INDIA and the INDIAN SUBCONTINENT Includes: India, Bangladesh, Bhutan, Nepal, Pakistan and Sri Lanka

Total Page:16

File Type:pdf, Size:1020Kb

INDIA and the INDIAN SUBCONTINENT Includes: India, Bangladesh, Bhutan, Nepal, Pakistan and Sri Lanka Libraries INDIA AND THE INDIAN SUBCONTINENT Includes: India, Bangladesh, Bhutan, Nepal, Pakistan and Sri Lanka The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 1-800-India: Importing a White-Collar Economy DVD-3263 Connections 2 (Discs 1-3) DVD-0601 Discs Age of AIDS DVD-1721 Culture Change VHS-2283 Algorithms DVD-8179 Dadi's Family VHS-5694 Ancient India DVD-1032 Darker Side of Fair DVD-0827 Ancient India: A Journey Back in Time DVD-2434 Diya DVD-1959 Bandit Queen DVD-5032 Doing Time, Doing Vipassana DVD-3567 Baraka DVD-4346 Dreaming Lhasa DVD-6078 Bend it Like Beckham DVD-4326 Earth DVD-2633 Bhopal: The Search for Justice DVD-1485 Fire DVD-2692 Bitter Seeds DVD-6682 Flow: For Love of Water DVD-4322 Black Narcissus DVD-3566 Free Trade Slaves VHS-5693 Blood Brother DVD-7522 Gandhi VHS-3265 Bomb Under the World DVD-6463 Gandhi (Kingsley) DVD-0905 Bombay Calling DVD-2072 DVD-0794 Bonsai People DVD-0534 DVD-0937 Born into Brothels DVD-3521 Garam Hawa DVD-5022 Bride and Prejudice DVD-4561 Great Gathering VHS-5352 Buddhism: Footprint of the Buddha VHS-0263 Gunga Din DVD-1417 Calcutta DVD-4842 Gunga Jumna DVD-5047 Charge of the Light Brigade (Flynn) DVD-2931 Heart is Crazy DVD-2695 Charge of the Light Brigade (Howard) DVD-3874 Highway Courtesans DVD-4184 City of Joy (Swayze) c.2 DVD-0776 c.2 Hot Zones (Journey to Planet Earth) DVD-2333 2/2/2018 How to Save the World DVD-3110 Paint it Saffron DVD-5046 In the Footsteps of Babur DVD-5149 Panihari: The Water Women of India DVD-2273 Indiana Jones and the Temple of Doom DVD-1324 Pather Panchali DVD-8571 Islamic Mysticism: The Sufi Way VHS-4400 Phantom India: Reflections on a Journey DVD-4839 Jama Masjid Street Journal VHS-2600 Photo Wallahs: An Encounter with Photography DVD-1904 Jareena: Portrait of a Hijda DVD-3650 Rangeela DVD-8587 Journalist and the Jihadi: the murder of Daniel Pearl DVD-3762 Reincarnation of Khensur Rinpoche DVD-1933 Jungle Book DVD-2165 Rikki Tikki Tavi DVD-3949 Keep Her Under Control: Law's Patriarchy in India DVD-7706 River (Renoir) DVD-4710 Killer Bargain DVD-2765 Saawariya DVD-3704 Linguists DVD-6317 Salaam Bombay! DVD-1018 Made in India: A Film About Surrogacy DVD-6135 Satya DVD-4720 Made in India: A Film about Surrogacy c.2 DVD-6135 c.2 Shakespeare Wallah DVD-6476 Made in India: SEWA in Action VHS-4588 Shipbreakers DVD-6931 DVD-8359 Silent Waters DVD-2583 Man Who Would be King DVD-2958 Silsila DVD-5045 Marigold DVD-4925 Slumdog Millionaire DVD-4526 Metal Dogs of India VHS-0683 Story of India DVD-4625 Microcultural Incidents in Ten Zoos DVD-2292 Theatres of Asia: An Introduction VHS-5159 Monsoon Wedding DVD-2170 Tiger of Eschnapur DVD-0050 Mother India DVD-5072 Toxic Tears: The Darker Side of the Green Revolution DVD-6925 My Daughter the Terrorist DVD-4183 Transnational Tradeswomen DVD-4172 Mystic Lands: Maya, Jerusalem and Varanasi DVD-2547 Umrao Jaan DVD-5090 Mystic Lands: Myanmar and Taj Mahal DVD-2548 Warrior Empire: The Mughals DVD-2267 Nalini by Day, Nancy by Night DVD-2025 Water (Mehta) DVD-3025 Namesake DVD-4226 Weather Report DVD-4109 Outsourcing: White Collar Exodus DVD-1038 West Wing Season 1 DVD-2444 Page 2 2/2/2018 William Rivers: Everything is Relatives DVD-1983 World in the Balance DVD-2091 Total Titles: 100 Page 3 2/2/2018.
Recommended publications
  • “Low” Caste Women in India
    Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny.
    [Show full text]
  • Portrayal of Women in the Popular Indian Cinema Wizerunek Kobiet W
    Portrayal of Women in the Popular Indian Cinema Wizerunek kobiet w popularnym kinie indyjskim Sharaf Rehman THE UNIVERSITY OF TEXAS – RIO GRANDE VALLEY, USA Keywords Indian cinema, women, stereotyping Słowa klucze kino indyjskie, kobiety, stereotypy Abstract Popular Indian cinema is primarily rooted in formulaic narrative structure relying heavily on stereotypes. However, in addition to having been the only true “mass medium” in India, the movies have provided more than escapist fantasy and entertainment fare. Indian popular cinema has actively engaged in social and political criticism, promoted certain political ideologies, and reinforced In- dian cultural and social values. This paper offers a brief introduction to the social role of the Indian cinema in its culture and proceeds to analyze the phenomenon of stereotyping of women in six particular roles. These roles being: the mother, the wife, the daughter, the daughter-in-law, the widow, and “the other woman”. From the 1940s when India was fighting for her independence, to the present decade where she is emerging as a major future economy, Indian cinema has Artykuły i rozprawy shifted in its representation and stereotyping of women. This paper traces these shifts through a textual analysis of seven of the most popular Indian movies of the past seven decades. Abstrakt Popularne kino indyjskie jest przede wszystkim wpisane w schematyczną strukturę narracyjną. Mimo, że jest to tak naprawdę jedyne „medium masowe” w Indiach, tamtejsze kino to coś więcej niż rozrywka i eskapistyczne fantazje. Kino indyjskie angażuje się w krytykę społeczną i polityczną, promuje pewne Portrayal of Women in the Popular Indian Cinema 157 ideologie a także umacnia indyjskie kulturowe i społeczne wartości.
    [Show full text]
  • 375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
    INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82,
    [Show full text]
  • LALITHA GOPALAN Fall 2010 EMPLOYMENT
    LALITHA GOPALAN Fall 2010 EMPLOYMENT Associate Professor, Department of Radio-Television –Film and Department of Asian Studies, University of Texas at Austin, Fall 2007-present. Visiting Associate Professor, Department of East Asian Languages and Cultures, University of California, Berkeley, Spring 2009. Associate Professor, School of Foreign Service and Department of English, Georgetown University, 2002-07. Assistant Professor, School of Foreign Service and Department of English, Georgetown University, 1992-2002. EDUCATION Ph.D. University of Rochester. 1993. Comparative Literature Program, Department of Foreign Languages, Literatures, and Linguistics. M.A. (Anthropology) University of Rochester, 1986 M.A. (Sociology) Delhi School of Economics, 1984 B.A. (Economics) Madras Christian College, 1982 PUBLICATIONS BOOKS 24 Frames: Indian Cinema. Edited. London: Wallflower Press, 2010. Bombay. BFI Modern Classics. London: British Film Institute. December 2005. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute. 2002. (Indian Reprint Delhi: Oxford University Press, 2002) 2 ARTICLES AND ESSAYS ‘Introduction.’ 24 Frames: Indian Cinema. London: Wallflower Press. Ed. Lalitha Gopalan. London: Wallflower Press, 2010. ‘Film Culture in Chennai.’ Film Quarterly, Volume 62.1 (Fall 2008). ‘Indian Cinema.’ In An Introduction to Film Studies. Ed. Jill Nelmes. 4th Edition. London: Routledge. 2006. (Revised and expanded version of the essay published in the 3rd Edition, 2003) ‘Avenging Women in Indian Cinema.’ Screen. 38.1 (Spring 1997): 42-59. Screen Award for the Best Article submitted in 1996. ‘Coitus Interruptus and the Love Story in Indian Cinema.’ Representing the Body: Gender Issues in India's Art. Ed. Vidya Dehejia. New Delhi: Kali for Women, 1997. 124-139. ‘Putting Asunder: Fassbinder and The Marriage of Maria Braun.’ Deep Focus January 1989: 50- 57.
    [Show full text]
  • Utopia in Bollywood: 'Hum Aapke Hain Koun...!' Author(S): Rustom Bharucha Source: Economic and Political Weekly, Vol
    Utopia in Bollywood: 'Hum Aapke Hain Koun...!' Author(s): Rustom Bharucha Source: Economic and Political Weekly, Vol. 30, No. 15 (Apr. 15, 1995), pp. 801-804 Published by: Economic and Political Weekly Stable URL: http://www.jstor.org/stable/4402626 . Accessed: 14/01/2015 09:57 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Economic and Political Weekly is collaborating with JSTOR to digitize, preserve and extend access to Economic and Political Weekly. http://www.jstor.org This content downloaded from 140.233.70.45 on Wed, 14 Jan 2015 09:57:20 AM All use subject to JSTOR Terms and Conditions PERSPECTIVES appears to transcend. If this were so. Utopia in Bollywood entertainment could be reduced to an essentialised, a historical set of categories, 'Hum Aapke Ham Koun...!' conventions and formulae that could be perpetuatedthrough skill alone. But this is Rustom Bharucha not the case, since the worldof entertainment had different significances at different It is sad that we should be celebrating the centuryof cinema in India points in time. There are different kinds of with aI superhit so vacuious as 'Hum Aapke Hain Koun... ", a film devoid entertainment,different 'treatments'of the of any illusion worthyof thlecondition of the millions of people who are same rhetoric,different ways of envisioning utopia.These differneces.
    [Show full text]
  • Confessions of a Red Thread Bandit Queen: Ten Years of Fieldwork with Narrative Embroidery
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2006 Confessions of a Red Thread Bandit Queen: Ten Years of Fieldwork with Narrative Embroidery Skye Morrison [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Morrison, Skye, "Confessions of a Red Thread Bandit Queen: Ten Years of Fieldwork with Narrative Embroidery" (2006). Textile Society of America Symposium Proceedings. 317. https://digitalcommons.unl.edu/tsaconf/317 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Confessions of a Red Thread Bandit Queen: Ten Years of Fieldwork with Narrative Embroidery Skye Morrison Ph.D. PO Box 517, Hastings, Ontario, Canada, KOL 1YO [email protected] Photos: Dr. Skye Morrison or her archive, by permission To quote the great weaver and poet Kabir, Do away with the bark, Get hold of the pith Then you’ll contemplate, Infinite treasures1 I confess to living a life full of unexpected experiences trying to remove the bark from the tree of commercialism and finding the ever-fruitful world of contemporary textiles made by traditional artisans. This presentation is a series of confessions brought to light through fieldwork, teaching and working in India and Canada / there and here / two worlds made into one. We begin with the six images connected to confessions or thoughts to live by: Figure 1.
    [Show full text]
  • Creation of a New Character
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347–4564; ISSN (E): 2321–8878 Vol. 6, Issue 1, Jan 2018, 471–474 © Impact Journals CREATION OF A NEW CHARACTER Yogesh Sharma Associate Professor, Swami Shraddhanand College, University-Alipur, Delhi, India Received: 16 Jan 2018 Accepted: 21 Jan 2018 Published: 31 Jan 2018 ABSTRACT While writing on any subject, writers forget reality about the episode or the character and create a new character or story. This is based on the flight of imagination and fancy of the writer. Other factors like ideological pulls and pressures, monetary considerations, social environment and others things also play a very crucial role in shaping the mind of a creator. In this mêlée, real elements are left behind and a new character or a new story is created. In India, films, history, sociology, philosophy, literature are created on this pattern. KEYWORDS: Regiment, Basin, Communication, Character, Mughal-e-Azam,JodhaBai, Taj-Mahal, Scintillating, Mercenaries, Philistine, Tipu Sultan, Ambedkar, Manusmrti INTRODUCTION Life's but a waling shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing," William Shakespeare, Macbeth. This quote is very aptly describes the films, creativity and other scholarly works. However this artificial creativity creates an altogether new connotation. It reflects the skills of intellectuals and creative minds to create a new episode or character. Human beings are never honest to the facts. Their opinion is shaped by external situation and surroundings.
    [Show full text]
  • Subalterns: a Comparative Study of African American and Dalit/Indian Literatures
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 5-31-2010 "Speaking" Subalterns: A Comparative Study of African American and Dalit/Indian Literatures Mantra Roy University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Roy, Mantra, ""Speaking" Subalterns: A Comparative Study of African American and Dalit/Indian Literatures" (2010). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3441 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. “Speaking” Subalterns: A Comparative Study of African American and Dalit/Indian Literatures by Mantra Roy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Co-Major Professor: Gurleen Grewal, Ph.D Co- Major Professor: Hunt Hawkins, Ph.D Elizabeth Hirsh, Ph.D Shirley Toland-Dix, Ph.D Date of Approval: March 16, 2010 Keywords: Race, Caste, Identity, Representation, Voice © Copyright 2010, Mantra Roy Acknowledgments I must thank James Baldwin for his book Nobody Knows My Name which introduced me to the world of African American literature and culture. Since that first encounter as a teenager I have come a long way today in terms of my engagement with the world of Black literature and with the ideas of equality, justice, and respect for humanity.
    [Show full text]
  • 1 Sample Question Paper on Cinema Prepared by : Naresh Sharma: Director
    1 Sample question paper on cinema prepared by : Naresh Sharma: Director. CRAFT Film School.Delhi.www.craftfilmschool.com: [email protected] Disclaimer about this sample paper ( 50+28 Objective questions ) by Naresh Sharma: 1. This is to clarify that I, Naresh Sharma, neither was nor is a part of any advisory body to FTII or SRFTI , the authoritative agencies to set up such question paper for JET-2018 entrance exam or any similar entrance exam. 2. As being a graduate of FTII, Pune, 1993, and having 12 years of Industry experience in my quiver as well the 12 years of personal experience of film academics, as being the founder of CRAFT FILM SCHOOL, this sample question-answers format has been prepared to give the aspiring students an idea of variety of questions which can be asked in the entrance test. 3. The sample question paper is mainly focused on cinema, not in exhaustive list but just a suggestive list. 4. As JET - 2018 doesn't have any specific syllabus, so any question related to General Knowledge/Current Affair can be asked. 5. Since Cinema has been an amalgamation of varied art forms, Entrance Test intends to check as follows; a) Information; and b) Analysis level of students. 6. This sample is targeted towards objective question-answers, which can form part of 20 marks. One need to jot down similar questions connected with Literature/ Panting Music/ Dance / Photography/ Fine arts etc. For any Query, one can write: [email protected] 2 Sample question paper on cinema prepared by : Naresh Sharma: Director.
    [Show full text]
  • RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et
    Direction de la communication DOSSIER DE PRESSE VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE et www.centrepompidou.fr VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) DDirection sommaire de la communication 75 191 Paris cedex 04 responsable du pôle presse I. COMMUNIQUE DE PRESSE page 2 Carole Rio-Latarjet chargée des relations presse Albane Jouis-Maucherat II. VOUS AVEZ DIT « BOLLYWOOD » ! page 4 téléphone par Nadine Tarbouriech 00 33 (0)1 44 78 13 81 télécopie III PROGRAMMATION ET SYNOPSIS DES FILMS page 6 00 33 (0)1 44 78 13 02 mél IV. CALENDRIER DES PROJECTIONS page 29 albane.jouis-maucherat @cnac-gp.fr V. RENCONTRE ORGANISEE PAR LES FORUMS DE SOCIETE La « résistance » de Bollywood ? page 38 VI. EVENEMENTS AUTOUR DE LA MANIFESTATION page 40 VII. LISTE DES PHOTOS DISPONIBLES POUR LA PRESSE page 48 VIII. REMERCIEMENTS page 52 IX. INFORMATIONS PRATIQUES page 53 VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) Direction Pour la première fois en France, une grande rétrospective consacrée à la cinématographie de la communication indienne populaire est proposée par les Cinémas du Centre Pompidou. 75 191 Paris cedex 04 responsable du pôle presse er Carole Rio-Latarjet Pensée en deux temps, la manifestation rend d’abord hommage, du 4 février au 1 mars 2004, chargée des relations presse aux auteurs des grands classiques en noir et blanc des années 50 considérées comme l’âge Albane Jouis-Maucherat d’or des studios indiens : Guru Dutt, Raj Kapoor, Bimal Roy, Mehboob Khan, V.
    [Show full text]
  • Syllabus of B.A
    1 GOA UNIVERSITY Department of French and Francophone Studies Syllabus of B.A. French Honours Programme as per CBCS w.e.f. 2018- 2019 ___________________________________________________________________________ FIRST YEAR CATEGORY COURSE COURSE TITLE CREDIT CODE* DSC 1A UFFC 101 French Phonetics and Oral expression 1 4 DSC 1B UFFC 102 French Phonetics and Oral expression 2 4 GE 1 UFFG 101 Basic French Language 1 4 GE 2 UFFG 102 Basic French Language 2 4 SECOND YEAR CATEGORY COURSE COURSE TITLE CREDIT CODE* DSC 1C UFFC 103 French though Creative Activities 4 DSC 1D UFFC 104 French for Hotel and Tourism 4 GE 3 UFFG 103 Intermediate French Language1 4 GE 4 UFFG 104 Intermediate French Language2 4 THIRD YEAR CATEGORY COURSE COURSE TITLE CREDIT CODE* DSC 5 UFFC 105 Advanced French Grammar and Composition 1 4 DSC 6 UFFC 106 Stylistics and Rhetorics 4 DSC 7 UFFC 107 Readings in French Literature- 17th and 18th Centuries 4 DSC 8 UFFC 108 Advanced French Grammar and Composition 2 4 DSC 9 UFFC 109 Introduction to Translation Studies 4 DSC 10 UFFC 110 Readings in French Literature- 19th Century 4 DSE 1 UFFD 101 Study of Cultural Objects 4 DSE 2 UFFD 102 Business Communication in French 4 DSE 3 UFFD 103 Contemporary France- Issues and Debates 4 DSE 4 UFFD 104 French through Francophone texts 4 DSE 5 UFFD 105 Study of French Cinema 4 DSP UFFP Project 4 *Courses taught at the university take a ‗U‘ before the course code. Core Courses offered to BA French Students and taught jointly with the Department of Women’s Studies and the Department of French and Francophone Studies COURSE COURSE TITLE CREDIT CODE* UWOC 102 Gender and Popular Culture 4 UWOC 103 Women‘s Herstory: A study of women‘s history 4 UWOC 104 French Visual Culture through the gender perspective 4 UWOC 105 Women‘s Writings from India and the Francophone World 4 2 `Programme: F.Y.
    [Show full text]
  • The Namesake
    The Namesake Dir: Mira Nair, USA, 2006 A review by Rashna Wadia Richards, State University of New York Brockport, USA Mira Nair's The Namesake (2006) begins with a train crash. The year is 1974, and Ashoke Ganguli (Irfan Khan), an aspiring engineer and avid reader of Russian literature, is traveling from Calcutta to Jamshedpur to visit his grandfather. He never reaches that destination. While he is absorbed in the sartorial travails of Akaky Akakyevich, Nikolai Gogol's unfortunate protagonist, the train derails, abruptly altering the course of Ashoke's life. Until now, he has sought to see the world merely through reading - to "travel without moving an inch," as his grandfather had put it. But after the wreck, he decides to heed the advice of a fellow passenger, Mr. Ghosh, who, only moments before the crash, urges him to leave home and travel outside of himself. The opening catastrophe, which becomes the film's primal scene, leads Ashoke, and later his arranged-marriage bride Ashima (Tabu), away from the familiar and familial Bengali life to the chilly, alien world of New York. [1] The Namesake follows the story of the Ganguli family - Ashoke and Ashima, and their anxiously Americanized children, Gogol and Sonia - in America. They arrive as strangers and spend the rest of their lives negotiating the complex dynamics of home and homeland, immigration and integration. What is especially remarkable about Nair's film is the way it locates the struggle for assimilation by highlighting the conflicted, hybrid cultural identities of its characters, heightened by the decisive clash between first and second generations of the Indian diaspora and their ambivalent relationships with home.
    [Show full text]