INDIA INTERNATIONAL CENTRE V O L U M E X X VI
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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. -
The Mahatma As Proof: the Nationalist Origins of The
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Mahatma Misunderstood: the politics and forms of South Asian literary nationalism Permalink https://escholarship.org/uc/item/77d6z8xw Author Shingavi, Snehal Ashok Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Mahatma Misunderstood: the politics and forms of South Asian literary nationalism by Snehal Ashok Shingavi B.A. (Trinity University) 1997 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Prof. Abdul JanMohamed, chair Prof. Gautam Premnath Prof. Vasudha Dalmia Fall 2009 For my parents and my brother i Table of contents Chapter Page Acknowledgments iii Introduction: Misunderstanding the Mahatma: the politics and forms of South Asian literary nationalism 1 Chapter 1: The Mahatma as Proof: the nationalist origins of the historiography of Indian writing in English 22 Chapter 2: “The Mahatma didn’t say so, but …”: Mulk Raj Anand’s Untouchable and the sympathies of middle-class 53 nationalists Chapter 3: “The Mahatma may be all wrong about politics, but …”: Raja Rao’s Kanthapura and the religious imagination of the Indian, secular, nationalist middle class 106 Chapter 4: The Missing Mahatma: Ahmed Ali’s Twilight in Delhi and the genres and politics of Muslim anticolonialism 210 Conclusion: Nationalism and Internationalism 306 Bibliography 313 ii Acknowledgements First and foremost, this dissertation would have been impossible without the support of my parents, Ashok and Ujwal, and my brother, Preetam, who had the patience to suffer through an unnecessarily long detour in my life. -
Annual Report 2014 - 2015 Ministry of Culture Government of India
ANNUAL REPORT 2014 - 2015 MINISTRY OF CULTURE GOVERNMENT OF INDIA Annual Report 2014-15 1 Ministry of Culture 2 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site Annual Report 2014-15 CONTENTS 1. Ministry of Culture - An Overview – 5 2. Tangible Cultural Heritage 2.1 Archaeological Survey of India – 11 2.2 Museums – 28 2.2a National Museum – 28 2.2b National Gallery of Modern Art – 31 2.2c Indian Museum – 37 2.2d Victoria Memorial Hall – 39 2.2e Salar Jung Museum – 41 2.2f Allahabad Museum – 44 2.2g National Council of Science Museum – 46 2.3 Capacity Building in Museum related activities – 50 2.3a National Museum Institute of History of Art, Conservation and Museology – 50 2.3.b National Research Laboratory for conservation of Cultural Property – 51 2.4 National Culture Fund (NCF) – 54 2.5 International Cultural Relations (ICR) – 57 2.6 UNESCO Matters – 59 2.7 National Missions – 61 2.7a National Mission on Monuments and Antiquities – 61 2.7b National Mission for Manuscripts – 61 2.7c National Mission on Libraries – 64 2.7d National Mission on Gandhi Heritage Sites – 65 3. Intangible Cultural Heritage 3.1 National School of Drama – 69 3.2 Indira Gandhi National Centre for the Arts – 72 3.3 Akademies – 75 3.3a Sahitya Akademi – 75 3.3b Lalit Kala Akademi – 77 3.3c Sangeet Natak Akademi – 81 3.4 Centre for Cultural Resources and Training – 85 3.5 Kalakshetra Foundation – 90 3.6 Zonal cultural Centres – 94 3.6a North Zone Cultural Centre – 95 3.6b Eastern Zonal Cultural Centre – 95 3.6c South Zone Cultural Centre – 96 3.6d West Zone Cultural Centre – 97 3.6e South Central Zone Cultural Centre – 98 3.6f North Central Zone Cultural Centre – 98 3.6g North East Zone Cultural Centre – 99 Detail from Rani ki Vav, Patan, Gujarat, A World Heritage Site 3 Ministry of Culture 4. -
The West Bengal College Service Commission State
THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Abstract Kamaladevi Chattopadhyaya, Anti
ABSTRACT KAMALADEVI CHATTOPADHYAYA, ANTI-IMPERIALIST AND WOMEN'S RIGHTS ACTIVIST, 1939-41 by Julie Laut Barbieri This paper utilizes biographies, correspondence, and newspapers to document and analyze the Indian socialist and women’s rights activist Kamaladevi Chattopadhyaya’s (1903-1986) June 1939-November 1941 world tour. Kamaladevi’s radical stance on the nationalist cause, birth control, and women’s rights led Gandhi to block her ascension within the Indian National Congress leadership, partially contributing to her decision to leave in 1939. In Europe to attend several international women’s conferences, Kamaladevi then spent eighteen months in the U.S. visiting luminaries such as Eleanor Roosevelt and Margaret Sanger, lecturing on politics in India, and observing numerous social reform programs. This paper argues that Kamaladevi’s experience within Congress throughout the 1930s demonstrates the importance of gender in Indian nationalist politics; that her critique of Western “international” women’s organizations must be acknowledged as a precursor to the politics of modern third world feminism; and finally, Kamaladevi is one of the twentieth century’s truly global historical agents. KAMALADEVI CHATTOPADHYAYA, ANTI-IMPERIALIST AND WOMEN'S RIGHTS ACTIVIST, 1939-41 A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of History By Julie Laut Barbieri Miami University Oxford, Ohio 2008 Advisor____________________________ (Judith P. Zinsser) Reader_____________________________ (Mary E. Frederickson) Reader_____________________________ (David M. Fahey) © Julie Laut Barbieri 2008 For Julian and Celia who inspire me to live a purposeful life. Acknowledgements March 2003 was an eventful month. While my husband was in Seattle at a monthly graduate school session, I discovered I was pregnant with my second child. -
RESOURCE MATERIAL on ORIENTATION PROGRAMME Volume – III
UUNIVERSITY GRANTS COMMISSION AACADEMIC SSTAFF CCOLLEGE RESOURCE MATERIAL ON ORIENTATION PROGRAMME Volume – III Dr. A. Singaravel Editor BHARATHIDASAN UNIVERSITY KHAJAMALAI CAMPUS TIRUCHIRAPPALLI-620 023 1 Editor : Dr. A. Singaravel, Director, in charge UGC Academic Staff College, Bharathidasan University, Trichy - 23. Copy right : Bharathidasan University, Trichy - 23. First Edition : 2011 Paper used : 80 GSM TNPL Size : 1 X 8 Demmy Font Size : 12 Points Times New Roman` No. of Pages : No. of Copies : 100 ISBN No. : 978 – 81 – 922810 – 4 - 9 Printed at : Sree Venkateshwara Power Printers, Trichy - 10. Cover page design & Page Making : Ms. R. Sangeetha Computer Assistant, UGC-ASC 2 MESSAGE When I asked Dr.Singaravel, the Director i/c of the Academic Staff College to compile the learning materials used by Resource Persons, he readily agreed to do it. The result is the book you hold in your hands. I am happy to record that the Director has brought these volumes which could be used by participants of Orientation Programmes as Resource Materials. I take this opportunity to congratulate the Director for his proactive initiatives and carry out the vision of Bharathidasan University to be innovative. I thank the University Grants Commission for its fullest support for the progress of the Academic Staff College of Bharathidasan University. I also congratulate Dr.A.Singaravel, Director In-charge of the Academic Staff College and his team for this innovative practice of converting the lecture notes and selected seminar papers of participants, into -
Other String Instruments Catalogue
. Product Catalogue for Other Strings Instruments Contents: 4 Strings Violin…………………………………………………………………………………...1 5 Strings Violin……………………...…………………………………………………………...2 Bulbul Tarang....…………………...…………………………………………………………...3 Classical Veena...…….………………………………………………………………………...4 Dilruba.…………………………………………………………………….…………………..5 Dotara……...……………………...…………………………………………………………..6 Egyptian Harp…………………...…………………………………………………………...7 Ektara..…………….………………………………………………………………………...8 Esraaj………………………………………………………………………………………10 Gents Tanpura..………………...…………………………………………………………11 Harp…………………...…………………………………………………………..............12 Kamanche……….……………………………………………………………………….13 Kamaicha……..…………………………………………………………………………14 Ladies Tanpura………………………………………………………………………...15 Lute……………………...……………………………………………………………..16 Mandolin…………………...…………………………………………………………17 Rabab……….………………………………………………………………………..18 Saarangi……………………………………………………………………………..22 Saraswati Veena………...………………………………………………………….23 Sarinda……………...………………………………………………………….......24 Sarod…….………………………………………………………………………...25 Santoor……………………………………………………………………………26 Soprano………………...………………………………………………………...27 Sor Duang……………………………………………………………………….28 Surbahar……………...…………………………………………………………29 Swarmandal……………….……………………………………………………30 Taus…………………………………………………………………………….31 Calcutta Musical Depot 28C, Shyama Prasad Mukherjee Road, Kolkata-700 025, West Bengal, India Ph:+91-33-2455-4184 (O) Mobile:+91-9830752310 (M) 24/7:+91-9830066661 (M) Email: [email protected] Web: www.calmusical.com /calmusical /calmusical 1 4 Strings Violin SKU: CMD/4SV/1600 -
7376 Sitar and Surbahar
(LYRCD 7376) SITAR AND SURBARHAR Indian Music for Meditation and Love Ustad Imrat Khan, Sitar and Surbahar Shafaat Miadaad Khan, Tabla In this, his first recording made in the United State, Imrat Khan demonstrates his consummate mastery of two instruments, the sitar and the surbahar, the bass sitar, which he introduced to the American concert stage in 1975. Both the sitar and surbahar have developed from the oldest stringed instrument of India, the bin or rudra vina, which consists of two large gourds of equal size joined symmetrically by a round wooden neck. The bin is characterized by its deep, rich voice. The sitar hardly needs introduction to western audiences, but it is worth noting in connection with this recording that there are two basic styles of stringing the instrument to approximate the sound of the bin. In the second style, popularized by Imrat Khan’s family, there are only six main strings with a range of three octaves, on the grounds that the deep tones of the surbahar recreate more effectively the bin’s lower register. The Surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan, Imrat’s father; but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important instruments of North Indian art music. The surbahar is, in effect, a bass sitar, with a practical range of over four octaves. It has a wider neck, thicker strings, and a gourd larger and flatter than that of the sitar. -
Vidya Sastry
ThE Crafts COuncil Of India “...ensuring sustainability of artisans and their craft...” AUGUST 2011 VARANASI – A TAPESTRY IN BROCADE Kasturi Gupta Menon Kashi, Benaras, Varanasi _ “older than history, older than tradition, older even than legend, and looks twice as old as all of them put together”. This, according to the Eicher Guide is how Mark Twain described this holiest of cities. My own exposure to Varanasi had been limited only to the films of Satyajit Ray, to “Aparajito” and its magnificent black and white images of the ghats, to the boy Apu aimlessly wandering around the old haveli where his widowed mother worked, to “Joy Baba Felunath” _ which captured the atmosphere of its winding “gullies”, and of course the river Ganga, whose meandering presence permeated virtually every frame. “I’d like to visit Varanasi”, I had casually mentioned to Purnima towards the beginning of May, “to check out if a new range of cotton and silk saris can be sourced for “Kamala” Kolkata’s Puja exhibition. I’ll ask Gulshan to give me some names of master weavers and craftsmen.” “If you are travelling alone I can accompany you if you like”, Purnima had responded and that is how the two of us set out on our Varanasi pilgrimage in the last week of May, oblivious of how scorching the summer heat could be. Gulshan had armed us with a list containing the names of several master weavers whom we should contact. We had called most of them before we had set out, and so were able to meet each of them over the following three days. -
Annual Report 2011-2012
Annual Report IND I A INTERNAT I ONAL CENTRE 2011-2012 IND I A INTERNAT I ONAL CENTRE New Delhi Board of Trustees Mr. Soli J. Sorabjee, President Justice (Retd.) Shri B.N. Srikrishna (w. e. f. 1st January, 2012) Mr. Suresh Kumar Neotia Professor M.G.K. Menon Mr. Rajiv Mehrishi Dr. (Mrs.) Kapila Vatsyayan Dr. Kavita A. Sharma, Director Mr. N. N. Vohra Executive Members Dr. Kavita A. Sharma, Director Mr. Kisan Mehta Mr. Najeeb Jung Dr. (Ms.) Sukrita Paul Kumar Dr. U.D. Choubey Cmde. (Retd.) Ravinder Datta, Secretary Lt. Gen. V.R. Raghavan Mr. P.R. Sivasubramanian, Hony. Treasurer Mrs. Meera Bhatia Finance Committee Justice (Retd.) Mr. B.N. Srikrishna, Dr. Kavita A. Sharma, Director Chairman Mr. P.R. Sivasubramanian, Hony. Treasurer Mr. M. Damodaran Cmde. (Retd.) Ravinder Datta, Secretary Lt. Gen. (Retd.) V.R. Raghavan Mr. Jnan Prakash, Chief Finance Officer Medical Consultants Dr. K.P. Mathur Dr. Rita Mohan Dr. K.A. Ramachandran Dr. B. Chakravorty Dr. Mohammad Qasim IIC Senior Staff Ms. Premola Ghose, Chief Programme Division Mr. Vijay Kumar Thukral, Executive Chef Mr. Arun Potdar, Chief Maintenance Division Mr. A.L. Rawal, Dy. General Manager (Catering) Ms. Omita Goyal, Chief Editor Mr. Inder Butalia, Sr. Finance and Accounts Officer Dr. S. Majumdar, Chief Librarian Ms. Madhu Gupta, Dy. General Manager (Hostel/House Keeping) Mr. Amod K. Dalela, Administration Officer Ms. Seema Kohli, Membership Officer (w. e. f. August 2011) Annual Report 2011-2012 As always, it is a privilege to present the 51th Annual Report of the India International Centre for the year commencing 1 February 2011 and ending 31 January 2012. -
The and Me Ahatma
The Prabha Khaitan Foundation Chronicle September 2020 I Issue 18 The idea of Mohandas Karamchand Gandhi is eternal, his message universal. In this issue, 14 writers from all walks of life share their experience of encountering the Mahatma's legacy in their everyday lives The Mahatma and Me Pg 4-28 TÊTE-À-TÊTE THE IDENTITY MUSICAL WITH TULLY OF AN INDIAN MUSINGS 40 48 44, 52 INSIDE 2 INSIDE IN PURSUIT OF MANISHA JAIN Communications & Branding Chief, SUCCESS Prabha Khaitan Foundation 30 DAUGHTERS, THE Musings about the DRIVERS OF CHANGE 31 Mahatma and More DIFFERENT STROKES nprecedented" is a word we've all heard many times in the past few months as the pandemic wreaked havoc OF LITERATURE through the world. However, the spirit of the festive 32 Useason bears the fragrance of happiness and hope for better times. I take this opportunity to urge everyone to celebrate THE STORY OF responsibly, in a scaled-down fashion that curbs the spread of the coronavirus, and helps reduce the risk of infecting the ones SARDAR PATEL you love. 36 A few months back, I had read about an organisation in South India that appealed to people to undertake voluntary CELEBRATING HINDI fasting for a day from 6 am to 6 pm as atonement towards 39 the migrants and the marginalised. It was clearly a Gandhian approach to bring about social reform. According to Gandhi, DECODING DEFENCE "What the eyes are for the outer worlds, fasts are for the inner". The philosophies and teachings of Mahatma Gandhi and his 42 vision of India have taken on a special relevance in today's circumstances, whether it is his adherence to truth or non- THE PULL OF violence. -
Classification of Indian Musical Instruments with the General
Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).