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Amol and Chitra Palekar
NATYA SHODH SANSTHAN Interview of Amol and ChitraPalekar FROM THE COLLECTIONS OF NATYASHODHSANSTHAN AUDIO LIBRARY Recorded on 1st. July, 1982 NatyaBhavan EE 8, Sector 2, Salt Lake, Kolkata 700091/ Call 033 23217667 visit us at http://www.natyashodh.org https://sites.google.com/view/nssheritagelibrary/home (Amol Palekar&ChitraPalekar came a little late and joined the discussionregarding the scope of theatre and the different forms a playwright tries to explore.) ChitraPalekar It is not that you cannot do a thing. You can do anything, you can do anything. It is not the point. The point is that the basic advantage that cinema has over theatre, the whole mass of audience, you know, all those eight hundred or nine hundred people he can put them to a close-up. This tableau we still see in theatre sitting as a design in a particular frame but here you can break that frame, you can go closer and he can focus your attention on just a little point here and a gesture here, and a gesture there and you know, on stage you will have to show with a torch yet it won’t be visible. Amol Palekar The point is …..Obviously two points come to my mind. First and foremost, suppose you are able to do it, and you are able to hold the audience then why not. The question is – yes, you do it for two hours, just keep one tableau and somebody the off sound is there. If that can hold then I think it will be a perfect valid theatre, why not? Bimal Lath Could it be that we can make 10 plays the same way? Amol Palekar Yes, why not? In fact I think on this issue I will say something which will immediately start a big fight so I will purposely started not for the sake of fight but because I believe in it also. -
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
9. Internationales Berlin Forum 22.2.-3.3. Des Jungen Films 1979
29. internationale filmfestspiele berlin 9. internationales berlin forum 22.2.-3.3. des jungen films 1979 INTERVIEW überwindet der Film die Grenzen von Zeit und Raum, um zu einer universellen Wahrheit zu gelangen. Am Ende des Films wird der junge Held aus seiner gewohnten Um• Land Indien 1971 gebung herausgeholt und von einem unsichtbaren Zuschauer einem Produktion Mrinal Sen Verhör unterworfen; auf provokative Fragen gibt er unsichere Ant• worten. Und schließlich kommt der Moment des Urteils — über die Welt und ihre Werte. Regie Mrinal Sen Mrinal Sen Buch Mrinal Sen, nach einer Erzählung von Ashish Burman Biofilmographie Kamera K.K. Mahajan Mrinal Sen wurde 1923 geboren. „Ich kam auf Umwegen zum Film. Musik Vijay Raghava Rao Ich habe Physik studiert, interessierte mich für akustische Phäno• mene, und um diese eingehender zu untersuchen, arbeitete ich nach Schnitt Gangadhar Naskar Beendigung meines Studiums in einem Filmstudio. Als ich dann in der Nationalbibliothek in Kalkutta meine Arbeit fortsetzte, begann Darsteller ich auch Filmliteratur zu lesen — Schriften Sergej Eisensteins, die Ranjit Mullick Ranjit Mullick Arbeit seines Schülers Wladimir Nilsen, die Aufsätze Wsewolod Sekhar Chatterjee Sekhar Chatterjee Pudowkins. Die Mutter Karuna Banerjee Dann habe ich andere Sachen versucht, habe Korrektur gelesen und Mithu (die Schwester) Mamata Banerjee Artikel geschrieben und war kurze Zeit bei einer Theaterkooperati• Bulbul ve, dem 'Indian People's Theatre Movement'. (die Freundin) Bulbul Mukerjee Ich begann für eine Zeitung der Kommunistischen Partei, deren Mit• arbeiter ich war, Filmrezensionen zu schreiben." Die im Film verwendete Telephonnummer ist Mrinal Sens 1952 veröffentlichte Sen ein Buch über Charlie Chaplin. Um sich eigene Telephonnummer finanziell über Wasser zu halten, wurde er Vertreter einer Arznei• mittelfirma, ein Beruf, „für den ich vollkommen ungeeignet war". -
India's Agendas on Women's Education
University of St. Thomas, Minnesota UST Research Online Education Doctoral Dissertations in Leadership School of Education 8-2016 The olitP icized Indian Woman: India’s Agendas on Women’s Education Sabeena Mathayas University of St. Thomas, Minnesota, [email protected] Follow this and additional works at: https://ir.stthomas.edu/caps_ed_lead_docdiss Part of the Education Commons Recommended Citation Mathayas, Sabeena, "The oP liticized Indian Woman: India’s Agendas on Women’s Education" (2016). Education Doctoral Dissertations in Leadership. 81. https://ir.stthomas.edu/caps_ed_lead_docdiss/81 This Dissertation is brought to you for free and open access by the School of Education at UST Research Online. It has been accepted for inclusion in Education Doctoral Dissertations in Leadership by an authorized administrator of UST Research Online. For more information, please contact [email protected]. The Politicized Indian Woman: India’s Agendas on Women’s Education A DISSERTATION SUBMITTED TO THE FACULTY OF THE COLLEGE OF EDUCATION, LEADERSHIP, AND COUNSELING OF THE UNIVERSITY OF ST. THOMAS by Sabeena Mathayas IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF EDUCATION Minneapolis, Minnesota August 2016 UNIVERSITY OF ST. THOMAS The Politicized Indian Woman: India’s Agendas on Women’s Education We certify that we have read this dissertation and approved it as adequate in scope and quality. We have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Dissertation Committee i The word ‘invasion’ worries the nation. The 106-year-old freedom fighter Gopikrishna-babu says, Eh, is the English coming to take India again by invading it, eh? – Now from the entire country, Indian intellectuals not knowing a single Indian language meet in a closed seminar in the capital city and make the following wise decision known. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958. -
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. -
HAYAVADANA-Kumud Mehta.Pdf
HAYAVADANA Kumud Mehta Hayavadana had its premiere on May 20, 1983 at the Tata Theatre. Shri Vasantrao Patil, Chief Minister of Maharashtra, was the Chief Guest. Sponsored by the National Centre for the Performing Arts and the Goa Hindu Association, the first five shows scheduled at the Tata Theatre received an enthusiastic response from theatre-lovers and connoisseurs. Hayavadana was written by Girish Karnad during his tenure as a Homi Bhabha Fellow, and designed by the same creative team (Vijaya Mehta and Bhaskar Chandavarkar) which had successfully produced Shakuntala during the inaugural week of the Tata Theatre. Why did Vijaya Mehta and Bhaskar Chandavarkar, who had just recently concentrated their energies on a burning contemporary theme, the psyche of the dalit (Vijaya Mehta while directing Purusha and Bhaskar Chandavarkar in his film Atyachara) turn now to this play based on the Vetalapanchavimshati, the cycle of twenty-five tales related by a demon, · from one of the oldest collection of stories in Sanskrit literature? It is not difficult to surmise the reasons for the choice. For Hayavadana, as conceived by Girish Karnad, focusses on a crucial aspect of any kind of modern self-enquiry. Wherein lies an individual's identity? In mental equipment, knowledge as embodied in Devadatta's personality? Or, in the sheer evidence of the world known to Kapil through the sensat1ons of his body? Or, perhaps, in Padmini's subconscious yearning for a perfect partner embracing both these attributes? Besides, even as a modern seeks to understand the meaning of ·selfhood, does he not, with equal anguish, long to be unfragmented, integrated, whole? It is this philosophical undercurrent that runs through The Transposed Heads, Thomas Mann's renowned version of this story. -
A Review on EUTHANASIA
© APR 2020 | IRE Journals | Volume 3 Issue 10 | ISSN: 2456-8880 A Review on EUTHANASIA RUBA LAMAN AIMS Institute of Management Studies Abstract- Euthanasia, also called mercy killing, act 3. Indirect euthanasia or practice of painlessly putting to death persons 4. Physician assisted suicide suffering from painful and incurable disease or incapacitating physical disorder or allowing them to ACTIVE EUTHANASIA die by withholding treatment or withdrawing Active euthanasia is when death is brought about by artificial life-support measures. an act- for example when a person is killed by being given an overdose of pain-killer. I. INTRODUCTION PASSIVE EUTHANASIA Euthanasia, also called mercy killing, act or practice Passive euthanasia is when death is brought about by of painlessly putting to death persons suffering from an omission i.e. when someone lets the person die. painful and incurable disease or incapacitating physical disorder or allowing them to die by INDIRECT EUTHANASIA withholding treatment or withdrawing artificial life- Indirect euthanasia means providing treatment support measures. (usually to reduce pain) that has the side effect of speeding the patient’s death. Since the primary Euthanasia is performed by the attending physician intention is not to kill, this is seen by some people as administering a fatal dose of a suitable drug to the morally accepted. patient on his or her express request. It is a physician assisted suicide refers to deliberate action taken with PHYSICIAN ASSISTED SUICIDE the intention of ending a life, in order to relieve Physician assisted suicide involves a persistent suffering. In most countries, euthanasia is physician(doctor) knowingly and intentionally against the law and it may carry a jail sentence. -
Download (Binaural and Ambisonics B-Format Files)
Cover Page The handle http://hdl.handle.net/1887/47914 holds various files of this Leiden University dissertation Author: Chattopadhyay, B. Title: Audible absence: searching for the site in sound production Issue Date: 2017-03-09 Part II: Articles The following 6 articles are published in this dissertation in their original form (i.e. as they were published, accepted or submitted in peer-reviewed journals). I have chosen to insert short postscripts or comments on the first page of each article and besides added some comments here and there inside the articles on the basis of new insights gained throughout my research process, serving as clarification or to critically comment on them and connect them to each other as well as to the topics discussed in the Introduction and Conclusion. These blue and green-colored postscripts establish the context in which the articles can be considered part of the main body of research for this dissertation. 45 46 Article 1: Chattopadhyay, Budhaditya (2017). “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films.” Music, Sound, and the Moving Image Autumn issue (Accepted). This article deals with the first historical phase of sound production in India, as explained in the Introduction, namely: analogue recording, synchronized sound, and monaural mixing (1931– 1950s). Satyajit Ray emerged during this period and made full use of these techniques; hence, his work with sound is used as a benchmark here when studying this specific period of sound production. The article examines the use of ambient sound in the early years of film sound production, highlighting two differing attitudes, the first markedly vococentric and music-oriented, the second applying a more direct sound aesthetics to create a mode of realism. -
Takes Pleasure in Inviting You To
Nalanda Celebrates 50th Golden Jubilee Year 2015 takes pleasure in inviting you to NALANDA - BHARATA MUNI SAMMAN - 2014 SAMAROHA and Premier of Latest Dance Production PRITHIVEE AANANDINEE at: Ravindra Natya Mandir, Prabhadevi, Mumbai on: Sunday, the 18th January, 2015 at: 6.30 p.m. NALANDA'S BHARATA MUNI SAMMAN Dedicated to the preservation and propagation of Indian dance in particular and Indian culture in general from its founding in 1966 Nalanda Dance Research Centre has unswervingly trodden on its chosen path with single minded determination. Nalanda has always upheld the pricelessness of all that is India and her great ancient culture which consists of the various performing arts, visual arts, the mother of all languages Sanskrit and Sanskritic studies , the religio- philosophical thought and other co-related facets. Being a highly recognized research centre, Nalanda recognizes and appreciates all those endeavours that probe deep into the all encompassing cultural phenomena of this great country. Very naturally these endeavours come from most dedicated individuals who not only delve into this vast ocean that is Indian culture but also have the intellectual calibre to unravel, re-interpret and re-invent this knowledge and wisdom to conform with their own times. From 2011 Nalanda has initiated a process of honouring such individuals who have acquired iconic status. By honouring them Nalanda is honouring India on behalf of all Indians. Hence the annual NALANDA - BHARATA MUNI SAMMAN Recipients for 2014 in alphabetical order Sangeet Martand Pandit Jasraj's (Music) Shri. Mahesh Elkuchwar (Theatre) Rajkumar Singhajit Singh (Dance) Sangeet Martand Pandit Jasraj San g eet M ar t an d Pan d it Jas raj 's achievements are beyond compare more so because vocal music is the most intimate and direct medium according to India's musical treatise and tradition. -
Women in Indira Gandhi's India, 1975-1977
This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. Emerging from the Emergency: women in Indira Gandhi’s India, 1975-1977 Gemma Scott Doctor of Philosophy in History March 2018 Keele University Abstract India’s State of Emergency (1975-1977) is a critical period in the independent nation’s history. The government’s suspension of democratic norms and its institution of many, now infamous repressive measures have been the subject of much commentary. However, scholars have not examined Emergency politics from a gendered perspective. Women’s participation in support for and resistance to the regime and their experiences of its programmes are notably absent from historiography. This thesis addresses this gap and argues that a gendered perspective enhances our understanding of this critical period in India’s political history. It assesses the importance of gendered narratives and women to the regime’s dominant political discourses. I also analyse women’s experiences of Emergency measures, particularly the regime’s coercive sterilisation programme and use of preventive detention to repress dissent. I explore how gendered power relations and women’s status affected the implementation of these measures and people’s attempts to negotiate and resist them.