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Technological Innovation Research in China and India: a Bibliometric Analysis for the Period 1991–2015
TECHNOLOGICAL INNOVATION RESEARCH IN CHINA AND INDIA: A BIBLIOMETRIC ANALYSIS FOR THE PERIOD 1991–2015 Debabrata Chatterjee1 and Sreevas Sahasranamam2 1Indian Institute of Management, Kozhikode, India and 2University of Strathclyde, UK Forthcoming in Management & Organization Review ABSTRACT Although a substantial literature on the management of technological innovation exists, several scholars argue that much of this research has been rooted in Western contexts, where key assumptions are very different from those in emerging economies. Building on this viewpoint, we investigate the current state of knowledge on technological innovation in two of the largest and fastest growing emerging economies: China and India. We undertook a bibliometric analysis of author keywords and combined different quantitative approaches – frequency analysis, cluster analysis, and co-word analysis – to review 162 articles on technological innovation published about China and India for the period 1991– 2015. From the analyses, the trends in technological innovation research in the two countries and the dominant themes of discussion were identified. These themes were further classified into eight sub-themes. Our key findings indicate a near absence of research on the management of technological innovation based on India, limited volume of research on indigenous aspects of innovation, and a lack of theory-building based on these countries’ contexts. Several suggestions for future research are offered based on the gaps identified. Keywords: bibliometric analysis, -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
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. -
Unlocking Resilience Through Autonomous Innovation
Working Paper Unlocking resilience through autonomous innovation Aditya Bahadur and Julian Doczi January 2016 Overseas Development Institute 203 Blackfriars Road London SE1 8NJ Tel. +44 (0) 20 7922 0300 Fax. +44 (0) 20 7922 0399 E-mail: [email protected] www.odi.org www.odi.org/facebook www.odi.org/twitter © Overseas Development Institute 2016. This work is licensed under a Creative Commons Attribution-NonCommercial Licence (CC BY-NC 4.0). Readers are encouraged to reproduce material from ODI Working Papers for their own publications, as long as they are not being sold commercially. As copyright holder, ODI requests due acknowledgement and a copy of the publication. For online use, we ask readers to link to the original resource on the ODI website. The views presented in this paper are those of the author(s) and do not necessarily represent the views of ODI. ISSN (online): 1759-2917 ISSN (print): 1759-2909 Cover photo: During daylight hours a single bottle like this could provide 40-60 watts of light in a dark room. Photo: Jay Directo, AFP, Getty Images, 2011. Contents List of acronyms 5 Executive summary 6 1. Introduction 7 2. Innovation and Autonomous Innovation 7 3. Resilience thinking 14 4. Unlocking resilience through Autonomous Innovation 16 5. Implications for development organisations 21 6. Conclusions 24 References 26 Unlocking resilience through autonomous innovation 3 List of figures and boxes Figures Figure 1: Relationships between different approaches to innovation, according to their degree of external influence and their -
A Complete Profile of Rangroop
MMMAJOR PRODUCTIONS OF RANGRANG----ROOPROOP SINCE THE INCEPTION: Total Name Of The Year No. Of Drama By Directed By Production Shows 1969-70 Michhil 12 Goutam Mukherjee Goutam Mukherjee 1972-73 Akay Akay Sunya 9 Goutam Mukherjee Goutam Mukherjee 1979-80 Kanthaswar 151 Goutam Mukherjee Goutam Mukherjee Sanskrit play: Banabhatta; Adaptation : 1982-83 Kadambari 50 Goutam Mukherjee Dr. K.K. Chakraborty Story: Subodh Ghosh 1984-85 Andhkarer Rang 62 Script: Sima Mukherjee Goutam Mukherjee Story: O’Henry Do. Prahasan 62 Script: K.K. Chakraborty Goutam Mukherjee Story: O’Henry 1987-88 Clown 110 Script: K.K. Chakraborty Goutam Mukherjee 1988-89 Bikalpa 74 Sima Mukhopadhyay Goutam Mukherjee Dwijen Banerjee & 1991-92 Bhanga Boned 130 Sima Mukhopadhyay Saonli Mitra 1992-93 Tringsha Shatabdi 5 Badal Sarkar Kaliprosad Ghosh 1993-94 Boli 11 Tripti Mitra Sima Mukhopadhyay 1994-95 Je Jan Achhey 187 Sima Mukhopadhyay Sima Mukhopadhyay Majhkhane Sima Mukhopadhyay 1996-97 24 Abanindranath Tagore Aalor Phulki & K K Mukhopadhyay Panu Santi Sima Mukhopadhyay Krishna Kishore 1998-99 53 Cheyechhilo (Story: Ramanath Roy) Mukhopadhyay 1999- Aaborto 27 Sima Mukhopadhyay Sima Mukhopadhyay 2000 2000-01 Sunyapat 34 Sima Mukhopadhyay Sima Mukhopadhyay Drama: Olwen Wymark 2002-03 Khnuje Nao 37 Adaptation: Swatilekha Sengupta Rudraprasad Sengupta Je Jan Achhey 2003-04 Majhkhane 32 Sima Mukhopadhyay Sima Mukhopadhyay (Revive) 2004-05 Sesh Raksha 38 Rabindranath Tagore Sima Mukhopadhyay Sima Mukhopadhyay 2005-06 He Mor Debota 10 (Story: Deborshee Sima Mukhopadhyay Saroghee) -
SEAGULL Theatre QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements
2 Acknowledgements 3 Introduction 7 ‘My kind of theatre is for the people’ KUMAR ROY 37 ‘And through the poetry we found a new direction’ SHYAMAL GHO S H 59 Minority Culture, Universal Voice RUDRAPRA S AD SEN G UPTA 81 ‘A different kind of confidence and strength’ Editor AS IT MU K HERJEE Anjum Katyal Editorial Consultant Samik Bandyopadhyay 99 Assistants Falling in Love with Theatre Paramita Banerjee ARUN MU K HERJEE Sumita Banerjee Sudeshna Banerjee Sunandini Banerjee 109 Padmini Ray Chaudhury ‘Your own language, your own style’ Vikram Iyengar BI B HA S H CHA K RA B ORTY Design Sunandini Banerjee 149 Photograph used on cover © Nemai Ghosh ‘That tiny cube of space’ MANOJ MITRA 175 ‘A theatre idiom of my own’ AS IT BO S E 197 The Totality of Theatre NIL K ANTHA SEN G UPTA 223 Conversations Published by Naveen Kishore 232 for The Seagull Foundation for the Arts, Appendix I 26 Circus Avenue, Calcutta 700017 Notes on Classic Playtexts Printed at Laurens & Co. 9 Crooked Lane, Calcutta 700 069 234 Appendix II Notes on major Bengali Productions 1944 –-2000 S T Q SEAGULL THeatRE QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements Most of the material collected for documentation in this issue of STQ, had already been gathered when work for STQ 27/28 was in progress. We would like to acknowledge with deep gratitude the cooperation we have received from all the theatre directors featured in this issue. We would especially like to thank Shyamal Ghosh and Nilkantha Sengupta for providing a very interesting and rare set of photographs; Mohit Chattopadhyay, Bibhash Chakraborty and Asit Bose for patiently answering our queries; Alok Deb of Pratikriti for providing us the production details of Kenaram Becharam; Abhijit Kar Gupta of Chokh, who has readily answered/ provided the correct sources. -
Introduction to a Film on Female Genital Circumcision by It’S Lead Meenal Kapoor
Introduction to a Film on Female Genital Circumcision by it’s lead Meenal Kapoor [ratings] The film is based on an important issue which has been overlooked because of ignorance about the subject. This film fills that void. It creates awareness about the urgency for banning the horrid medieval practice. Meenal’s performance holds the film together. The intensity with which she has delineated her character reflects on a conviction in the actor about the theme of the film. One must also congratulate the Director for communicating about the practice in such a short film. – Editor Female Genital Circumcision or FGC as it is commonly known is India’s best kept secret. This tradition is practiced in 21st century India within a small and conservative community of Dawoodi Bohras. This is a curse to any women and must be banished. We have made this film to bring awareness to our fellow citizens to abolish this draconian era act which has no place in our society. This short film ‘Female Khatna’, directed by Shashank Upadhyay, is on Female Genital Mutilation (FGM) or also known as Female Genital Circumcision (FGC). Similar to circumcision of boy’s FGM, it’s a reality that is still practiced in our country albeit by a small minority community. Our team received threats from several people demanding to drop the film, they infact have vowed to cut the young director’s throat. However, he is determined to release this movie which focuses on the draconian era practice of circumcision of little girls often between the age of 6 to 12 years. -
REPORT Part - C Vol
Visva-Bharati Santiniketan 731235 INDIA SELF-STUDY REPORT Part - C Vol. 1 Evaluative Report of the Departments Submitted to National Assessment and Accreditation Council 2014 C O N T E N T S SANGIT BHAVANA (INSTITUTE OF MUSIC, DANCE & DRAMA) Rabindra Sangit, Dance and Drama 1 Hindustani Classical Music 44 KALA BHAVANA (INSTITUTE OF FINE ARTS ) Painting 70 Sculpture 96 Graphic Art 114 History of Art 136 Design 156 Evaluative Report of the Department of Rabindra Sangit, Dance and Drama, 1 Sangit Bhavana Evaluative Report of the Department of Rabindra Sangit, Dance and Drama 1. Name of the Department: Rabindra Sangit, Dance and Drama, Sangit-Bhavana (Institute of Music, Dance and Drama), Visva-Bharati, Santiniketan 2. Year of establishment: 1933 3. Is the Department part of a School/Faculty of the University? Yes. 4. Names of programmes offered (UG, PG, M.Phil., Ph.D., integrated Masters; Integrated Ph.D., D.Sc., D.Litt., etc.) : a) B.Mus b) M.Mus c) M.Phil d) Ph.D e) D.Litt f) One Year Course for Foreign Students in all subjects under Sangit Bhavana, g) Two Year Certificate Course. 5. Interdisciplinary programmes and departments involved: The faculty and students regularly perform programmes with the different departments of the Bhavanas at the University level. The Sangit Bhavana constantly is keeping in touch with Rabindra Bhavana towards organizing seminars, conferences, programmes at the National level. The Bhavana also undertakes collaborative research programmes. Students are offered courses like Tagore Studies, Environmental Studies with the other departments of Visva-Bharati at the UG level. At the PG level, the subject Acoustics is being offered by the Physics department. -
Questions for Kumar Shahani- Interview
Questions for Kumar Shahani by Aparna Franki umar Shahani is an internationally renowned filmmaker, who studied under Ritwik Ghatak and apprenticed with Robert Bresson. He is a K recipient of the prestigious Prince Claus Award (1998). His films have won several Indian Filmfare Awards and his film ‘Khayal Gatha’ won the FIPRESCI Prize at the Rotterdam International Film Festival in 1990. Mr. Shahani’s essays have been published in the journals Framework and Social Scientist and he co-edited Cinema and Television: Fifty years of Reflection in France with Jacques Kermabon. Aparna Frank: In your many past interviews and essays, you have questioned simple definitions of “identity” and “culture”, including the term “multiculturalism”; hence, I am curious, what does a phrase like “Indian cinema” mean to you? Kumar Shahani: The question of identity and culture was, as you know, the product of fascism, Nazism and imperial constructs. Right up to 1961, I remember filling up forms, which asked me not only what my nationality was, but also what my race, caste, etcetera were. Therefore, I have rejected these notions totally, fundamentally and I do not ever wish to build any ideology including that of multiculturalism upon notions that have brutalised millions of people. Corporate multiculturalism and state terror are the greatest threat to humanity—they work against the very ethos of individuation. So, what does Indian cinema mean to me or to you, or to anyone else, who has fought for freedom, be it from one sort of hegemony or another? For me, and my gurus, Ritwik Ghatak, D.D Kosambiii, Jal Balaporiaiii and their gurus-Eisenstein, Einstein, Rahmat Khaniv, anything with a geographical name like “Indian” meant self- liberation. -
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. -
Unit Revised Reference List
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT – UNIT REVISED REFERENCE LIST, AS ON 26/09/2012 I N D E X S.NO. CATEGORY PAGE NO 1. DANCE 02 2. FOLK 38 3. THEATRE & PUPPETRY 79 4. CARNATIC MUSIC 105 5. HINDUSTANI MUSIC 131 6. MODERN DANCE & MUSIC 172 1 INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMEMT SECTION REVISED REFERENCE LIST FOR DANCE - AS ON 26/09/2012 S.NO. CATEGORY PAGE NO 1. BHARATANATYAM 3 – 11 2. CHHAU 12 – 13 3. KATHAK 14 – 19 4. KATHAKALI 20 – 21 5. KRISHNANATTAM 22 6. KUCHIPUDI 23 – 25 7. KUDIYATTAM 26 8. MANIPURI 27 – 28 9. MOHINIATTAM 29 – 30 10. ODISSI 31 – 35 11. SATTRIYA 36 12. YAKSHAGANA 37 2 REVISED REFERENCE LIST FOR DANCE AS ON 26/09/2012 BHARATANATYAM OUTSTANDING 1. Ananda Shankar Jayant (Also Kuchipudi) (Up) 2007 2. Bali Vyjayantimala 3. Bhide Sucheta 4. Chandershekar C.V. 03.05.1998 5. Chandran Geeta (NCR) 28.10.1994 (Up) August 2005 6. Devi Rita 7. Dhananjayan V.P. & Shanta 8. Eshwar Jayalakshmi (Up) 28.10.1994 9. Govind (Gopalan) Priyadarshini 03.05.1998 10. Kamala (Migrated) 11. Krishnamurthy Yamini 12. Malini Hema 13. Mansingh Sonal (Also Odissi) 14. Narasimhachari & Vasanthalakshmi 03.05.1998 15. Narayanan Kalanidhi 16. Pratibha Prahlad (Approved by D.G March 2004) Bangaluru 17. Raghupathy Sudharani 18. Samson Leela 19. Sarabhai Mallika (Up) 28.10.1994 20. Sarabhai Mrinalini 21. Saroja M K 22. Sarukkai Malavika 23. Sathyanarayanan Urmila (Chennai) 28.10.94 (Up)3.05.1998 24. Sehgal Kiran (Also Odissi) 25. Srinivasan Kanaka 26. Subramanyam Padma 27. -
Jaideep Prabhu
Jaideep Prabhu ADDRESS Trumpington Street Phone: +44 (0) 1223 765468 Cambridge CB2 1AG Fax: +44 (0) 1223 339701 United Kingdom email: [email protected] EXPERIENCE Professor of Marketing, Jawaharlal Nehru Professor of Indian Business and Enterprise, and Director, Cambridge Centre for India and Global Business, Judge Business School, University of Cambridge, September 2008 to Present. Fellow of Clare College, University of Cambridge, April 2009 to Present. Professor of Marketing, Tanaka Business School, Imperial College London, 2004 to 2008. Director of Research, September 2007 to May 2008. Advanced Institute of Management (AIM) Innovation Fellow, 2007-2009. University Senior Lecturer in Marketing, Judge Institute of Management, University of Cambridge, 2002 to 2004. University Lecturer in Marketing, Judge Institute of Management, University of Cambridge, 1999 to 2002. Director of Studies, Management Studies, Fitzwilliam College and Clare College, 1999 to 2004. Assistant Professor and Fellow at Center for Economic Research, Tilburg University, 1996 to 1999 . Visiting Assistant Professor, University of California Los Angeles, 1995-1996. EDUCATION Ph.D. in Business Administration. Fall 1990 to August 1995 University of Southern California Bachelor of Technology. August 1985 to May 1989 Indian Institute of Technology, New Delhi RESEARCH INTERESTS General: Marketing, Strategy, International Business Specific: Innovation, Organizational Learning, Competitive Interaction 1 PAPERS PUBLISHED OR ACCEPTED “Lost in a Universe of Markets: Toward a Theory of Market Scoping for Early-Stage Technologies,” with Sven Molner and Manjit S. Yadav, Journal of Marketing, 2018: 1-25. “Marketing to the poor: an institutional model of exchange in emerging markets,” with Paul Tracey and Magda Hassan, AMS Review, 2017: 1-22.