September 2017 Current Affairs
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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
And Joydeep Ghosh (Sarod)
The Asian Indian Classical Music Society 51491 Norwich Drive Granger, IN 46530 Concert Announcement Vidushi Mita Nag (sitar) Pandit Joydeep Ghosh (sarod) with Pandit Subhen Chatterjee (Tabla) April 26, 2016, Tuesday, 7.00PM At: the Andrews Auditorium, Geddes Hall University of Notre Dame Cosponsored with the Liu Institute of Asia and Asian Studies Tickets available at gate. General Admission: $10, AICMS Members and ND/SMC faculty: $5, Students: FREE Mita Nag, daughter of the veteran sitarist, Pandit Manilal Nag and granddaughter of Sangeet Acharya Gokul Nag, belongs to the Vishnupur Gharana of Bengal, a school of music that is nearly 300 years old and which is known for its dhrupad style of playing. She was initiated into music at the age of four, and studied with her mother, grandfather and father. She appeared for her debut performance at the age of ten, when she also won the Government of India’s Junior National Talent Search Award. She has given many concert performances, both alone and with her father, in cities in the US, Canada, Japan and Europe as well as in India. Joydeep Ghosh is hailed as one of India’s leading sarod, surshringar and Mohanveena artists. He started his sarod training at the age of five, and has studied with the great masters the late Sangeetacharya Anil Roychoudhury , late Sangeetacharya Radhika Mohan Moitra and Padmabhusan Acharya Buddhadev Dasgupta all of the Shahajahanpur Gharana. He has won numerous awards and fellowships, including those from the Government of India, the title of “Suramani” from the Sur Singar Samsad (Mumbai) and “Swarshree” from Swarankur (Mumbai). -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
Schedule for Submission of Appeal at Regional Office
SCRO: Schedule for submission of Appeal at Regional Office Sr. No Application Permanent Institute Name State Date ID ID VIF COLLEGE OF ENGINEERING & Andhra 1 1-395751273 1-5022601 TECHNOLOGY Pradesh 15th June 2011 MADANAPALLE INSTITUTE OF Andhra 2 1-395777221 1-7603741 TECHNOLOGY & SCIENCE Pradesh 15th June 2011 HI-TECH COLLEGE OF ENGINEERING & Andhra 3 1-395898205 1-4843271 TECHNOLOGY Pradesh 15th June 2011 NOBLE COLLEGE OF ENGG. & TECH. FOR Andhra 4 1-395900212 1-2504821 WOMEN(NETW) Pradesh 15th June 2011 SRINIVASA INSTITUTE OF Andhra 5 1-395917231 1-25181337 PHARMACETICAL SCIENCES Pradesh 15th June 2011 MOTHER TERESA INSTITUTE OF SCIENCE Andhra 6 1-395923222 1-6209801 AND TECHNOLOGY Pradesh 15th June 2011 MRR INSTITUTE OF TECHNOLOGY & Andhra 7 1-395923242 1-5329571 SCIENCE, UDAYAGIRI Pradesh 15th June 2011 SRI INDU COLLEGE OF ENGINEERING & Andhra 8 1-395928224 1-4205664 TECHNOLOGY Pradesh 15th June 2011 Andhra 9 1-395934253 1-12534421 RAMAPPA ENGINEERING COLLEGE Pradesh 15th June 2011 Andhra 10 1-395945331 1-6571441 SSJ COLLEGE OF PHARMACY Pradesh 15th June 2011 VAAGESWARI COLLEGE OF Andhra 11 1-395961233 1-9513591 ENGINEERING Pradesh 15th June 2011 MVR COLLEGE OF ENGINEERING AND Andhra 12 1-396058211 1-2507491 TECHNOLOGY Pradesh 15th June 2011 Andhra 13 1-396060461 1-2609821 GMR INSTITUTE OF TECHNOLOGY Pradesh 15th June 2011 Andhra 14 1-396061351 1-3142834 VISVODAYA ENGINEERING COLLEGE Pradesh 15th June 2011 DNR COLLEGE OF ENGINEERING & Andhra 15 1-396066591 1-4702766 TECHNOLOGY Pradesh 15th June 2011 AURORA'S SCIENTIFIC, Andhra 16 -
Vijayawada- 521108
V1JAYA INSTITUTE OF PHARMACEUTICAL SCIENCES FOR WOMEN ENIKEPADU, VIJAYAWADA- 521108. Date: 28.12.2020 CIRCULAR All the faculty are hereby informed to attend the Orientation Session on Assessment & Accreditation framework for NAAC by Mr. P. V. Ramesh. All are requested to assemble in the library by 9:00am on 31.12.2020. Covid Precautions: Attendees must get their body temperature checked before entering the session. Attendees must sanitize their hands before entering the session. Attendees must wear mask that completely cover their mouth and nose. Attendees must maintain a physical distance of at least six feet at all times. leauuceu SVuuo Instit vijoy ute of P PRINCRA ENIKEPADU VIJAYA INSTITUTE VIJAYAWADA PHARMACEUTICAL SCIENCES FOR WOMEN ENKEPADU MJAYAWADA 5 108 uaIS V VIJAYA INSTITUTE OF PHARMACEUTICAL tnaepadu, VilJAYAWADA -92108 SCIENCES FOR WOMEN Telephone No: +91 14165 60999 Permited by Govt. of AP, Approved by AICTE, New Delhi Fax No: 491 866 29449999 Pharmacy Council of India, New De lhi & Afiliated to INTU Kakinada SRK FOUNDATION Meit: [email protected] VIJAYAWADA ISO 9001:2015 Certified Institution Date: 04-01-2021 REPORT Name of the Programme: Orientation Session on Assessment & Accreditation Framework for NAAC Date: 31-12-2020 Resource Person Details: Mr. P. V. Ramesh, Academic Coordinator, Kakinada Institute of Technology and Science, Divili, East Godavari Email: [email protected] Contact Number: +91-9989202720 Mr. P. V. Ramesh has conducted an Orientation Session on Assessment & Accreditation Framework for NAAC in the college library on 31 December 2020. He emphasized the importance of NAAC accreditation to HEls and explained the step-by-step process. -
Teachers Day Program Details 2018 V11
CMANA 4. Time: 12:00 PM to 12:20 PM in association with GCD 2017 Winner The Sringeri Vidya Bharati Foundation, USA Keshav Muralidharan 19th May 2018 from 10:30 AM Onwards (Vocal) Location The Auditorium, Sringeri Vidya Bharati Foundation, 327,Cays Road, Stroudsburg PA 18360 Break Time: 12:30 PM to 01:15 PM 1. Time: 10:30 AM to 10:50 AM GCD 2017 Winner 5. Time: 01:20 PM to 01:40 PM Neharika Murthy GCD 2016 Winner of Padma Srinivasan Prize (Vocal) Srinath Peraganur ((violin)) 2. Time: 11:00 AM to 11:20 AM Local Teacher Group Participation 6. Time: 01:50 PM to 02:10 PM Teacher Name: Teacher Name: Local Teacher Group Participation Bhavani Prakash Prakash Rao Teacher Name: Manjula Ramachandran Participants Participants Krishna Palya Ananth Rayar Sabarinath Manjula Ramachandran Hemant Gosukonda Ramachandran 3. Time: 11:30 AM to 11:50 AM (Veena) (Vocal) (Mridangam) Local Teacher Group Participation Teacher Name: 7. Time: 02:15 PM to 03:00 PM Srividhya Sairam CMANA HONY PATRON PADMA SRINIVASAN AWARD WINNER IN INSTRUMENTAL CATEGORY ( KRITI,ALAPANA AND SWARAM) IN 2017 Participants Vishal Sowmyan Sabari Ramachandran (Violin) (Mridangam) Sanjana Venkatesh Sowmya Venkatesh www.cmana.org 02 8. Time: 03:10 PM to 03:30 PM GCD 2017 Winner Shardul Krishnakumar T S Nandakumar Shri T.S. Nandakumar, an Top grade artist of the All India Radio, hails 9. Time: 03:40 PM to 04:00 PM from the family of the renowned Nadaswaram exponents, Ambalapuzha Brothers of Kerala. He underwent training in percussion Local Teacher Group Participation under Shri Kaithavana Madhavdas in the Gurukulam tradition. -
What They Say
WHAT THEY SAY What THEY SAY Mrs. Kishori Amonkar 27-02-1999 “It was great performing in the new reconstructed Shanmukhananda Hall. It has improved much from the old one, but still I’ve a few suggestions to improve which I’ll write to the authorities later” Pandit Jasraj 26-03-1999 “My first concert here after the renovation. Beautiful auditorium, excellent acoustics, great atmosphere - what more could I ask for a memorable concert here for me to be remembered for a long long time” Guru Kelucharan Mohapatra 26-03-1999 “It is a great privilege & honour to perform here at Shanmukhananda Auditorium. Seeing the surroundings here, an artiste feeling comes from inside which makes a performer to bring out his best for the art lovers & the audience.” Pandit Birju Maharaj 26-03-1999 “ yengle mece³e kesÀ yeeo Fme ceW efHeÀj DeekeÀj GmekeÀe ve³ee ©He osKekeÀj yengle Deevevo ngDee~ Deeies Yeer Deeles jnW ³en keÀecevee keÀjles ngS~ μegYe keÀecevee meefnle~” Ustad Vilayat Khan 31-03-1999 “It is indeed my pleasure and privilege to play in the beautiful, unique and extremely musical hall - which reconstructed - renovated is almost like a palace for musicians. I am so pleased to be able to play today before such an appreciative audience.” § 34 § Shanmukhananda culture redefined2A-Original.indd 34 02/05/19 9:02 AM Sant Morari Bapu 04-05-1999 “ cesjer ÒemeVelee Deewj ÒeYeg ÒeeLe&vee” Shri L. K. Advani 18-07-1999 “I have come to this Auditorium after 10 years, for the first time after it has been reconstructed. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
"Improvised" Music
The University of Manchester Research Formulas and the building blocks of humr style: a study in "improvised" music Document Version Final published version Link to publication record in Manchester Research Explorer Citation for published version (APA): Alaghband-Zadeh, C. (2012). Formulas and the building blocks of humr style: a study in "improvised" music. Analytical Approaches to World Music Journal, 2(1), 1-48. Published in: Analytical Approaches to World Music Journal Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:06. Oct. 2021 Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and -
2007-08 Annual Report-1
SURYALAKSHMI Suryalakshmi Cotton Mills Limited Notice 4-8 Directors’ Report 9-14 Management Discussion and Analysis Report 15-17 Corporate Governance Report 18-28 Auditors’ Report 29-31 Balance Sheet 32 Profit & Loss Account 33 Schedules 34-59 Cash Flow Statement 60-61 Statement pursuant to Section 212 62 Subsidiary-Suryakiran International Ltd. 63-84 Consolidated Accounts 85-107 Notice to Shareholders-ECS Facility 108-109 Corporate Information 110 1 SURYALAKSHMI Suryalakshmi Cotton Mills Limited BOARD OF DIRECTORS Sri L N Agarwal Chairman & Managing Director Sri Paritosh K Agarwal Managing Director Sri R Surender Reddy Dr. A Nageswara Rao Sri B Rama Rao Sri Navrang Lal Tibrewal Sri R S Agarwal Sri K Sunil Kumar Sri H L Ralhan Sri N D Auddy L N AGARWAL Sri L.N.Agarwal has vast experience in all facets of cotton & synthetic textile industry spanning over five decades. He is the Chairman and Managing Director of the Company and floated the flagship Company Suryalakshmi Cotton Mills Limited in 1962. He was instrumental in floating the other Companies viz., Suryavanshi Spinning Mills Limited, Surya Jyothi Spinning Mills Limited and Suryalata Spinning Mills Limited. PARITOSH K AGARWAL Sri Paritosh K Agarwal, a graduate, is the Managing Director of the Company. He has adequate exposure in all the aspects of textile industry having acquired hands on experience in marketing, exports and production in the group Companies. He played a major role in setting up the Denim Division and building up the export business of the Company and has extensively travelled abroad and acquired deep knowledge of the International Markets. -
General Awareness Updates (September 2014)
General Awareness Updates (September 2014) Contents Swachh Bharat Abhiyan ................................................................................................................................................... 2 Key Outcomes of Narendra Modi’s US visit ...................................................................................................................... 2 PM Modi’s address to UN General Assembly .................................................................................................................... 3 Justice H.L.Dattu sworn in as 42nd Chief Justice of India .................................................................................................... 4 Home Ministry issues notification for lifetime validity of PIO Cards .................................................................................. 4 E-rickshaws recognized as special category three-wheeled vehicles ................................................................................. 4 ISRO gets ready for the launch of IRNSS 1C ...................................................................................................................... 5 Jayalalitha Convicted & Jailed in Graft Case ...................................................................................................................... 5 President’s rule imposed in Maharashtra ................................................................................................................................... 5 PM Narendra Modi launched ‘Make in India’ Campaign -
Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music
Formulas and the Building Blocks of Ṭhumrī Style—A Study in “Improvised” Music Chloe Zadeh PART I: IMPROVISATION, STRUCTURE AND FORMULAS IN NORTH INDIAN CLASSICAL MUSIC usicians, musicologists and teenage backpackers alike speak of “improvisation” in M modern-day Indian classical music.1 Musicians use the term to draw attention to differences between different portions of a performance, distinguishing between the “composition” of a particular performance (in vocal music, a short melody, setting a couple of lines of lyrics) and the rest of the performance, which involves musical material that is different in each performance and that musicians often claim to have made up on the spur of the moment.2 In their article “Improvisation in Iranian and Indian music,” Richard Widdess and Laudan Nooshin draw attention to modern-day Indian terminology which reflects a conceptual distinction between improvised and pre-composed sections of a performance (2006, 2–4). The concept of improvisation has also been central to Western imaginings of North Indian classical music in the twentieth century. John Napier has discussed the long history of Western descriptions of Indian music as “improvised” or “extemporized,” which he dates back to the work of Fox Strangways in 1914. He points out the importance the concept took on, for example, in the way in which Indian music was introduced to mainstream Western audiences in the 1960s; he notes that the belief that the performance of Indian music 1 I am very grateful to Richard Widdess and Peter Manuel for their comments on draft versions of this article. 2 The relationship between those parts of the performance that musicians label the “composition” and the rest of the performance is actually slightly more complicated than this; throughout, a performance of North Indian classical music is normally punctuated by a refrain, or mukhra, which is a part of the composition.