International Journal of Psychiatric Nursing EDITOR Prof
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Library Philosophy and Practice (e-journal) Libraries at University of Nebraska-Lincoln 5-2012 Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit Preeti Mahajan Panjab University, [email protected] Neeraj Kumar Singh Panjab University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/libphilprac Part of the Library and Information Science Commons Mahajan, Preeti and Singh, Neeraj Kumar, "Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit" (2012). Library Philosophy and Practice (e-journal). 749. https://digitalcommons.unl.edu/libphilprac/749 http://unllib.unl.edu/LPP/ Library Philosophy and Practice 2012 ISSN 1522-0222 Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit Prof. Preeti Mahajan Department of Library and Information Science Panjab University Chandigarh, India Neeraj Kumar Singh Assistant Librarian A C Joshi Library Panjab University Chandigarh, India Introduction India is a multilingual country and the second most populated country on earth There are a quite a number of languages spoken in India. Some of these languages are accepted nationally while others are accepted as dialects of that particular region. The Indian languages belong to four language families namely Indo-European, Dravidian, Austroasiatic (Austric) and Sino-Tibetan. Majority of India's population are using Indo-European and Dravidian languages. The former are spoken mainly in northern and central regions and the latter in southern India. India has 22 officially recognised languages. But around 33 different languages and 2000 dialects have been identified in India. -
Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
“YRF BIG SCREEN CELEBRATIONS” (“ Film
Terms and Conditions of the YRF 50 BIG SCREEN CELEBRATIONS The YRF 50 film festival “YRF BIG SCREEN CELEBRATIONS” (“Film Festival”) is organized to celebrate 50 years of films produced under the Yash Raj Films banner /Yash Raj Films Private Limited (“YRF”) between November 12, 2020 till November 19, 2020 at select cities and cinemas across India. The below mentioned terms and conditions govern the Film Festival from YRF’s perspective. Terms and Conditions: 1. The following films which are owned and produced by YRF (“YRF Films”) will be screened as part of the Film Festival at the sole discretion of YRF’s exhibition partners which own and operate the cinemas – PVR Cinemas, INOX and Cinepolis (each “Cinema Partner”): a. Dilwale Dulhania Le Jayenge b. Veer-Zaara c. Daag d. Kabhi Kabhie e. Mashaal f. Dil To Pagal Hai g. Bunty Aur Babli h. Chak De India i. New York j. Ek Tha Tiger k. Dum Laga Ke Haisha l. Band Bajaa Baraat m. Mardaani n. Tiger Zinda Hai o. Chandni p. Lamhe q. Silsila r. Sathiya s. Rab Ne bana di Jodi t. Sultan u. War v. Darr w. Hum Tum x. Mohabbatein 2. The show timings, the price of the tickets, cinemas and cities of cinema where the YRF Films are exhibited would be solely controlled by the Cinema Partners without any liability to YRF. 3. The Film Festival will be governed by the terms and conditions of each Cinema Partner which may be available at the Cinema Partner’s websites and/or official social media handles. 4. -
Veer–Zaara Regie: Yash Chopra
Veer–Zaara Regie: Yash Chopra Land: Indien 2004. Produktion: Yash Raj Films (Mumbai). Regie: Yash Chopra. Buch: Aditya Chopra. Regie Actionszenen: Allan Amin. Kamera: Anil Mehta. Ton: Anuj Mathur. Musik: Madan Mohan. Neueinspielung: Sanjeev Kohli. Arrangements: R.S. Mani. Liedtexte: Javed Akhtar. Sänger: Lata Mangeshkar, Udit Narayan, Sonu Nigam, Roop Kumar Rathod, Gurdas Mann, Ahmed Hussain, Mohammed Hussain, Mohammed Vakil, Javed Hussain, Pritha Majumder. Ausstattung: Sharmishta Roy. Choreographie: Saroj Khan, Vaibhavi Merchant. Kostüme: Manish Malhotra. Beratung (Drehbuch & Ausstattung): Nasreen Rehman. Schnitt: Ritesh Soni. Produzenten: Yash Chopra, Aditya Chopra. Co-Produzenten: Pamela Chopra, Uday Chopra, Payal Chopra. Aufnahmeleitung: Sanjay Shivalkar, Padam Bhushan. Darsteller: Shahrukh Khan (Veer Pratap Singh), Rani Mukerji (Saamiya Siddiqui), Preity Zinta (Zaara), Kirron Kher, Divya Dutta, Boman Irani, Anupam Kher, Amitabh Bachchan, Hema Malini, Manoj Bajpai, Zohra Segal (Bebe), S.M. Zaheer (Justice Qureshi), Tom Alter (Dr. Yusuf), Gurdas Mann (als er selbst), Arun Bali (Abdul Mallik Shirazi, Razas Vater), Akhilendra Mishra (Gefängniswärter Majid Khan), Rushad Rana (Saahil), Vinod Negi (Ranjeet), Balwant Bansal (Qazi), Rajesh Jolly (Priester), Anup Kanwal Singh (Sänger), Kanwar Jagdish (Glatzkopf im Bus), Dev K. Kantawalla (Munir), Vicky Ahuja (Vernehmungsbeamtin), Ranjeev Verma (Vernehmungsbeamter), Jas Keerat (Junger Cricket-Spieler), Sanjay Singh Bhadli (Bauer), Kulbir Baderson (Töpferin), Shivaya Singh (Kamli), Huzeifa Gadiwalla -
Acoustic Correlate of Focus in Marathi: Production and Perception
Acoustic correlates of focus in Marathi: production and perception Preeti Rao*1, Niramay Sanghvi1, Hansjoerg Mixdorff2, Kamini Sabu1 *Corresponding author: [email protected] 1Department of Electrical Engineering, Indian Institute of Technology Bombay, India 2Beuth University Berlin, Germany Abstract Focus or prominence is an important linguistic function of prosody. The acoustic realisation of prominence in an utterance, in most languages, involves one or more acoustic dimensions while affecting one or more words in the utterance. It is of interest to identify the acoustic correlates as well as their possible interaction in the production and perception of focus. In this article, we consider the acoustics of focus in Marathi. Previous studies on Hindi, the more researched member of the Indo- Aryan family, have reported that the well-known rising F0 pattern on non-final content words in an utterance becomes hyper-articulated when the word is in focus. The associated F0 excursion, duration and intensity increase and are accompanied by post-focal compression of pitch range. A preliminary goal of the present study was to verify whether Marathi exhibits similar behaviour. We used Subject- Object-Verb (SOV) structured utterances with elicited focus on each word by 12 native Marathi speakers. We observed that each narrow focus location is accompanied by a distinct set of local and global acoustic correlates in F0, duration and intensity which closely parallel previous observations on Hindi. F0 cues were also examined via the accent command amplitudes of the Fujisaki model. F0 range, duration and intensity were found to vary significantly with focus condition prompting a study to examine their relative importance in the perceptual judgement of focus. -
Four Ana and One Modem House: a Spatial Ethnography of Kathmandu's Urbanizing Periphery
I Four Ana and One Modem House: A Spatial Ethnography of Kathmandu's Urbanizing Periphery Andrew Stephen Nelson Denton, Texas M.A. University of London, School of Oriental and African Studies, December 2004 B.A. Grinnell College, December 2000 A Disse11ation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Anthropology University of Virginia May 2013 II Table of Contents Introduction Chapter 1: An Intellectual Journey to the Urban Periphery 1 Part I: The Alienation of Farm Land 23 Chapter 2: From Newar Urbanism to Nepali Suburbanism: 27 A Social History of Kathmandu’s Sprawl Chapter 3: Jyāpu Farmers, Dalāl Land Pimps, and Housing Companies: 58 Land in a Time of Urbanization Part II: The Householder’s Burden 88 Chapter 4: Fixity within Mobility: 91 Relocating to the Urban Periphery and Beyond Chapter 5: American Apartments, Bihar Boxes, and a Neo-Newari 122 Renaissance: the Dual Logic of New Kathmandu Houses Part III: The Anxiety of Living amongst Strangers 167 Chapter 6: Becoming a ‘Social’ Neighbor: 171 Ethnicity and the Construction of the Moral Community Chapter 7: Searching for the State in the Urban Periphery: 202 The Local Politics of Public and Private Infrastructure Epilogue 229 Appendices 237 Bibliography 242 III Abstract This dissertation concerns the relationship between the rapid transformation of Kathmandu Valley’s urban periphery and the social relations of post-insurgency Nepal. Starting in the 1970s, and rapidly increasing since the 2000s, land outside of the Valley’s Newar cities has transformed from agricultural fields into a mixed development of planned and unplanned localities consisting of migrants from the hinterland and urbanites from the city center. -
No No 45058 45217 45203 45109 45174 45144 45218 45116 45096
HINDI SONG Ace Karaoke Corp. NO TITLE SINGER NO TITLE SINGER 45058 Aa bhi ja Lucky Ali 45217 Chand Sa Mukhra Ali Haider(P) 45203 Aadat (P) Jal 45109 Chand sitare Kumar Sanu 45174 Aaj Main Oopar Kavita Krishnamoorthy & Kumar Sanu 45176 Chandu Ke Chacha 45144 Aajmain Oopar Kumar Sanu 45218 Channo ki aankh mein(P) Ali Zafar 45116 Aanewala pal jaanewala hai Kishore Kumar 45096 Chhadh Gayi Sonu Nigam & Anuradha Sriram 45141 Aankhe Khuli ho ya ho band Lata Mangeskar 45130 Chhoti chhoti raatein Sonu Nigam 45001 Aankhon se tune ye kya keh diya Kumar Sanu 45047 Chingari koi Bhadke Kishore Kumar 45201 Aao Na Sadhana Sargam & Udit Narayan 45072 Chinna chinna aasai Minmini 45077 Aap jai sa koi meri Nazia Hassan 45069 Choti si Asha Minmini 45045 Aapke pyar mein Alka Yagnik 45063 Chukar mere hum ko Kishore Kumar 45257 Aashiq Banaya Aapne HIMESH RESHAMMIYA, SHREYA GHOSHAL 45284 Chupke Chupke(P) Ghulam Ali 45061 Aashiq hoon mein Sonu Nigam 45121 Chura liya hai tum ne Asha Bosle 45142 Aate aate Alka Yagnik 45148 Churao na dil Udit Narayan 45002 Aati kya Khandala Aamir Khan & Alka Yagnik 45219 Cinderella Sajjad Ali(P) 45003 Ab tere bin Kumar Sanu & Alka Yagnik 45183 Dam Maaro Dam Asha Bhosle 45004 Ae mere humsafar Udit Narayan & Alka Yagnik 45285 Deedar De SUNIDHI CHAUHAN 45173 Agar Main Kahoon Udit Narayan & Alka Yagnik 45097 Deewana Deewana Udit Narayan 45211 Agar Tum Mil Jao SHREYA GHOSHAL 45177 Dekh Le Sunidhi Chauhan & Anu Malik 45098 Ai ajnabee Babul Supriyo 45059 Dekha na Kishore Kumar 45143 Aisa Jadoo Sunidhi Chauhan 45149 Der Se Hua Nadeem shravan -
Responses to 100 Best Acts Post-2009-10-11 (For Reference)
Bobbytalkscinema.Com Responses/ Comments on “100 Best Performances of Hindi Cinema” in the year 2009-10-11. submitted on 13 October 2009 bollywooddeewana bollywooddeewana.blogspot.com/ I can't help but feel you left out some important people, how about Manoj Kumar in Upkar or Shaheed (i haven't seen that) but he always made strong nationalistic movies rather than Sunny in Deol in Damini Meenakshi Sheshadri's performance in that film was great too, such a pity she didn't even earn a filmfare nomination for her performance, its said to be the reason on why she quit acting Also you left out Shammi Kappor (Junglee, Teesri MANZIL ETC), shammi oozed total energy and is one of my favourite actors from 60's bollywood Rati Agnihotri in Ek duuje ke Liye Mala Sinha in Aankhen Suchitra Sen in Aandhi Sanjeev Kumar in Aandhi Ashok Kumar in Mahal Mumtaz in Khilona Reena Roy in Nagin/aasha Sharmila in Aradhana Rajendra Kuamr in Kanoon Time wouldn't permit me to list all the other memorable ones, which is why i can never make a list like this bobbysing submitted on 13 October 2009 Hi, As I mentioned in my post, you are right that I may have missed out many important acts. And yes, I admit that out of the many names mentioned, some of them surely deserve a place among the best. So I have made some changes in the list as per your valuable suggestion. Manoj Kumar in Shaheed (Now Inlcuded in the Main 100) Meenakshi Sheshadri in Damini (Now Included in the Main 100) Shammi Kapoor in Teesri Manzil (Now Included in the Main 100) Sanjeev Kumar in Aandhi (Now Included in Worth Mentioning Performances) Sharmila Togore in Aradhana (Now Included in Worth Mentioning Performances) Sunny Deol in Damini (Shifted to More Worth Mentioning Performances) Mehmood in Pyar Kiye Ja (Shifted to More Worth Mentioning Performances) Nagarjun in Shiva (Shifted to More Worth Mentioning Performances) I hope you will approve the changes made as per your suggestions. -
Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Library Philosophy and Practice (e-journal) Libraries at University of Nebraska-Lincoln 5-2012 Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit Preeti Mahajan Panjab University, [email protected] Neeraj Kumar Singh Panjab University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/libphilprac Part of the Library and Information Science Commons Mahajan, Preeti and Singh, Neeraj Kumar, "Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit" (2012). Library Philosophy and Practice (e-journal). 749. https://digitalcommons.unl.edu/libphilprac/749 http://unllib.unl.edu/LPP/ Library Philosophy and Practice 2012 ISSN 1522-0222 Online Guides to Indian Languages with Particular Reference to Hindi, Punjabi, and Sanskrit Prof. Preeti Mahajan Department of Library and Information Science Panjab University Chandigarh, India Neeraj Kumar Singh Assistant Librarian A C Joshi Library Panjab University Chandigarh, India Introduction India is a multilingual country and the second most populated country on earth There are a quite a number of languages spoken in India. Some of these languages are accepted nationally while others are accepted as dialects of that particular region. The Indian languages belong to four language families namely Indo-European, Dravidian, Austroasiatic (Austric) and Sino-Tibetan. Majority of India's population are using Indo-European and Dravidian languages. The former are spoken mainly in northern and central regions and the latter in southern India. -
Patiala House Good No One Killed Jessica Very Good Phone Booth Very
patiala house good no one killed jessica very good phone booth very good aviator stud,very good surrogates very good sci fi gattaca very ,very good sci fi mirch good swat good,action confession of a drama queen fine,lindsay lohan gone in sixty secind good,car racing life as we know it very good taxi french good cellular kim bashinger,jessca biel good,copied 2 hindi tron legacy good ace ventura :when nature calls good legion fine,lindsay lohan narnia 3 good sholin fine,lindsay lohan enchanted very very good gone with the wind very very good green hornet good lions for lambs very good kings speech very good tropic thunder very very good made of honor very good pareenita very good turning 30 fine mortal kombat 1 good mortal kombat 2 good pretty woman very good warriors way very good butterfly effect 3 very good up in the air very good national security very good harry potter & deathly hallows very good hard breakers fine legally blonde 1 very good legally blonde 2 very good losers very good tomorrow when war begins good tanu weds manu good gulliver travel fine jennifer's body good season of the witch good love and other drugs good american psyco fine aaf-in search of sex good ghost of girlfriend past very good constantine good tees maar khan bakwas prada to nada very good pearl harbour very very good the mechanic fine no string's attached good enemy at the gates very good butterfly effect 2 good the house bunny very good harold and kumar goes to white castle good heartbreakers 2001 good inside job very good miracle vg easy a very good zombiland -
E-Teaching Capsule for Srimad- Bhagavad-Gita by Preeti Patel
E-Teaching Capsule for Srimad- Bhagavad-Gita by Preeti Patel Submission date: 24-Oct-2018 12:04PM (UTC+0530) Submission ID: 1025838127 File name: Preeti_chapters_library.pdf (6.29M) Word count: 39661 Character count: 206277 E-Teaching Capsule for Śrīmad-Bhagavad-Gītā A dissertation submitted to the University of Hyderabad for the award of the degree of Doctor of Philosophy in Sanskrit Studies by Patel Preeti Khimji 10HSPH01 Department of Sanskrit Studies School of Humanities University of Hyderabad Hyderabad 2018 E-Teaching Capsule for Śrīmad-Bhagavad-Gītā A dissertation submitted to the University of Hyderabad for the award of the degree of Doctor of Philosophy in Sanskrit Studies by Patel Preeti Khimji 10HSPH01 under the guidance of Prof. Amba Kulkarni Professor, Department of Sanskrit Studies Department of Sanskrit Studies School of Humanities University of Hyderabad Hyderabad 2018 Declaration I, Patel Preeti Khimji, hereby declare that the work embodied in this dissertation en- titled “E-Teaching Capsule for Śrīmad-Bhagavad-Gītā” is carried out by me under the supervision of Prof. Amba P. Kulkarni, Professor, Department of Sanskrit Studies, University of Hyderabad, Hyderabad and has not been submitted for any degree in part or in full to this university or any other university. I hereby agree that my thesis can be deposited in Shodhganga/INFLIBNET. A report on plagiarism statistics from the University Librarian is enclosed. Patel Preeti Khimji 10HSPH01 Date: Place: Hyderabad Signature of the Supervisor Certificate This is to certify that the thesis entitled E-Teaching Capsule for Śrīmad-Bhagavad- Gītā Submitted by Patel Preeti Khimji bearing registration number 10HSPH01 in par- tial fulfilment of the requirements for the award of Doctor of Philosophy in the School of Humanities is a bonafide work carried out by her under my supervision and guid- ance. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema.