MA English Language and Literature
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A Study on the Tribal Struggle in the Novel Kocharethi” Is the Record of Genuine Research Work Done by Me Under the Guidance of Ms
The Voice of the Unheard: A Study on the Tribal Struggle in the Novel Kocharethi Project submitted to the Mahatma Gandhi University Kottayam in partial recognition of the requirements for the award of the Degree of Bachelor of Arts in English Language and Literature (Model II – Teaching) Benal Benny Register Number: 170021017769 Sixth Semester Department of English St. Paul’s College Kalamassery 2017-2020 Declaration I do hereby declare that the project “The Voice of the unheard: A Study on the Tribal Struggle in the Novel Kocharethi” is the record of genuine research work done by me under the guidance of Ms. Rosy Milna, Assistant Professor, Department of English, St. Paul’s College, Kalamassery. Benal Benny Certificate This is to certify that the project work “The Voice of the Tribal Struggle n the novel Kocharethi” is a record of the original work carried out by Benal Benny under the supervision and guidance of Ms. Rosy Milna, Assistant Professor, Department of English, St. Paul’s College, Kalamassery. Dr. Salia Rex Ms. Rosy Milna Head of the Deparment Project Guide Department of English Department of English St. Paul’s College St. Paul’s College Kalamassery Kalamassery Acknowledgement I would like to thank Ms. Rosy Milna for her assistance and suggestions during the writing of this project. This work would not have taken its present shape without her painstaking scrutiny and timely interventions. I thank Dr. Salia Rex, Head of Department of English for her suggestions and corrections. I would also thank my friends, teachers and the librarian for their assistance and support. -
Locating the Auteur in Rituparno Ghosh's Dahan
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 13, No. 2, April-June, 2021. 1-12 Full Text: http://rupkatha.com/V13/n2/v13n242.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v13n2.42 Published on June 26, 2021 Infidelity to True Story and Novel: Locating the Auteur in Rituparno Ghosh’s Dahan Akaitab Mukherjee Assistant Professor, School of Social Sciences and Languages (SSL), Vellore Institute of Technology (VIT), Chennai Campus, Tamil Nadu, India, [email protected], ORCID id-0000-0001-6410-9898 Abstract Rituparno Ghosh (1961-2013), a celebrated Bengali film director who started making film in 90s, often borrows plots from literary and other cultural narratives. The essay aims to explicate Ghosh’s early film Dahan (1997) which is an adaptation of distinguished Bengali novelist Suchitra Bhattacharya’s novel with the same title. Bhattacharya’s novel is influenced by the real incident in which a couple was harassed by four youths at Tollygunge Metro Station in Kolkata on 27th November, 1992. The film also acknowledges that it is indebted to the true story. The essay explicates the adaptation of the two sources by the auteur. It examines the duplication of authorial concerns in this adaptation while following the narratives of two texts. Ghosh remains unfaithful to the literary text and the cultural memory of the true story to establish his authorship. As Ghosh’s films portray the middle class women in patriarchal society, following Janet Staiger’s reconsideration of the theory of auteur in the context of queer movement and identity politics in 1970s, the essay argues that the performance of infidelity to the literary and true story to establish authorship is auteur’s “technique of the self”. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Rabindrnath Tagore's Nauka Dubi - from Page to Screenn Prof
Rabindrnath Tagore's Nauka Dubi - From Page to Screenn Prof. Shailee Dhamsania A journey of a literary work fiom page to screen makes adaptation interesting. The adaptation of print medium into film took place for certain reasons. Firstly, the director gets fascinated by the story and believes the story lends itself beautihlly to the medium of film. Secondly, many a time he wishes to present his personal interpretation of the original story through his own language of film. Thirdly, he wishes to take up the challenge of recreating a period in history, and the original literary source is picked up mainly for the period element than for its theme of plot. Fourthly, he would like to use film because the story as literature reflects it, is in some way or another his own ideological stand on a particular subject or issue, and his use of the film medium conveys this ideology to his audience. Rabindranath Tagore is a milestone in Bengali literature. With the publication of Gitanjali, his fame attained a luminous height taking him across continents. For the world he became the voice of India's spiritual heritage; and for India, especially for Bengal he became a great living institution. Tagore was philosophic, spiritual and experimental in his expression. He was more inclined to poetry but contributed and enriched all most all forms of art and literature. There is no exaggeration if we call him the best literary stalwart of India. His famous work e.g. 'Gora', 'Chokher-Bali', 'Nauka Dubi', 'Char Ad*' fall into the category of the best Bengali novels, extremely popular and reached the masses through the,original and translated versions of his works. -
Women at Crossroads: Multi- Disciplinary Perspectives’
ISSN 2395-4396 (Online) National Seminar on ‘Women at Crossroads: Multi- disciplinary Perspectives’ Publication Partner: IJARIIE ORGANISE BY: DEPARTMENT OF ENGLISH PSGR KRISHNAMMAL COLLEGE FOR WOMEN, PEELAMEDU, COIMBATORE Volume-2, Issue-6, 2017 Vol-2 Issue-6 2017 IJARIIE-ISSN (O)-2395-4396 A Comparative Study of the Role of Women in New Generation Malayalam Films and Serials Jibin Francis Research Scholar Department of English PSG College of Arts and Science, Coimbatore Abstract This 21st century is called the era of technology, which witnesses revolutionary developments in every aspect of life. The life style of the 21st century people is very different; their attitude and culture have changed .This change of viewpoint is visible in every field of life including Film and television. Nowadays there are several realty shows capturing the attention of the people. The electronic media influence the mind of people. Different television programs target different categories of people .For example the cartoon programs target kids; the realty shows target youth. The points of view of the directors and audience are changing in the modern era. In earlier time, women had only a decorative role in the films. Their representation was merely for satisfying the needs of men. The roles of women were always under the norms and rules of the patriarchal society. They were most often presented on the screen as sexual objects .Here women were abused twice, first by the male character in the film and second, by the spectators. But now the scenario is different. The viewpoint of the directors as well as the audience has drastically changed .In this era the directors are courageous enough to make films with women as central characters. -
April 2019 Sl.No
New books added in April 2019 Sl.No. Call No. Author Title The validity of anumana (inference) in nyaya 1 R PSN 181.43 BAB/V Babu C D system/ 2 R PE 823.007 TAN/R Tania Mary Vivera Reading minds: Impact of smrti tadition 3 R PSS 294.592 6 SMI/I Smitha K on Kerala ethos/ 4 M301 SIV/T Sivaraman Cheriyanad Theranjedutha kathakal/ 5 M 080 VEN/A Venugopal K M Abhimukhangal/ Kuttippuzha Krishan Pillai Vicharaviplavathinte 6 M 894.812 092 JOS/K Joseph Panakkal Deepasikha/ Keraleeya Navothanavum Vagbhatanandagurudeva 7 M 294.561 ABO/K Aboobakkar Kathiyalam num/ Poykayil Appachan Keezhalarute 8 M 303.484 092 LEN/P Lenin K M Vimochakan/ Delhousi square muthal 9 M301 VIJ/D Vijayan P N aandippatti vare/ Achuthanunni Bharatheeya sahitya 10 M 801.95 ACH/B Chathanath darsanam/ 11 M3 MAT/T Mathew K P Theekkattiloote/ Chitrasalabhagalude 12 M301 THO/C Thomas Joseph kappal/ 13 M301 (ITr.) RAB/T Rabindranath Tagore Tagore kathakal/ 14 M301 RAV/K Ravivarma p Kimakurvatha Sanjayana/ 15 M 791.437 MAD/N Madhu Ervavankara Nishadam/ 16 M2 SAY/A Sayed Ponkunnam Aathmanivedanam/ 17 M2 VAS/U Vasudevan Pillai Utampady/ Ere Dweshavum Alpam 18 M2 GNC/E G.N. Cheruvadu Snehavum/ 19 M2 SAN/A G.N. Cheruvadu Abhayarthikal/ 20 M2 JOH/K John Fernandaz Kollakolli/ Gurudeth Cinemayum 21 M 791.430 92 SEN/G Senan N C Jeevithavum/ 22 M301 KAS/O Kasthuri Joseph Autograph/ Aswathamavinte 23 M301 RAM/A Ramesh Babu theeram/ 24 M301 SAJ/O Sajiv Kumar S Outsider/ 25 M301 VEN/A Venugopalan T P Anunasikam/ Jayasankaran Kunjikrishnanmesiri 26 M301 JAY/K Puthuppalli vivahithanayi/ 27 M3 -
Exploitation, Victimhood, and Gendered Performance in Rituparno Ghosh’S Bariwali
EXPLOITATION, VICTIMHOOD, AND GENDERED PERFORMANCE IN RITUPARNO GHOSH’S BARIWALI Rohit K. Dasgupta and Tanmayee Banerjee Rituparno Ghosh (1961—2013) was a filmmaker, lyricist, and writer who first emerged on the cultural scene in Bengal as a copywriter at Response, a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for his company be- fore directing two documentaries for Doordarshan (India’s national public television). He moved into narrative film- making with the critically acclaimed Hirer Angti (Diamond Ring, 1992) and the National Award–winning Unishe April (19th April, 1995). He is credited with changing the experi- ence of cinema for the middle-class Bengali bhadrolok and 1 thus opening a new chapter in the history of Indian cinema. Ghosh arrived at a time when Bengali cinema was going Rituparno Ghosh. ©SangeetaDatta,2013 through a dark phase. Satyajit Ray had passed away in 1992 , leaving a vacuum. Although filmmakers such as Mrinal Ghosh, clearly influenced by Ray and Sen, addressed the Sen, Goutam Ghose, Aparna Sen, and Buddhadeb Dasgupta Bengali middle-class nostalgia for the past and made films “ ” contributed significantly to his genre of intellectual cinema, that were distinctly “Bengali” yet transcended its parochialism. they did not have much command over the commercial mar- Ghosh’s films were widely appreciated for their challenging “ ” ket. The contrived plots, melodrama, and obligatory fight narratives. His stories explored such transgressive social codes sequences of the action-packed Hindi cinema, so appealing to as incest in Utsab (Festival, 1999), marital rape in Dahan the masses, had barely anything intelligible to offer to those in (Crossfire, 1997), polyamory in Shubho Muharat (First Shot, search of a higher quality cinema. -
Tribal, Cultural Identity and Development in Narayan's Kocharethi
www.TLHjournal.com Literary Herald ISSN: 2454-3365 An International Refereed English e-Journal Impact Factor: 2.24 (IIJIF) Tribal, Cultural Identity and Development in Narayan’s Kocharethi - The Arya Woman Pramod Kumar Gond Research Scholar Department of English Banaras Hindu University Abstract It is widely seen that Indian society is vast and complex including multiple communities and cultures. The tribals are the most important contributors towards the origin of the Indian society. But due to lack of education, documented history and awareness, their culture has been misinterpreted and assimilated with others under the label of development. It pulls them at periphery and causes the identity crisis. In this article I focused on tribal who are facing a serious identity crisis despite its rich cultural legacy. This study is related to cultural issues, the changes, the reasons and the upliftment of tribal culture with a special reference to the Malayarayar tribes portrayed in Narayan‟s Kocherethi. Key Words: Tribal, Culture, Identity, Development and assimilations. Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma Page 449 Editor-in-Chief www.TLHjournal.com Literary Herald ISSN: 2454-3365 An International Refereed English e-Journal Impact Factor: 2.24 (IIJIF) Tribal, Cultural Identity and Development in Narayan’s Kocharethi - The Arya Woman Pramod Kumar Gond Research Scholar Department of English Banaras Hindu University The conflict between cultural identity and development is major issue in tribal society that is emerging as a focal consideration in modern Indian literary canon. The phrases „Culture‟ and „development‟ which have not always gone together, or been worked upon within the same context. -
2019- Ftii-Srfti -Entrance Exam
Last Sample Question Paper about the Descriptive Section for JET-2019 FTII /SRFTI-ENTRANCE EXAM: Date 22nd Feb 2019. Each Question Carries 10 Marks. Sample Questions for Cinematography Course | FTII- ENTRANCE EXAM : 10. What are the various kinds of "cards" are used in DSLR cameras for recording Video Footage/ still images .What are the imp features available in such cards. 11.What is the difference between, "depth of focus" and "depth of field". 12. What is the "Lens Metadata" and what are the advantages of having it . 13. While appreciating the cinematography of any film, What are the points you would like to discuss. 14. Before starting a new shoot what kind of camera Test you would conduct to make sure that you don't face any problem while shooting. 15. Why a special Glasses are required for Watching 3-D movies. What exactly they do. 16.As a cinematographer, What are the instructions, you expect from your Director? Sample Questions for Direction and Screenplay writing Course | FTII- ENTRANCE EXAM . Q.10. Write Brief synopsis of any 2 Films among the following films released in 2018. in "two sentences or maximum 70 words. Zero: Thugs of Hindostan: Sanju: Raazi: Padmaavat: Pad Man: Mulk: Hichki: Badhaai Ho: Badhaai Ho. Q. 11.How do you Dynamise "Time and Space" in cinema. Elaborate with two examples from different European films. Q. 12. Choose one of the Following Indian films and write around 6 points why it is wonderful adaptation of short story / novel in the screenplay . 1. “ Holi” directed by Ketan Mehta 2. -
Issn 2454-8596
ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ----------------------------------------------------------------------------------------------------------------------------------------------------------- NARAYAN’S KOCHARETHI IN THE LIGHT OF POST- COLONIALISM Hardik Udeshi Assistant Professor Department of English Christ College, Rajkot Dr. Paresh Joshi Assistant Professor Department of English Christ College, Rajkot V o l u m e I II I s s u e 6 J u n e - 2 0 1 8 Page 1 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ----------------------------------------------------------------------------------------------------------------------------------------------------------- ABSTRACT British people have colonized almost whole world. Colonies were made and those people were convicted in different ways. The present paper proceeds from the conviction that post colonialism and ecocriticism have a great deal to gain from one another. The paper attempts to see with the perspective of how Adivasis, tribes in general are colonized not only with other people but with the people of themselves. The changes associated with globalization have led to the rapid extension and intensification of capital along with an acceleration of the destruction of the environment and a growing gap between the rich and the poor. Narayan in his novel Kocharethi shows how Malayaras are colonized with their land, customs, and traditions and with their identities. The paper will focus on the reading of novel with post-colonial perspective. Keywords: Colonization, Post Colonialism, Forest, Adivasis V o l u m e I II I s s u e 6 J u n e - 2 0 1 8 Page 2 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ----------------------------------------------------------------------------------------------------------------------------------------------------------- History notes that the world has made into colonies by British people. -
May, 2011 Subject: Monthly Media Dossier Medium Appeared In
MEDIA DOSSIER Period Covered: May, 2011 Subject: Monthly Media Dossier Medium Appeared in: Print & Online For internal circulation only Monthly Media Dossier May 2011 Page 1 of 121 PERCEPT AND INDUSTRY NEWS Percept Limited Pg 03 ENTERTAINMENT Percept Sports and Entertainment PDM Pg 23 - Percept Activ Pg 28 - Percept ICE Pg 35 - Percept Sports _____ - Percept Entertainment _____ P9 INTEGRATED Pg 40 PERCEPT TALENT Pg 42 Content Percept Pictures Pg 43 Asset Percept IP _____ MEDIA ALLIED MEDIA Pg 46 PERCEPT OUT OF HOME Pg 50 PERCEPT KNORIGIN Pg 52 COMMUNICATIONS Advertising PERCEPT/H Pg 53 MASH _____ IBD INDIA _____ Percept Gulf _____ Hakuhodo Percept Pg 59 Public Relations PERCEPT PROFILE INDIA Pg 63 IMC PERSPECTRUM _____ INDUSTRY & COMPETITOR NEWS Pg 66 Monthly Media Dossier May 2011 Page 2 of 121 PERCEPT LIMITED SLAMFEST Source: Experiential Marketing, Date: May, 2011 *************** Shailendra Singh, Percept Picture Company Source: Box Office India , Date: May 28. 2011 ******************** Marketing to men as potential customers! Source: Audiencematters.com; Date: May 31, 2011 Monthly Media Dossier May 2011 Page 3 of 121 Men are quite different from the females not only in their physical appearance but also when it comes to their buying habit. Marketers cannot market for men and women in the same way. It's not a simple transformation of changing colors, fonts or packaging. Men and women are different biologically, psychologically and socially. There are lots of things that marketers should keep in mind before targeting men. Men believe in purchase for ‘now’. Unlike women who don’t have anything particular in mind but still can shop for hours, men buy what they need in the recent future.