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Particulars of Some Temples of Kerala Contents Particulars of Some
Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ........................................................................................................... -
May 2013 India Review Ambassador’S PAGE America Needs More High-Skilled Worker Visas a Generous Visa Policy for Highly Skilled Workers Would Help Everyone
A Publication of the Embassy of India, Washington, D.C. May 1, 2013 I India RevieI w Vol. 9 Issue 5 www.indianembassy.org IMFC Finance Ministers and Bank Governors during a photo-op at the IMF Headquarters in Washington, D.C. on April 20. Overseas capital best protected in India — Finance Minister P. Chidambaram n India announces n scientist U.R. Rao n Pran honored incentives to boost inducted into with Dadasaheb exports Satellite Hall of Fame Phalke award Ambassador’s PAGE India is ready for U.S. natural gas There is ample evidence that the U.S. economy will benefit if LNG exports are increased he relationship between India and the United States is vibrant and growing. Near its T heart is the subject of energy — how to use and secure it in the cleanest, most efficient way possible. The India-U.S. Energy Dialogue, established in 2005, has allowed our two countries to engage on many issues. Yet as India’s energy needs con - tinue to rise and the U.S. looks to expand the marketplace for its vast cache of energy resources, our partner - ship stands to be strengthened even facilities and ports to distribute it macroeconomic scenarios, and under further. globally. every one of them the U.S. economy Despite the global economic slow - There is a significant potential for would experience a net benefit if LNG down, India’s economy has grown at a U.S. exports of LNG to grow expo - exports were increased. relatively brisk pace over the past five nentially. So far, however, while all ter - A boost in LNG exports would have years and India is now the world’s minals in the U.S. -
Punyam Aham Press Kit April2010
Punyam Aham a Raj Nair film web: www.punyamaham.com email: [email protected] Press contact: Raj Nair [email protected] Registered Address Cauvery, Old Thirumala Alappuzha 688010 Kerala, India Phone +91 477 226 2144 ~ Produced by Mirabilia Films Representives in India, Hong Kong, UK, USA & Australia. web: www.mirabiliafilms.com email: [email protected] www.punyamaham.com ©2009 PUNYAM AHAM SHORT SYNOPSIS Punyam Aham is a film about people with dreams, about living within those dreams, and a man’s troubled search for the true meanings of love, the mother, the father and self. It’s the story of a mother, the tone of the skin she inherited adding to the burden of being born female … A father, who married for love the low caste dark-skinned woman, but who left, abandoning her and their children.... And their son’s pilgrimage, his discovery of the true meaning of motherhood and fatherhood, and the ultimate realisation that we are enslaved by our heritage. A feature film in Malayalam with English subtitles, Punyam Aham is set in the heart of the small South Indian state of Kerala, self-proclaimed as "God's Own Country", and steeped in thousands of years of tradition, but increasingly impinged upon by globalisation. www.punyamaham.com ©2009 PUNYAM AHAM SYNOPSIS Punyam Aham is a film about people with dreams, about living within those dreams, and a man’s troubled search for the true meaning of love, the mother, the father and self. In the foothills of the northern region of Kerala, southern India, self-proclaimed as "God's Own Country”, Narayanan Unni sets forth on a trip to the capital city in the South, Thiruvanandapuram. -
P6champions Were P20 Organise a Honoured in a Ceremony Career Seminar Featuring Commonwealth for Pakistani Water Polo Player Students in Eleanor Thomson
Community Community Doha College’s Expat forum 2016 sporting Sohni Dharti P6champions were P20 organise a honoured in a ceremony career seminar featuring Commonwealth for Pakistani water polo player students in Eleanor Thomson. Al Khor. Wednesday, June 8, 2016 Ramadan 3, 1437 AH DOHA 33°C—44°C TODAY LIFESTYLE/HOROSCOPE 13 PUZZLES 14 & 15 AAccessibilityccessibility Website, mobile app to give COVER accessibility info beforehand STORY on locations in Qatar to the physically-challenged. P4-5 LAUNCH: The Accessible Qatar launch at the Katara Hall. 2 GULF TIMES Wednesday, June 8, 2016 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 3.14am Shorooq (sunrise) 4.43am Zuhr (noon) 11.33am Asr (afternoon) 2.56pm Maghreb (sunset) 6.26pm Isha (night) 7.56pm USEFUL NUMBERS Iraivi told from the standpoint of men, associated with the women GENRE: Drama, Comedy in the spotlight. While SJ Surya plays a failed director, who CAST: Vijay Sethupathi, Surya S J, Bobby Simha fi nds solace in liquor, Bobby Simha tries hard to make a Emergency 999 DIRECTION: Karthik Subbaraj widow, played by Pooja, fall for him. Vijay Sethupathi, on the Worldwide Emergency Number 112 SYNOPSIS: Three women become liberated after other hand, wanders in search of love, choosing to ignore the Kahramaa – Electricity and Water 991 unfortunate circumstances drive their husbands to a life of same when off ered by his wife, played by Anjali. Local Directory 180 crime. As the title suggests, Iraivi narrates the episodes that International Calls Enquires 150 unfold in the lives of a few women. Interestingly, -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
Are We Forgetting the Basic Rules Here?
A JOURNAL OF THE PRESS INSTITUTE OF INDIA ISSN 0042-5303 January-March 2016 Volume 8 Issue 1 Rs 50 Are we forgetting the CONTENTS • Do you get the reports that matter to you? / Sakuntala Narasimhan basic rules here? • Our right to write / Annapurna Sinha and Kanchan K. Malik The first 20 months of the BJP-led government at the Centre has • A publication with a shown us a media more interestingly divided than perhaps the difference / Sakuntala Ram Janmabhoomi movement revealed in the late 1980s, says Narasimhan Ranjona Banerji • Media monopoly and pluralism in India / Sarita Bose n the late 1980s, journalists were perceived as being what was colourfully called jholawallahs: that is, people of a leftist bent identifiable by the cloth • Is advertising eating into news space? / Ibags they carried around, like the Communists of Calcutta.Jholawallah. This J.V. Vil'anilam term is still used today in a derogatory sense but in fact it makes no sense in 2016. • Despite glass ceiling, Until the advent of television news, journalists were as a rule so badly paid women journalists make a mark / Ashish Kumar that the government had to set up commissions to ensure some bare minimum Dwivedy and Jyoti Prakash wage for newspaper employees. I can use my own case as an example. In my Mohapatra first job in journalism for a major magazine group, I had a monthly salary of • Do our farmers really Rs 2500 and an annual increment of Rs 75 for my grade. If I worked extremely matter? / Sakuntala hard, I was entitled to two increments. -
JANUARY 2017 .Com/Civilsocietyonline `50
VOL. 14 NO. 3 JANUARY 2017 www.civilsocietyonline.com .com/civilsocietyonline `50 Anupam Mishra 1947-2016 WATER GURU IS NO MORE A CADRE FOR MIDWIVES? INTERVIEW TEACH TEACHERS BETTER Pages 10-11 ‘noTE BAN HAS PUT Pages 25-26 THE JACKFRUIT FAMILY DIGITAL INCLUSION ECONOMICS IS POLITICS Page 12 ON FAST Forward’ Page 27 MFIS COPE WITH NOTE BAN R. CHANDRASHEKHAR Adoor’s new film Pages 22-23 Pages 6-8 Pages 29-30 CONTENTS R E A D U S. W E R E A D Y O U. A troubled yearend HERE has been little to celebrate in the way the year has gone out. If demonitisation at first seemed like a bold effort to deal with black money, there is now little certainty about what it will achieve. Of Tgrave concern is the growing arbitrariness in politics and governance. It is all around and so it makes little sense to point in any one direction. It is as though politicians, the so-called reformers like AAP included, inhabit a zone of their own and the rest of us are left to cope with a different reality. Putting together the January issue of Civil Society in such circumstances, COVER STORY you will recognise, has been challenging. It would be boring to dabble in the obvious and yet it won’t do to ignore developments around us. So, in search Water guru is no more of some kind of silver lining, we have picked our way through chaos (read Anupam Mishra, India's foremost authority on traditional water that as the mess in Parliament, stresses in the banking system and runaway harvesting systems passed away on 19 December after a brief but air pollution) to bring you an issue which makes some sense of our situation devastating encounter with cancer. -
1 Ma Comparative Literature and Linguistics
1 MA COMPARATIVE LITERATURE AND LINGUISTICS (Restructured Syllabus) As per the Regulation for the choice based Credit and Semester system in MA Programs Title of the program: Master of Arts in Comparative Literature and Linguistics. Nature of the program: Inter-disciplinary. Duration of the Program: Four Semesters (choice based course and credit system). Admission: Through Entrance Examination conducted by the University. COURSES AND CREDITS For the successful completion of the MA program the students should study 20 courses and achieve the credits fixed for the courses with the required percentage of attendance and a passing grade as per the regulation. Each course is designed for 4 credits. Total No. of Semesters: 4 Total No. of Courses: 20 Total No. of Teaching courses: 19 No. of Core courses: 13 No of electives to be taught: 4 Multidisciplinary courses (from other departments): 2 Total Credits of Teaching Courses: 76 Credits for dissertation in the 4th Semester: 4 Total Weight: 80 Credits (4 weights for each course) 2 Evaluation As per the regulations half of the credits will be valued internally by the department through continuous assessment and half of the credits will be evaluated through University level External examination. The evaluation is based on 9 point grading system. An average B- is the passing grade. If a student fails by getting F grade the candidate can repeat that course when it is offered subsequently. There will be no supplementary examination. SEMESTER-WISE COURSE WORK In Each semester there will be 3 core courses and 2 Elective Courses available for study except in the 4th semester in which there will be 5 core courses including dissertation and one elective. -
Malayalam Cinema from Politics to Poetics
Malayalam Cinema from Politics to Poetics By Gönül Dönmez-Colin Spring 2007 Issue of KINEMA MALAYALAM CINEMA FROM POLITICS TO POETICS INDIA IS the leading producer of films in the world with over 1000 films per year. The tiny south- western state of Kerala where a language called Malayalam is spoken has surpassed West Bengal as a major centre of art films. Its most important filmmaker, Adoor Gopalakrishnan is hailed as the living Satyajit Ray. Since the beginning of the 1970s, with the strong film society movement supported by the literary traditions of the state, Malayalam cinema has excelled in politically engagé films with artistic inclinations. When the Golden Age of Tamil and Telugu movies ended, Kannada and Malayalam cinemas came to the fore. Although, they too had their share of stars, the director came to be recognized as the most important person behind a film. The ”new cinema” distinguished itself from the outset for its thematic excellence. Even themediocre films initiated by the early involvement of writers and leftist theatre personalities concerned themselves with social and political issues such as tribal emancipation, illiteracy, land distribution and trade unionism. A straightforward love story would have deeper allegorical layers evoking Fredric Jameson’s hypothesis that ”all third world texts are necessarily allegorical...the story of the private individual destiny is always an allegory of the embattled situation of the public third-world culture and society.”(1) The films of John Abraham, Adoor Gopalakrishnan, Govinda Aravindan, T.V. Chandran, M. P. Sukumaran Nair, Shaji Karun and several others are testimony to this hypothesis. -
Screening the Impossible: the Politics of Form and Feeling in Second Wave Revolutionary Cinema
SCREENING THE IMPOSSIBLE: THE POLITICS OF FORM AND FEELING IN SECOND WAVE REVOLUTIONARY CINEMA By Sarah Hamblin A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY English 2012 ABSTRACT SCREENING THE IMPOSSIBLE: THE POLITICS OF FORM AND FEELING IN SECOND WAVE REVOLUTIONARY CINEMA By Sarah Hamblin Screening the Impossible explores how the new revolutionary ideologies that emerged in the various global articulations of the “long 1968” produced new forms of revolutionary cinematic practice – what I collectively refer to as a second wave of revolutionary filmmaking. The project focuses on films largely from the 1960s and 1970s that engage the revolutionary energies of the period to examine the relationship between emotion, aesthetics, and political theory in an international cinematic context. Drawing on the claim that the global rebellions of the 1960s mark the denunciation of early 20th century revolutionary narratives, it traces the connections between filmmakers who are similarly preoccupied with the limits, failures, and counter-revolutionary appropriations of orthodox revolutionary thought and yet remain committed to the necessity of revolutionary transformation. Through a comparative analysis of films from various national traditions, the project examines how the political cinema of this period develops a new understanding of revolutionary process and the role that cinema can play in it. At its core, the project lays out the aesthetic and affective contours of this emergent genre, arguing that second wave revolutionary cinema is characterized by its rejection of the teleological narratives and didactic political messages embedded in earlier first wave revolutionary cinematic production. -
History of Indian Cinema.Pdf
CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895. -
12Th Pune International Film Festival (09Th - 16Th January 2014 ) SR
12th Pune International Film Festival (09th - 16th january 2014 ) SR. NO. TITLE RUNTIME YEAR DIRECTOR COUNTRY OPENING FILM 1 Ana Arabia Ana Arabia 81 2013 Amos Gitai Israel, France AWARDEES FILM 1 Jait Re Jait Win, Win 116 1977 JABBAR PATEL INDIA 2 Swayamvaram One's Own Choice 131 1973 ADOOR GOPALKRISHNAN INDIA 3 Muqaddar Ka Sikandar Muqaddar Ka Sikandar 189 1978 PRAKASH MEHRA INDIA WORLD COMPETITION 1 Das Wochenende The Weekend 97 2012 Nina Grosse Germany 2 DZIEWCZYNA Z SZAFY The Girl From The Wardrobe 89 2012 Bodo Kox Poland 3 I Corpi Estranei Foreign Bodies 102 2013 Mirko Locatelli Italy 4 Mr. Morgan's Last Love Mr. Morgan's Last Love 116 2013 Sandra Nettelbeck Germany, Belgium 5 Thian Zhu Ding A Touch of Sin 129 2013 Zhangke Jia China, Japan 6 Night Train to Lisbon Night Train to Lisbon 110 2013 Bille August Germany, Portugal, Switzerland 7 La Pasión de Michelangelo The Passion of Michelangelo 97 2012 Esteban Larraín Chile, France, Argentina 8 Dom s Bashenkoy House with Turret 111 2012 Eva Neymann Poland Joanna Kos-Krauze, Krzysztof 9 Papusza Papusza 131 2013 Poland Krauze 10 Buqälämun Chameleon 73 2013 Ru Hasanov, Elvin Adigozel Azerbaijan, France, Russia 11 Rosie Rosie 106 2013 Marcel Gisler Switzerland, Germany 12 Queen of Montreuil Queen of Montreuil 87 2012 Solveig Anspach France 13 Fasle Kargadan Rhino Season 88 2012 Bahman Ghobadi Iraq, Turkey 14 Kanyaka Talkies Virgin Talkies 115 2013 K.R. Manoj India MARATHI COMPETITION 1 72 Miles Ek Pravas 72 Miles Ek Pravas 96 2013 Rajeev Patil INDIA Sumitra Bhave,Sunil 2 Astu So Beit 123