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Teen Deener Durga Pujo Bangla Class Gaaner Class Sonkirton Saraswati
Volume 40 Issue 2 May 2015 teen deener Durga Pujo bangla class gaaner class robibarer aroti natoker rehearsal Children’s Day committee odhibeshon sonkirton Saraswati Pujo Mohaloya Seminar Kali Pujo carom tournament shree ponchomee Bangasanskriti Dibos poush parbon Boi paath Seminar Dolkhela gaaner jolsa Setar o tobla Saraswati Pujo Shri ramkrishna jonmotsob Natoker rehearsal Picnic Committee odhibeshon Seminar Picnic Chhayachhobi teen deener Durga Pujo Smart club Pi day Math team Children’s Day Kali Pujo natokchorcha table tennis tournaments anandamela bangabhavan repair Picnic Wreenmukto Bangabhavan noboborsho cultural program bangla class Bangasanskriti Dibos Robibarer aroti Natoker rehearsal Kali Pujo Committee odhibeshon Shree ponchomee sonkirton teen deener Durga Pujo Mohaloya Gaaner class Seminar Jonmashtomee Children’s Day Carom tournament Poush parbon Saraswati Pujo Boi paath Shri ramkrishna jonmotsob Dolkhela Gaaner jolsa Setar o tobla teen deener Durga Pujo Seminar Dolkhela gaaner jolsa Setar o tobla Kali Pujo Shri ramkrishna jonmotsob Seminar bijoyadoshomee bangabhavan repair Wreenmukto Bangabhavan 2 Banga Sanskriti Dibas Schedule From Editor’s Desk Saturday, May 23rd, 2015 With winter behind us and spring upon Streamwood High School us it is time to enjoy sunny days, nature Registration 3:30 p.m to 6:30 p.m walks, and other outdoor activities. Greeting and Best wishes for the Bengali New Year GBM - Reorg Committee Presentatoin 3:30 p.m to 4:30 p.m 1422. Please join us to celebrate Banga San- Snacks 4:30 p.m to 5:30 p.m skriti Dibas and enjoy a nostalgic evening of Bengali culture. You can find more details of Cultural Programs 5:30 p.m to 8:30 p.m the schedule, program highlights, venue and Dinner 8:30 p.m to 10:00 p.m food in the next few pages of the newsletter. -
Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction. -
Setting the Stage: a Materialist Semiotic Analysis Of
SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception. -
Last Tango in Paris (1972) Dramas Bernardo Bertolucci
S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 . -
Music, Partition and Ghatak Priyanka Shah
Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Vol. 3, No. 1, pp. 120–136 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 120 Vol. 3, No. 1, pp. 120–136 Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Maulana Azad College, University of Calcutta, [email protected] At a time when the ‘commercial’ Bengali film directors were busy caricaturing the language and the mannerisms of the East-Bengal refugees, specifically in Calcutta, using them as nothing but mere butts of ridicule, Ritwik Ghatak’s films portrayed these ‘refugees’, who formed the lower middle class of the society, as essentially torn between a nostalgia for an utopian motherland and the traumatic present of the post-partition world of an apocalyptic stupor. Ghatak himself was a victim of the Partition of India in 1947. He had to leave his homeland for a life in Calcutta where for the rest of his life he could not rip off the label of being a ‘refugee’, which the natives of the ‘West’ Bengal had labelled upon the homeless East Bengal masses. The melancholic longing for the estranged homeland forms the basis of most of Ghatak’s films, especially the trilogy: Meghe Dhaka Tara (1960), Komol Gondhar (1960) and Subarnarekha (1961). Ghatak’s running obsession with the post-partition trauma acts as one of the predominant themes in the plots of his films. To bring out the tragedy of the situation more vividly, he deploys music and melodrama as essential tropes. Ghatak brilliantly juxtaposes different genres of music, from Indian Classical Music and Rabindra Sangeet to folk songs, to carve out the trauma of a soul striving for recognition in a new land while, at the same time, trying hard to cope with the loss of its ‘motherland’. -
Le Indie Del Cinema
Se il termine Bollywood è ormai familiare, meno note sono MAIN SPONSOR CONVERSATIONS probabilmente le avventurose circostanze che hanno reso WITH possibile la nascita di un’industria cinematografica divenuta CONTEMPORARY così imponente come quella indiana. INDIA sogno e realtà, tra conscio e subconscio si confonde nella febbrile A colmare questa lacuna è il primo titolo di questa immaginazione di Kalyappan ubriaco. La caratterizzazione stessa rassegna, La fabbrica di Harishchandra (2010), che racconta è piena di contrasti: la corda del boia, che uccide il condannato, come Dhundiraj Govind Phalke (1870-1944, superando ha il potere di curare i malati, dicotomia sottolineata in tutto il l’insuperabile, sia riuscito nel 1913 a realizzare il suo sogno: film. Il passare del tempo ha un ruolo cruciale La corda del boia dare all’India un proprio cinema. che si accorcia, i solchi che si allungano sul viso devastato di Ma torniamo a Bollywood: il termine, invece di indicare Kaliyappan e l’eterea qualità del flauto dell’orfano evocano un soltanto il cinema hindi popolare, prodotto a Bombay (ora senso di atemporalità quanto indicano l’inesorabilità della marcia Mumbai), è diventato sinonimo di cinema indiano tout court. Info del Tempo. Sono questi momenti di magia che rendono il cinema Invero, la realtà è un pochino più complessa. L’India, infatti, [email protected] di Adoor una tale sfida. Ma impongono anche pressanti domande [email protected] allo spettatore.” (Saibal Chatterjee, da Hindustan Times) è una Unione di stati federali, ognuno dei quali, come gli Le Indie www.unive.it/cfz stati europei, si distingue per la sua storia, la sua cultura e la sua lingua (o più di una). -
Department of English University of Delhi Delhi - 110007
DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 Structure of BA Honours English English for BA/ BCom/BSc Programme and English for BA(H)/BCom(H)/BSc (H) under Learning Outcomes-based Curriculum Framework for Undergraduate Education SEMESTER 1 Core, Ability Enhancement Course Compulsory (AECC), B.A/B.Com Program, B.A. English Discipline and Generic Electives (GE) Syllabus applicable for students seeking admission to the BA Honours English, BA/BCom/BSc Programme and BA(H)/BCom(H)/BSc(H) under LOCF w.e.f. the academic year 2019-20 SEMESTER I B. A. & B. COM. PROGRAMME CORE ENGLISH LANGUAGE General Course Statement 1. The course will retain streaming. The structure of three graded levels of English language learning is required in a diverse central university like Delhi University to address the differential learning levels of students and achieve the desired competence. 2. The existing English A, B, and C will be renamed as English Language through Literature, English Fluency and English Proficiency respectively. This will remove any discriminatory, hierarchical attributes in the existing nomenclature and refocus the pedagogic exercise on the respective objectives of the three streams in an academically thorough and non-hierarchical way. As 98% of the BA &B.Com Programme students have done English in class 12, streaming will be now based on their Class XII marks in English. There will be three streams: 1. 80% and above: ENGLISH LANGUAGE THROUGH LITERATURE 2. 60% and above up -
War Cry of the Beggars: an Exploration Into City, Cinema and Graphic Narratives
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 War Cry of the Beggars: an exploration into city, cinema and graphic narratives Madhuja Mukherjee To cite this article: Madhuja Mukherjee (2016): War Cry of the Beggars: an exploration into city, cinema and graphic narratives, South Asian Popular Culture, DOI: 10.1080/14746689.2016.1241346 To link to this article: http://dx.doi.org/10.1080/14746689.2016.1241346 Published online: 08 Nov 2016. 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: [Madhuja Mukherjee] Date: 09 November 2016, At: 20:43 SOUTH ASIAN POPULAR CULTURE, 2016 http://dx.doi.org/10.1080/14746689.2016.1241346 War Cry of the Beggars: an exploration into city, cinema and graphic narratives Madhuja Mukherjee Film Studies, Jadavpur University, Kolkata, India ABSTRACT This short piece is an account of the making of the graphic novel, Kangal Malsat (/War Cry of the Beggars, Bengali, 2013), designed, written and illustrated by the author (The graphic novel was described as the ‘first’ graphic work in Bengali by the popular press, and featured on the bestseller’s list). It presents a short introduction to the primary text, a Bengali novel by Nabarun Bhattacharya who was one of the most influential and controversial authors of recent times. The plot of Kangal Malsat (2002) presents the exploits of the Fyatarus/Flying Men and the Choktars/Black magicians. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 10, Issue-V, October 2019 ISSN: 0976-8165 Ban Theatre of Tezpur and the Development of Modern Assamese Theatre Dipankar Saikia PhD Scholar, Dept. of MIL & LS, Gauhati University. & Dr. Sukdev Adhikari Principal, LOKD College, Assam Research Supervisor, Dept. of MIL & LS, Gauhati University. Article History: Submitted-27/09/2019, Revised-05/11/2019, Accepted-10/11/2019, Published-20/11/2019. Abstract: Modern Assamese theatre is basically amateur in nature and the permanent playhouses erected by various amateur theatre societies of Assam played the pivotal role in the development of western-style Assamese dramaturgy. Ban Theatre of Tezpur in the Sonitpur district of Assam occupied the central place in the development of modern Assamese theatre. The playhouse gave birth to the greatest Assamese dramatist Jyotiprasad Agarwala and raised stellar performers like Bishnu Rabha and Phani Sarma. It introduced the first theatrical orchestra in the State, standardised native Assamese songs and music and employed innovative styles of playwriting and play-production. The present study makes an analytical attempt to trace the history of performance at Ban Theatre and situate its vibrant tradition of theatre practice in the context of the development of modern Assamese theatre. -
Literary Herald ISSN: 2454-3365 UGC-Approved Journal an International Refereed English E-Journal Impact Factor: 2.24 (IIJIF)
www.TLHjournal.com Literary Herald ISSN: 2454-3365 UGC-Approved Journal An International Refereed English e-Journal Impact Factor: 2.24 (IIJIF) IPTA and National Identity: History, Theatre and a Culture of Touring Dr Samipendra Banerjee Assistant Professor Department of English University of Gour Banga Malda, West Bengal Abstract: Over the past decades there has been a growing interest in the historiography of Modern Indian Theatre. This paper is an attempt to focus on one of the most dynamic moments in the history of Modern Indian Theatre, the emergence of the Indian People‘s Theatre Association. The formation of IPTA in 1943 is an event of immense historical significance that needs greater critical inquiry. I attempt a review of the history of the IPTA with a focus on its theatre and show how the IPTA in its activist stance towards anti-colonial rule was also a key factor in imagining an emerging nation. IPTA‘s diverse theatrical oeuvre, including plays like Sambhu Mitra‘s Nabanna was instrumental in the construction of national identity. I also argue that despite its organizational decentralization, IPTA‘s role in the imagining of the nation became possible because of a crucial ploy of ‗touring‘, what I refer to as a ‗culture of touring‘. Keywords: IPTA, Modern Indian Theatre, historiography, National Identity, Nabanna, Culture of Touring. With the achievement of political independence in 1947 and the end of British rule, India stepped on to a phase of massive reconstruction of the nation. This was a project of asserting an identity, of simultaneous reconstruction and deconstruction, of decolonization and a rising postcolonial practice in various ways. -
Ruddhasangeet by Shri Bratya Basu,Kinu Kaharer Thetar by Manoj
Kartik The Play & Director’s Note This play has a storyline that could have been based on tomorrow morning's newspaper headlines. Using the wonderful theatrical device of three actors playing the central character of Kartik, we are able to enter his fractured world. We simultaneously see him as he was before the accident that changed his life; we also see him as he is immediately after the accident, recovering in hospital, at home and in school; as well as when he is an adult. The play brings together the present, past and uture in a seamless whole. It has been a fascinating journey with the actors and my own team. We have interviewed teenagers, their parents and teachers; watched their interactions in school, home and on the metro; created improvisations; spent hours mastering the intricate choreography; enjoyed the shopping for clothes that capture today's Delhi; and worked hard at creating over 36 characters, played by just 14 actors! The Director Educationist, theatre director and activist, Feisal Alkazi lives and works in New Delhi. Over the past forty years he has carved his own niche with his group, Ruchika. He has directed over 200 plays with adults in Hindi, English and Urdu. Most recently, two plays, Noor and A Quiet Desire, written by him have been produced. In addition, he has directed over 100 productions for schools all over India. Ruchika also runs a training program in theatre for children since 1997. Feisal has written 24 books as well and is a counsellor with Sanjivani. In the field of disability, he has directed 30 films and produced several plays. -
Of Roots and Rootlessness: Music, Partition and Ghatak Priyanka Shah
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The South Asianist Journal Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Vol. 3, No. 1, pp. 120–136 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 120 Vol. 3, No. 1, pp. 120–136 Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Maulana Azad College, University of Calcutta, [email protected] At a time when the ‘commercial’ Bengali film directors were busy caricaturing the language and the mannerisms of the East-Bengal refugees, specifically in Calcutta, using them as nothing but mere butts of ridicule, Ritwik Ghatak’s films portrayed these ‘refugees’, who formed the lower middle class of the society, as essentially torn between a nostalgia for an utopian motherland and the traumatic present of the post-partition world of an apocalyptic stupor. Ghatak himself was a victim of the Partition of India in 1947. He had to leave his homeland for a life in Calcutta where for the rest of his life he could not rip off the label of being a ‘refugee’, which the natives of the ‘West’ Bengal had labelled upon the homeless East Bengal masses. The melancholic longing for the estranged homeland forms the basis of most of Ghatak’s films, especially the trilogy: Meghe Dhaka Tara (1960), Komol Gondhar (1960) and Subarnarekha (1961). Ghatak’s running obsession with the post-partition trauma acts as one of the predominant themes in the plots of his films.