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Staff Selection Commission (SR) Chennai CONSTABLE(GD)
Staff Selection Commission (SR) Chennai CONSTABLE(GD) IN CAPFs, NIA & SSF AND RIFLEMAN(GD) IN ASSAM RIFLES EXAMINATION 2015 - Result for Male Candidates to be called for Medical Examination List-1 - Male Candidates of Southern Region qualified against State-wise vacancies Sl. No Roll Number Name of the Candidate Cat1 Cat2 Cat3 1 8002000065 BANKI PRAVEEN 6 2 8002000097 DUGGA LINGA PRATAP REDDY 3 8002000121 NEETIPILLI PURUSHOTTAM 6 4 8002000207 GADDAM LAKSHMI NARAYANA 6 5 8002000223 ALLEM PRASHANTH 2 6 8002000273 R RAMESH 2 7 8002000332 BUTTI PRASHANTH KUMAR 1 8 8002000347 RACHIPOGULA SUDHAKAR 1 9 8002000389 RAMAVATH RAJA NAIK 2 10 8002000413 VELPULA RAJESH 1 11 8002000492 PATAKOTI RAJU 1 12 8002000530 NAGIREDDY NARAYANAREDDY 13 8002000548 S BALA SWAMY NAIK 2 14 8002000555 JAKKULA SUBHASH 6 15 8002000675 BAIRAVAPOGU CHANDRA 1 16 8002000681 NARMETA RANJITH KUMAR 6 17 8002000700 ANJILAPPA 6 18 8002000763 KANAGANTI CHANDRA SHEKER 6 19 8002000791 ARIGALI ASHOK KUMAR 1 20 8002000955 PANEM RAMAKOTI REDDY 21 8002000994 GONE LAXMAN KUMAR 6 22 8002000999 G SRINIVAS 6 23 8002001064 BUKYA REDYA 2 24 8002001076 RANDI SRIKANTH 6 25 8002001105 JUKANTI HAREESH 6 26 8002001207 RAMAVAT SOMLA NAIK 2 27 8002001226 MITTA DEVAIAH 6 28 8002001234 AJMEERA RAJU 2 29 8002001252 KONCHADA SURESH 6 30 8002001257 CHIRISATI SIVAKUMAR 1 31 8002001428 BILLA HARI PRASAD 6 32 8002001444 GARULLE JEJERAM 2 33 8002001550 BUSAPURAM GIRICHARY 6 34 8002001583 LAVUDYA MADAN 2 35 8002001623 MALOTHU DEVILAL 2 36 8002001670 BAKI RAJU 1 37 8002001683 AREE PRASHANTH 1 38 8002001685 -
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. -
HBA PKD Tahasil.Xlsx
Name of the Amount Sl. No. CR No. Name of the Beneficiaries Detail address Tahasil involved 123 4 56 1 Paralakhemundi 106/2018 P.Madhaba Rao Dhamunigam 3200 s/o P.Poteya 2 Goudu Sayamma Dhamunigam 3200 w/o G.Chinnaya 3 Siripuram Narayana Rao Dhamunigam 3200 s/o S.Wannari 4 Tulasi Dharma Rao Dhamunigam 3200 s/o T.Taudu 5 Lakoji Kumar Dhamunigam 5200 s/o L.Kurma Rao 6 Kalacheti Dileswar Rao Dhamunigam 3200 s/o K.Krushnamurty 7 Giri Chitamma Dhamunigam 3200 w/o G.Laxman Rao 8 A.Rupabati Dhamunigam 3200 w/o A.Rama Rao 9 K.Dilwswari Dhamunigam 5200 w/o K.Ganga Rao 10 K.Sairaju Dhamunigam 5200 s/o K.Krishnamurty 11 R.Kanta Rao Dhamunigam 3200 s/o R.Laxmi 12 Siripuram Dudamma Dhamunigam 3200 w/o S.Prakash 13 K.Kesava Rao Dhamunigam 3200 s/o K.Gopal Rao 14 Vangareddi Dasrathi Dhamunigam 3200 s/o A.Ramakrishana 15 S.Dandasi Dhamunigam 3200 s/o S.Lachana 16 R.Guneya Dhamunigam 3200 s/o R.Appudu 17 S.Chinaya Dhamunigam 5200 s/o S.Suri 18 S.Vasu Dhamunigam 5200 s/o S.Adinaraya 19 S.Bheema Rao Dhamunigam 5200 s/o S.Chineya 20 R.Appana Dhamunigam 3200 s/o R.Laxminarayan 21 G.Chiranjibulu Dhamunigam 3200 s/o G.Simana 22 G.Sitama Dhamunigam 3200 d/o G.Appana 23 P.Chineya Dhamunigam 3200 s/o P.Mukhalingama 24 B.Kumaraswamy Dhamunigam 3200 s/o B.Aneya 25 B.Padamabati Dhamunigam 3200 w/o B.Dharamalingam Page 1 of 439 Name of the Amount Sl. -
Catalogue Fair Timings
CATALOGUE Fair Timings 28 January 2016 Thursday Select Preview: 12 - 3pm By invitation Preview: 3 - 5pm By invitation Vernissage: 5 - 9pm IAF VIP Card holders (Last entry at 8.30pm) 29 - 30 January 2016 Friday and Saturday Business Hours: 11am - 2pm Public Hours: 2 - 8pm (Last entry at 7.30pm) 31 January 2016 Sunday Public Hours: 11am - 7pm (Last entry at 6.30pm) India Art Fair Team Director's Welcome Neha Kirpal Zain Masud Welcome to our 2016 edition of India Art Fair. Founding Director International Director Launched in 2008 and anticipating its most rigorous edition to date Amrita Kaur Srijon Bhattacharya with an exciting programme reflecting the diversity of the arts in Associate Fair Director Director - Marketing India and the region, India Art Fair has become South Asia's premier and Brand Development platform for showcasing modern and contemporary art. For our 2016 Noelle Kadar edition, we are delighted to present BMW as our presenting partner VIP Relations Director and JSW as our associate partner, along with continued patronage from our preview partner, Panerai. Saheba Sodhi Vishal Saluja Building on its success over the past seven years, India Art Senior Manager - Marketing General Manager - Finance Fair presents a refreshed, curatorial approach to its exhibitor and Alliances and Operations programming with new and returning international participants Isha Kataria Mankiran Kaur Dhillon alongside the best programmes from the subcontinent. Galleries, Vip Relations Manager Programming and Client Relations will feature leading Indian and international exhibitors presenting both modern and contemporary group shows emphasising diverse and quality content. Focus will present select galleries and Tanya Singhal Wol Balston organisations showing the works of solo artists or themed exhibitions. -
Contextual Modernism’ in the Silk Paintings of Maniklal Banerjee
The Chitrolekha Journal on Art and Design (E-ISSN 2456-978X), Vol. 1, No. 2, 2017 DOI: https://dx.doi.org/10.21659/cjad.12.v1n205 PDF URL: www.chitrolekha.com/ns/v1n2/v1n205.pdf The ‘Contextual Modernism’ in the Silk Paintings of Maniklal Banerjee Ashmita Mukherjee Research Scholar, Jadavpur University. Email: [email protected] Abstract The paper tries to analyze the silk paintings of Maniklal Banerjee (1917-2002) who was greatly influenced by the artists of the so-called Bengal school of art. The school started by Abanindranath Tagore did not remain confined to its own time and space, but grew into dynamic new modernisms over a span of nearly a century. Art historian Sivakumar invoked a number of artists of Santiniketan and called it a “contextual modernism”. The paper tries to re-read the spirit of Santiniketan artists on the more recent and un- researched art of Maniklal Banerjee- who contextualized in his own way the Bengal ‘school’ that had by now turned into a ‘movement’. The spirit of freedom runs at the core of this movement and finds a new language in the late twentieth century artist’s renderings of daily life and Puranic narrations. Keywords: Bengal School, Maniklal Banerjee, Abanindranath Tagore, Nandalal Bose, Indian art, Puranic art, aesthetics Introduction: Maniklal Banerjee (1917-2002) Barely remembered beyond textbooks of art schools, Maniklal Banerjee was one of the first innovators of the technique of using water-color on silk in India. In order to engage in any critical discussion on his works, it is ironical that this painter- a recipient of the prestigious Abanindra Puraskar in 1999- needs an introduction (Plate 1 and 2). -
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. -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
RTI Handbook
PREFACE The Right to Information Act 2005 is a historic legislation in the annals of democracy in India. One of the major objective of this Act is to promote transparency and accountability in the working of every public authority by enabling citizens to access information held by or under the control of public authorities. In pursuance of this Act, the RTI Cell of National Archives of India had brought out the first version of the Handbook in 2006 with a view to provide information about the National Archives of India on the basis of the guidelines issued by DOPT. The revised version of the handbook comprehensively explains the legal provisions and functioning of National Archives of India. I feel happy to present before you the revised and updated version of the handbook as done very meticulously by the RTI Cell. I am thankful to Dr.Meena Gautam, Deputy Director of Archives & Central Public Information Officer and S/Shri Ashok Kaushik, Archivist and Shri Uday Shankar, Assistant Archivist of RTI Cell for assisting in updating the present edition. I trust this updated publication will familiarize the public with the mandate, structure and functioning of the NAI. LOV VERMA JOINT SECRETARY & DGA Dated: 2008 Place: New Delhi Table of Contents S.No. Particulars Page No. ============================================================= 1 . Introduction 1-3 2. Particulars of Organization, Functions & Duties 4-11 3. Powers and Duties of Officers and Employees 12-21 4. Rules, Regulations, Instructions, 22-27 Manual and Records for discharging Functions 5. Particulars of any arrangement that exist for 28-29 consultation with or representation by the members of the Public in relation to the formulation of its policy or implementation thereof 6. -
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. -
Online Film Festival Raytoday by Films Division
A Report Films Division Govt. of India, Min. of I & B, 24- Dr. G Deshmukh Marg, Mumbai -26 Dated the 10th May, 2021 Online Film Festival RayToday by Films Division Satyajit Ray, one of the greatest film makers of all the time, is credited with taking Indian cinema to the global level. A true renaissance man, Ray earned worldwide fame for himself and to the art of cinema as well, with his poetic realism and cinematic imagination. Films Division marked beginning of the year-long birth centenary celebrations of the legendary filmmaker by screening Shyam Benegal’s eponymous biopic, Satyajit Ray on 2nd May 2021 on its website. Continuing with the celebrations of the auteur, Films Division has organized an online film festival, RayToday, a curated package of non-feature works by Ray along with films on him and his oeuvre, on FD website from 7th to 9th May 2021. RayToday included, among others, a rare documentary made by him on Nobel laureate, Rabindranath Tagore, the one and only television film by Ray on a short story by Munshi Premchand and the much acclaimed biopic by Shyam Benegal. The following films werestreamed in the festival : Sadgati (Satyajit Ray/Doordarshan/52 Mins/1981) - a television film set on rural India which throws light on caste system in society. Two (Satyajit Ray/Esso World Theatre/15 Mins/1964) - a simple but hard hitting societal commentary on the class struggle shows an encounter between a child of a rich family and a street child, and displays attempts of one-upmanship between kids in their successive display of toys. -
Pandit Ravi Shankar—Tansen of Our Times
Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times by S. Kalidas IND I A INTERNAT I ONAL CENTRE 40, MAX MUELLER MARG , NEW DELH I -110 003 TEL .: 24619431 FAX : 24627751 1 Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times The views expressed in this publication are solely those of the author and not of the India International Centre. The Occasional Publication series is published for the India International Centre by Cmde. (Retd.) R. Datta. Designed and produced by FACET Design. Tel.: 91-11-24616720, 24624336. Pandit Ravi Shankar—Tansen of our Times Pandit Ravi Shankar died a few months ago, just short of his 93rd birthday on 7 April. So it is opportune that we remember a man whom I have rather unabashedly called the Tansen of our times. Pandit Ravi Shankar was easily the greatest musician of our times and his death marks not only the transience of time itself, but it also reminds us of the glory that was his life and the immortality of his legacy. In the passing of Robindro Shaunkar Chowdhury, as he was called by his parents, on 11 December in San Diego, California, we cherish the memory of an extraordinary genius whose life and talent spanned almost the whole of the 20th century. It crossed all continents, it connected several genres of human endeavour, it uplifted countless hearts, minds and souls. Very few Indians epitomized Indian culture in the global imagination as this charismatic Bengali Brahmin, Pandit Ravi Shankar. Born in 1920, Ravi Shankar not only straddled two centuries but also impacted many worlds—the East, the West, the North and the South, the old and the new, the traditional and the modern. -
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Celebrating UNESCO Chair for 17 Human Rights, Democracy, Peace & Tolerance Years of Academic Excellence World Peace Centre (Alandi) Pune, India India's First School to Create Future Polical Leaders ELECTORAL Politics to FUNCTIONAL Politics We Make Common Man, Panchayat to Parliament 'a Leader' ! Political Leadership begins here... -Rahul V. Karad Your Pathway to a Great Career in Politics ! Two-Year MASTER'S PROGRAM IN POLITICAL LEADERSHIP AND GOVERNMENT MPG Batch-17 (2021-23) UGC Approved Under The Aegis of mitsog.org I mitwpu.edu.in Seed Thought MIT School of Government (MIT-SOG) is dedicated to impart leadership training to the youth of India, desirous of making a CONTENTS career in politics and government. The School has the clear § Message by President, MIT World Peace University . 2 objective of creating a pool of ethical, spirited, committed and § Message by Principal Advisor and Chairman, Academic Advisory Board . 3 trained political leadership for the country by taking the § A Humble Tribute to 1st Chairman & Mentor, MIT-SOG . 4 aspirants through a program designed methodically. This § Message by Initiator . 5 exposes them to various governmental, political, social and § Messages by Vice-Chancellor and Advisor, MIT-WPU . 6 democratic processes, and infuses in them a sense of national § Messages by Academic Advisor and Associate Director, MIT-SOG . 7 pride, democratic values and leadership qualities. § Members of Academic Advisory Board MIT-SOG . 8 § Political Opportunities for Youth (Political Leadership diagram). 9 Rahul V. Karad § About MIT World Peace University . 10 Initiator, MIT-SOG § About MIT School of Government. 11 § Ladder of Leadership in Democracy . 13 § Why MIT School of Government.