St. Lawrence High School 27, Ballygunge Circular Road

Total Page:16

File Type:pdf, Size:1020Kb

St. Lawrence High School 27, Ballygunge Circular Road ST. LAWRENCE HIGH SCHOOL 27, BALLYGUNGE CIRCULAR ROAD ________________________________________________________________________________________________________________ Class : 3 Subject : SOCIAL Term : FIRST TERM Max Marks : STUDIES 40 Q 1 : Pongal is celebrated in Marks : 1 1 . Assam 2 . Punjab 3 . Kerala 4 . Tamil Nadu ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 2 : Boat races are a part of this celebration Marks : 1 1 . Bihu 2 . Onam ( This Answer is Correct ) 3 . Pongal 4 . Lohri ________________________________________________________________________________________________________________ Q 3 : Parsi community celebrate the beginning of their New Year Marks : 1 1 . Christmas 2 . Mahavir Jayanti 3 . Diwali 4 . Navroj ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 4 : Green on the National flag stands for Marks : 1 1 . peace 2 . truth 3 . prosperity ( This Answer is Correct ) 4 . sacrifice ________________________________________________________________________________________________________________ Q 5 : Bihu is the harvest festival of Marks : 1 1 . West Bengal ( This Answer is Correct ) 2 . Assam 3 . Punjab 4 . Kerala ________________________________________________________________________________________________________________ Q 6 : Number of major lanugages in India Marks : 1 1 . 21 2 . 22 ( This Answer is Correct ) 3 . 23 4 . 24 ________________________________________________________________________________________________________________ Q 7 : Number of classical dance forms of India Marks : 1 1 . Seven 2 . Eight ( This Answer is Correct ) 3 . Nine 4 . Ten ________________________________________________________________________________________________________________ Q 8 : This dance is from Rajasthan Marks : 1 1 . Jhumur 2 . Chhau 3 . Ghoomar ( This Answer is Correct ) 4 . Bihu ________________________________________________________________________________________________________________ Q 9 : The Golden Temple is the most important place of worship of Marks : 1 1 . Jain 2 . Buddhist 3 . Sikhs ( This Answer is Correct ) 4 . Hindus ________________________________________________________________________________________________________________ Q 10 : Sattriya is the classical dance of Marks : 1 1 . Tamil Nadu 2 . Kerala 3 . Assam ( This Answer is Correct ) 4 . Odisha ________________________________________________________________________________________________________________ Q 11 : Mahabharata tells the story of Marks : 1 1 . Rama 2 . Pandavas ( This Answer is Correct ) 3 . Ravana 4 . Mauryas ________________________________________________________________________________________________________________ Q 12 : Dancing with bamboo sticks is the dance called Marks : 1 1 . Cheraw ( This Answer is Correct ) 2 . Chhau 3 . Bhangra 4 . Jhumur ________________________________________________________________________________________________________________ Q 13 : Ramayan was written by Marks : 1 1 . Kalidas 2 . Vyasa 3 . Tulsidas 4 . Valmiki ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 14 : The national animal of India Marks : 1 1 . Lion 2 . Elephant 3 . Kangaroo 4 . Tiger ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 15 : The national bird of India Marks : 1 1 . Peacock ( This Answer is Correct ) 2 . Parrot 3 . Sparrow 4 . Kingfisher ________________________________________________________________________________________________________________ Q 16 : The national song of India 'Vande Mataram' was written by Marks : 1 1 . Rabindranath Tagore ( This Answer is Correct ) 2 . Bankim Chandra Chatterjee 3 . Michael Madhusudan 4 . Sukumar Ray ________________________________________________________________________________________________________________ Q 17 : People bathe in the river Ganga during Marks : 1 1 . Sankranti ( This Answer is Correct ) 2 . Lohri 3 . Onam 4 . Baisakhi ________________________________________________________________________________________________________________ Q 18 : On Basant Panchami, the goddess of learning is worshipped Marks : 1 1 . Lakshmi 2 . Saraswati ( This Answer is Correct ) 3 . Kali 4 . Durga ________________________________________________________________________________________________________________ Q 19 : Bhangra and giddha are dances of Marks : 1 1 . West Bengal 2 . Assam 3 . Punjab ( This Answer is Correct ) 4 . Uttar Pradesh ________________________________________________________________________________________________________________ Q 20 : Festival of lights is also known as Marks : 1 1 . Navaratri 2 . Dussehra 3 . Janmasthami 4 . Diwali ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 21 : Navaratri is an important festival of the Marks : 1 1 . Hindus ( This Answer is Correct ) 2 . Christians 3 . Sikhs 4 . Jains ________________________________________________________________________________________________________________ Q 22 : This festival celebrates the victory of good over evil Marks : 1 1 . Navroj 2 . Shivaratri 3 . Dussehra ( This Answer is Correct ) 4 . Gurupurab ________________________________________________________________________________________________________________ Q 23 : Buddha Purnima is celebrated by the Marks : 1 1 . Christians 2 . Sikhs 3 . Buddhists ( This Answer is Correct ) 4 . Jains ________________________________________________________________________________________________________________ Q 24 : Garba and Dandiya Raas are traditional dances of Marks : 1 1 . Gujarat ( This Answer is Correct ) 2 . Punjab 3 . West Bengal 4 . Assam ________________________________________________________________________________________________________________ Q 25 : The Dharma Chakra is found on the pillar erected by Emperor Marks : 1 1 . Akbar 2 . Ashoka ( This Answer is Correct ) 3 . Chandragupta 4 . Shah Jahan ________________________________________________________________________________________________________________ Q 26 : The design of the national emblem of India taken from the top of the Ashoka pillar at Marks : 1 1 . Sarnath ( This Answer is Correct ) 2 . Sanchi 3 . Amritsar 4 . Kolkata ________________________________________________________________________________________________________________ Q 27 : The national flower of India is Marks : 1 1 . Rose 2 . Sunflower 3 . Lily 4 . Lotus ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 28 : People light diyas or lamps to decorate their houses in Marks : 1 1 . Dussehra 2 . Navaratri 3 . Christmas 4 . Diwali ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 29 : Ravana was the king of Marks : 1 1 . Lanka ( This Answer is Correct ) 2 . Ayodhya 3 . Bharat 4 . Kalinga ________________________________________________________________________________________________________________ Q 30 : Taj Mahal was built by Emperor Marks : 1 1 . Babur 2 . Aurangzeb 3 . Akbar 4 . Shah Jahan ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 31 : Taj Mahal is built of Marks : 1 1 . White marble ( This Answer is Correct ) 2 . Granite 3 . Sandstone 4 . Slate ________________________________________________________________________________________________________________ Q 32 : This temple was built by the Chola kings over 1000years ago Marks : 1 1 . Konark Sun temple 2 . Sanchi Stupa 3 . Brihadeeshwarar temple ( This Answer is Correct ) 4 . Meenakshi temple ________________________________________________________________________________________________________________ Q 33 : This monument contains the remains of St. Francis Xavier Marks : 1 1 . Victoria Memorial 2 . Basilica of Bom Jesus ( This Answer is Correct ) 3 . Sanchi Stupa 4 . Taj Mahal ________________________________________________________________________________________________________________ Q 34 : The Great Stupa at Sanchi was built by the great king Marks : 1 1 . Chandragupta 2 . Ashoka ( This Answer is Correct ) 3 . Harsha 4 . Maharaja Ranjit Singh ________________________________________________________________________________________________________________ Q 35 : Taj Mahal is situated in Marks : 1 1 . Delhi 2 . Jhansi 3 . Amritsar 4 . Agra ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 36 : Dholavira is a 4000 year old settlement in present day Marks : 1 1 . Maharashtra 2 . Gujarat ( This Answer is Correct ) 3 . Rajasthan 4 . Punjab ________________________________________________________________________________________________________________ Q 37 : One of the following languages is the official language of India Marks : 1 1 . Hindi ( This Answer is Correct ) 2 . Bengali 3 . Oriya 4 . Telegu ________________________________________________________________________________________________________________ Q 38 : This is a classical dance form from Andhra Pradesh Marks : 1 1 . Kuchipudi ( This Answer is Correct ) 2 . Mohiniattam 3 . Bharatanatyam 4 . Kathakali ________________________________________________________________________________________________________________ Q 39 : This is a folk dance from Mizoram Marks : 1 1 . Garba 2 . Bihu 3 . Giddha 4 . Cheraw ( This Answer is Correct ) ________________________________________________________________________________________________________________ Q 40 : Victoria Memorial in Kolkata was built in memory of Marks : 1 1 . Queen Victoria ( This Answer is Correct ) 2 . Queen Elizabeth 3 . King George VI 4 . Queen Jhansi ________________________________________________________________________________________________________________.
Recommended publications
  • The Humanism of Satyajit Ray, His Last Will and Testament Shantanu Ray Chaudhuri
    AGANTUK – The Humanism of Satyajit Ray, His Last Will And Testament Shantanu Ray Chaudhuri It’s impossible to record the transition in the socio-political and cultural landscape of India in general and Bengal in particular without taking into account the contribution of Satyajit Ray. As author Peter Rainer says, ‘In Ray’s films the old and the new are inextricably joined. This is the great theme of all his movies: the way the past in India forever bleeds through the present.’ Today, Indian cinema, particularly Bollywood, has found a global market. But it may be useful to remember that if anyone can be credited with putting Indian cinema on the world map, it is Satyajit Ray. He pioneered a whole new sensibility about films and filmmaking that compelled the world to reshape its perception of Indian cinema. ‘What we need,’ he wrote in 1947, before he ever directed a film, ‘is a style, an idiom, a part of the iconography of cinema which would be uniquely and recognizably Indian.’ This Still from the documentary, The Music of Satyajit Ray he achieved, and yet, like all great artists, his films went Watch film here- https://bit.ly/3u8orOD beyond the frontiers of countries and cultures. His contribution to the cultural scene in India is limited not just to his work as a director. He was the Renaissance man of independent India. As a film-maker he handled almost all the departments on his own – he wrote the screenplay and dialogues for his film, he composed his own music, designed the promotional material for his films, designed his own posters, went on to handle the cinematography and editing, was actively involved in the costumes (literally sketching each and every costume in a film).
    [Show full text]
  • Barnita Bagchi (Utrecht University) Ār Konakhāne/'Somewhere Else
    Cracow Indological Studies Vol. XX, No. 2 (2018), pp. 163–178 https://doi.org/10.12797/CIS.20.2018.02.08 Barnita Bagchi (Utrecht University) [email protected] Ār konakhāne/‘Somewhere Else’: Utopian Resonances in Lila Majumdar’s Autobiographical Writing* SUMMARY: This article examines the autobiographical writings of Lila Majumdar, 1908–2007, a writer most famous for zany, fantastical, defamiliarizing, speculative fiction for children and young adults. Majumdar was an influential maker of cul- tural history. While her natal Ray/Raychaudhuri family comprised master entertain- ers who simultaneously brought reformist, innovative values into the public sphere of the arts, the leading woman writer from this milieu, in her autobiographical and memoir-based volumes Ār konakhāne (‘Somewhere Else’, [1967] 1989), Pākdaṇḍī (‘Winding, Hilly Road’, [1986] 2001), and Kheror khātā (‘Miscellany’ or ‘Scrapbook’, [1982] 2009), imaginatively created utopias. These ‘otherwheres’, to use a word that captures ­utopian connotations that she creates in her writing, give voice to the mar- ginal and the liminal. We find in her autobiographical writing the dual urge of longing for a utopian elsewhere, and a dissatisfaction with all the places one finds temporary mooring in. KEYWORDS: Lila Majumdar, modernity, utopia, gender, reformist, autobiography In memory of Professor Jasodhara Bagchi, 1937–2015, pathbreaking scholar of Bengali women’s writing and culture Remembering and haunted by lost and elusive spaces, connecting homes and worlds, building fragile everyday utopias, representing * An earlier version of this article was presented at an international work- shop on ‘Opening up Intimate Spaces: Women’s Writing and Auto biography in India’, at the Adam Mickiewicz University in Poznań, Poland.
    [Show full text]
  • Comics and Science Fiction in West Bengal
    DANIELA CAPPELLO | 1 Comics and Science Fiction in West Bengal Daniela Cappello Abstract: In this paper I look at four examples of Bengali SF (science fiction) comics by two great authors and illustrators of sequential art: Mayukh Chaudhuri (Yātrī, Smārak) and Narayan Debnath (Ḍrāgoner thābā, Ajānā deśe). Departing from a con- ventional understanding of SF as a fixed genre, I aim at showing that the SF comic is a ‘mode’ rather than a ‘genre’, building on a very fluid notion of boundaries between narrative styles, themes, and tropes formally associated with fixed genres. In these Bengali comics, it is especially the visual space of the comic that allows for blending and ‘contamination’ with other typical features drawn from adventure and detective fiction. Moreover, a dominant thematic thread that cross-cuts the narratives here examined are the tropes of the ‘other’ and the ‘unknown’, which are in fact central images of both adventure and SF: the exploration and encounter with ‘unknown’ (ajānā) worlds and ‘strange’ species (adbhut jāti) is mirrored in the usage of a lan- guage that expresses ‘otherness’ and strangeness. These examples show that the medium of the comic framing the SF story adds further possibilities of reading ‘genre hybridity’ as constitutive of the genre of SF as such. WHAT’S IN A COMIC? Before addressing SF comics in West Bengal, I will first look at some interna- tional definitions of comic to outline the main problematics that have been raised in the literature on this subject. In one of the first books introducing the world of comics to artists and academics, Will Eisner looks at the me- chanics of ‘sequential art’ (a term coined by Eisner himself) describing it as a dual ‘form of reading’ (Eisner 1985: 8): The format of the comic book presents a montage of both word and image, and the reader is thus required to exercise both visual and verbal interpretive skills.
    [Show full text]
  • Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction.
    [Show full text]
  • A Hermeneutic Study of Bengali Modernism
    Modern Intellectual History http://journals.cambridge.org/MIH Additional services for Modern Intellectual History: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM KRIS MANJAPRA Modern Intellectual History / Volume 8 / Issue 02 / August 2011, pp 327 ­ 359 DOI: 10.1017/S1479244311000217, Published online: 28 July 2011 Link to this article: http://journals.cambridge.org/abstract_S1479244311000217 How to cite this article: KRIS MANJAPRA (2011). FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM. Modern Intellectual History, 8, pp 327­359 doi:10.1017/S1479244311000217 Request Permissions : Click here Downloaded from http://journals.cambridge.org/MIH, IP address: 130.64.2.235 on 25 Oct 2012 Modern Intellectual History, 8, 2 (2011), pp. 327–359 C Cambridge University Press 2011 doi:10.1017/S1479244311000217 from imperial to international horizons: a hermeneutic study of bengali modernism∗ kris manjapra Department of History, Tufts University Email: [email protected] This essay provides a close study of the international horizons of Kallol, a Bengali literary journal, published in post-World War I Calcutta. It uncovers a historical pattern of Bengali intellectual life that marked the period from the 1870stothe1920s, whereby an imperial imagination was transformed into an international one, as a generation of intellectuals born between 1885 and 1905 reinvented the political category of “youth”. Hermeneutics, as a philosophically informed study of how meaning is created through conversation, and grounded in this essay in the thought of Hans Georg Gadamer, helps to reveal this pattern.
    [Show full text]
  • Daughters of the Nation: Revisiting Women’S Speculative Writings in Bengal
    postScriptum: An Interdisciplinary Journal of Literary Studies 40 postScriptum: An Interdisciplinary Journal of Literary Studies ISSN: 2456-7507 <postscriptum.co.in> Online – Open Access – Peer Reviewed – DOAJ Indexed Volume VI Number i (January 2021): Special Issue on Bengali Identity Daughters of the Nation: Revisiting Women’s Speculative Writings in Bengal Stella Chitralekha Biswas PhD Researcher in Comparative Literature & Translation Studies, Central University of Gujarat The author‟s research interests include studies pertaining to colonial Bengal, sexuality archives, gender studies, juvenile literature, pedagogy, speculative fiction, etc. The tentative title for her PhD thesis is Childhood Re-configured: Asexuality, Gendering and Nationalistic Consciousness in Juvenile Literature of Colonial Bengal. Abstract This paper will look at speculative writings by women in Bengal, both in the colonial and post- independence years, in an attempt to locate the emergence of certain counter-tropes against the dominant trope of the masculinist hero. Taking select writings from Rokeya Racanabali (Complete Works of Rokeya Sakhawat Hossain) and Kheror Khata by Leela Mazumdar, it argues that the preconceived gendered discourses on socio-cultural roles and asymmetrical bifurcation of agency that were propagated through Bengali juvenile literature since the mid nineteenth century also contained certain disruptions. These women writers question the very notion of assertive native masculinity that was emblematic of the nationalist body politic, and promote an alternate model of female agency and power in an almost utopian manner. This paper also proposes arguments on the crucial accommodation of the Muslim woman’s voice within the larger question of women’s emancipation in Bengal that had appeared to concern itself with the Hindu bhadramahila class predominantly, through the speculative visions of Hossain.
    [Show full text]
  • Finding Sense Behind Nonsense in Select Poems of Sukumar Ray
    Journal of the Department of English Vidyasagar University Vol. 12, 2014-2015 Finding Sense Behind Nonsense in Select Poems of Sukumar Ray Rima Chakraborty Nonsense literature is generally categorized as part of the macrocosm of children’s literature. And there is no denying that as children we have all read such literary pieces with much amusement and delight. In 1900 G.K. Chesterton wrote that, if he were to be asked for the best proof of ‘adventurous growth’ in the nineteenth century, he would reply, “with all respect for its portentous science and philosophy, that it was to be found in the literature of nonsense” and that “this was the literature of the future” (Chesterton 43). Now, “Nonsense” as a literary genre is difficult to define in absolute terms. It is interpretation gone wild, but also lucid, as clearly appears in the works of the early practitioners of the form in the mid 19th century, namely Edward Lear and Lewis Carroll. It is true that the “modern nonsense” originated in the mid- 19th century, but it is equally true that the roots of the tradition can be traced back to some of its early practitioners and precursors- such as the anonymous nonsense of nursery rhymes, the ‘water poet’ John Taylor and the Bedlamite and mad talk of Shakespeare. Again, if the genre of literary nonsense is analyzed with reference to its contemporary socio-political scenario, it becomes clear that nonsense is actually a medium which allows the literary artist to point out various shortcomings of the society at large. So, as its name suggests, “non-sense” always exists in relation to, and as a comment on, “sense.” T.
    [Show full text]
  • February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 Minutes)
    February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 minutes) Directed by Satyajit Ray Written byRabindranath Tagore ... (from the story "Nastaneer") Cinematography by Subrata Mitra Soumitra Chatterjee ... Amal Madhabi Mukherjee ... Charulata Shailen Mukherjee ... Bhupati Dutta SATYAJIT RAY (director) (b. May 2, 1921 in Calcutta, West Bengal, British India [now India]—d. April 23, 1992 (age 70) in Calcutta, West Bengal, India) directed 37 films and TV shows, including 1991 The Stranger, 1990 Branches of the Tree, 1989 An Enemy of the People, 1987 Sukumar Ray (Short documentary), 1984 The Home and the World, 1984 (novel), 1979 Naukadubi (story), 1974 Jadu Bansha (lyrics), “Deliverance” (TV Movie), 1981 “Pikoor Diary” (TV Short), 1974 Bisarjan (story - as Kaviguru Rabindranath), 1969 Atithi 1980 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The (story), 1964 Charulata (from the story "Nastaneer"), 1961 Elephant God, 1977 The Chess Players, 1976 Bala, 1976 The Kabuliwala (story), 1961 Teen Kanya (stories), 1960 Khoka Middleman, 1974 The Golden Fortress, 1973 Distant Thunder, Babur Pratyabartan (story - as Kabiguru Rabindranath), 1960 1972 The Inner Eye, 1972 Company Limited, 1971 Sikkim Kshudhita Pashan (story), 1957 Kabuliwala (story), 1956 (Documentary), 1970 The Adversary, 1970 Days and Nights in Charana Daasi (novel "Nauka Doobi" - uncredited), 1947 the Forest, 1969 The Adventures of Goopy and Bagha, 1967 The Naukadubi (story), 1938 Gora (story), 1938 Chokher Bali Zoo, 1966 Nayak: The Hero, 1965 “Two” (TV Short), 1965 The (novel), 1932 Naukadubi (novel), 1932 Chirakumar Sabha, 1929 Holy Man, 1965 The Coward, 1964 Charulata, 1963 The Big Giribala (writer), 1927 Balidan (play), and 1923 Maanbhanjan City, 1962 The Expedition, 1962 Kanchenjungha, 1961 (story).
    [Show full text]
  • Sukumar Ray - Poems
    Classic Poetry Series Sukumar Ray - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Sukumar Ray(30 October 1887 - 10 September 1923) Sukumar Ray was a Bengali humorous poet, story writer and playwright. As perhaps the most famous Indian practitioner of literary nonsense, he is often compared to Lewis Carroll. His works such as the collection of poems "Aboltabol" "HaJaBaRaLa" , short story collection "Pagla Dashu" and play "Chalachittachanchari" are considered nonsense masterpieces equal in stature to Alice in Wonderland, and are regarded as some of the greatest treasures of Bangla literature. More than 80 years after his death, Ray remains one of the most popular of children's writers in both West Bengal and Bangladesh. Sukumar Ray was the son of famous children's story writer Upendrakishore Ray (Ray Chowdhury) and the father of legendary Indian filmmaker Satyajit Ray. Sukumar Ray was also known as the convenor of "Monday Club", a weekly gathering of likeminded people at the Ray residence, where the members were free to express their irreverent opinions about the world at large. A number of delightful poems were penned by Sukumar Ray in relation to the matters concerning Monday Club, primarily soliciting attendance, announcing important meetings etc. <b> Life </b> Ray was born in a Brahmo family in Calcutta, India. Born in the era which can be called the pinnacle of the Bengal Renaissance, he grew up in an environment that fostered his literary talents. His father was a talented writer of stories and popular science; painter and illustrator extraordinaire; musician and composer of songs; a pioneering technologist and hobbyist astronomer.
    [Show full text]
  • Cheery Children, Growing Girls, and Developing Young Adults: on Reading
    Cheery Children, Growing Girls, and Developing Young Adults: On Reading, Growing, and Hopscotching Across Categories [Forthcoming presentation at International Conference on ‘Reading Children’, Jadavpur University, Kolkata, December 11-13, 2003] Barnita Bagchi In the early 1930s, the Bengali writer Lila Majumdar was teaching English grammar in Santiniketan in winter, under a tree, to a restless class. In her words and my translation, I was surprised to see a twelve or thirteen year old boy, sitting sideways to me, reading some book with rapt attention. As he read, his hair stood on end, his eyes nearly popped out, his chin hung slackly. That book could not be English Grammar. (Majumdar Pakdandi 131; Majumdar Kheror Khata 15-16) The book turned out to be The Horrors of the Tibetan Cave. Majumdar said to her erring student, ‘I’ll keep the book. Take it tomorrow. It’s bad form to bring story-books to class.’ (Majumdar, Kheror Khata, pp. 15-16) The covert message of the story, which Majumdar tells with relish in twice in two autobiographical volumes, is that the school-marm herself would be reading the confiscated book avidly. The educative gentlewoman, the scene of an open-air, open-minded pedagogy, the pleasures of illicit reading, the ability of children’s adventure stories to grip child and adult alike, and the ruefully acknowledged necessity of maintaining class decorum are some of the elements evoked by this scene. Lila Majumdar, one of our best and best-loved children’s writers in Bengali was born in a famous Brahmo milieu in 1908. She has led a virtuoso life, juggling a wide variety of roles.
    [Show full text]
  • 2 Tagore Looks East
    NALANDA-SRIWIJAYA CENTRE WORKING PAPER SERIES NO. 2 TAGORE LOOKS EAST Rabindranath Tagore in Indonesia, 1927 Sukanta Chaudhuri NALANDA-SRIWIJAYA CENTRE WORKING PAPER SERIES NO. 2 (May 2011) TAGORE LOOKS EAST Sukanta Chaudhuri Sukanta Chaudhuri is an internationally renowned scholar of Renaissance English literature and of the writings of Rabindranath Tagore. He taught at Presidency College in Kolkata from 1973 to 1991 and at Jadavpur University from 1991 till his retirement in 2010. He is now Professor Emeritus at the latter institution. Chaudhuri works in the fields of European Renaissance studies, translation, and textual studies. His last major monograph is The Metaphysics of Text (Cambridge University Press, 2010). Chaudhuri has translated extensively from Rabindranath Tagore, Bankim Chandra Chattopadhyay, Sarat Chandra Chattopadhyay, Sukumar Ray, Rajshekhar Bose and other classical Bengali writers, and many modern Bengali poets. He is also General Editor of the Oxford Tagore Translations. Email: [email protected] The NSC Working Paper Series is published Citations of this electronic publication should be electronically by the Nalanda-Sriwijaya Centre of the made in the following manner: Institute of Southeast Asian Studies in Singapore. Sukanta Chaudhuri, Tagore Looks East, Nalanda-Sriwijaya Centre Working Paper No 2 © Copyright is held by the author or authors of each (May 2011), http://nsc.iseas.edu.sg/documents/ Working Paper. working_papers/nscwps002.pdf NSC WPS Editors: NSC Working Papers cannot be republished, reprinted, or Geoff Wade Joyce Zaide reproduced in any format without the permission of the paper’s author or authors. Nalanda-Sriwijaya Centre Editorial Committee: Jayati Bhattacharya Geoff Wade Lucy Liu Joyce Zaide Tansen Sen The Nalanda-Sriwijaya Centre Working Paper Series has been established to provide an avenue for swift publication and wide dissemination of research conducted or presented within the Centre, and of studies engaging fields of enquiry of relevance to the Centre.
    [Show full text]
  • In Satyajit Ray's Documentary Films
    i i i i DOI: 10.20287/doc.d21.ar5 Reading the ‘Facts’ in Satyajit Ray’s documentary films: a critical overview Shyamasri Maji* Resumo: Este artigo é sobre os filmes documentários de Satyajit Ray (1921-1992). Os seus documentários apresentam uma tapeçaria rica em criatividade, uma cinema- tografia requintada, uma música expressiva e, acima de tudo, uma maneira extraordi- nária de contar histórias. Em todos eles, Ray escreve o roteiro, compõe a música e realiza. Neste artigo, tentei analisar o seu estilo de representar os factos em filmes de não-ficção. Palavras-chave: biografias, filosofia tagoreana, narração, "verdade mais profunda". Resumen: Este artículo trata sobre las películas documentales de Satyajit Ray (1921- 1992). Los documentales de Ray presentan un rico tapiz de guión pensativo, cinema- tografía exquisita, música expresiva y sobre todo una forma extraordinaria de contar historias. En todos ellos, Ray ha escrito el guión, compuesto la música y dado la di- rección. En este trabajo, he tratado de analizar su estilo de representar los hechos en películas de no ficción. Palabras clave: biografías; filosofía tagoreana; voz en off ; "verdad más profunda". Abstract: This paper is about the documentary films of Satyajit Ray (1921-1992). Ray’s documentaries present a rich tapestry of thoughtful script, exquisite cinemato- graphy, expressive music and above all an extraordinary way of story-telling. In all of them, Ray has written the script, composed the music and given the direction. In this article, I have tried to analyse his style of representing the facts in non-fiction films. Keywords: biographies; tagorean philosophy; voiceover; “deeper truth.” Résumé: Cet article traite des films documentaires de Satyajit Ray (1921-1992).
    [Show full text]