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The Literary Herald
ISSN : 2454-3365 THE LITERARY HERALD AN INTERNATIONAL REFEREED ENGLISH E-JOURNAL A Quarterly Indexed Open-access Online JOURNAL Vol.1, No.1 (June 2015) Editor-in-Chief: Dr. Siddhartha Sharma Managing Editor: Dr. Sadhana Sharma www.TLHjournal.com [email protected] hhhhhhhhhhhhhhhhhhkkkkkkkkkkkkkkkkk;khngggh www.TLHjournal.com The Literary Herald ISSN: 2454-3365 An International Refereed English e-Journal The Representation of Agony during Partition as shown in M S Sathyu’s film “Garm Hawa” Ms Rekha Paresh Parmar Associate Professor Department of English Veer Narmad South Gujarat University, Surat Abstract “Garm Hawa” (Scorching Winds/Hot Winds) is a 1973 Hindi Urdu drama film directed by M S Sathyu with veteran actor Balraj Sahni as the lead. It was written by Kaifi Azmi and Shama Zaidi, based on an unpublished short story by a famous Urdu writer Ismat Chughtai. This controversial film has won several national awards in 1974 including a National Integration award. This political narrative deals with the plight of a North Indian Muslim businessman Salim Mirza and his family in 1947 in Agra. He is a patriot and a Muslim shoemaker, struggles to survive in this pathetic and critical condition of communal riots. He is in a dilemma either to live in India or to emigrate to Pakistan like his other family members. The Mirza family suffers for not doing anything wrong in this post-partition environment. They could neither manage their business nor got the job. The social and marital relations are affected. Salim Mirza’s elder son Baqar moves to Pakistan with his family. His daughter Amina is frustrated having two affairs with her cousins and committed suicide. -
Muhammad Umar Memon Bibliographic News
muhammad umar memon Bibliographic News Note: (R) indicates that the book is reviewed elsewhere in this issue. Abbas, Azra. ìYouíre Where Youíve Always Been.î Translated by Muhammad Umar Memon. Words Without Borders [WWB] (November 2010). [http://wordswithoutborders.org/article/youre-where-youve-alwaysbeen/] Abbas, Sayyid Nasim. ìKarbala as Court Case.î Translated by Richard McGill Murphy. WWB (July 2004). [http://wordswithoutborders.org/article/karbala-as-court-case/] Alam, Siddiq. ìTwo Old Kippers.î Translated by Muhammad Umar Memon. WWB (September 2010). [http://wordswithoutborders.org/article/two-old-kippers/] Alvi, Mohammad. The Wind Knocks and Other Poems. Introduction by Gopi Chand Narang. Selected by Baidar Bakht. Translated from Urdu by Baidar Bakht and Marie-Anne Erki. New Delhi: Sahitya Akademi, 2007. 197 pp. Rs. 150. isbn 978-81-260-2523-7. Amir Khusrau. In the Bazaar of Love: The Selected Poetry of Amir Khusrau. Translated by Paul Losensky and Sunil Sharma. New Delhi: Penguin India, 2011. 224 pp. Rs. 450. isbn 9780670082360. Amjad, Amjad Islam. Shifting Sands: Poems of Love and Other Verses. Translated by Baidar Bakht and Marie Anne Erki. Lahore: Packages Limited, 2011. 603 pp. Rs. 750. isbn 9789695732274. Bedi, Rajinder Singh. ìMethun.î Translated by Muhammad Umar Memon. WWB (September 2010). [http://wordswithoutborders.org/article/methun/] Chughtai, Ismat. Masooma, A Novel. Translated by Tahira Naqvi. New Delhi: Women Unlimited, 2011. 152 pp. Rs. 250. isbn 978-81-88965-66-3. óó. ìOf Fists and Rubs.î Translated by Muhammad Umar Memon. WWB (Sep- tember 2010). [http://wordswithoutborders.org/article/of-fists-and-rubs/] Granta. 112 (September 2010). -
Shemaroo Entertainment Limited
DRAFT RED HERRING PROSPECTUS Dated September 19, 2011 Please read section 60B of the Companies Act, 1956 (This Draft Red Herring Prospectus will be updated upon filing with the RoC) 100% Book Building Issue SHEMAROO ENTERTAINMENT LIMITED Our Company was originally incorporated as a private limited company under the Companies Act, 1956 on December 23, 2005, with the name Shemaroo Holdings Private Limited. Subsequently, pursuant to a Scheme of Arrangement approved by the Hon’ble High Court of Bombay vide order dated March 7, 2008 and by the special resolution of our shareholders dated May 28, 2008, the name of our Company was changed to Shemaroo Entertainment Private Limited and a fresh certificate of incorporation was granted to our Company on June 3, 2008, by the RoC. Thereafter, pursuant to a special resolution of our shareholders dated March 26, 2011, our Company was converted to a public limited company and a fresh certificate of incorporation consequent to the change of status was granted on April 1, 2011, by the RoC. For further details in connection with changes in the name and registered office of our Company, please refer to the section titled “History and Certain Corporate Matters” on page 95 of this Draft Red Herring Prospectus. Registered and Corporate Office: Shemaroo House, Plot No.18, Marol Co-operative Industrial Estate, Off Andheri Kurla Road, Andheri East, Mumbai- 400059 Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 Contact Person and Compliance Officer: Mr. Ankit Singh, Company Secretary; Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 E-mail: [email protected]; Website: www.shemaroo.com PROMOTERS OF OUR COMPANY: MR. -
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. -
Modernism and the Progressive Movement in Urdu Literature
American International Journal of Contemporary Research Vol. 2 No. 3; March 2012 Modernism and the Progressive Movement in Urdu Literature Sobia Kiran Asst. Professor English Department LCWU, Lahore, Pakistan Abstract The paper aims at exploring salient features of Progressive Movement in Urdu literature and taking into account points of comparison with Modernism in Europe. The paper explores evolution of Progressive Movement over the years and traces influence of European Modernism on it. Thesis statement: The Progressive Movement in Urdu literature was tremendously influenced by European Modernism. 1. Modernism The term Modernism is used to distinguish the literature that developed out of the First World War. Modernism deliberately broke with Western traditions of certainty. It came into being as they were collapsing. It challenged all the old modes. Important precursors of Modernism were Nietzsche, Freud and Marx who in different degrees rejected certainties in religion, philosophy, psychology and politics. They came to distrust the stability and order offered in earlier literary works. It broke with literary conventions. Like any new movement it rebelled against the old. It was nihilistic and tended to believe in its own self sufficiency. “Readers were now asked to look into themselves, to establish their real connections with the world and to ignore the rules of religion and society. Modernism wants therefore to break the old connections, because it believes that these are artificial and exploitative…” (Smith, P.xxi) The people are provoked to think and decide for themselves. They are expected to reconstruct their moralities. The concern for social welfare continued. “Every period has its dominant religion and hope…and “socialism” in a vague and undefined sense was the hope of the early twentieth century.”(Smith xiii) Marxism suffered an eclipse after the Second World War. -
Annual Report 2019 Contents
Comhairle Contae Mhuineacháin Tuarascáil Bhliantúil 2019 Monaghan County Council Annual Report 2019 Contents Foreword Page 2 – 3 District Map/Mission Statement Page 4 List of Members of Monaghan County Council 2019 Page 5 Finance Section Page 6 Corporate Services Page 7 – 9 Corporate Assets Page 10 – 13 Information Systems Page 13 – 15 Human Resources Page 16 – 17 Corporate Procurement Page 18 – 19 Health and Safety Page 19 – 20 The Municipal District of Castleblayney-Carrickmacross Page 21 – 24 The Municipal District of Ballybay-Clones Page 25 – 28 The Municipal District of Monaghan Page 29 – 33 Museum Page 34 – 35 Library Service Page 36 – 39 County Heritage Office Page 40 – 44 Arts Page 45 – 48 Tourism Page 48 – 51 Fire & Civil Protection Page 51 – 56 Water Services Page 56 – 62 Housing and Building Page 62 – 64 Planning Page 65 – 69 Environmental Protection Page 69 – 74 Roads and Transportation Page 74 – 76 Community Development Page 76 – 85 Local Enterprise Office Page 85 - 88 Strategic Policy Committee Updates Page 88 -89 Councillor Representations on External and Council Committees Page 90 -96 Conference Training attended by members Page 97 Appendix I - Members Expenses 2019 Page 98 – 99 Appendix II - Financial Statement 2019 Page 100 1 Foreword We welcome the publication of Monaghan County Council’s Annual Report for 2019. The annual report presents an opportunity to present the activities and achievements of Monaghan County Council in delivering public services and infrastructural projects during the year. Throughout 2019, Monaghan County Council provided high quality, sustainable public services aimed at enhancing the economic, environmental and cultural wellbeing of our people and county. -
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 -
Rajit Kapur, Shernaz Patel on Performing 'Love Letters' at Delhi's Old World Theatre Festival
Oct, 08 2017 Rajit Kapur, Shernaz Patel on performing 'Love Letters' at Delhi's Old World Theatre Festival Fifteen plays. Ten days. The 2017 edition of the Old World Theatre Festival (OWTF) that kick-started on 6 October 2017 at the India Habitat Centre, New Delhi, has theatre lovers rejoicing at the return of some of the most prestigious productions on stage. In an exclusive chat with us, veteran thespians Rajit Kapur and Shernaz Patel spoke about one of their longest- running plays — Love Letters (directed by Rahul da Cunha), the relevance of handwritten letters in a digital world, and their memories of working with one of the stalwarts of Indian theatre, Tom Alter. Love At A Click Letters are passé. The ink doesn’t flow freely, and emotions are bunched up in 140 characters or less. Does a play on love letters have any meaning, then? For Rajit Kapur, love letters are precious. “Letters have become a novelty in today’s age. If someone receives a letter, it becomes really special and cherished by the person. The value of a letter has really gone up,” he says. Shernaz Patel too endorses the magic of handwritten letters and says, “I think love letters matter now more than ever. In an age where people make up and break up on SMS, it’s so important to remember the absolute beauty and power of words. We all love receiving cards and notes that we can keep forever... that don’t get erased with the click of a button.” Rajit and Shernaz perform Love Letters Oct, 08 2017 Love Letters Sans Letters AR Gurney’s epistolary play Love Letters, which premiered in 1988, has had several adaptations over the years — Javed Siddiqui’s Tumhari Amrita (starring Shabana Azmi and Farooq Sheikh, directed by Feroz Abbas Khan) being one of the most popular. -
Downloaded from Cracku.In
SSC Stenographer 5 Feb 2019 Shift-II All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, or stored in any retrieval system of any nature without the permission of cracku.in, application for which shall be made to [email protected] Downloaded from cracku.in . Reasoning Instructions For the following questions answer them individually Question 1 Which Venn diagram best represents the given set of classes? Animals. Mammals, Goat A B C D Answer: D Explanation: All goat are mammals and all mammals are animals. So, Option D is correct. Daily Free Online GK tests Question 2 Which one set of letters when sequentially placed at the gaps in the given letter series would complete it? fgg_gff_f_gfg_fgf A fggf B ccfc C fgfg D ffgg Answer: A Explanation: In this given series we will place each option sequentially in the gap. So, when we place the letters fggf then, (fggf) (gffg) (fggf) (gffg) f Downloaded from cracku.in . Question 3 Select the correct option that will fill in the blank and complete the series. 0, 2, 3, 5, 10, 18, 33, 61, 112, ......... A 178 B 198 C 186 D 206 Answer: D Explanation: 0, 2, 3, 5, 10, 18, 33, 61, 112 Pattern is Consider 0+2+3=5, 3+5+10=18, 5+10+18= 33,18+33+61=112, 33+61+112=206. Question 4 Vilas went from his home to his college. He started his journey facing East. -
Normed Children
Erik Schneider, Christel Baltes-Löhr (eds.) Normed Children Gender Studies Erik Schneider, Christel Baltes-Löhr (eds.) Normed Children Effects of Gender and Sex Related Normativity on Childhood and Adolescence This publication is the English version of “Normierte Kinder. Effekte der Ge- schlechternormativität auf Kindheit und Adoleszenz” edited by Erik Schneider and Christel Baltes-Löhr in 2014. A third unchanged edition has been publis- hed by transcript Verlag in 2018. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commer- cial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. © 2018 transcript Verlag, Bielefeld All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. -
Edited Form for Upload 2
Name Title and Affiliation 1 Jinee Lokaneeta Professor, Drew University 2 Bhavani Raman Associate Professor, University of Toronto 3 Gopal Guru Former Professor, JNU, Editor, EPW 4 Arjun Appadurai Professor, New York University and Hertie School (Berlin) 5 Veena Das Professor, Johns Hopkins University 6 David Harvey Distinguished Professor, The Graduate Center of the City University of New York 7 G N Devy Chairman, People’s Linguistic Survey of India 8 Faisal Devji Professor of Indian History, University of Oxford 9 Chandra Talpade Mohanty Distinguished Professor, Syracuse University 10 Joan Scott Professor Emerita School of Social Science Institute for Advanced Study, Princeton 11 Natalie Zemon Davis Professor of History Emeritus, Princeton University 12 Rajeswari Sunder Rajan Professor, New York University 13 Chayanika Shah Member, LABIA - A Queer Feminist LBT Collective Mumbai 14 Geeta Seshu Joint Founder-Editor, Free Speech Collective 15 Nandita Haksar Advocate and Writer 16 Romila Thapar Professor Emerita, Jawaharlal Nehru University 17 Akeel Bilgrami Professor of Philosophy, Columbia University 18 Alladi Sitaram Professor (Retd.), Indian Statistical Institute 19 Soni Sori Activist, Bastar 20 Nirjhari Sinha Chairperson Jan Sangharsh Manch, Ahmedabad 21 Rajesh Mahapatra Journalist 22 Shabnam Hashmi Founding Trustee, Anhad 23 Ali Kazimi Filmmaker and Associate Professor, York University, Canada 24 V. Geetha Independent Scholar 25 Sugata Bose Gardiner Professor of Oceanic History and Affairs, Harvard University 26 Prof. C. Lakshmanan Dalit Intellectual Collective 27 Saheli- Women's Resource Centre Autonomous Women's Group 28 Anand Patwardhan Filmmaker 29 Rinaldo Walcott Professor, University of Toronto 30 Utsa Patnaik Professor Emeritus, JNU 31 Dolly Kikon Faculty. The University of Melbourne 32 Anjali Monteiro Professor, Tata Institute of Social Sciences 33 Tarun Bhartiya Raiot Collective 34 Partha Chatterjee Professor of Anthropology, Columbia University 35 Jodi Dean Professor, Hobart-William Smith 36 Prabhat Patnaik Professor Emeritus, JNU. -
Introduction 1
Notes Introduction 1. Abha Dawesar, Babyji (New Delhi: Penguin, 2005), p. 1. 2. There are pitfalls when using terms like “gay,” “lesbian,” or “homosexual” in India, unless they are consonant with “local” identifications. The prob- lem of naming has been central in the “sexuality debates,” as will shortly be delineated. 3. Hoshang Merchant, Forbidden Sex, Forbidden Texts: New India’s Gay Poets (London: Routledge, 2009), p. 62. 4. Fire, dir. by Deepa Mehta (Trial by Fire Films, 1996) [on DVD]. 5. Geeta Patel, “On Fire: Sexuality and Its Incitements,” in Queering India, ed. by Ruth Vanita (London: Routledge, 2002), pp. 222–233; Jacqueline Levitin, “An Introduction to Deepa Mehta,” in Women Filmmakers: Refocusing, ed. by Jacqueline Levitin, Judith Plessis, and Valerie Raoul (Vancouver: UBC Press, 2002), pp. 273–283. 6. A Lotus of Another Color, ed. by Rakesh Ratti (Boston: Alyson Publi- cations, 1993); Queering India, ed. by Ruth Vanita; Seminal Sites and Seminal Attitudes—Sexualities, Masculinities and Culture in South Asia, ed. by Sanjay Srivastava (New Delhi: Sage Publications, 2004); Because I Have a Voice: Queer Politics in India, ed. by Arvind Narrain and Gautam Bhan (New Delhi: Yoda Press, 2005); Sexualities, ed. by Nivedita Menon (New Delhi: Women Unlimited, 2007); The Phobic and the Erotic: The Politics of Sexualities in Contemporary India, ed. by Brinda Bose and Suhabrata Bhattacharyya (King’s Lynn: Seagull Books, 2007). 7. Walter Jost and Wendy Olmsted, “Introduction,” in A Companion to Rhetoric and Rhetorical Criticism, ed. by Walter Jost and Wendy Olmsted (Oxford: Blackwell, 2004), pp. xv–xvi (p. xv). 8. Quest/Thaang, dir.