Roll No Div Title Name Hsname Fname Enrollno Category Ccode Icode Ordn Class 667801 Pass Abhishek Suman अभिषेक सुमन Hemraj Suman 2013/83215 3 22 22 M.A
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Magazine1-4 Final.Qxd (Page 3)
SUNDAY, JULY 19, 2020 (PAGE 4) What we obtain too cheap, BOLLYWOOD-BUZZ we esteem too lightly Unforgettable Bimal Roy V K Singh Inderjeet S. Bhatia "Prince" Devdass (Dilip Kumar) and Paro's (Suchitra Sen). Child music and song " Yeh mera Diwanapan Hai" by mukesh are hood friendship blossoms into love. But Paro is forced to still popular. 'The harder the conflict, the more glorious The 111th birth anniversary of Bimal Roy, the father fig- marry a rich zamindar because Dev Dass's Father (Murad) "Kabuliwala" produced by Bimal Roy and released on the truimph'. These words of Thomas Paine ure of Indian Cinema was held on 12th was against this relationship. This turned Devdass into a 14th Dec,1961 was not a commercial hit but is still remem- written before the American Revolution July. Bimal Roy, lovingly called as depressed alcoholic. Chandramukhi (Vijayanthimala) too bered for power-packed performace of Balraj Sahni in the Bimal Da 1909 to a Bengali Baidya , sought to inspire Americans in their struggle could not provide solace to his bleeding heart. Released on title role of a Pathan called Rahmat whose wife is no more. Dhaka, which was part of Eastern Jan 1 , 1955 film created box office history by collecting He has a little daughter Ameena (Baby Farida) to whom he for freedom against Great Britain. They have Bengal before partition of 1947 (now more 1 crore in those times. Film bagged best actress in a cares like a mother. He also keep saving her from the wrath an evergreen freshness and resonate with the Dhaka division Bangladesh). -
Photos of God 2
Two photographs reproduced here (illus. 58 & 59) were collected by Rai Bahadur Radha Krishna, the Director of the Archaeological Museum at Mathura, sometime before 1915. They were part of an extensive batch of two dozen sent to William Ridgeway (exPresident of the Royal Anthropological Institute and Disney Professor of Archaeology at Cambridge) for inclusion in the latter's treatise on dance (published in 1915 as The Dramas and Dramatic Dances of nonEuropean Races with Special Reference to the Origin of Greek Tragedy) and were evidently collected in Mathura. Rai Bahadur Radha Krishna carefully documented the pictures he sent to Ridgeway, including quotations from the Premsagar and matching photographs of ras lila performances with paintings of the same events. Braj - the land of Krishna's birth - had been steadily revitalized by pilgrims from the sixteenth century onwards and it appears through these images as an enchanted realm inscribed with an affective and performative significance through mass devotion. It is this space, a bounded pastoraPS world delimited by particular sites (Mount Govardhan, the villages of Brindaban, Nandgaon and Barsana) and its pastoral metonyms (vegetative fecundity and a topological repleteness), within which Nathdvara painting operates. 59 Studio photograph of ras Iila participants dressed as Radha and Krishna, BrindabanfMathura. before 1915. Albumen print on card. The painted images are credited as 'From a native painting' by Ridgeway but originate in all probability from Nathdvara and may have been copied by a Mathura photographic studio, Bharat Hitaishi, which was established in 1900'6 and is known to have been selling photographic prints of paintings at around this timeY The photographic originals (now in the Museum of Archaeology and Anthropology, University of Cambridge) are inscribed 'Designed and painted by B.B.M.' This juxtaposition of the performative and two- 58 Krishna departs with Akrur for Mathura in the Brindaban ras lila, before dimensional alerts us to a crucial feature of the early 1915. -
Oberoi (Middle East) Events
OBEROI (MIDDLE EAST) EVENTS AN INSIGHT INTO THE EVENTS THAT MADE HISTORY P.O.Box 21187, Sharjah, United Arab Emirates Tel: + 971 6 5245292 Fax: + 971 6 5688301 E-mail: [email protected] / [email protected] INTRODUCTION OME – Oberoi (ME) Events , rated one of the leading and most reputed Event Management firms in the region – having presented over 52 professionally conceptualized Musical concerts, Theatre events, International Music Awards, Corporate Gala events etc., since 2 decades. We are proud to say that OME has been the pioneer in the UAE/ Gulf in the staging of their event brand “ONE WORLD ONE MUSIC” ( 1W1M ) series musical concerts – presenting the leading and elite singers and musicians from the sub-continent, together on one platform – with a humble and noble mission to spread the message of peace, brotherhood and friendship in the region. The trail blazer of the 1W1M series concerts, featuring the most popular artistes from India & Pakistan, SONU NIGAM AND JUNOON , at the prestigious Nad Al Sheba grounds in October 2000, broke many-a- records: • THE FIRST INDO-PAK CONCERT IN THE UAE/ GULF • THE 2 ND HIGHEST ATTENDANCE IN ANY ASIAN MUSICAL CONCERT IN THE UAE/ GULF (+ 15,000) • THE LONGEST DURATION MUSICAL EVENT IN THE UAE/ GULF (+ 5-1/2 HOURS) • THE 1 ST ASIAN EVENT TO BE ANNOUNCED IN THE BBC MIDDLE EAST WORLD NEWS With the immense success and fan following for the “ONE WORLD ONE MUSIC” concept concerts, witnessed by over 60,000 music lovers of S. Asia in the UAE, we were invited by DSF authorities to present three of the most prestigious 1W1M musical events for the prestigious “Dubai Shopping Festival 2003 and 2004” calendar of events – the same which were acclaimed as one of the most entertaining and successful events in the UAE. -
Soha Ali in Harvard University
From Rang De Basanti to Harvard University Updated on: May 10, 2011 prachi 292 Views Soha Ali Khan, daughter of famous Bollywood actress and legend Sharmila Tagore, is now all set for her visit to Harvard University. She is in a state of elation after she was invited to Harvard University to deliver a lecture on Indian Cinema. This session is being titled as "Cinema-Then and Now". Oxford students are excited and looking forward for this session as Sharmila Tagore is also going to make a special appearance. During the session, Soha will also pay tribute to some of the great legends like Madhubala, Meena Kumari, Waheeda Rehman and her mother Sharmila Tagore. According to Soha, she is overwhelmed about her Disclaimer: This PDF is auto-generated based on the information available on Shiksha as on 04-Jun-2020. Harvard visit but tensed too as she has never delivered such lecture session and that too in front of the big fans of Bollywood. She said that she has done a thorough research as what all she'll be covering in the article like whom all contributed to the Indian cinema and major factors that has made has given a shape to the Indian movies. She is also planning to talk about all the big actors and their contribution to the Indian Cinema. Not only this, her creative work in movies like ‘Khoya Khoya Chand', Rang De Basanti', and ‘Antarmahal' will also be screened during the lecture. So, here is a time to learn as well as to share and learn from the experiences of well-renowned Indian actors and actresses. -
FINAL ELECTORAL LIST 20 08-2019.Xlsx
FINAL ELECTORAL LIST, 2019 UNIVERSITY COLLEGE OF SCIENCE MOHANLAL SUKHADIA UNIVERSITY, UDAIPUR (RAJ.) DATE 20 AUGUST, 2019 Voter No.Name Fname Degree 1 AADITYA TAILOR RAJ KUMAR TAILOR B.Sc. - 1st Yr/Sem 2 AAKASH MENARIYA HEERA LAL B.Sc. - 1st Yr/Sem 3 AASHUTOSH KUMAR SINGH RAJ KUMAR SINGH B.Sc. - 1st Yr/Sem 4 AAYAT KHANAM KHURSHID AHMAD KHAN B.Sc. - 1st Yr/Sem 5 AAYUSH SHARMA ANIL KUMAR SHARMA B.Sc. - 1st Yr/Sem 6 AAYUSHI MANDOWARA ISHWAR LAL MANDOWARA B.Sc. - 1st Yr/Sem 7 ABHIMANYU SINGH RATHORE LAXMAN SINGH RATHORE B.Sc. - 1st Yr/Sem 8 ABHISHEK AMETA SHIV SHANKAR AMETA B.Sc. - 1st Yr/Sem 9 ABHISHEK AWASTHI GHANSHYAM AWASTHI B.Sc. - 1st Yr/Sem 10 ABHISHEK CHOUDHARY BABU LAL CHOUDHARY B.Sc. - 1st Yr/Sem 11 ABHISHEK CHOUDHARY RAMESHWER CHOUDHARY B.Sc. - 1st Yr/Sem 12 ABHISHEK MEENA ASHOK KUMAR MEENA B.Sc. - 1st Yr/Sem 13 ABHISHEK VAISHNAV MADAN LAL B.Sc. - 1st Yr/Sem 14 ABHISHEK VAISHNAV PUSHKAR DAS VAISHNAV B.Sc. - 1st Yr/Sem 15 ADIL CHIPPA MOHD. IQBAL B.Sc. - 1st Yr/Sem 16 ADITI MAHESHWARI BHUPENDRA MAHESHWARI B.Sc. - 1st Yr/Sem 17 ADITI SOLANKI GANCHHA PRAKASH GANCHHA B.Sc. - 1st Yr/Sem 18 AFTAB ALAM ALTAF HUSSAIN B.Sc. - 1st Yr/Sem 19 AISHAWARYA BARIA LAXMAN BARIA B.Sc. - 1st Yr/Sem 20 AJAY KUMAR MEENA MANNA LAL MEENA B.Sc. - 1st Yr/Sem 21 AJAY KUMAR PUROHIT MADAN LAL PUROHIT B.Sc. - 1st Yr/Sem 22 AJAY MEHTA MANOJ MEHTA B.Sc. - 1st Yr/Sem 23 AKAASH LOHAR PRABHU LAL LOHAR B.Sc. -
Meena Kumari - Poems
Classic Poetry Series Meena Kumari - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Meena Kumari(1 August 1932 - 31 March 1972) Meena Kumari (Hindi: ???? ??????), born Mahjabeen Bano, was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today. Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972. Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story. <b> Early Life </b> Meena Kumari was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours. Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry. -
Name of the Centre : DAV Bachra No
Name of the Centre : DAV Bachra No. Of Students : 474 SL. No. Roll No. Name of the Student Father's Name Mother's Name 1 19002 AJAY ORAON NIRMAL ORAON PATI DEVI 2 19003 PUJA KUMARI BINOD PARSAD SAHU SUNITA DEVI 3 19004 JYOTSANA KUMARI BINOD KUMAR NAMITA DEVI 4 19005 GAZAL SRIVASTVA BABY SANTOSH KUMAR SRIVASTAVA ASHA SRIVASTVA 5 19006 ANURADHA KUMARI PAPPU KUMAR SAH SANGEETA DEVI 6 19007 SUPRIYA KUMARI DINESH PARSAD GEETA DEVI 7 19008 SUPRIYA KUMARI RANJIT SHINGH KIRAN DEVI 8 19009 JYOTI KUMARI SHANKAR DUBEY RIMA DEVI 9 19010 NIDHI KUMARI PREM KUMAR SAW BABY DEVI 10 19011 SIMA KUMARI PARMOD KUMAR GUPTA SANGEETA DEVI 11 19012 SHREYA SRIVASTAV PRADEEP SHRIVASTAV ANIMA DEVI 12 19013 PIYUSH KUMAR DHANANJAY MEHTA SANGEETA DEVI 13 19014 ANUJ KUMAR UPENDRA VISHWAKARMA SHIMLA DEVI 14 19015 MILAN KUMAR SATYENDRA PRASAD YADAV SHEELA DEVI 15 19016 ABHISHEK KUMAR GUPTA SANT KUMAR GUPTA RINA DEVI 16 19017 PANKAJ KUMAR MUKESH KUMAR SUNITA DEVI 17 19018 AMAN KUMAR LATE. HARISHAKAR SHARMA RINKI KUMARI 18 19019 ATUL RAJ RAJESH KUMAR SATYA RUPA DEVI 19 19020 HARSH KUMAR SHAILENDRA KR. TIWARY SNEHLATA DEVI 20 19021 MUNNA THAKUR HIRA THAKUR BAIJANTI DEVI 21 19022 MD.FARID ANSARI JARAD HUSSAIN ANSARI HUSNE ARA 22 19023 MD. JILANI ANSARI MD.TAUFIQUE ANSARI FARZANA BIBI 23 19024 RISHIKESH KUNAL DAMODAR CHODHARY KAMLA DEVI 24 19025 VISHAL KR. DUBEY RAJEEV KUMAR DUBEY KIRAN DEVI 25 19026 AYUSH RANJAN ANUJ KUMAR DWIVEDI ANJU DWIVEDI 26 19027 AMARTYA PANDEY SATISH KUMAR PANDEY REENA DEVI 27 19028 SHIWANI CHOUHAN JAYPAL SINGH MAMTA DEVI 28 19029 SANDEEP KUMAR MEHTA -
Tawåyaf the Most Potent Visual Image Conjured up by This Word Is Undoubtedly the Tragic Character Played by the Actress Meena K
Tawåyaf The most potent visual image conjured up by this word is undoubtedly the tragic character played by the actress Meena Kumari in the 1972 film Pakeezah. Passionate and suffering, the courtesan Sahibjaan at last finds happiness outside of the world of the nautch when she can marry the man she loves. The great literary courtesan Umrao Jan Ada (in the 1905 book by Mirza Ruswa) bemoans her fate which caused her to be kidnapped from her middle-class home at the age of twelve, and sold into the sex-trade. Although the 1981 film Umrao Jaan takes some liberties with Ruswa’s novel and adds further dramatic complications, neither the literary Umrao Jan nor the screen Umrao Jaan (played by the actress Rekha) find the happiness and societal acceptance they crave. Happy ending or not (and the success of the film Pakeezah was greatly enhanced if not solely established by the tragic ending of Meena Kumari’s life from alcoholism just a few weeks after the film was released), the image of the courtesan tends to be steeped in a mixture of decadence and debauchery. Home of the courtesan, Lucknow’s legendary etiquette and culture were mixed with its ambivalent attitude towards music and dance. The tawayaf is a woman who escapes the restricting four-walls of the life of the wife and mother and who has access to education and travel, yet is doomed to live outside of the boundaries of respectability and bourgeois acceptance. In the 2002 remake of the film Devdas, courtesan Madhuri Dixit touches the feet of her lover’s wife, played by Aishwarya Rai, saying she will always look up to the woman who is her moral superior. -
21 Aug Page 07.Qxd
SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 28,MARCH, (07) Tragedy Queen of Indian Cinema Contd.From Page no.06 the film's music and lyrics were by Roshan and Sahir to August, Meena Kumari was in the hands of Dr. Sheila Sherlock.Upon Ludhianvi and noted for songs such as "Sansaar Se Bhaage Phirte Ho" and recovery, Meena Kumari returned to India in September 1968 and on the fifth "Mann Re Tu Kaahe". Ghazal directed by Ved-Madan, starring Meena Kumari day after her arrival, Meena Kumari, contrary to doctors' instructionsAAfter their and Sunil Dutt, was a Muslim social film about the right of the young generation marriage, Kamal Amrohi allowed Meena Kumari to continue her actiresumed to the marriage of their choice. It had music by Madan Mohan with lyrics by work. Suffering from cirrhosis of the liver, although Meena Kumari temporarily Sahir Ludhianvi, featuring notable filmi-ghazals such as "Rang Aur Noor Ki recovered but was now much weak and thin. She eventually shifted her focus Baraat", performed by Mohammed Rafi and "Naghma O Sher Ki Saugaat" on more 'acting oriented' or character roles. Out of her last six releases namely performed by Lata Mangeshkar. Main Bhi Ladki Hoon was directed by A. C. Jawab, Saat Phere, Mere Apne, Dushman, Pakeezah & Gomti Ke Kinare, she Tirulokchandar. The film stars Meena Kumari with newcomer Dharmendra. only had a lead role in Pakeezah. In Mere Apne and Gomti Ke Kinare, although Critical acclaim (1962) Sahib Bibi Aur she didn't play a typical heroine role, but her character was actually the central Ghulam (1962) character of the story. -
INTRODUCTION: Indian Media the Indian Media Industry Has Developed Enormously in Every Aspect Because of Rising Incomes and Advancing Lifestyle
INTRODUCTION: Indian Media The Indian media industry has developed enormously in every aspect because of rising incomes and advancing lifestyle. Audience across demographics consume media through TV, films, out of home (OOH), radio, visual effects (VFX), music, gaming, digital advertising, and print. It has been broadly perceived that media can assume a significant role in promoting and spreading information and are main players in the social and economic development. Therefore, media largely reflects the lifestyles, socialization patterns, participation levels, cultural boundaries, political manoeuvrings, religious manifestations, educational standards, social hierarchy, and of course, society images of any given society. Actually, media can assume a huge role in either sustaining or challenging social standards and practices of the general public. The portrayal of Women in Indian media, be it films, TV serials, news, media, visual advertisement, or modernized media, is for sure an area of research and studies. Women & Media Women, who constitute half of the populace, require specific consideration of the media not exclusively to raise the issues identified with them yet additionally to demonstrate their accomplishments, examples of overcoming adversity and their battle towards their fantasy of making a feeling of sense of pride, confidence, financial freedom and equality in status with men. We can perceive how the media depicts ladies in the advertisement and motion pictures. A portion of the advertisements and characters in the motion pictures are as yet stereotyped far from real. Portrayal of women in Advertisements: In recent years, Indian advertising has seen a huge change in the way in which women are depicted. The manner in which women are shown in the advertisements changes with times, mirroring the change occurring in the society. -
Queer Diasporic Identity in Ghalib Shiraz Dhalla's Ode to Lata
Bollywood Homes: Queer Diasporic Identity in Ghalib Shiraz Dhalla’s Ode to Lata Sandeep Bakshi To cite this version: Sandeep Bakshi. Bollywood Homes: Queer Diasporic Identity in Ghalib Shiraz Dhalla’s Ode to Lata. DESI La Revue. Diasporas: Études des singularités indiennes, Presses Universitaires de Bordeaux, 2019, 4, pp.127-143. hal-02444479 HAL Id: hal-02444479 https://hal.archives-ouvertes.fr/hal-02444479 Submitted on 17 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. DESI La Revue. Diasporas: Études des singularités indiennes, no. 4, pp. 127-143 Bollywood Homes: Queer Diasporic Identity in Ghalib Shiraz Dhalla’s Ode to Lata Sandeep Bakshi University of Paris Diderot Abstract: Examining queer cultural practices in the articulation of diasporic subjectivity, this article problematises a redemptive reading of queer diasporas. Through a close reading of Ghalib Shiraz Dhalla’s first novel Ode to Lata, I underscore the significance of disputing logics of suppressing female sexual subjectivity in queer discourses and concurrently challenge the entrenched racial hierarchies in South Asian diasporic populations. Placing the (male) queer diasporic subject at the centre of debates on home, race and queerness extends the critical span of queer and diaspora studies. -
Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr.