I Look at Ghalib's Poetry with Great Surprise by : Editor Published on : 31 Dec, 2020 10:08 AM IST

Total Page:16

File Type:pdf, Size:1020Kb

I Look at Ghalib's Poetry with Great Surprise by : Editor Published on : 31 Dec, 2020 10:08 AM IST I look at Ghalib's poetry with great surprise By : Editor Published On : 31 Dec, 2020 10:08 AM IST INVC NEWS New Delhi, Dr. Uma Sharma Padmabhushan Awardee Kathak Dancer & Ghalib Memorial Movement with the support of Sahitya Kala Parishad Delhi Govt organized two days Mirza Ghalib Festival in National Capital . The aim behind organizing this two days grand event is to celebrate his life and work on his 150th Death Anniversary. The event started with Mushaira dedicated to Ghalib where eminent poets participated in Death Anniversary of Ghalib at India Islamic Cultural Centre, Lodhi Road, New Delhi. Second day of the event was Cultural Dance Programme by Dr. Uma Sharma & group based on Ghalib’s poetry followed by Discussion on Ghalib by Shri Pavan K Verma with Javed Akhtar or Gulzar at India Islamic Cultural Centre, Lodhi Road. Expressing her delight on the occasion Dr Uma Sharma said, Ghalib's poetry is unique, not only for the intensity of emotions, but also for the exquisite charm and profound thoughts that are part of his beautiful world, Mr. Javed Akhtar, poet, lyricist and screenwriter attended the event and interacted with the audience. He said "I look at Ghalib's poetry very wonderfully, because he has not left any aspect of life and emotion which he has not mentioned in his poetry. In the period we keep exploring with time and which keeps us in life, which can never be old " More than thousand art loving audience attended the event, URL : https://www.internationalnewsandviews.com/i-look-at-ghalibs-poetry-with-great-surprise/ www.internationalnewsandviews.com 12th year of news and views excellency Committed to truth and impartiality Copyright © 2009 - 2019 International News and Views Corporation. All rights reserved. www.internationalnewsandviews.com www.internationalnewsandviews.com.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • List of Documentary Films Produced by Sahitya Akademi
    Films Produced by Sahitya Akademi (Till Date) S.No. Author Directed by Duration 1. Amrita Pritam (Punjabi) Basu Bhattacharya 60 minutes 2. Akhtar-ul-Iman (Urdu) Saeed Mirza 60 minutes 3. V.K. Gokak (Kannada) Prasanna 60 minutes 4. Takazhi Sivasankara Pillai (Malayalam) M.T. Vasudevan Nair 60 minutes 5. Gopalkrishna Adiga (Kannada) Girish Karnad 60 minutes 6. Vishnu Prabhakar (Hindi) Padma Sachdev 60 minutes 7. Balamani Amma (Malayalam) Madhusudanan 27 minutes 8. Vinda Karandikar (Marathi) Nandan Kudhyadi 60 minutes 9. Annada Sankar Ray (Bengali) Budhadev Dasgupta 60 minutes 10. P.T. Narasimhachar (Kannada) Chandrasekhar Kambar 27 minutes 11. Baba Nagarjun (Hindi) Deepak Roy 27 minutes 12. Dharamvir Bharti (Hindi) Uday Prakash 27 minutes 13. D. Jayakanthan (Tamil) Sa. Kandasamy 27 minutes 14. Narayan Surve (Marathi) Dilip Chitre 27 minutes 15. Bhisham Sahni (Hindi) Nandan Kudhyadi 27 minutes 16. Subhash Mukhopadhyay (Bengali) Raja Sen 27 minutes 17. Tarashankar Bandhopadhyay (Bengali) Amiya Chattopadhyay 27 minutes 18. Vijaydan Detha (Rajasthani) Uday Prakash 27 minutes 19. Navakanta Barua (Assamese) Gautam Bora 27 minutes 20. Mulk Raj Anand (English) Suresh Kohli 27 minutes 21. Gopal Chhotray (Oriya) Jugal Debata 27 minutes 22. Qurratulain Hyder (Urdu) Mazhar Q. Kamran 27 minutes 23. U.R. Anantha Murthy (Kannada) Krishna Masadi 27 minutes 24. V.M. Basheer (Malayalam) M.A. Rahman 27 minutes 25. Rajendra Shah (Gujarati) Paresh Naik 27 minutes 26. Ale Ahmed Suroor (Urdu) Anwar Jamal 27 minutes 1 27. Trilochan Shastri (Hindi) Satya Prakash 27 minutes 28. Rehman Rahi (Kashmiri) M.K. Raina 27 minutes 29. Subramaniam Bharati (Tamil) Soudhamini 27 minutes 30. O.V.
    [Show full text]
  • 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.
    [Show full text]
  • Once Upon a Time …
    - Ô RUWANTHI ABEYAKOON Happy Valentine’s Day to all those who are celebrating it out there! This week many events will take place with Valentine’s Day in heart. Amid the many celebrations you can also enjoy the art exhibitions, dramas and musical recitals that take place within this week. Read the ‘Cultural Diary’ and know where to head to break away from the busy work schedule. You can also go for the thrilling movies that are screened at well known venues. If there is an event you would like others to know, drop an email to [email protected] or call us on 011 2429652. FEBRUARY show Alex wants many viewers to free their thoughts, invent connections and discover present day myths. None FEBRUARY Once Upon is wrong as none is correct. ‘Is he dead?’ They are all a part of the meaning to be shared. Imagine find- 27 ing in an old suitcase, a collection of drawings and paintings, ‘Is He Dead?’ presented by Elizabeth Moir School will take stage at the there are angels, three wheelers, forms that are based on betel Lionel Wendt, 18, Guildford Crescent, Colombo 7 on February 18 and 19. Barefoot 18 cutters, jungle and ruins. All familiar, but no words beyond enig- Gallery a time Lionel matic titles, you are left to decipher the image for yourselves. Wendt The illustrations of unwritten tales of an unwritten history- These new paintings also reflect something of Alex’s deepen- `Once upon a time’ by Alex Stewart will take place at Barefoot ing recollections of travelling in Sri Lanka over the last 15 years Gallery, 704, Galle road, Colombo 3, until February 27.
    [Show full text]
  • Bollywood Bourgeois Author(S): Rachel Dwyer Source: India International Centre Quarterly, Vol
    Bollywood Bourgeois Author(s): Rachel Dwyer Source: India International Centre Quarterly, Vol. 33, No. 3/4, India 60 (WINTER 2006-SPRING 2007), pp. 222-231 Published by: India International Centre Stable URL: http://www.jstor.org/stable/23006084 . Accessed: 07/11/2013 09:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. India International Centre is collaborating with JSTOR to digitize, preserve and extend access to India International Centre Quarterly. http://www.jstor.org This content downloaded from 146.96.128.36 on Thu, 7 Nov 2013 09:20:14 AM All use subject to JSTOR Terms and Conditions INDIA 60 Bollywood Bourgeois cliche of Indian cinema being the domain of the escapist fantasies of the Indian masses can now be safely put to rest. While this may have been true for The the 1980s, when the study of Indian cinema began to grow, the present cinema audiences, who are willing to pay Rs. 200 and upwards for a cinema ticket, are from various sections of the Indian middle classes and elites. These classes now dominate the public sphere in India and film is one of the major media which they are producing and consuming.
    [Show full text]
  • Sentimental Booklet for Web Copy
    08. Mere Mehboob Qayamat Artiste: Kishore Film: Mr. X In Bombay 01. Mitaa Do Saare - Gulzar 09. Tum Pukar Lo Tumhara 02. Khush Rahe Tu Sada Artiste: Hemant Kumar Artiste: Rafi Film: Khamoshi Film: Khilona 10. Meri Bheegi Bheegi Si 03. Teri Galiyon Mein Artiste: Kishore Artiste: Rafi Film: Anamika Film: Hawas 11. Kuchh Log Mohabbat Karke 04. Pardesiyon Se Na Artiste: Kishore Artiste: Rafi Film: Lava Film: Jab Jab Phool Khile 12. Aao Phir Nazm - Gulzar 05. Koi Hota Jisko Apna Artiste: Kishore 13. Lagi Aaj Sawan Ki Film: Mere Apne Artistes: Suresh Wadkar & Anupama Deshpande 06. Sab Kuchh - Gulzar Film: Chandni 07. O Saathi Re 14. Dost Dost Na Raha Artiste: Kishore Artiste: Mukesh Film: Muqaddar Ka Sikandar Film: Sangam 2 3 15. Hui Sham Unka Khayal 22. Din Dhal Jaye Haye Artiste: Rafi Artiste: Rafi Film: Mere Hamdam Mere Dost Film: Guide 01. Mitaa Do Saare - Gulzar 16. Kuchh To Log Kahenge 23. Mere Toote Huye Dil Se 02. Khush Rahe Tu Sada Artiste: Kishore Artiste: Mukesh Artiste: Rafi Film: Amar Prem Film: Chhalia Film: Khilona 17. Waqt Karta Jo Wafa 24. Hue Hum Jinke Liye 03. Teri Galiyon Mein Artiste: Mukesh Artiste: Rafi Artiste: Rafi Film: Dil Ne Pukara Film: Deedar Film: Hawas 18. Patthar Ke Sanam 25. Koi Sagar Dil Ko Bahlata 04. Pardesiyon Se Na Artiste: Rafi Artiste: Rafi Artiste: Rafi Film: Patthar Ke Sanam Film: Dil Diya Dard Liya Film: Jab Jab Phool Khile 19. Khilona Jan Kar Tum To 26. Chandi Ki Deewar 05. Koi Hota Jisko Apna Artiste: Rafi Artiste: Mukesh Artiste: Kishore Film: Khilona Film: Vishwas Film: Mere Apne 20.
    [Show full text]
  • Download File
    ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 43 The poster of Zabak (1961) directed by Homi Wadia. Out of Sight: Archiving Hidden Histories of Practice Debashree Mukherjee All photographs courtesy Priya Paul Our understanding of Indian cinema would remain incomplete until we acknowledged its supporting cast of hairdressers, poster painters, costume designers, still photographers, makeup artists and numerous other specialists invisible to the public eye. In January 2013, Debashree Mukherjee curated an exhibition of Hindi film memorabilia titled ‘Maya Mahal’, which featured artefacts from the private collection of Priya Paul, Chairperson of Apeejay Surrendra Park Hotels. In this essay, Mukherjee uses examples from the collection to point to hidden histories of work and practice, and to give us a fragmented view of low-budget films, lost genres and the wage-workers who mark each film with their individual skills. ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 44 ArtConnect: The IFA Magazine, Volume 7, Number 1 eterodox in its scope and the elemental contract of cinema range, Priya Paul’s itself: to deliver sensory excitement, Hcollection of film voyeuristic delight and magical memorabilia represents an eccentric worlds. Thus, the exhibition mix of films. There are archives larger showcased genres, practitioners and than this, there are archives that are aesthetics that are often forgotten in more systematic, but the pleasure of a bid to celebrate auteurs and ‘classics’. serendipity springs from This is an alternative history of juxtaposition, not from order and Hindi cinema—one that is decidedly expanse. Comprising approximately excessive, melodramatic, even 5,000 paper artefacts, the Priya Paul utopian.
    [Show full text]
  • Amitabh Bachchan Becomes the First Indian to Be Presented with the FIAF Award
    For Immediate Dissemination Press Release Amitabh Bachchan Becomes the First Indian to Be Presented with the FIAF Award Martin Scorsese and Christopher Nolan to Congratulate the Indian Megastar at a Virtual Showcase India, 10th March 2021 - Indian film luminary Amitabh Bachchan will be conferred with the prestigious 2021 FIAF Award by the International Federation of Film Archives (FIAF), the worldwide organization of film archives and museums from across the world, at a virtual showcase scheduled to take place on March 19, 2021. Mr. Bachchan’s name was nominated by the FIAF affiliate Film Heritage Foundation, a not-for-profit organization founded by filmmaker and archivist Shivendra Singh Dungarpur, dedicated to the preservation, restoration, documentation, exhibition, and study of India’s film heritage. In a landmark moment for Indian cinema, icons of world cinema and film directors Martin Scorsese and Christopher Nolan, who also share a long-standing relationship with India through their affiliation with Film Heritage Foundation, will bestow the award on Mr. Bachchan for his dedication and contribution to the preservation of, and access to, the world’s film heritage for the benefit of present and future generations, at a virtual presentation. The highly regarded National Award-winning film superstar will be the very first Indian to receive this esteemed global award. Previous recipients include legends of world cinema such as Martin Scorsese (2001), Manoel de Oliveira (2002), Ingmar Bergman (2003), Geraldine Chaplin (2004), Mike Leigh (2005), Hou Hsiao-hsien (2006), Peter Bogdanovich (2007), Nelson Pereira dos Santos (2008), Rithy Panh (2009), Liv Ullmann (2010), Kyoko Kagawa (2011), Agnès Varda (2013), Jan Švankmajer (2014), Yervant Gianikian and Angela Ricci Lucchi (2015), Jean-Pierre and Luc Dardenne (2016), Christopher Nolan (2017), Apichatpong Weerasethakul (2018), Jean-Luc Godard (2019), and Walter Salles (2020).
    [Show full text]
  • List of Books in Collection
    Book Author Category Biju's remarks Mera Naam Joker Abbas K.A Novel made into a film by and starring Raj Kapoor Zed Abbas, Zaheer Cricket autobiography of the former Pakistan cricket captain Things Fall Apart Achebe, Chinua Novel Nigerian writer Aciman, Alexander and Rensin, Twitterature Emmett Novel Famous works of fiction condensed to Twitter format The Hitchhiker's Guide To The Galaxy Adams, Douglas Science Fiction a trilogy in four parts The Dilbert Future Adams, Scott Humour workplace humor by the former Pacific Bell executive The Dilbert Principle Adams, Scott Humour workplace humor by the former Pacific Bell executive The White Tiger Adiga, Aravind Novel won Booker Prize in 2008 Teachings of Sri Ramakrishna Advaita Ashram (pub) Essay great saint and philosopher My Country, My Life Advani L.K. Autobiography former Deputy Prime Minister of India Byline Akbar M.J Essay famous journalist turned politician's collection of articles The Woods Alanahally, Shrikrishna Novel translation of Kannada novel Kaadu. Filmed by Girish Karnad Plain Tales From The Raj Allen, Charles (ed) Stories tales from the days of the British rule in India Without Feathers Allen, Woody Play assorted pieces by the Manhattan filmmaker The House of Spirits Allende, Isabelle Novel Chilean writer Celestial Bodies Alharthi, Jokha Novel Omani novel translated by Marilyn Booth An Autobiography Amritraj, Vijay Sports great Indian tennis player Brahmans and Cricket Anand S. Cricket Brahmin community's connection to cricket in the context of the movie Lagan Gauri Anand,
    [Show full text]
  • Rig Veda Samhita
    V.Madhurima Here are a few articles written by me on some aspects of vedism. The six systems of Indian Philosophy Salient features of Vedic Literature Sign Guestbook V.Madhurima I Introduction Man’s glory is not in what he is but in what he makes possible by the study of himself and nature [1]. Philosophy is defined as the study of elements, powers, or causes and laws that explain the facts and existences [2]. Philosophy is subjected to the influence of the race and culture [5] and the practice of religion is nothing but a quest for the facts of inner life [6]. In India philosophy and life are inter- linked and helped to withstand numerous external invasions and internal disturbances [3]. Except for Charvakas who believed that materialistic gains lead to salvation, there was no place for materialistic gains in the Indian thought. Philosophy in India deals with both the cleansing of body and mind a concept well known to Indians. Indeed philosophy in India is Aatma vidya, knowledge of the self and "Aatmaanam Viddhi", know the self, sums up the Indian thought [3]. Although Indian philosophy (Darshana, to see) uses reasoning extensively yet it believes that intuition is the only way by which the ultimate truth can be known because in Indian philosophy truth is not known but realised. Acceptance of Vedas as source of ultimate knowledge, intuition and inference unifies the various philosophical schools of India. Although all schools use words like avidya, maya, purusha and jiva, their interpretation is given differently [6]. Another common feature of the different schools is in their non-acceptance of the Buddhist philosophy.
    [Show full text]
  • ANS 372 Bollywood & Society © Gautami Shah Unique # 32274 Note
    ANS 372 Bollywood & Society © gautami shah Unique # 32274 Note: Since this course is a repeatable course, in order to factor the background of the participants in the course, the full syllabus for the course shall be uploaded only after the first week of classes. This document is only reflective of the first two classes and course requirements in terms of work load and grading policy and other class policies. ! Spring 2020 gautami shah (she/her/hers) Topic Title: Bollywood: Shaker, Maker or Breaker of Society? FLAG: This course carries the Global Cultures Flag. Course Description: This course explores the dual role of Bollywood in society, viz., that as an agent of social change on the one hand, and as a mirror of social reality on the other. By examining the representations of South Asian society in Bollywood over the years, as well as the influence of Bollywood cinema on society at various points in South Asian history, this course begs us to critically reevaluate the role of cinema and popular culture as mere entertainment in society. Topics explored will include the relationship between Hindi cinema and the concept of “nation”; notions and representations of “self” and “other”Hindi cinema and representations, roles and perceptions of gender; Hindi cinema and the diaspora; notions of tradition and modernity; centers and margins of society; the role of caste, religion and class in shaping HIndi cinema and vice-versa. Students who have had no prior experience with South Asian literature and cinema will get an exposure to a new world-view. Students who have already been exposed to South Asian literature and cinema will find and articulate new ways of approaching and interpreting the material.
    [Show full text]