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Girish Karnad: a Man and Artist—Evolution of His Dramatic Genius
www.the-criterion.com The Criterion: An International Journal in English ISSN (0976-8165) Girish Karnad: A Man and Artist—Evolution of His Dramatic Genius Dr. Krishna Singh Girish Raghunath Karnad is a playwright, poet, actor, director, critic, translator and cultural administrator all rolled into one. He has been rightly called the “renaissance man” (Kalidas & Merchant.”Renaissance Man”); whose celebrity is based on decades of prolific and consistent output on native soil. He belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulker who have created a national theatre for modern India which is the legacy of his generation. Karnad is the most famous as a playwright. His plays written in Kannad have been widely translated into English and all major Indian languages. Karnad’s plays are written neither in English, except few, in which he dreamed of earning international literary fame, nor in his mother tongue Konkani. Instead they are composed in his adopted language Kannad thereafter translated by himself into English—a language of adulthood. When Karnad started writing plays, Kannad literature was highly influenced by the renaissance in Western literature. Writers would choose a subject which looked entirely alien to manifestation of native soil. Conflicting ideologies, political freedom of India, modernity versus indigenous traditions supplied the specific backdrop to write plays. During his formative years, Karnad went through diverse influences that went long way into shaping his dramatic taste and genius. The earliest influence was that of the Natak Company that was in vogue in Sirsi. The Yakshagana plays which he used to see with the servants also appealed to him by their buffoonery and horseplay. -
Global Media Journal–Pakistan Edition Vol.Xii, Issue-01, Spring, 2019 1
GLOBAL MEDIA JOURNAL–PAKISTAN EDITION VOL.XII, ISSUE-01, SPRING, 2019 Screen Adaptation: An Art in Search of Recognition Sharaf Rehman1 Abstract This paper has four goals. It offers a brief history and role of the process of screen adaptation in the film industries in the U.S. and the Indian Subcontinent; it explores some of the theories that draw parallels between literary and cinematic conventions attempting to bridge literature and cinema. Finally, this paper discusses some of the choices and strategies available to a writer when converting novels, short stories, and stage play into film scripts. Keywords: Screen Adoption, Subcontinent Film, Screenplay Writing, Film Production in Subcontinent, Asian Cinema 1 Professor of Communication, the University of Texas Rio Grande Valley, USA 1 GLOBAL MEDIA JOURNAL–PAKISTAN EDITION VOL.XII, ISSUE-01, SPRING, 2019 Introduction Tens of thousands of films (worldwide) have their roots in literature, e.g., short stories and novels. One often hears questions like: Can a film be considered literature? Is cinema an art form comparable to paintings of some of the masters, or some of the classics of literature? Is there a relationship or connection between literature and film? Why is there so much curiosity and concern about cinema? Arguably, no other storytelling medium has appealed to humanity as films. Silent films spoke to audiences beyond geographic, political, linguistic, and cultural borders. Consequently, the film became the first global mass medium (Hanson, 2017). In the last one hundred years, audiences around the world have shown a boundless appetite for cinema. People go to the movies for different social reasons, and with different expectations. -
Indian Films on Partition of India
PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Manoj Sharma, 2017 Volume 3 Issue 3, pp. 492 - 501 Date of Publication: 15th December, 2017 DOI-https://dx.doi.org/10.20319/pijss.2017.33.492501 This paper can be cited as: Sharma, M. (2017). Cinematic Representations of Partition of India. PEOPLE: International Journal of Social Sciences, 3(3), 492-501. This work is licensed under the Creative Commons Attribution-Non-commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. CINEMATIC REPRESENTATIONS OF PARTITION OF INDIA Dr. Manoj Sharma Assistant Professor, Modern Indian History, Kirori Mal College, University of Delhi, Delhi-110007 – India [email protected] ________________________________________________________________________ Abstract The partition of India in August 1947 marks a watershed in the modern Indian history. The creation of two nations, India and Pakistan, was not only a geographical division but also widened the chasm in the hearts of the people. The objective of the paper is to study the cinematic representations of the experiences associated with the partition of India. The cinematic portrayal of fear generated by the partition violence and the terror accompanying it will also be examined. Films dealing with partition have common themes of displacement of thousands of masses from their homelands, being called refugees in their own homeland and their struggle for survival in refugee colonies. They showcase the trauma of fear, violence, personal pain, loss and uprooting from native place. -
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. -
Iffco Lecture Book
26th tokgjyky usg: Lekjd bQdks O;k[;ku Jawaharlal Nehru Memorial IFFCO Lecture Jawaharlal Nehru Memorial IFFCO Lecture is being organized by IFFCO every year to promulgate the cooperative principles and ideology advocated by Pandit Jawaharlal Nehru, Architect of Modern India. The Cooperative Award Ceremony is a source of encouragement and inspiration to Cooperative leaders which recognizes their efforts and spirit for the overall growth of the society. oDrk@ Speaker MkW- fxjh'k dukZM] lqizfl) ys[kd] fo[;kr fQYe o ukVddkj Dr. Girish Karnad, Eminent Author, Noted Cinema and Theater Personality 15 uoEcj] 2013 ¼'kqØokj½ vijkºu & 3-00 cts Friday, 15th November 2013, at 3.00 P.M. bafM;u QkjelZ QfVZykbtj dksvkijsfVo fyfeVsM INDIAN FARMERS FERTILISER COOPERATIVE LIMITED ok¡ 26 th tokgj yky usg: Lekjd bQdks O;k[kku Jawaharlal Nehru Memorial IFFCO Lecture Hkkjrh; flusek vkSj jk"Vª&fuekZ.k Indian Cinema and the Creation of Nation oDrk@ Speaker MkW- fxjh'k dukZM lqizfl) ys[kd] fo[;kr fQYe o ukVddkj Dr. Girish Karnad Eminent Author, Noted Cinema and Theater Personality 15 uoEcj] 2013 15 November, 2013 ok¡ 26 th tokgj yky usg: Lekjd bQdks O;k[kku Jawaharlal Nehru Memorial IFFCO Lecture Hkkjrh; flusek vkSj jk"Vª&fuekZ.k Indian Cinema and the Creation of Nation oDrk@ Speaker MkW- fxjh'k dukZM lqizfl) ys[kd] fo[;kr fQYe o ukVddkj Dr. Girish Karnad Eminent Author, Noted Cinema and Theater Personality 15 uoEcj] 2013 15 November, 2013 INDIAN CINEMA AND THE Hkkjrh; flusek vkSj jk"Vª&fuekZ.k CREATION OF A NATION & fxjh'k dukZM - GIRISH KARNAD loZizFke eSa ;g dguk pkgw¡xk fd bafM;u QkjelZ Let me say right at the start what an honour it is QÆVykbtj dksvkijsfVo fyfeVsM ¼bQdks½ dh vksj ls to be standing here to deliver the Jawaharlal Nehru tokgjyky usg: Lekjd O;k[;ku nsus gsrq vkids chp Memorial Lecture for the Indian Farmers Fertiliser mifLFkr gksuk esjs fy, lEeku dh ckr gSA eSa vius vkidks Cooperative. -
Open Letter Against Sec 377 by Amartya Sen, Vikram Seth and Others, 2006
Open Letters Against Sec 377 These two open letters bring together the voices of many of the most eminent and respected Indians, collectively saying that on the grounds of fundamental human rights Section 377 of the Indian Penal Code, a British-era law that criminalizes same-sex love between adults, should be struck down immediately. The eminent signatories to these letters are asking our government, our courts, and the people of this country to join their voices against this archaic and oppressive law, and to put India in line with other progressive countries that are striving to realize the foundational goal of the Universal Declaration of Human Rights that “All persons are born free and equal in dignity and rights.” They have come together to defend the rights and freedom not just of sexual minorities in India but to uphold the dignity and vigour of Indian democracy itself. Navigating Through This Press Kit This kit contains, in order, i. A statement by Amartya Sen, Nobel Laureate ii. The text of the main Open Letter iii. The list of Signatories iv. Sexual minorities in India - Frequently Asked Questions and Clarifications v. A summary of laws concerning the rights and situation of sexual minorities globally vi. Contact Information for further information/interviews Strictly embargoed until 16th September 2006 Not for distribution or publication without prior permission of the main signatories. All legal rights reserved worldwide. 1 In Support Cambridge 20 August 2006 A Statement in Support of the Open Letter by Vikram Seth and Others I have read with much interest and agreement the open letter of Vikram Seth and others on the need to overturn section 377 of the Indian Penal Code. -
The Plays of Girish Karnad and Vijay Tendulkar
The plays of Girish Karnad and Vijay Tendulkar: A comparative study The plays of Girish Karnad and Vijay Tendulkar: A comparative study, Vijay Tendulkar, Girish Karnad, Oxford University Press, Priya Tendulkar, Creative Books, Prestige Books, New Delhi, Stanford Encyclopedia of Philosophy, Language in India, Pencraft Publication, Dodiya Jaydipsinh, Tutun Mukherjee, Sterling Publication, Ghashiram Kotwal, Pencraft International, Magde, V. M., Mahesh Dattani, Mahasweta Devi, National Book Trust, Atlantic Publishers and Distributors, Rajpal Publication, Jaydipsinh Dodiya, Indian English Literature, Sanskrit Sansthan, Tughlaq, Madge, V. M., Delhi, Indian Literature, Ancient Indian, Pencraft Internationals Antifragile: how to live in a world we don't understand, Enzyme kinetics: behavior and analysis of rapid equilibrium and steady state enzyme systems, The oral in the written: A literature between two cultures, AN EARTH PERSPECTIVE FOR COVENANTAL LIVING, Veg Talk Wins Gold at Punahou, Helicopter rotor dynamics by finite element time approximation, White civility and Aboriginal law/epistemology, Cooking as identity work, White civility and Aboriginal law/epistemology, Unknown quantity: Joyce's words, Course Title Course Code INGL 3012 Bibliography Primary Sources: Karnad, Girish. Tughlaq. Delhi: Oxford University Press, 1986. …. The Fire and the Rain, Delhi: Oxford University Press, 1988. …. Naga Mandala : Play with a Cobra, Oxford University press, 1990. …. Tale Danda. New Delhi: Ravi Dayal Publishers, 1993. …. Introduction to Three Plays: Naga-Mandala, Hayvadana, Tughlaq. Delhi: Oxford University Press, 1998. …. Collected Plays: Tughlaq, Hayavadana, Bali: The Sacrifice, Naga- Mandala Vol. 1. Oxford University Press, 2005. …. Collected Plays: Taledanda, the Fire and the Rain, the Dreams of Tipu Sultan, Flowers and Images: Two Dramatic Monologues: Flowers : Broken Images, Vol. -
Social and Political Conflicts in Girish Karnad's Tale-Danda
SOCIAL AND POLITICAL CONFLICTS IN GIRISH KARNAD’S TALE-DANDA KEMPANNA RACHAPPA DONAWAD RESEARCH SCHOLAR DEPARTMENT OF ENGLISH SRI SATYA SAI UNIVERSITY OF TECHNOLOGY AND MEDICAL SCIENCES SEHORE MADHYA PRADESH INDIA DR.SYED AHMAD RAZA ABIDI RESEARCH GUIDE DEPARTMENT OF ENGLISH SRI SATYA SAI UNIVERSITY OF TECHNOLOGY AND MEDICAL SCIENCES SEHORE MADHYA PRADESH Abstract: In the play Tale-danda, the playwright Girish Karnad deals with the last days of Kalyan-Kranti. Girish wants to highlights social and political conflicts of the Indian society. Age old social ill the caste-system is treated with a special care. Sharanas attempt of abolishing it presented vividly. The inter-caste marriage between the Brahmin bride and the Cobbler bridegroom is the main episode. The marriage attempt and its effects reveal vulgarity of the caste system. The political intrigue of Sovidev against his father Bijjal reveals all time www.ijellh.com 74 human greed for power. By fusing these two themes Karnad successfully presents the social and political conflicts of the contemporary society. Key words: Caste-system, Varnashram, Brahmin, Cobbler, Inter-caste, Political intrigue, Superstition. Introduction: Girish Karnad occupies a very prominent place in Indian English Drama. He is one of the very prominent playwrights of the contemporary time. He finds the sources of his plays in the roots of myth and history and restructures them to narrate the present day problems of the modern Indian society. He got the power to transform any historic or mythical thing into an imaginary world to bring the aesthetic qualities to his work. For that, his plays have occupied permanent place in the literary world. -
RESUME Prof. Basavaraj P. Donur Head, Department of English & Dean, School of Humanities and Languages Central University Of
RESUME Prof. Basavaraj P. Donur Head, Department of English & Dean, School of Humanities and Languages Central University of Karnataka Aland Road, Kadaganchi-585367 Dist. Kalaburagi, State: Karnataka Email [email protected] [email protected] www.basavrajdonur.ac.in Cell No- 09407145165,09845634309 Area of specialization: Post colonialism, Translation,Drama and Theatre • Received Book Award for Hosadari from Kannada Dalit Sahitya Parishad, Karnataka, 2008. • Received Best Inspiring Teacher Award from Central University of Karnataka, Kalaburagi in 2013. • Received Amma Award from Matoshri Mahadevamma Nagappa Munnuru Foundation, Sedam,Karnataka for the book Nota Niluvu– Volume 1 in 2016. • Received Parthasarathi Manmushree National Award from Kannada Sahitya Parishad, Bangalore for his contribution to the development of Kannada language and literature in 2018. • Received Gulbarga University, Kalaburagi Rajyotsava Award for “Kangala Bara” (Poetry)in 2019. PERMANENT ADDRESS Prof. Basavaraj P. Donur Lokya Apartment House N. H, II Floor Near Sarva Mangala Hospital Saptapur Last Cross Dharwad-580003 Qualification PhD (English) (2011) Awarded on the thesis titled “The Poetry of G.M. Hopkins and Basavanna: A Comparative Study” by Karnatak University, Dharwad. 1 PhD (Kannada) (2000) Awarded on the thesis titled “Kannada Drama and Realism” by Kannada University, Hampi. M.A (English) (1993) Karnatak University, Dharwad. B.A. (English) (1991) Karnatak University, Dharwad. SERPROFESSIONAL EXPERIENCE 1. 1996-2002: Lecturer, Dept. of English, Karnatak Arts College, Dharwad, Karnataka. 2. 2002- 2007:Lecturer (Senior Scale), Dept. of English, Karnatak Arts College, Dharwad, Karnataka. 3. 2005-2005: (On deputation) Lecturer, (Senior Scale), Dept. of English, Karnataka State Women’s University, Vijaypur, Karnataka. 4. 2007-2010: Lecturer (Senior Scale), Dept. -
Literary and Historical Discourse in Girish Karnad's Tughlaq
ATLANTIS Journal of the Spanish Association of Anglo-American Studies 34.1 (June 2012): 81-95 issn 0210-6124 Literary and Historical Discourse in Girish Karnad’s Tughlaq N.S. Gundur Tumkur University [email protected] Self-refl exivity has been identifi ed by many critics as a distinctive feature of Girish Karnad’s dramatic texts. Accordingly, some of his plays, such as Tughlaq, Naga-Mandala and Th e Fire and the Rain, refl ect on the nature of art and literature. Th ey say something, overtly and at times covertly, about literature —poetry, playwriting and storytelling, drama and ritual. Hence, these plays can be read not only as literature but also as inquiries into the nature of literature itself. Th e present study reads a sub-text of Girish Karnad’s Tughlaq as a site which constructs a discourse on historical thinking and literature. Deploying the post-structuralist theory of textuality, especially that of Roland Barthes, it is argued here that a sub-text of the play, while creating the categories of poetic and historical, validates the literary by juxtaposing history and poetry dialectics. Reading the Tughlaq-Barani connection as more than that of a king and a historian —i.e. fi nding a poet in Tughlaq and a historical discourse in the interaction between Tughlaq, the king, and Barani, his confi dant— the present study views Tughlaq as a critique of historical writing. A close reading, especially of Tughlaq’s and Barani’s speech, forms the substance of this analysis. Keywords: Tughlaq; Karnad; post-structuralism; self-refl exivity; literary discourse; Indian theatre . -
A Case Study of the Naz Foundation's Campaign to Decriminalize Homosexuality in India Preston G
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Capstone Collection SIT Graduate Institute Winter 12-4-2017 Lessons for Legalizing Love: A Case Study of the Naz Foundation's Campaign to Decriminalize Homosexuality in India Preston G. Johnson SIT Graduate Institute Follow this and additional works at: https://digitalcollections.sit.edu/capstones Part of the Civic and Community Engagement Commons, Civil Rights and Discrimination Commons, Criminal Law Commons, Gender and Sexuality Commons, History of Gender Commons, Human Rights Law Commons, Law and Gender Commons, Law and Society Commons, Legislation Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Litigation Commons, Policy Design, Analysis, and Evaluation Commons, Political Science Commons, Politics and Social Change Commons, Race, Ethnicity and Post-Colonial Studies Commons, Sexuality and the Law Commons, Social Policy Commons, Sociology of Culture Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Johnson, Preston G., "Lessons for Legalizing Love: A Case Study of the Naz Foundation's Campaign to Decriminalize Homosexuality in India" (2017). Capstone Collection. 3063. https://digitalcollections.sit.edu/capstones/3063 This Thesis (Open Access) is brought to you for free and open access by the SIT Graduate Institute at SIT Digital Collections. It has been accepted for inclusion in Capstone Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. -
Natya Shodh Sansthan a N a R C H I V E O F I N D I a N T H E a T R E
E X P E R I E N C E A N D E N G A G E W I T H A M U S E U M Natya Shodh Sansthan A N A R C H I V E O F I N D I A N T H E A T R E Photo: www.natyashodh.org/index.htm Natya Shodh Sansthan, Kolkata is India's largest repository of archival material and documentation covering the entire history of Indian theatre in all its different languages, with special emphasis on folk and traditional forms and post- independence Indian theatre It is a repository of books, journals, audio and video recordings, photographs, models of Mask of Narsimha, Orissa, Photo: Photo: www.natyashodh.org/index. outstanding sets, costumes, manuscripts and htm rare materials. All related to theatre. PAGE 01 N a t y a S h o d h S a n s t h a n | E xperience & Engage with a Museum PAGE 02 P A G E 0 2 Natya Shodh Sansthan began its journey in July, 1981 as a theatre archive from 11, Pretoria Street, Kolkata, as a unit of Upchar Trust. The modest holding of a few journals, leaflets and diaries grew and the Sansthan built up its collection of priceless materials. Seminars, discussions and talks were regularly organized to record various aspects of histrionics on a pan-Indian level. With the new building established in 2019 (left hand side images), the Museum found its present address at EE 8, Sector 2, Salt Lake (Bidhan Nagar), Kolkata.