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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. -
Adv-Aug-For-Web-3598
Aug 2018 | Vol 4 | Issue 5 www.advantagekarnataka.in Frames Bangalore Fostering of its Startup Potential Glory NGMA Exhibits Jitendra Arya’s Ouevre August 2018 ADVANTAGE KARNATAKA 2 August 2018 August 2018 3 ADVANTAGE KARNATAKA EDITORIAL angalore, the Startup Capital of India, is scaling new heights among world Content cities by providing the ideal ecosystem for startups to nourish. According to a report published recently by US venture capital and startup database, B 6 Bangalore Fostering its Startup Potential Bangalore ranked first among Indian cities to have highest number of startup investment rounds greater than $100 million since 2014. The report also states that 8 Major Event for Aerospace Manufacture Bangalore runs ahead of foreign cities like London (19), Boston (13), and Tel Aviv (2), which are often regarded as strong startups hubs around the world. 10 Creating Priorities for Digitisation Moreover, Bangalore has been selected for the launch of Defence India Start Up Govt. Aims to Make State Future-Ready: K J George Challenge, an initiative of Defence Innovation Organisation (DIO) under the aegis 12 of Department of Defence Production, Ministry of Defence. The Defence India Start 14 Focus on Making Transport Corporations Profitable up Challenge, aimed at supporting innovators to create prototypes, commercialise Editorial Advisory Board products or solutions based on advanced technologies in the area of national 16 Toyota Aims High in Diesel Engine Manufacture security, will further the startup potential of the city which is already home to several Dr. C.G. Krishnadas Nair startups in aerospace and defence sector. 20 Boeing’s HorizonX India Innovation Challenge Dr. -
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. -
SACHI,Society for Art & Cultural Heritage of India
SACHI, Society for Art & Cultural Heritage of India in collaboration with The Department of Religious Studies and Center for South Asia at Stanford University Invites You to Join an Illustrated Talk cum Dance on Thyagaraja Ramayanam presented by Ananda Shankar Jayant India's eminent Bharatanatyam dance artist and leading choreographer Thursday, Nov. 13, 2014, 7 p.m. Cummings Art Bldg., Classroom ART 2 435 Lausen Mall, Stanford University (corner of History Bldg., and Lausen Mall) Free Admission and Open to the Public; Recommended parking, around the Oval ‘As long as the mountains stand and rivers flow on earth, so long shall remain the legend of Ramayana.’ Sri Rama and the Ramayana have inspired seers and scholars across eons and centuries. It is a story that transcends space and time - a tale of love, devotion, and sacrifice. Rama's story has been written, interpreted and commented upon by mystic sages, poets and musicians, and by the Bhakta (devotee) with utmost reverence and ecstatic devotion. Telling and re-telling the Ramayana has not tired the storyteller, the listener or the viewer! While the essential story of the Ramayana remains the same, its various interpretations through the ages, represent a great diversity in the way the story and its characters are presented. In 1986 the artist Ananda Shankar choreographed and performed the Thyagaraja Ramayanam which explored the character of Rama through the vision of the poet saint Thyagaraja In an all time favorite work for the artist, Ananda will introduce and discuss select episodes/songs from the Ramayana as visualized by Thyagaraja and portray some in visual dance format set to Thyagaraja's music with select Valmiki Ramayana shlokas in enacting roles from the epic story. -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Bengali Cinema
RITWIK GHATAK Ritwik Ghatak Cinema and I First Published 17th January 1987 Published by Ritwik Memorial Trust With support from Federation of Film Societies of India © Ritwik Memorial Trust 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. Cover designed by Satyajit Ray Cover photograph from Jukti Takko ArGappo Photo type setting by Pratikshan Publications Pvt. Ltd Reproduced by Quali Photo Process Pvt. Ltd Printed at A O P (India) Pvt. Ltd Distributed exclusively in India by Post Box No. 12333 15 Bankim Chatterjee Street Calcutta-700 073 Branches: Allahabad. Bombay, New Delhi, Bangalore. Madras, Hyderabad. RITWIK MEMORIAL TRUST 1/10 Prince Golam Mohd Road Calcutta-700 026 The present volume is the first in the series of publications of Ritwik Ghatak's works entitled Ritwik Rachana Samagra. Contents Publisher's note 9 Acknowledgements 10 Foreword by Satyajit Ray 11 Film and 1 13 My Coming into films 19 Bengali Cinema: Literary Influence 21 What Ails Indian Film-Making 26 Some Thoughts on Ajantrik 31 Experimental Cinema 34 Sound in Film 38 Music in Indian Cinema and the Epic Approach 41 Experiment in Cinema and I 44 Documentary: the Most Exciting form of Cinema 46 Cinema and the Subjective Factor 60 Film-Making 65 Interview (1) 68 Interview (2) 77 Nazarin 81 A book review: Theory of Film 84 An Attitude to life and an Attitude to Art Appendix About Oraons (Chotonagpur) 91 Check-list 105 Publisher's Note Ritwik Ghatak's creative exercises spanned through many a medium of expression—poetry, short story, play, film. -
Catalogue Fair Timings
CATALOGUE Fair Timings 28 January 2016 Thursday Select Preview: 12 - 3pm By invitation Preview: 3 - 5pm By invitation Vernissage: 5 - 9pm IAF VIP Card holders (Last entry at 8.30pm) 29 - 30 January 2016 Friday and Saturday Business Hours: 11am - 2pm Public Hours: 2 - 8pm (Last entry at 7.30pm) 31 January 2016 Sunday Public Hours: 11am - 7pm (Last entry at 6.30pm) India Art Fair Team Director's Welcome Neha Kirpal Zain Masud Welcome to our 2016 edition of India Art Fair. Founding Director International Director Launched in 2008 and anticipating its most rigorous edition to date Amrita Kaur Srijon Bhattacharya with an exciting programme reflecting the diversity of the arts in Associate Fair Director Director - Marketing India and the region, India Art Fair has become South Asia's premier and Brand Development platform for showcasing modern and contemporary art. For our 2016 Noelle Kadar edition, we are delighted to present BMW as our presenting partner VIP Relations Director and JSW as our associate partner, along with continued patronage from our preview partner, Panerai. Saheba Sodhi Vishal Saluja Building on its success over the past seven years, India Art Senior Manager - Marketing General Manager - Finance Fair presents a refreshed, curatorial approach to its exhibitor and Alliances and Operations programming with new and returning international participants Isha Kataria Mankiran Kaur Dhillon alongside the best programmes from the subcontinent. Galleries, Vip Relations Manager Programming and Client Relations will feature leading Indian and international exhibitors presenting both modern and contemporary group shows emphasising diverse and quality content. Focus will present select galleries and Tanya Singhal Wol Balston organisations showing the works of solo artists or themed exhibitions. -
(2015) Shivaji University, Kolhapur
Shivaji University, Kolhapur Register of Registered Graduate (2015) Faculty of ENGINEERING & TECHNOLOGY Registration No. 89801 Registration No. 89809 1 Shri. ABHYANKAR GANGADHAR LAXMAN 9 Shri. ADHYAPAK ANIL AMRIT SHIVAJI NAGAR 108 KRISHNA NIVAS A/P - KUNDGOL 4TH LANE HINDU COLONY DADAR T.T. MUMBAI - 14 DD Dist. DHARWAR Dist. MUMBAI Registration No. 89802 Registration No. 89810 2 Shri. ABHYANKAR GANGADHAR SHANKAR 10 Shri. ADKAR ARUN RAMACHANDRA 40 PRERANA TILAK NAGAR 382 KASBA BARSI V.P.ROAD MUMBAI - 4 Dist. SOLAPUR Dist. MUMBAI Registration No. 89803 Registration No. 89811 3 Shri. ABHYANKAR HEMANT KESHAV 11 Shri. ADKAR SHASHIKANT GOVIND 977 A SATTIKAR LANE 231 NAVI PETH GAON-BHAG JALGAON SANGLI Dist. SANGLI Dist. JALGAON Registration No. 89804 Registration No. 89812 4 Shri. ABHYANKAR PURUSHOTTAM SITARAM 12 Shri. ADMUTHE SUNIL SHANTINATH PATWARDHAN BLOCKS DEPARTMENT OF INSTRUMENTION NEAR WALCHAND COLLEGE OF ENGINEERING P V P INSTITUTE OF TECHNOLOGY VISHRAM BAUG SANGLI BUDHGAON Dist. SANGLI Dist. SANGLI Registration No. 89805 Registration No. 89813 5 Shri. ABHYANKAR SURESH SHRIDHAR 13 Shri. ADNAIK PRAKASH MOHANRAO C/O - S.W.ABHYANKAR 1877/B FLAT NO 2 AMRAPALI KHAPARDE GARDEN APT RAJARAMPURI 8TH LANE AMARAVATI (VIDARBH) KOLHAPUR Dist. AMARAVATI Dist. KOLHAPUR 416008 Registration No. 89806 Registration No. 89814 6 Shri. ADADANDE AKSHAYKUMAR BALASAHEB 14 Shri. ADSUL AKSHAY RAMCHANDRA KARVEER NAGAR HOUSING SOCIETY, PLOT NO 27 B, 1014/29 SAI COLONY AIRPORT ROAD, UJALAIWADI KOLHAPUR APTE NAGAR, KOLHAPUR 416004 Dist. KOLHAPUR Dist. KOLHAPUR Registration No. 89807 Registration No. 89815 7 Shri. ADANI KRISHNAKUMAR DHARAMSHI 15 Shri. ADURE GAUTAM SURESH R.NO. 96 PL NO 45 B/1 LAYOUT NO 1 GITA GRAHA 4 PICKET ROAD BABA JARAG NAGAR MUMBAI - 2 KOLHAPUR - 416007 Dist. -
Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958. -
Chapter 1 Uday Shankar and Locating Modernity
CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.