Unit Revised Reference List
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ANNIVERSARY SPECIAL Millenniumpost.In
ANNIVERSARY SPECIAL millenniumpost.in pages millenniumpost NO HALF TRUTHS th28 NEW DELHI & KOLKATA | MAY 2018 Contents “Dharma and Dhamma have come home to the sacred soil of 63 Simplifying Doing Trade this ancient land of faith, wisdom and enlightenment” Narendra Modi's Compelling Narrative 5 Honourable President Ram Nath Kovind gave this inaugural address at the International Conference on Delineating Development: 6 The Bengal Model State and Social Order in Dharma-Dhamma Traditions, on January 11, 2018, at Nalanda University, highlighting India’s historical commitment to ethical development, intellectual enrichment & self-reformation 8 Media: Varying Contours How Central Banks Fail am happy to be here for 10 the inauguration of the International Conference Unmistakable Areas of on State and Social Order 12 Hope & Despair in IDharma-Dhamma Traditions being organised by the Nalanda University in partnership with the Vietnam The Universal Religion Buddhist University, India Foundation, 14 of Swami Vivekananda and the Ministry of External Affairs, Government of India. In particular, Ethical Healthcare: A I must welcome the international scholars and delegates, from 11 16 Collective Responsibility countries, who have arrived here for this conference. Idea of India I understand this is the fourth 17 International Dharma-Dhamma Conference but the first to be hosted An Indian Summer by Nalanda University and in the state 18 for Indian Art of Bihar. In a sense, the twin traditions of Dharma and Dhamma have come home. They have come home to the PMUY: Enlightening sacred soil of this ancient land of faith, 21 Rural Lives wisdom and enlightenment – this land of Lord Buddha. -
Amol and Chitra Palekar
NATYA SHODH SANSTHAN Interview of Amol and ChitraPalekar FROM THE COLLECTIONS OF NATYASHODHSANSTHAN AUDIO LIBRARY Recorded on 1st. July, 1982 NatyaBhavan EE 8, Sector 2, Salt Lake, Kolkata 700091/ Call 033 23217667 visit us at http://www.natyashodh.org https://sites.google.com/view/nssheritagelibrary/home (Amol Palekar&ChitraPalekar came a little late and joined the discussionregarding the scope of theatre and the different forms a playwright tries to explore.) ChitraPalekar It is not that you cannot do a thing. You can do anything, you can do anything. It is not the point. The point is that the basic advantage that cinema has over theatre, the whole mass of audience, you know, all those eight hundred or nine hundred people he can put them to a close-up. This tableau we still see in theatre sitting as a design in a particular frame but here you can break that frame, you can go closer and he can focus your attention on just a little point here and a gesture here, and a gesture there and you know, on stage you will have to show with a torch yet it won’t be visible. Amol Palekar The point is …..Obviously two points come to my mind. First and foremost, suppose you are able to do it, and you are able to hold the audience then why not. The question is – yes, you do it for two hours, just keep one tableau and somebody the off sound is there. If that can hold then I think it will be a perfect valid theatre, why not? Bimal Lath Could it be that we can make 10 plays the same way? Amol Palekar Yes, why not? In fact I think on this issue I will say something which will immediately start a big fight so I will purposely started not for the sake of fight but because I believe in it also. -
Appellate Jurisdiction
Appellate Jurisdiction Daily Supplementary List Of Cases For Hearing On Monday, 26th of April, 2021 CONTENT SL COURT PAGE BENCHES TIME NO. ROOM NO. NO. HONBLE CHIEF JUSTICE THOTTATHIL B. 1 On 26-04-2021 1 RADHAKRISHNAN 1 DB -I At 11:15 AM HON'BLE JUSTICE ARIJIT BANERJEE HON'BLE JUSTICE RAJESH BINDAL 16 On 26-04-2021 2 3 HON'BLE JUSTICE ANIRUDDHA ROY DB - II At 11:15 AM HON'BLE JUSTICE I. P. MUKERJI 37 On 26-04-2021 3 6 HON'BLE JUSTICE MD. NIZAMUDDIN DB - III At 11:15 AM HON'BLE JUSTICE I. P. MUKERJI 3 On 26-04-2021 4 7 HON'BLE JUSTICE MD. NIZAMUDDIN DB - III At 11:15 AM HON'BLE JUSTICE HARISH TANDON 2 On 26-04-2021 5 9 HON'BLE JUSTICE KAUSIK CHANDA DB- IV At 11:15 AM HON'BLE JUSTICE SOUMEN SEN 17 On 26-04-2021 6 26 HON'BLE JUSTICE SAUGATA BHATTACHARYYA DB-V At 11:15 AM HON'BLE JUSTICE SUBRATA TALUKDAR 11 On 26-04-2021 7 33 HON'BLE JUSTICE ABHIJIT GANGOPADHYAY DB At 11:15 AM HON'BLE JUSTICE SUBRATA TALUKDAR 11 2 -04-2021 8 For 7 37 HON'BLE JUSTICE SUBHASIS DASGUPTA DB At 12:55 PM HON'BLE JUSTICE TAPABRATA CHAKRABORTY 28 On 26-04-2021 9 38 HON'BLE JUSTICE TIRTHANKAR GHOSH DB - VII At 11:15 AM HON'BLE JUSTICE SHIVAKANT PRASAD 9 On 26-04-2021 10 58 HON'BLE JUSTICE SUBHASIS DASGUPTA DB At 02:00 PM 9 On 26-04-2021 11 HON'BLE JUSTICE SHIVAKANT PRASAD 59 SB - II At 11:15 AM 13 On 26-04-2021 12 HON'BLE JUSTICE RAJASEKHAR MANTHA 64 SB - III At 11:15 AM 8 On 26-04-2021 13 HON'BLE JUSTICE SABYASACHI BHATTACHARYYA 84 SB - IV At 11:15 AM 26 On 26-04-2021 14 HON'BLE JUSTICE SHEKHAR B. -
Copyright by Kristen Dawn Rudisill 2007
Copyright by Kristen Dawn Rudisill 2007 The Dissertation Committee for Kristen Dawn Rudisill certifies that this is the approved version of the following dissertation: BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT Committee: ______________________________ Kathryn Hansen, Co-Supervisor ______________________________ Martha Selby, Co-Supervisor ______________________________ Ward Keeler ______________________________ Kamran Ali ______________________________ Charlotte Canning BRAHMIN HUMOR: CHENNAI’S SABHA THEATER AND THE CREATION OF MIDDLE-CLASS INDIAN TASTE FROM THE 1950S TO THE PRESENT by Kristen Dawn Rudisill, B.A.; A.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 For Justin and Elijah who taught me the meaning of apu, pācam, kātal, and tuai ACKNOWLEDGMENTS I came to this project through one of the intellectual and personal journeys that we all take, and the number of people who have encouraged and influenced me make it too difficult to name them all. Here I will acknowledge just a few of those who helped make this dissertation what it is, though of course I take full credit for all of its failings. I first got interested in India as a religion major at Bryn Mawr College (and Haverford) and classes I took with two wonderful men who ended up advising my undergraduate thesis on the epic Ramayana: Michael Sells and Steven Hopkins. Dr. Sells introduced me to Wendy Doniger’s work, and like so many others, I went to the University of Chicago Divinity School to study with her, and her warmth compensated for the Chicago cold. -
Volume 1 on Stage/ Off Stage
lives of the women Volume 1 On Stage/ Off Stage Edited by Jerry Pinto Sophia Institute of Social Communications Media Supported by the Laura and Luigi Dallapiccola Foundation Published by the Sophia Institute of Social Communications Media, Sophia Shree B K Somani Memorial Polytechnic, Bhulabhai Desai Road, Mumbai 400 026 All rights reserved Designed by Rohan Gupta be.net/rohangupta Printed by Aniruddh Arts, Mumbai Contents Preface i Acknowledgments iii Shanta Gokhale 1 Nadira Babbar 39 Jhelum Paranjape 67 Dolly Thakore 91 Preface We’ve heard it said that a woman’s work is never done. What they do not say is that women’s lives are also largely unrecorded. Women, and the work they do, slip through memory’s net leaving large gaps in our collective consciousness about challenges faced and mastered, discoveries made and celebrated, collaborations forged and valued. Combating this pervasive amnesia is not an easy task. This book is a beginning in another direction, an attempt to try and construct the professional lives of four of Mumbai’s women (where the discussion has ventured into the personal lives of these women, it has only been in relation to the professional or to their public images). And who better to attempt this construction than young people on the verge of building their own professional lives? In learning about the lives of inspiring professionals, we hoped our students would learn about navigating a world they were about to enter and also perhaps have an opportunity to reflect a little and learn about themselves. So four groups of students of the post-graduate diploma in Social Communications Media, SCMSophia’s class of 2014 set out to choose the women whose lives they wanted to follow and then went out to create stereoscopic views of them. -
Unit I Advertising Chapter1: Role of Advertising Lesson 1: Definition, Introduction to Advertising and Its History
UNIT I ADVERTISING LESSON 1: CHAPTER1: DEFINITION, INTRODUCTION ROLE OF ADVERTISING TO ADVERTISING AND ITS HISTORY Objective Advertising puts across the message in a convincing way, and ADVERTISING AND PROMOTIONS Students by the end of this lesson I expect you to be clear with guides us to take action-buy these products repeatedly. what is advertising and how it has evolved over a period of Now Let’s first understand the definition of advertising. time. The word advertising has its origin from a Latin word The World of Advertising ‘advertire’ which means to turn to. In this first lesson we will start with the discussion on the so- The dictionary meaning of the word is ‘to announce publicly called the glamour’s world and that is advertising where our or to give public notice.’ main focus will be on what is’ advertising? What are its American Marketing association has defined advertising as “any important dimensions? (The standard definition of ad- paid form of non-personal presentation and promotion of vertising includes six elements.) ideas, goods and services by an identified sponsor.” To start with tell me what do you understand from advertising. Advertising is a paid form of communication, although some As all of you would have noticed that, whenever you are forms of advertising, such as public service announcements watching any channel or coming from your home they’re too (PSAs), are donated space and time. many advertisement, but have you ever thought why it is being done? If no, then start thinking and if yes then lets discuss. -
Current Affairs and Events
CURRENT AFFAIRS OF NOVEMBER 2018 NATIONAL CURRENT AFFAIRS AND EVENTS Name the chairman of Information Technology major Wipro and also a philanthropist who was bestowed with the highest French civilian distinction Chevalier de la Legion d’Honneur (Knight of the Legion of Honour)? The award was bestowed on him for his outstanding contribution in Azim Premji developing the information technology industry in India, his economic outreach in France, and his laudable contribution to society as a philanthropist through the Azim Premji Foundation and Azim Premji University. Who has been appointed as the new Chairman of Union Public Service Commission (UPSC)? Arvind Saxena The term of his appointment will be till 07.08.2020 when he attains the age of 65 years or till further orders whichever is earlier. Who has been appointed as the Chairman of National Skill Development Corporation (NSDC) by the Ministry of Skill Development and Entrepreneurship? A M Naik Currently he is the Group Chairman of India’s biggest engineering and construction conglomerate – Larsen & Toubro Limited (L&T). Mohammed Aziz who passed away recently belonged to which field? He has done playback singing for actors such as Amitabh Bachchan, Music Govinda, Rishi Kapoor, Mithun Chakraborty and several others. Who was appointed as Chairperson of the Atomic Energy Regulatory Board Nageshwara Rao (AERB)? Guntur National Projects Which CPSU has been conferred with the status of Miniratna : Category –I Construction by the Government of India in November 2018? Corporation Limited (NPCC) Who has been appointed as the new Chief Election Commissioner Sunil Arora succeeding O P Rawat who retired on November 24? The 49th International Film Festival of India (IFFI) was held in which Goa state? Which film won the coveted Golden Peacock Award at the 49th Donbass International Film Festival of India (IFFI)? Contributed by : www.playquiz2win.com The director of the film was Sergei Loznitsa. -
Between Violence and Democracy: Bengali Theatre 1965–75
BETWEEN VIOLENCE AND DEMOCRACY / Sudeshna Banerjee / 1 BETWEEN VIOLENCE AND DEMOCRACY: BENGALI THEATRE 1965–75 SUDESHNA BANERJEE 1 The roots of representation of violence in Bengali theatre can be traced back to the tortuous strands of socio-political events that took place during the 1940s, virtually the last phase of British rule in India. While negotiations between the British, the Congress and the Muslim League were pushing the country towards a painful freedom, accompanied by widespread communal violence and an equally tragic Partition, with Bengal and Punjab bearing, perhaps, the worst brunt of it all; the INA release movement, the RIN Mutiny in 1945-46, numerous strikes, and armed peasant uprisings—Tebhaga in Bengal, Punnapra-Vayalar in Travancore and Telengana revolt in Hyderabad—had underscored the potency of popular movements. The Left-oriented, educated middle class including a large body of students, poets, writers, painters, playwrights and actors in Bengal became actively involved in popular movements, upholding the cause of and fighting for the marginalized and the downtrodden. The strong Left consciousness, though hardly reflected in electoral politics, emerged as a weapon to counter State violence and repression unleashed against the Left. A glance at a chronology of events from October 1947 to 1950 reflects a series of violent repressive measures including indiscriminate firing (even within the prisons) that Left movements faced all over the state. The history of post–1964 West Bengal is ridden by contradictions in the manifestation of the Left in representative politics. The complications and contradictions that came to dominate politics in West Bengal through the 1960s and ’70s came to a restive lull with the Left Front coming to power in 1977. -
Hindi Theater Is Not Seen in Any Other Theatre
NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
BPL LIST-KOLKATA MUNICIPAL CORPORATION 004 ULB Name :KOLKATA MC ULB CODE: 79 Ward
BPL LIST-KOLKATA MUNICIPAL CORPORATION Ward No: 004 ULB Name :KOLKATA MC ULB CODE: 79 Member Sl Address Name of Family Head Son/Daughter/Wife of BPL ID Year No Male Female Total 1 11/H/5 PAIK PARA ROW KOL 37 ABHIJEET RUDRA BANAMALI RUDRA 3 1 4 1 2 61/3 B T ROAD ABHIJIT THAKUR T THAKUR 3 2 5 2 3 1/H/29 SARBAKHAN ROAD ABHIRAM MAITI LT NAGENDRA NATH MAITI 2 3 5 3 4 B/1/H/5 R.M.RD,KOL-37 ADALAT RAI LATE BABULAL RAI 3 1 4 4 5 18 DUMDUM ROAD ADHIR BARUI LATE ABINAS BARUI 1 2 3 5 6 SABAKHAN ROAD KOL-37 1/H/11 SABAKHAN ROAD KOL-37 ADHIR CHANDRA KARMAKAR LT PALAN CH KARMAKAR 4 2 6 6 7 1/B/H/1 UMAKANTA SEN LANE,KOL-30 ADHIR HALDER LATE SITA NATH HALDER 5 1 6 7 8 21/39 DUM DUM ROAD ADHIR SARKAR LT.ABHYA SARKAR 3 2 5 8 9 DEWAN BAGAN 11/H/5 PAIK PARA RD. AJAY DAS LT BISWANATH DAS 2 2 4 9 10 RANI HARSHAMUKHEE ROAD 49/H/1B RANI HARSHAMUKHEE ROAD AJAY YADAV LT SANKAR PRASAD YADAV 1 3 4 10 11 R.M. ROAD KOL-37 13/3 R.M. ROAD KOL-37 AJIM AKHTAR LT NABIR RASUL 2 4 6 11 12 GOSHALA 26/59 DUMDUM ROAD,KOL-2 AJIT BALMIKI LATE DHARMA BALMIKI 3 2 5 12 13 9/4 RANI BRUNCH ROAD KOL 2 AJIT DEY LT ANANTA DEY 1 3 4 13 14 1/B UMAKANTA SEN LANE AJIT KR. -
Badal Sircar
Badal Sircar Scripting a Movement Shayoni Mitra The ultimate answer [...] is not for a city group to prepare plays for and about the working people. The working people—the factory workers, the peasants, the landless laborers—will have to make and perform their own plays. [...] This process of course, can become widespread only when the socio-economic movement for emancipation of the working class has also spread widely. When that happens the Third Theatre (in the context I have used it) will no longer have a separate function, but will merge with a transformed First Theatre. —Badal Sircar, 23 November 1981 (1982:58) It is impossible to discuss the history of modern Indian theatre and not en- counter the name of Badal Sircar. Yet one seldom hears his current work talked of in the present. How is it that one of the greatest names, associated with an exemplary body of dramatic work, gets so easily lost in a haze of present-day ignorance? While much of his previous work is reverentially can- onized, his present contributions are less well known and seldom acknowl- edged. It was this slippage I set out to examine. I expected to find an ailing man reminiscing of past glories. I was warned that I might find a cynical per- son, an incorrigible skeptic weary of the world. Instead, I encountered an in- domitable spirit walking along his life path looking resolutely ahead. A kind old man who drew me a map to his house and saved tea for me in a thermos. A theatre person extraordinaire recounting his latest workshop in Laos, devis- ing how to return as soon as possible.