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Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
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. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
AACE Annual Meeting 2021 Abstracts Editorial Board
June 2021 Volume 27, Number 6S AACE Annual Meeting 2021 Abstracts Editorial board Editor-in-Chief Pauline M. Camacho, MD, FACE Suleiman Mustafa-Kutana, BSC, MB, CHB, MSC Maywood, Illinois, United States Boston, Massachusetts, United States Vin Tangpricha, MD, PhD, FACE Atlanta, Georgia, United States Andrea Coviello, MD, MSE, MMCi Karel Pacak, MD, PhD, DSc Durham, North Carolina, United States Bethesda, Maryland, United States Associate Editors Natalie E. Cusano, MD, MS Amanda Powell, MD Maria Papaleontiou, MD New York, New York, United States Boston, Massachusetts, United States Ann Arbor, Michigan, United States Tobias Else, MD Gregory Randolph, MD Melissa Putman, MD Ann Arbor, Michigan, United States Boston, Massachusetts, United States Boston, Massachusetts, United States Vahab Fatourechi, MD Daniel J. Rubin, MD, MSc Harold Rosen, MD Rochester, Minnesota, United States Philadelphia, Pennsylvania, United States Boston, Massachusetts, United States Ruth Freeman, MD Joshua D. Safer, MD Nicholas Tritos, MD, DS, FACP, FACE New York, New York, United States New York, New York, United States Boston, Massachusetts, United States Rajesh K. Garg, MD Pankaj Shah, MD Boston, Massachusetts, United States Staff Rochester, Minnesota, United States Eliza B. Geer, MD Joseph L. Shaker, MD Paul A. Markowski New York, New York, United States Milwaukee, Wisconsin, United States CEO Roma Gianchandani, MD Lance Sloan, MD, MS Elizabeth Lepkowski Ann Arbor, Michigan, United States Lufkin, Texas, United States Chief Learning Officer Martin M. Grajower, MD, FACP, FACE Takara L. Stanley, MD Lori Clawges The Bronx, New York, United States Boston, Massachusetts, United States Senior Managing Editor Allen S. Ho, MD Devin Steenkamp, MD Corrie Williams Los Angeles, California, United States Boston, Massachusetts, United States Peer Review Manager Michael F. -
A Retrospective of Modern Indian Art — As Told by the Walls of Taj OVERLEAF
A Retrospective of Modern Indian Art — As Told by The Walls of Taj OVERLEAF V.S. Gaitonde b. 1924 - 2001 ‘Untitled’ (1977), Oil on Canvas Detail — Considered one of V.S Gaitonde’s greatest works, this painting represents the pinnacle of 20th Century abstract art. For over a century, Taj Hotels have enchanted and inspired the world’s most discerning travellers with one of the largest collections of modern Indian art. With a commitment to nurture, support and celebrate talented artists, our hotels provide the perfect backdrop to showcase their work to art connoisseurs and collectors alike. We invite you now to join us on an exclusive tour of some of the signature pieces from our collection. Whilst many grace the public areas of our hotels, some are presented only to our resident guests in the privacy of their accommodations, making this a unique opportunity to view these seminal works. Like the artists represented here, our associates practise their craft with passion and dedication. As proud custodians of tradition and creativity, everything we do is born from a unique combination of meticulous performance and artistry. We believe that when perfected, any form of human endeavour is elevated to an art form. The Practice of Perfect Hospitality is truly Performance.Art DECEMBER/14 JANUARY/15 FEBRUARY/15 S M T W T F S S M T W T F S S M T W T F S The Taj Mahal Palace — 01 02 03 04 05 06 01 02 03 01 02 03 04 05 06 07 Mumbai 07 08 09 10 11 12 13 04 05 06 07 08 09 10 08 09 10 11 12 13 14 14 15 16 17 18 19 20 11 12 13 14 15 16 17 15 16 17 18 19 20 21 21 22 23 24 25 26 27 18 19 20 21 22 23 24 22 23 24 25 26 27 28 28 29 30 31 25 26 27 28 29 30 31 Jehangir Sabavala S M T W T F S b. -
Indian Films on Partition of India
PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Manoj Sharma, 2017 Volume 3 Issue 3, pp. 492 - 501 Date of Publication: 15th December, 2017 DOI-https://dx.doi.org/10.20319/pijss.2017.33.492501 This paper can be cited as: Sharma, M. (2017). Cinematic Representations of Partition of India. PEOPLE: International Journal of Social Sciences, 3(3), 492-501. This work is licensed under the Creative Commons Attribution-Non-commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. CINEMATIC REPRESENTATIONS OF PARTITION OF INDIA Dr. Manoj Sharma Assistant Professor, Modern Indian History, Kirori Mal College, University of Delhi, Delhi-110007 – India [email protected] ________________________________________________________________________ Abstract The partition of India in August 1947 marks a watershed in the modern Indian history. The creation of two nations, India and Pakistan, was not only a geographical division but also widened the chasm in the hearts of the people. The objective of the paper is to study the cinematic representations of the experiences associated with the partition of India. The cinematic portrayal of fear generated by the partition violence and the terror accompanying it will also be examined. Films dealing with partition have common themes of displacement of thousands of masses from their homelands, being called refugees in their own homeland and their struggle for survival in refugee colonies. They showcase the trauma of fear, violence, personal pain, loss and uprooting from native place. -
Asian Art in Mumbai
GALLERY ROUNDUP asian art 17 Asian Art in Mumbai recognised Indian and VOLTE visitors and art enthusiasts, in post-Independence India. By Caroline Eden international artists. Soon to launch its artist Gallery BMB houses a unique The gallery is housed in a Project 88 was one of the residencies, away from the art art bookshop with a dedicated hundred year old British The 3rdI ndia Art Summit, to be held between the first galleries in India to insist district of downtown reading area and onsite café. colonial building with a 20-23 of January 2011 in New Delhi, will showcase some on giving valuable space to Mumbai, Volte has been BMB’s holistic concept is for central gallery area of of the bestIndian modern and contemporary art as well cutting-edge video art, central to the Mumbai art the gallery to be a truly approximately 5000 square as provide a good opportunity for international art to be painting, photography, scene since its launch. Existing interactive space – a cultural feet as well as a smaller display received by a sizeable and judicious art audience. sculpture, and performance. to provide a platform for non- hub that welcomes and area within the larger space. Growing steadily year on year, in terms of size, The 4000 square feet gallery is traditional art and culture in connects people from different www.gallerychemould.com participation, attendance and sales of artworks, India Art located in a renovated the city, it is constantly walks of life with art. Artists Summit currently presents the single largest and most century-old metal printing striving to add to the arena of represented include Avinash PUNDOLE diverse showcase of art in the region. -
Humanties Science (HSS)
DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES Course Number & Title: HS 101 (English Communication Skills) L-T-P-C: 2-0-2-0 Type of Letter Grading (Regular Letter Grades / PP or NP Letter Grades): Kind of Proposal (New Course / Revision of Existing Course): Revision of Existing Course Offered as (Compulsory / Elective): Compulsory Offered to: B Tech/B.Des Semester I Offered in (Odd/ Even / Any): Odd Offered by (Name of Department/ Center): Humanities and Social Sciences Pre-Requisite: A Classroom with movable furniture for flipped class ; Multi-media Language Laboratory Preamble / Objectives (Optional): The Course has the following objectives: The Course will help the learners to develop general proficiency in English in terms of listening, speaking, reading and writing, gain confidence to use grammatically accepted English for communication, gain confidence to speak English intelligibly, learn to use self - study strategies, use interpersonal communication skills effectively, become aware of the skills of critical thinking, information transfer and problem solving, develop analytical skills. Course Content/ Syllabus (as a single paragraph if it is not containing more than one subject. Sub-topics/ Sections may be separated by commas(,). Topics may be separated by Semi-Colons(;). Chapters may be separated by Full-Stop(.). While starting with broad heading, it may be indicated with Colon symbol before the topics. For example: Multi- variable Calculus: Limits of functions, Continuity, ……) General proficiency in English and Communication skills: -
It Is Created and Conditioned by the Regional Theatre Which Has Newly Emerged in the 19Th Cent. the Presentation Of
FILM MUSIC: It is created and conditioned by the Perhaps, it would philosophically be more correct not regional theatre which has newly emerged in the 19 th to think of Structure and Function as two separate things cent. The presentation of this theatre were replete in the at all. They are two aspects, of the mode of existence of songs which are followed and imitated successfully by an object, of an event, of an act of communication, or of the film – music strategically. a work of art. Also Indian film music was a continuation of the LANGUAGE OF FILM tradition popularized and perfected by the musical folk A film consists of three physical elements: drama of various regions like Tamāsha, Jātrā, and 1. Visual shots : Fragments of visual ‘Pictures ’. Kīrtana . These folk dramas with theatrical music were 2. Sound Shots : Fragments of sound ‘Pictures’. not less than the carriers of the heritage so thoroughly 3. Editing : A system by which the fragments i. e. systematized in ancient Sanskrit dramaturgy. Visual shots are combined to form a Whole i.e. the Anthropologically it is true that in all cultures music in continuous film. invariably employed to establish links with the 1. Visual Shots: The visual shot is a fragment. It is not supernatural, the element which enable mythology to a “whole” picture in the sense a still photograph or a have a firm base. So it was evident that the Indian painting is a “whole” picture. cinematic impulse was congenitally bound with music The film picture is a moving picture movie- .In addition to this, Indian music is itself charactarised photography can record and reproduce the physical by the primacy of vocal music. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
Modernisms in India
Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com plicated in the case of India, but remain crucial to a historical understanding of the ‘mod ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic.