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ANNIVERSARY SPECIAL Millenniumpost.In
ANNIVERSARY SPECIAL millenniumpost.in pages millenniumpost NO HALF TRUTHS th28 NEW DELHI & KOLKATA | MAY 2018 Contents “Dharma and Dhamma have come home to the sacred soil of 63 Simplifying Doing Trade this ancient land of faith, wisdom and enlightenment” Narendra Modi's Compelling Narrative 5 Honourable President Ram Nath Kovind gave this inaugural address at the International Conference on Delineating Development: 6 The Bengal Model State and Social Order in Dharma-Dhamma Traditions, on January 11, 2018, at Nalanda University, highlighting India’s historical commitment to ethical development, intellectual enrichment & self-reformation 8 Media: Varying Contours How Central Banks Fail am happy to be here for 10 the inauguration of the International Conference Unmistakable Areas of on State and Social Order 12 Hope & Despair in IDharma-Dhamma Traditions being organised by the Nalanda University in partnership with the Vietnam The Universal Religion Buddhist University, India Foundation, 14 of Swami Vivekananda and the Ministry of External Affairs, Government of India. In particular, Ethical Healthcare: A I must welcome the international scholars and delegates, from 11 16 Collective Responsibility countries, who have arrived here for this conference. Idea of India I understand this is the fourth 17 International Dharma-Dhamma Conference but the first to be hosted An Indian Summer by Nalanda University and in the state 18 for Indian Art of Bihar. In a sense, the twin traditions of Dharma and Dhamma have come home. They have come home to the PMUY: Enlightening sacred soil of this ancient land of faith, 21 Rural Lives wisdom and enlightenment – this land of Lord Buddha. -
The Actresses of the Public Theatre in Calcutta in the 19Th & 20Th Century
Revista Digital do e-ISSN 1984-4301 Programa de Pós-Graduação em Letras da PUCRS http://revistaseletronicas.pucrs.br/ojs/index.php/letronica/ Porto Alegre, v. 11, n. esp. (supl. 1), s113-s124, setembro 2018 http://dx.doi.org/10.15448/1984-4301.2018.s.30663 Memory and the written testimony: the actresses of the public theatre in Calcutta in the 19th & 20th century Memória e testemunho escrito: as atrizes do teatro público em Calcutá nos séculos XIX e XX Sarvani Gooptu1 Netaji Institute for Asian Studies, NIAS, in Kolkata, India. 1 Professor in Asian Literary and Cultural Studies ABSTRACT: Modern theatrical performances in Bengali language in Calcutta, the capital of British colonial rule, thrived from the mid-nineteenth at the Netaji Institute for Asian Studies, NIAS, in Kolkata, India. https://orcid.org/0000-0003-1564-1225 E-mail: [email protected] century though they did not include women performers till 1874. The story of the early actresses is difficult to trace due to a lack of evidence in primarycontemporary material sources. and the So scatteredthough a researcher references is to vaguely these legendary aware of their actresses significance in vernacular and contribution journals and to Indian memoirs, theatre, to recreate they have the remained stories of shadowy some of figures – nameless except for those few who have left a written testimony of their lives and activities. It is my intention through the study of this Keywords: Actresses; Bengali Theatre; Social pariahs; Performance and creative output; Memory and written testimony. these divas and draw a connection between testimony and lasting memory. -
Prospectus 2021
Ramakrishna Mission Vidyamandira Belur Math, Howrah-711202 A Residential Autonomous College affiliated to University of Calcutta College with Potential for Excellence DST-FIST sponsored College, Funded by DBT- Star College Scheme, NIRF India Ranking 2020 (College Category) – 7th Contents 1. History and Objective 1 2. Units of Ramakrishna Mission Saradapitha 2 3. Courses of Study 3 4. Programme Outcomes (PO) 42 5. Rules of Admission 44 6. Rules for Payment of Dues 45 7. Examination 46 8. Stipends and Scholarships 57 9. Library 57 10. Computer Laboratory & Internet Kiosk 59 11. Smart Classrooms & Language Laboratory 59 12. ‘Swami Vivekananda Research Centre’ (SVRC) 59 13. Internal Quality Assurance Cell 59 14. Placement & Career Counselling Cell 60 15. College and Hostel Dress Code 61 16. Hostel 61 17. Co-curricular Activities 62 18. Anti-ragging Cell 64 19. Discipline 65 20. Vidyamandira Vidyarthi Samsad 67 21. Visits by Guardians 68 22. Health 68 23. Administrative & Faculty Members 68 24. Administrative & Academic Support Staff (College) 81 25. Administrative & Academic Support Staff (Hostel) 86 26. Academic Medals & Prizes 88 27. Donations 105 28. Fees Structure 113 29. Withdrawals 116 30. Daily Routine 121 31. Contact 122 1 1. History and Objective: What is today the Ramakrishna Mission Vidyamandira, traces its origin to the educational ethos of Swami Vivekananda. True education, according to Swami Vivekananda, must enable a person to manifest all that is best in him by a harmonious development of head, hand, and heart. Such an education would not only combine in it the best elements of Eastern and Western culture but would at the same time hold aloft the Indian ideals of devotion, wisdom and morality so that it might meet the national temperament at every point. -
Between Violence and Democracy: Bengali Theatre 1965–75
BETWEEN VIOLENCE AND DEMOCRACY / Sudeshna Banerjee / 1 BETWEEN VIOLENCE AND DEMOCRACY: BENGALI THEATRE 1965–75 SUDESHNA BANERJEE 1 The roots of representation of violence in Bengali theatre can be traced back to the tortuous strands of socio-political events that took place during the 1940s, virtually the last phase of British rule in India. While negotiations between the British, the Congress and the Muslim League were pushing the country towards a painful freedom, accompanied by widespread communal violence and an equally tragic Partition, with Bengal and Punjab bearing, perhaps, the worst brunt of it all; the INA release movement, the RIN Mutiny in 1945-46, numerous strikes, and armed peasant uprisings—Tebhaga in Bengal, Punnapra-Vayalar in Travancore and Telengana revolt in Hyderabad—had underscored the potency of popular movements. The Left-oriented, educated middle class including a large body of students, poets, writers, painters, playwrights and actors in Bengal became actively involved in popular movements, upholding the cause of and fighting for the marginalized and the downtrodden. The strong Left consciousness, though hardly reflected in electoral politics, emerged as a weapon to counter State violence and repression unleashed against the Left. A glance at a chronology of events from October 1947 to 1950 reflects a series of violent repressive measures including indiscriminate firing (even within the prisons) that Left movements faced all over the state. The history of post–1964 West Bengal is ridden by contradictions in the manifestation of the Left in representative politics. The complications and contradictions that came to dominate politics in West Bengal through the 1960s and ’70s came to a restive lull with the Left Front coming to power in 1977. -
Journal of Bengali Studies
ISSN 2277-9426 Journal of Bengali Studies Vol. 6 No. 1 The Age of Bhadralok: Bengal's Long Twentieth Century Dolpurnima 16 Phalgun 1424 1 March 2018 1 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Journal of Bengali Studies (ISSN 2277-9426), Vol. 6 No. 1 Published on the Occasion of Dolpurnima, 16 Phalgun 1424 The Theme of this issue is The Age of Bhadralok: Bengal's Long Twentieth Century 2 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 ISSN 2277-9426 Journal of Bengali Studies Volume 6 Number 1 Dolpurnima 16 Phalgun 1424 1 March 2018 Spring Issue The Age of Bhadralok: Bengal's Long Twentieth Century Editorial Board: Tamal Dasgupta (Editor-in-Chief) Amit Shankar Saha (Editor) Mousumi Biswas Dasgupta (Editor) Sayantan Thakur (Editor) 3 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Copyrights © Individual Contributors, while the Journal of Bengali Studies holds the publishing right for re-publishing the contents of the journal in future in any format, as per our terms and conditions and submission guidelines. Editorial©Tamal Dasgupta. Cover design©Tamal Dasgupta. Further, Journal of Bengali Studies is an open access, free for all e-journal and we promise to go by an Open Access Policy for readers, students, researchers and organizations as long as it remains for non-commercial purpose. However, any act of reproduction or redistribution (in any format) of this journal, or any part thereof, for commercial purpose and/or paid subscription must accompany prior written permission from the Editor, Journal of Bengali Studies. -
Playbill-Tiner-Talowar.Pdf
Table of Contents About Natyakrishti-TCAGW 2 Previous Performances 3 Tiner Talowar Management Team 4 Behind the Scene 5 Cast 6 Patrons & Donors 7 Notes from Well-wishers 8 Why Tiner Talowar today? 11 Chasing the Drama? 14 Language of Cinema and Literature 16 Tiner Talowar Prasange 25 Printed by Damodar Printing Kolkata Editor: Suchismita Chattopadhyay Cover and Layout: Kajal Chakraborty & Dilip K. Som Disclaimer: Natyakrishti apologizes for any inadvertent mistakes, omissions and misrepresentations in this publication. www.natyakrishti.org About Natyakrishti-TCAGW Natyakrishti-TCAGW is an amateur theater and cultural group based in the greater Washington D.C., USA. It is a non-profit 501 (c) (3) organization. In 1985, a group of enthusiastic, dedicated theater lovers in the greater Washington area, aspiring to initiate theatrical and cultural activities, formed an amateur drama group. A number of highly acclaimed dramas were staged by the group at the Durgapuja festivals organized by Sanskriti, Inc. of the Washington Metropolitan area. These dramas were also staged in various other cities of the USA. Some of the members concurrently participated in the theatrical and cultural events organized by other groups like Manab Kalyan Kendra, Sanskriti, Mayur, etc. They performed in major roles in the dance dramas Achalayatan and Moha Mudgar, organized by the Hon'ble Ambassador Mr. Siddhartha Shankar Ray, which were staged in Kennedy Center, Gandhi Center and the Indian Embassy in Washington D.C. With a view to developing histrionic talents, active association was initiated with renowned theater groups like Nandikar, Sayak, Calcutta High Court Advocates' Drama Association in India (Hon'ble Minister Ajit Panja's group). -
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. -
05 Work Plan and Methodology
Work Plan and Methodology Chapter I: Introduction to Indian English Drama Chapter II: Portrayal of Political Power in Girish Karnad Chapter III: Portrayal of Political Power in Vijay Tendulkar Chapter IV: Portrayal of the Political Power in Habeeb Tanveer Chapter V: Portrayal of the Political Power in Utpal Dutt Chapter VI: Conclusion The first chapter- Introduction will take a survey of Indian drama written in Sanskrit, folk languages and regional languages. It will also take into account the slow growth in Indian English drama in pre-independence and post-independence times. The second chapter- Portrayal of Political Power in Girish Karnad’s plays will analyze the portrayal of political power as a force in the play affects functioning of all the systems. The third chapter- Portrayal of Political Power in the Plays of Vijay Tendulkar will record the visible and invisible influence of political power in the each every matter and also how it is self-destructive. The fourth chapter- Portrayal of the Political Power in the plays of Habeeb Tanveer will portray the invisible but rigid structure of the political power and what means political power uses to achieve its ends. The fifth chapter- Portrayal of Political Power in the Plays of Utpal Dutt works in the destructive way in society. The last chapter Conclusion will take into stock the conclusions drawn from the portrayal and analysis of this significant social institution in Indian English drama and will aim at prove their relevance to the present times. The research methodology employed herein will be exploratory, interpretative and analytical in nature. -
The Political Theater of Utpal Dutt
Theater Arts Faculty Works Theater Arts 2012 Rehearsals for a Revolution: The Political Theater of Utpal Dutt. Arnab Banerji Loyola Marymount University Follow this and additional works at: https://digitalcommons.lmu.edu/thea_fac Part of the Theatre and Performance Studies Commons Recommended Citation Banerji, Arnab. “Rehearsals for a Revolution: The Political Theater of Utpal Dutt.” South Eastern Review of Asian Studies (2012). This Article is brought to you for free and open access by the Theater Arts at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Theater Arts Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Southeast Review of Asian Studies Volume 34 (2012), pp. 222–30 Rehearsals for a Revolution: The Political Theater of Utpal Dutt ARNAB BANERJI University of Georgia During the mid-1960s, when communist politics were beginning to gain significant ground in Bengal, the playwright, actor, and director Utpal Dutt উৎপল দত্ত (1924–93) experimented with theatrical forms in the hope of creating a political theater and fomenting a proletarian social revolution. This essay examines his concept of the “revolutionary theater” and its underlying elements, which include traditional forms of theater like jatra and both Piscatorian and Brechtian techniques. Utpal Dutt উৎপল দত্ত (1924–93) is one of the best known and most respected figures in the history of modern Bengali theater. A committed leftist, Dutt wrote, directed, and acted in commercially successful and politically challenging plays during a career of nearly fifty years from the early 1940s until his death in 1993. -
Actresses on Bengali Stage—Nati Binodini and Moyna: the Present Re-Imagines the Past
Actresses on Bengali Stage—Nati Binodini and Moyna: the Present Re-imagines the Past Madhumita Roy and Debmalya Das. Visva Bharati, Santiniketan. India. Abstract The Bengal Renaissance ushered in the process of multifaceted modernization resulting in the major reshaping of the theatrical space both in terms of convention and praxis. Abandoning the convention of cross–dressing (where the earlier male actors were dressed as women to represent female characters), this new theatrical space began to accommodate the women actors for the representation of female characters. Parallel with the emergence of the “New Woman” in the upper middle class society of the nineteenth century, the women actors also constituted a segregated sphere of the emancipated women. Although “free” to encounter the public sphere, they were denied the degree of social acceptability/status that was otherwise available to the then upper middle class “New Women.” This paper tries to locate the experience of a female actor of nineteenth century: Binodini Dasi: as is rendered in her two short autobiographical writings and the re-imagination of that experience in the twentieth century play Tiner Taloar by Utpal Dutt. Dutt uses the historical material to explore the consolidation and redefinition of the feminine space in his contemporary theatre. [Keywords: theatre, actress, performance, prostitution, protest, commodification, liberty.] The Bengal Renaissance ushered in the process of multifaceted modernization resulting in the major reshaping of the theatrical space both in terms of convention and praxis. Abandoning the convention of cross–dressing (whereas the earlier male actors were dressed as women to represent female characters), this new theatrical space began to accommodate the women actors for the representation of female characters. -
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. -
Social Science TABLE of CONTENTS
2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus.