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Reg. No Name in Full Residential Address Gender Contact No
Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 20001 MUDKONDWAR SHRUTIKA HOSPITAL, TAHSIL Male 9420020369 [email protected] RENEWAL UP TO 26/04/2018 PRASHANT NAMDEORAO OFFICE ROAD, AT/P/TAL- GEORAI, 431127 BEED Maharashtra 20002 RADHIKA BABURAJ FLAT NO.10-E, ABAD MAINE Female 9886745848 / [email protected] RENEWAL UP TO 26/04/2018 PLAZA OPP.CMFRI, MARINE 8281300696 DRIVE, KOCHI, KERALA 682018 Kerela 20003 KULKARNI VAISHALI HARISH CHANDRA RESEARCH Female 0532 2274022 / [email protected] RENEWAL UP TO 26/04/2018 MADHUKAR INSTITUTE, CHHATNAG ROAD, 8874709114 JHUSI, ALLAHABAD 211019 ALLAHABAD Uttar Pradesh 20004 BICHU VAISHALI 6, KOLABA HOUSE, BPT OFFICENT Female 022 22182011 / NOT RENEW SHRIRANG QUARTERS, DUMYANE RD., 9819791683 COLABA 400005 MUMBAI Maharashtra 20005 DOSHI DOLLY MAHENDRA 7-A, PUTLIBAI BHAVAN, ZAVER Female 9892399719 [email protected] RENEWAL UP TO 26/04/2018 ROAD, MULUND (W) 400080 MUMBAI Maharashtra 20006 PRABHU SAYALI GAJANAN F1,CHINTAMANI PLAZA, KUDAL Female 02362 223223 / [email protected] RENEWAL UP TO 26/04/2018 OPP POLICE STATION,MAIN ROAD 9422434365 KUDAL 416520 SINDHUDURG Maharashtra 20007 RUKADIKAR WAHEEDA 385/B, ALISHAN BUILDING, Female 9890346988 DR.NAUSHAD.INAMDAR@GMA RENEWAL UP TO 26/04/2018 BABASAHEB MHAISAL VES, PANCHIL NAGAR, IL.COM MEHDHE PLOT- 13, MIRAJ 416410 SANGLI Maharashtra 20008 GHORPADE TEJAL A-7 / A-8, SHIVSHAKTI APT., Male 02312650525 / NOT RENEW CHANDRAHAS GIANT HOUSE, SARLAKSHAN 9226377667 PARK KOLHAPUR Maharashtra 20009 JAIN MAMTA -
5.2Nd Interim Dividend
DHANUKA AGRITECH LIMITED:CIN:L24219DL1985PLC020126 DETAIL OF SHAREHOLDER WHO HAVE NOT CLAIMED THEIR 2ND INTERIM DIVIDEND FOR THE FINANCIAL YEAR 2015-16 Father/Husband Middle Father/Husband Last Investor First Name Investor Middle Name Investor Last Name Father/Husband First Name Name Name Address Country State District Pincode Folio No./Client ID DP ID/Client ID Amount Transferred ASHOK KUMAR JAIN NA S/O SH DURGA PRASHAD JAIN HOUSE NO 142 KRISHNA MANDI HISSAR INDIA Haryana 125001 P0000004 1000 [HARYANA] ANJALI SINDHWANI KRISHAN LAL A-19/3 D.D.A.SFS SAKET NEW DELHI. INDIA Delhi 110017 P0000010 1000 ANJANEYULU KOPPARAPU K KRISHANAIAH 1/257 MAIN BAZAR RLY KODUR CUDDAPAHA DISTT A.P. INDIA Andhra Pradesh 516101 P0000016 1000 BHAGWAT SAHAI SAXENA SH LS SAXENA C-14 MEER AZAD LANE TYPE III QUATERS M. AZAD MEDICAL COLLEGE INDIA Delhi 110002 P0000019 200 CAMPUS NEW DELHI BALANAGI REEDYBHIMI REDDY RAMA KRISHNA REDDY 14/142 C UPSTAIRS KAMLA NAGAR DCM A P ROAD ANANTAPUR INDIA Andhra Pradesh 515001 P0000024 1000 BIMLESH KAUSHIK NARAIN DUTT KAUSHIK 264 DELHI ADMINISTRATION FALTS KARKAR DOOMA DELHI INDIA Delhi 110092 P0000025 2000 BABU KURIAN K VARUGHESE 18 P DIZ AREA SECTOR IV BHAGAT SINGH MARG CONNAUGHT PLACE NEW INDIA Delhi 110001 P0000028 1000 DELHI DURGA PRASADARAO POTHINA VENKATESHWAR RAO C/O SRI VENKATA PADMAVATHI FERT. STALL NO 10 PATTABHI MKT INDIA Andhra Pradesh 521001 P0000035 2000 MACHALI PATNAM KRISHNA DT DAYAKAR NAGABANDI NA NA H NO 6/69/A C/O GEETHA FERTILISERS MAIN RD PARKAL WARANGAL AP INDIA Andhra Pradesh 506164 P0000037 2000 GANDHI ANANTHULA RATTAIAH NA C/O BHUMATHA AGENCIES J P N ROAD WARANGAL A.P. -
IFFI 2007–Non-Feature Films
IFFI 2007–Non-Feature Films Abhijit Ghosh-Dastidar The International Film Festival at Goa (November 07) offered beautiful, humane portraits in the non-features section of Indian Panorama. Buddhadeb Das Gupta's ''Naushad Ali—The Melody Continues" (Hindi, colour, 39 mins) is a tribute to Naushad Ali, the legendary music composer from Bombay's film world, and the film landscape of the times. The film commences with Dilip Kumar, the actor, visiting Naushad Ali, admitted in Bombay hospital. Naushad passed away in May 06. An 'alap' song, composed by Naushad and sung by Bade Ghulam Ali, from ''Moghal-e-Azam'', is at the debut of the sound track. The voice over states that Naushad was closely linked to Lucknow, where he was born in December 1919. The camera travels along the lanes and streets of Lucknow, with Moghal monuments in the background. Naushad's father was a munshi in court. Naushad had spent his childhood at his grandmother's house. His uncle, Allam, had a harmonium shop, and soon Naushad found a job in a musical instruments shop. He started watching films from the age of eight at the Royal Cinema hall. He was fascinated by the off screen musicians of silent films. Clips from musical silent films roll by. Babbar Khan coached Naushed on the harmonium. Naushad shifted to Bombay in 1937. He spent nights below a staircase. He joined DN Madhok's film production company, and made music for films like ''Mala'' and ''Prem Nagar'', for which he was paid Rs 300 only for each film. He composed classical music to fit the songs of Shamshad Begum in "Baiju Bawra''. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form. -
(PPMG) Police Medal for Gallantry (PMG) President's
Force Wise/State Wise list of Medal awardees to the Police Personnel on the occasion of Republic Day 2020 Si. Name of States/ President's Police Medal President's Police Medal No. Organization Police Medal for Gallantry Police Medal (PM) for for Gallantry (PMG) (PPM) for Meritorious (PPMG) Distinguished Service Service 1 Andhra Pradesh 00 00 02 15 2 Arunachal Pradesh 00 00 01 02 3 Assam 00 00 01 12 4 Bihar 00 07 03 10 5 Chhattisgarh 00 08 01 09 6 Delhi 00 12 02 17 7 Goa 00 00 01 01 8 Gujarat 00 00 02 17 9 Haryana 00 00 02 12 10 Himachal Pradesh 00 00 01 04 11 Jammu & Kashmir 03 105 02 16 12 Jharkhand 00 33 01 12 13 Karnataka 00 00 00 19 14 Kerala 00 00 00 10 15 Madhya Pradesh 00 00 04 17 16 Maharashtra 00 10 04 40 17 Manipur 00 02 01 07 18 Meghalaya 00 00 01 02 19 Mizoram 00 00 01 03 20 Nagaland 00 00 01 03 21 Odisha 00 16 02 11 22 Punjab 00 04 02 16 23 Rajasthan 00 00 02 16 24 Sikkim 00 00 00 01 25 Tamil Nadu 00 00 03 21 26 Telangana 00 00 01 12 27 Tripura 00 00 01 06 28 Uttar Pradesh 00 00 06 72 29 Uttarakhand 00 00 01 06 30 West Bengal 00 00 02 20 UTs 31 Andaman & 00 00 00 03 Nicobar Islands 32 Chandigarh 00 00 00 01 33 Dadra & Nagar 00 00 00 01 Haveli 34 Daman & Diu 00 00 00 00 02 35 Puducherry 00 00 00 CAPFs/Other Organizations 13 36 Assam Rifles 00 00 01 46 37 BSF 00 09 05 24 38 CISF 00 00 03 39 CRPF 01 75 06 56 12 40 ITBP 00 00 03 04 41 NSG 00 00 00 11 42 SSB 00 04 03 21 43 CBI 00 00 07 44 IB (MHA) 00 00 08 23 04 45 SPG 00 00 01 02 46 BPR&D 00 01 47 NCRB 00 00 00 04 48 NIA 00 00 01 01 49 SPV NPA 01 04 50 NDRF 00 00 00 00 51 LNJN NICFS 00 00 00 00 52 MHA proper 00 00 01 15 53 M/o Railways 00 01 02 (RPF) Total 04 286 93 657 LIST OF AWARDEES OF PRESIDENT'S POLICE MEDAL FOR GALLANTRY ON THE OCCASION OF REPUBLIC DAY-2020 President's Police Medal for Gallantry (PPMG) JAMMU & KASHMIR S/SHRI Sl No Name Rank Medal Awarded 1 Abdul Jabbar, IPS SSP PPMG 2 Gh. -
Group Housing
LIST OF ALLOTED PROPERTIES DEPARTMENT NAME- GROUP HOUSING S# RID PROPERTY NO. APPLICANT NAME AREA 1 60244956 29/1013 SEEMA KAPUR 2,000 2 60191186 25/K-056 CAPT VINOD KUMAR, SAROJ KUMAR 128 3 60232381 61/E-12/3008/RG DINESH KUMAR GARG & SEEMA GARG 154 4 60117917 21/B-036 SUDESH SINGH 200 5 60036547 25/G-033 SUBHASH CH CHOPRA & SHWETA CHOPRA 124 6 60234038 33/146/RV GEETA RANI & ASHOK KUMAR GARG 200 7 60006053 37/1608 ATEET IMPEX PVT. LTD. 55 8 39000209 93A/1473 ATS VI MADHU BALA 163 9 60233999 93A/01/1983/ATS NAMRATA KAPOOR 163 10 39000200 93A/0672/ATS ASHOK SOOD SOOD 0 11 39000208 93A/1453 /14/AT AMIT CHIBBA 163 12 39000218 93A/2174/ATS ARUN YADAV YADAV YADAV 163 13 39000229 93A/P-251/P2/AT MAMTA SAHNI 260 14 39000203 93A/0781/ATS SHASHANK SINGH SINGH 139 15 39000210 93A/1622/ATS RAJEEV KUMAR 0 16 39000220 93A/6-GF-2/ATS SUNEEL GALGOTIA GALGOTIA 228 17 60232078 93A/P-381/ATS PURNIMA GANDHI & MS SHAFALI GA 200 18 60233531 93A/001-262/ATS ATUULL METHA 260 19 39000207 93A/0984/ATS GR RAVINDRA KUMAR TYAGI 163 20 39000212 93A/1834/ATS GR VIJAY AGARWAL 0 21 39000213 93A/2012/1 ATS KUNWAR ADITYA PRAKASH SINGH 139 22 39000211 93A/1652/01/ATS J R MALHOTRA, MRS TEJI MALHOTRA, ADITYA 139 MALHOTRA 23 39000214 93A/2051/ATS SHASHI MADAN VARTI MADAN 139 24 39000202 93A/0761/ATS GR PAWAN JOSHI 139 25 39000223 93A/F-104/ATS RAJESH CHATURVEDI 113 26 60237850 93A/1952/03 RAJIV TOMAR 139 27 39000215 93A/2074 ATS UMA JAITLY 163 28 60237921 93A/722/01 DINESH JOSHI 139 29 60237832 93A/1762/01 SURESH RAINA & RUHI RAINA 139 30 39000217 93A/2152/ATS CHANDER KANTA -
1481186712P4M12TEXT.Pdf
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement. -
Sr No Emp No. Name Department Name Designation Month Gross 1 15952 Ram Bilas A.B. Hostel Chowkidar Feb-21 48746 2 16078 Abhimanyu Prasad A.B
Sr No Emp No. Name Department Name Designation Month Gross 1 15952 Ram Bilas A.B. Hostel Chowkidar Feb-21 48746 2 16078 Abhimanyu Prasad A.B. Hostel Hostel Attendant Feb-21 48746 3 19392 Bharat Bhardwaj A.B. Hostel Hostel Attendant Feb-21 34220 4 20789 Jai Prakash Gupta A.B. Hostel MTS Feb-21 31819 5 16282 Mewa Lal Chauhan A.N.D. Hostel Hostel Attendant Feb-21 45033 6 17660 Chunnu Lal A.N.D. Hostel Chowkidar Feb-21 46256 7 19708 Pushyamitra Trivedi Academic Deputy Registrar Feb-21 112517 8 10204 R. K. Srivastava Academic Senior Assistant Feb-21 71266 9 10206 V. K. Upadhyaya Academic Senior Assistant Feb-21 73394 10 10480 Sanandan Singh Academic Section Officer Feb-21 73394 11 10900 Sanjeev Kumar Singh Academic Section Officer Feb-21 75522 12 17395 Saurabh Bhattacharya Academic Senior Assistant Feb-21 69178 13 17396 Anita Kumari Academic Senior Assistant Feb-21 69178 14 17399 Pandey Vishwanath Amarnath Academic Senior Assistant Feb-21 71120 15 19361 Krishna Chandra Academic Senior Assistant Feb-21 59916 16 19522 Pramod Kumar Academic Senior Assistant Feb-21 53724 17 20905 Ankita Kumari Academic Senior Clerk Feb-21 40198 18 10211 Guru Prasad Academic Peon Feb-21 56726 19 10213 Madan Mohan Jana Academic Peon Feb-21 48746 20 10215 Vinod Kumar Academic Peon Feb-21 48746 21 10651 Ratan Lal Academic Peon Feb-21 48746 22 12943 Himanshu Mishra Academic Cleaner Feb-21 48746 23 18929 Panna Lal Academic Peon Feb-21 37293 24 21483 Shiv Shankar Academic MTS Feb-21 30129 25 10391 D. -
Tradition and the Individual Dancer
1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries. -
Result of CCAC Exam April-2021. for Complete Details Click Here
NATIONAL INSTITUTE OF ELECTRONICS & INFORMATION TECHNOLOGY, NIELIT PATNA CENTRE Grade obtained by Candidates for the CCAC April-2021 Exam SL. No. Roll No. Candidate Name Father's Name Result 1 PT20C50034324 YASHWANT KUMAR HIRA PRASAD GUPTA C 2 PT20C50036093 SANTOSH KUMAR KUSHESHWSR SAH F 3 PT20C50036243 RAKESH RANJAN RAJ KUMAR SINGH C 4 PT20C50036977 JAI KUMAR JYOTI CHANDESHWARI YADAV D 5 PT20C50037017 ANIL KUMAR THAKUR LATE TARAKANT THAKUR F 6 PT20C50037258 DASHRATH RAUT LATE BOUKURAUT ABS 7 PT20C50037640 MANOJ KUMAR MALLICK SURESH MALLICK F 8 PT20D50020132 NAVEEN KUMAR SHIV KUMAR CHOUDHARY C 9 PT20D50022433 SONU KUMAR BHAGIRATH SINGH F 10 PT20D50032002 RAJIV KUMAR RAM NARAYAN PRASAD ABS 11 PT20D50034144 SONALI KUMARI DULAL CHANDRA DAS C 12 PT20D50035439 BIRENDRA KUMAR KAMLESHWARI YADAV ABS 13 PT20D50036129 CHANDRA SHEKHAR PRASAD DEV SUNDAR SAHU C 14 PT20D50036401 ASHOK KUMAR ROY CHOUTHI ROY F 15 PT20D50037151 SATISH CHANDRA MISHRA LATE JAGANNATH MISHRA F 16 PT20D50037152 AMAR NATH KARN LATE SHREE NARAYAN DAS ABS 17 PT20D50037779 MANOJ KUMAR RAM CHANDRA SINGH A 18 PT20D50038178 ATUL VERMA LATE BIPIN KUMAR D 19 PT20D50039248 RAJEEV KUMAR RANJAN MAHADEO PANDIT C 20 PT20D50039335 BIPIN KUMAR SANGRAM KUMAR SAH C 21 PT20D50039523 SANJAY KUMAR RAM KISHORE SINGH F 22 PT20T50024763 AMRENDRA KUMAR SRI RAM CHANDRA SINGH F 23 PT20T50037971 JAI PRAKASH SINGH SHYAM BIHARI SINGH C 24 PT20T50037972 RAJESHWAR SINGH RAM PATI SINGH F SHAILENDRA KUMAR 25 PT20T50038021 HARI RAM KANNOJIA B KANNOJIA 26 PT20T50038022 ARVIND RAI LALBAHADUR RAI F 27 PT20T50038023 -
High Court of Delhi Advance Cause List
HIGH COURT OF DELHI ADVANCE CAUSE LIST LIST OF BUSINESS FOR TH MONDAY,THE 16 JANUARY, 2017 INDEX PAGES 1. APPELLATE JURISDICTION 01 TO 57 2. COMPANY JURISDICTION 58 TO 71 3. ORIGINAL JURISDICTION 72 TO 81 4. REGISTRAR GENERAL/ 82 TO 119 REGISTRAR(ORGL.)/ REGISTRAR (ADMN.)/ JOINT REGISTRARS(ORGL). 16.01.2017 1 (APPELLATE JURISDICTION) [Note : Unless otherwise specified, before all appellate side courts, fresh matters shown in the supplementary lists will be taken up first.] COURT NO. 1 (DIVISION BENCH-I) HON'BLE THE CHIEF JUSTICE HON'BLE MS.JUSTICE SANGITA DHINGRA SEHGAL FRESH MATTERS & APPLICATIONS ______________________________ 1. CM APPL. 29684/2016 RAM GOPAL TIWARI N K SAHOO,SRI HARSHA PEECHARA In LPA 318/2016 Vs. NEW DELHI MUNICIPAL COUNCIL (Disposed-off Case) AFTER NOTICE MISC. MATTERS ____________________________ 2. LPA 816/2013 CORPORATION BANK JAGAT ARORA CM APPL. 17317/2013 Vs. RADHEY SHYAM & ANR CM APPL. 17319/2013 3. LPA 443/2014 ASHOK KUMAR NANDA ASHOK BHALLA Vs. PUNJAB NATIONAL BANK & ORS 4. LPA 73/2015 M/S STEEL AUTHORITY OF INDIA JURISPERITUS LAW CM APPL. 2630/2015 LTD OFFICES,MANOJ KUMAR DAS CM APPL. 2633/2015 Vs. M/S ENGINEERING PROJECT WITH LPA 98/2015 INDIA LIMITED 5. LPA 98/2015 M/S STEEL AUTHORITY OF INDIA YASHRAJ SINGH DEORA,MANOJ CM APPL. 3145/2015 LTD KUMAR DAS CM APPL. 3146/2015 Vs. ENGINEERING PROJECTS (INDIA) LTD 6. LPA 288/2015 LUFTHANSA GERMAN AIRLINES A BHASIN & ASSOCIATES,MRIDULA CM APPL. 8670/2015 Vs. SUDHIN SARKA & ANR RAY BHARADWAJ CM APPL. 8671/2015 CM APPL. 24663/2015 7.