai worked together in his lifetime. After Shahid’s death Ismat Chughtai continued the work alone. In all, she wrote scripts for twelve films, the most notable among them ◊iddµ, Buzdil, Sån® kµ ≤µ∞y≥, and Garm Hav≥. She also acted in Shyam Benegal’s Jun∑n. Khawaja Ahmed Abbas made a name for himself as director and producer for his own films and also by writing scripts for some of Raj Kapoor’s best- known films. Manto, Krishan Chandar and Bedi also wrote scripts for the Bombay films, while all of the above-mentioned poets provided lyrics for some of the most alluring and enduring film songs ever to come out of India. In remembering Kaifi Azmi, Ranjit Hoskote says that the felicities of Urdu poetry and prose entered the consciousness of a vast, national audience through the medium of the popular Hindi cinema; for which masters of Urdu prose, such as Sadat [sic] Hasan Manto, wrote scripts, while many of the Progressives, Azmi included, provided lyrics. -
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. -
Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
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. -
Punjab Current Affairs-3
Punjab Current Affairs 9 Which country has been invited as the partner country for this year's 'Gita Jayanti Mahotsav', scheduled to be held at Kurukshetra from December 3 to 8? 1. Bhutan 2. Nepal 3. Myanmar 4. Maldives Ans. 2 With which, NITI Aayog has partnered to promote women entrepreneurs? 1. Google 2. Tik Tok 3. Facebook 4. WhatsApp Ans. 4 Which State has topped in solar rooftop installations? 1. Madhya Pradesh 2. Gujarat 3. Kerala 4. Karnataka Ans. 2 According to 'QS Best Student Cities Ranking', Which city has been named as the world's best city for students for the second consecutive year? 1. Vienna 2. Mumbai 3. London 4. Bangalore Ans. 3 Who took oath as the Governor of Madhya Pradesh? 1. P Gopi Krishna 2. M. Mukesh Goud 3. Lalji Tandon 4. Ramesh Bais Ans. 3 Who appointed as the chairman of the Public Accounts Committee (PAC)? 1. Adhir Ranjan Chowdhury 2. Arjun Munda 3. Om Birla 4. Mahendra Nath Pandey Ans. 1 Which State Government has signed an MoU with Vikram Sarabhai Space Centre (VSSC) to develop Space Park? 1. Kerala 2. Maharashtra 3. Andhra Pradesh 4. Telangana Ans.1 Who has been conferred with the M S Swamianathan Award for Environment Protection? 1. Kenneth M Quinn 2. Kristalina Georgieva 3. David-Maria Sassoli 4. Charles Michel Ans.1 Which Sports Brand has tied up with India‟s woman athlete Dute Chand? 1. Nike 2. Sketcher 3. Adidas 4. Puma Ans.4 In which city, Prime Minister of Nepal KP Sharma Oli inaugurated India-Nepal Logistics Summit? 1. -
UTV Joins Hands with Ace Director Sundar C and Producer Khushbu Sundar to Produce Masala Café
UTV joins hands with ace director Sundar C and Producer Khushbu Sundar to produce Masala Café Chennai, October 17th 2011: Continuing its alliance with some of the most prominent names in the South Film Industry, UTV Motion Pictures has now partnered with the popular director Sundar C for his film Masala Café in association with his wife - Khushbu Sundar’s production house Avni CineMax. With a slate of successful films like Ullathai Alli Tha, Mettukudi, Superstar Rajinikanth’s Arunachalam, Kamal Haasan’s Anbe Sivam, Winner, Giri, London, Rendu to his credit, Sundar C is back to writing and directing with his latest venture Masala Café. The film slated to be a comic entertainer stars the current young heroes Vimal, “Mirchi” Shiva, Anjali, Santhanam among others. Sundar C along with directing is also penning the story and screenplay while dialogues are being written by Badri and camera by U.K. Senthil Kumar. The music composer is Ebinizer, from the film Kanden fame.Targeted at the youth, Masala Café will be a summer 2012 release. The film will commence shooting in Kumbakonam and Chennai from November 2011. UTV Motion Pictures, post releasing the highly appreciated Deiva Thirumagal and Muran will also release Vettai, Vazhakku Enn 18/9 and Kumki produced in association with Lingusamy’s Thiruppathi Brothers and is currently in the process of commencing the shooting of Mysskin’s Mugamoodi, starring Jiiva, Narain, Pooja Hegde and others. About UTV Motion Pictures: The Motion Pictures division of UTV, established in 2004, is an integrated studio model in the Indian film industry as well as in the whole of South Asia region.