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Applications Received During 1 to 31 March, 2020
Applications received during 1 to 31 March, 2020 The publication is a list of applications received during 1 to 31 March, 2020. The said publication may be treated as a notice to every person who claims or has any interest in the subject matter of Copyright or disputes the rights of the applicant to it under Rule 70 (9) of Copyright Rules, 2013. Objections, if any, may be made in writing to copyright office by post or e-mail within 30 days of the publication. Even after issue of this notice, if no work/documents are received within 30 days, it would be assumed that the applicant has no work / document to submit and as such, the application would be treated as abandoned, without further notice, with a liberty to apply afresh. S.No. Diary No. Date Title of Work Category Applicant 1 3906/2020-CO/L 01-03-2020 Data Structures Literary/ Dramatic M/s Amaravati Publications 2 3907/2020-CO/L 01-03-2020 SHISHU VIKAS YOJANA Literary/ Dramatic NIRAJ KUMAR 3 3908/2020-CO/A 01-03-2020 Picaso POWER Artistic INDOGULF CROPSCIENCES LIMITED 4 3909/2020-CO/L 01-03-2020 ICON COMPUTER Literary/ Dramatic ICON COMPUTER SOLUTION SOLUTION 5 3910/2020-CO/A 01-03-2020 PLANOGULF Artistic INDOGULF CROPSCIENCES LIMITED 6 3911/2020-CO/L 01-03-2020 Color intensity based Literary/ Dramatic Dr.Preethi Sharma, Dr. Minal Chaudhary, software: An adjunct Mrs.Ruchika Sinhal, Dr.Madhuri Gawande screening tool used in Potentially malignant disorders and Oral squamous cell carcinoma 7 3912/2020-CO/L 01-03-2020 Aakarshan : Aapke Pyaar Literary/ Dramatic Akshay Gaur ki Seedhee 8 3913/2020-CO/L 01-03-2020 Academic course file Literary/ Dramatic Dr. -
Rural Craft Hubsof West Bengal
Rural Chau Mask Craft Charida Hub Purulia Chau Mukhosh Shilpi Sangha Supported by the Department of MSME&T, Government of West Bengal and West Bengal Khadi & Village Industries Board Rural Craft HubsOf West Bengal Handicrafts of Bengal embody our rich heritage of aesthetics, cr ea tivity and artistry. The craft sector provides low cost, green livelihood opportunities to more than 5.5 lakh men and women. Jalpaiguri Alipurduar The sector represents economic lifeline of the vulnerable sections of the society, with women accounting for around 50% of the crafts persons and a significant number belonging to the scheduled castes, tribes and religious minorities. In today's globalised world, the growing retail industry, fashion and luxury markets, demand for green production, potential for e-commerce have created new opportunities for developing a vibrant craft economy thereby providing increased income opportunities to the craft communities like the Patuas, potters, weavers, wood carvers, Dokra makers etc. Besides its high potential for employment, the craft sector is economically important from the point of low capital investment, high ratio of value addition, and high potential for export and foreign exchange earnings for the country. The Government of West Bengal thus aims to unleash the potential of the sector in terms of employment, enterprises, export and growth. The Department of MSME&T, Government of West Bengal in collaboration with UNESCO, New Delhi is developing 10 rural craft hubs in the state. The vision is to develop the villages with families traditionally skilled in craft traditions like Sitalpati, Madurkathi, Terracotta, Patachitra, Dokra, Wooden and Chau masks, Wooden and Clay doll making and Kantha as vibrant craft hubs connected to national and international market. -
(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. -
Dr. Mahuya Hom Choudhury Scientist-C
Dr. Mahuya Hom Choudhury Scientist-C Patent Information Centre-Kolkata . The first State level facility in India to provide Patent related service was set up in Kolkata in collaboration with PFC-TIFAC, DST-GoI . Inaugurated in September 1997 . PIC-Kolkata stepped in the 4th plan period during 2012-13. “Patent system added the fuel to the fire of genius”-Abrham Lincoln Our Objective Nurture Invention Grass Root Innovation Patent Search Services A geographical indication is a sign used on goods that have a specific geographical origin and possess qualities or a reputation that are due to that place of origin. Three G.I Certificate received G.I-111, Lakshmanbhog G.I-112, Khirsapati (Himsagar) G.I 113 ( Fazli) G.I Textile project at a glance Patent Information Centre Winding Weaving G.I Certificate received Glimpses of Santipore Saree Baluchari and Dhanekhali Registered in G.I registrar Registered G.I Certificates Baluchari G.I -173-Baluchari Dhanekhali G.I -173-Dhaniakhali Facilitate Filing of Joynagar Moa (G.I-381) Filed 5 G.I . Bardhaman Mihidana . Bardhaman Sitabhog . Banglar Rasogolla . Gobindabhog Rice . Tulaipanji Rice Badshah Bhog Nadia District South 24 Parganas Dudheswar District South 24 Chamormoni ParganasDistrict South 24 Kanakchur ParganasDistrict Radhunipagol Hooghly District Kalma Hooghly District Kerela Sundari Purulia District Kalonunia Jalpaiguri District FOOD PRODUCTS Food Rasogolla All over West Bengal Sarpuria ( Krishnanagar, Nadia Sweet) District. Sarbhaja Krishnanagar, Nadia (Sweet) District Nalen gur All over West Bengal Sandesh Bardhaman Mihidana Bardhaman &Sitabhog 1 Handicraft Krishnanagar, Nadia Clay doll Dist. Panchmura, Bishnupur, Terrakota Bankura Dist. Chorida, Baghmundi 2 Chhow Musk Purulia Dist. -
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. -
National Institute of Fashion Technology
National Institute of Fashion Technology A Statutory Institute governed by the NIFT Act 2006 Ministry of Textiles, Government of India NIFT Campus, Hauz Khas, Opposite Gulmohar Park, New Delhi - 110016 National Institute Of Fashion Technology 29th Annual Report 2014-15 21.09.2015 NATIONAL INSTITUTE OF FASHION TECHNOLOGY | ANNUAL REPORT 2014-15 CONTENTS 01 Board of Governors (2014-15) 77 Design Space 05 NIFT - Introduction 83 International & Domestic Linkages 07 Significant Landmarks (2014-15) 86 National Resource Centre 08 Student Development Activities 87 Cluster Development Inititative 09 NIFT Campuses 91 Information Technology Inititative ACADEMIC DEPARTMENTS 93 Continuing Education Programme 11 Fashion Design 97 Campus Placements 19 Leather Design 101 Ph.D. and Research 27 Textile Design 110 FOTD 37 Knitwear Design 112 Admissions 2014 45 Fashion & Lifestyle Accessories 113 Convocation 2014 53 Fashion Communication 114 Abbreviations 61 Fashion Technology Auditor’s Report & 71 Fashion Management Studies 116 Statement of Accounts NATIONAL INSTITUTE OF FASHION TECHNOLOGY | ANNUAL REPORT 2014-15 BOARD OF GOVERNORS Members as on March 2015 Smt. Kiran Dhingra, IAS (Retd.) 83 C Village Chairperson BOG NIFT Gancim- Bhatim Post Office Goa Velha Talukh Tisvadi Goa – 403108 Sh. Naresh Gujral 5, Amrita Shergil Marg Hon’ble M.P Rajya Sabha New Delhi-110003 (22-07-2014 up to 31-03-2015) Shri S. Selvakumara Chinnayan, S-3, SCP Residency, Hon’ble M.P Lok Sabha BVB School Main Road, Thindal, (21-10-2014 up to 31-03-2015) Distt. Erode- 638 012 Tamil Nadu Smt. Poonam Mahajan, Block no. 2 Bhima Worli Sagar Hon’ble M.P Lok Sabha Cooperative Society (21-10-2014 up to 31-03-2015) Dr. -
51 International Film Festival of India, 2020
51st Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] 2020 51st International Film Festival of India, 2020 vkf/kdkfjd foojf.kdk: Hkkjrh; flusek Official Catalogue: Indian Cinema Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] xksok 51st International Film Festival of India, Goa TkUkOkjh 16-24, 2021 January 16-24, 2021 vk;kstd & fQYe lekjksg funs'kky; lwpuk vkSj izlkj.k ea=ky;] Hkkjr ljdkj Organized by the Directorate of Film Festivals Ministry of Information and Broadcasting, Government of India 001 OFFICIAL CATALOGUE INDIAN CINEMA IFFI 2020 Festival Director: Chaitanya Prasad, Additional Director General Indian Panorama, Indian Sections & Administration: Tanu Rai, Deputy Director Editors: Shambhu Sahu (English), Pankaj Ramendu (Hindi) Assisted by: Kaushalya Mehra, Arvind Kumar, Kamlesh Kumar Rawat Festival Coordinator: Sarwat Jabin, Rudra Pratap Singh, Shyam R Raghavendran, Design & Creative Director: Mukesh Chandra Photograph (Jury): Photo Division Acknowledgements: NFAI/NFDC/Film Producers/Production Houses for providing the films and other related materials. We are also grateful to various film and festival publications/websites, the extracts from which have helped enrich this book. All views expressed in this publication are not necessarily that of the editor or of the IFFI Secretariat. Published by the Directorate of Film Festivals Ministry of Information & Broadcasting Government of India You can visit us at www.iffigoa.org. www.dif.gov.in Hkkjr dk 51ok¡ vUrjkZ"Vªh; fQ+Ye lekjksg] xksok 51st International Film Festival of India, Goa TkUkOkjh 16-24, 2021 January 16-24, 2021 003 UNION MINISTER INFORMATION & BROADCASTING AND ENVIRONMENT, FOREST & CLIMATE CHANGE GOVERNMENT OF INDIA MESSAGE I welcome you all to the 51st edition of the International Film Festival of India. -
Bravely Fought the Queen
INTRODUCTION “My life is big. I am BIG and GENEROUS! Only the theatre deserves me” (Where Did I Leave My Purdah? 59) Theatre has always been a glorious star in the multi-dimensional and richly adorned cultural galaxy of India. But Indian English theatre has had a rather low key representation in this vibrant cultural arena. During the sixties and seventies European influence, especially of Pirandello, Brecht, Chekhov and others, gained prominence and helped Indian theatre express the fractured reality of the time. But the indigenous Indian theatre moved past regional boundaries to become really a polyglot phenomenon from the sixties onward, and use of English helped it cross the border of language, too. Nissim Ezekiel, Girish Karnad, Badal Sircar and Vijay Tendulkar were the chief architects of this aesthetic/cultural development. But except for a few plays written in English between the late nineteenth and early twentieth centuries and for the translations in English of the works of the above playwrights, the picture of Indian drama in English, however, appeared rather uninspiring. It was not until the eighties that English drama stepped out of the coterie of elitists and reached a wider audience. The efforts of playwrights like Nissim Ezekiel, Asif Currimbhoy, Shib K Kumar and others achieved occasional success, but failed to connect the audience with theatre’s full potential. With a younger group of 1 playwrights a more lasting change was visible, and the plays by Dina Mehta, Poli Sengupta, Manjula Padmanavan, and Tripurari Sharma found increasingly appreciative audience. It was with the appearance of Mahesh Dattani in the 1980s that Indian English drama gained a distinct identity. -
Kathak Through the Ages, the Last Choreography of Guru Maya Rao in 2014, Video Projection in the Background Adds to the Dynamism of the Choreography
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 20 Modern Development And Future Trends In Kathak Kathak though an ancient dance form, with clear established history, has grown to a massive body of work, making it veer towards what is contemporary and modern. The words contemporary and modern are two different terms in context of art. Any art form, design, film, fashion, music can be contemporary. Each generation or time cycle brings something to the table of this development in society but modern means a whole new language. It means new structure, new grammar and new form. So, in dance when we speak of a modern Kathak, what does it imply? Kathak has certain grammar and structure, as with any and most dance forms. Thus, when we say modern Kathak, it doesn’t mean we break the grammar or change costume - that is just innovation or making it more in tune with contemporary desires of a society at any given point of time. 1 Many believe that Kumudhini Lakhia’s solo performance entitled Duvidha was a turning point of Kathak as a dance form. She founded the Kadamb School of Dance and Music in Ahmedabad in 1967 and has done more than 70 successful productions all over the world. Her choreographies include Dhabkar / धबकार, Yugal / युगऱ, Atah Kim / अथ: ककम, The Peg, Okha-Haran / ओखा हरण, Sama Samvadan / सम संवाद, Suverna / सुवण,ण Bhav Krida / भाव क्रीड़ा, Golden Chains, Kolaahal / कोऱाहऱ, Mushti / मुष्टि to name a few. -
Sushant Singh Rajput Mar. 22
OC WHY FACEBOOK IS THE RUSH FOR MS DHONI: THE FRIENDING THE BJP GREEN CLEARANCES QUIET LONG WALK www.indiatoday.in AUGUST 31, 2020 `75 REGISTERED NO. DL(ND)-11/6068/2018-20;REGISTERED NO. U(C)-88/2018-20; FARIDABAD/05/2020-22 LICENSED POSTWITHOUTTO PREPAYMENT SuShant Singh Rajput 1986—2020 RNI NO. 28587/75 28587/75 NO. RNI SUICIDE OR MURDER? QUESTIONS ABOUT THE DEATH OF SUSHANT SINGH RAJPUT THAT REFUSE TO DIE DOWN. AN INVESTIGATION FROM THE EDITOR-IN-CHIEF hen the makers of a biopic on Indian crick- no faith in the Mumbai police’s investigation. The Bihar et captain Mahendra Singh Dhoni wanted police took cognisance of the complaint, filed an FIR and a Bollywood star to play the titular role, followed it up with an investigation. As part of the process, W they didn’t have to look beyond Sushant they turned up in Mumbai, triggering the political battle Singh Rajput. Not only were the actor and the cricketer between the two states and their police machinery. The born and raised in the same state, but their careers Enforcement Directorate has also joined the investigations were also mirror images of each other. Both were rank because of the accusations of money-laundering. outsiders who had broken into their fiercely competitive professions by dint of sheer talent. Inspirational stories n India, if there is any controversy worth taking ad- of self-made stars are the stuff of cinematic dreams. Yet, Ivantage of, politics can never be far behind. The Bihar not even the finest scriptwriter could have imagined the elections are barely two months away, and Sushant’s death drama around Sushant Singh Rajput’s tragic death on has become cause celebre for politicians to exploit in the June 14. -
Folklore, Orality and Tradition
Chapter-1 Introduction: Folklore, Orality and Tradition The study of folklore is inclusive of many different disciplines that overlap and intermingle with each other. Disciplines like anthropology, psychology, sociology, literary studies and women’s studies, linguistics, all come together to study the folklore in wider terms. It becomes essential to understand and analyse folk literature in the light of above disciplines to get a better understanding of the culture and history behind the given oral literature. Folklore surpasses boundaries of time in a way that it brings the culture and civilization of the past and merges it with the future for a better understanding. It continuously flows with the civilization by adopting different forms on the course of its journey. That way, it never gets struck in one time. It is not a static thing to be stored and preserved in any one form which struts itself as the ‘original. It is continuously and spontaneously being produced by the people who are blissfully ignorant of its various facets and its profound effect on the modern civilization. It is no more a thing of the rural or semi-urban masses but it is very much a part of the modern world. Many attempts have been made to define, categorize and theorize the term ‘folklore’ through words that can give it a concrete meaning. Folklore does not only include what is passed orally from one generation to another rather it encompasses everything including the cultural norms, behavioral codes, individual identities, feelings and emotions, religious beliefs, and experiences of not only a particular race or nationality but also of each individual living through it. -
Dakhan History
DAKHAN HISTORY: MUSALMÁN AND MARÁTHA, A.D. 1300-1818. Part I, —Poona Sa'ta'ra and Shola'pur. BY W. W. LOCH ESQUIRE, BOMBAY CIVIL SERVICE. [CONTRIBUTED IN 1877,] DAKHAN HISTORY. PART I. POONA SÁTÁRA AND SHOLHÁPUR, A.D.1300-1818. Introductory. THE districts which form the subject of this article, the home of the Maráthás and the birth- place of the Marátha dynasty, streteh for about 150 miles along the Sayhádri hills between the seventeenth and nineteenth degrees of latitude, and at one point pass as far as 160 miles inland. All the great Marátha capitals, Poona Sátára and Kolhápur, lie close to the Sayhádris under the shelter of some hill fort ; while the Musalmán capitals, Ahmadnagar Bijápur Bedar and Gulbarga, are walled cities in the plain. Of little consequence under the earlier Musalmán rulers of the Dakhan; growing into importance under the kings of Bijápur and Ahmadnagar ; rising with the rise of the state, the foundations of which Shiváji laid in the seventeenth century, these districts became in the eighteenth century the seat of an empire reaching from the Panjáb to the confines of Bengal and from Delhi to Mysor. Early History. Early in the Christian era Maháráshtra is said to have been ruled by the great Saliváhana, whose capital was at Paithán on the Godávari. At a later period a powerful dynasty of Chálukya Rájputs reigned over a large part of Maháráshtra and the Karnátak, with a capital at Kalyán, 200 miles north-west of Sholápur. The Chálukyas reached their greatest power under Tálapa Deva in the tenth century, and became extinct about the end of the twelfth century, when the Jádhav or Yádav rájás of Devgiri or Daulatábád became supreme.