Utopias and Dystopias in World Literature
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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
PRESS RELEASE Homeward ARPITA SINGH 18 March
D-40 Defence Colony, New Delhi 110024 | T +91-11-24622545/24615368 D-53 Defence Colony, New Delhi - 110024 | T +91-11-46103550/46103551 E [email protected] | W www.vadehraart.com PRESS RELEASE Homeward ARPITA SINGH 18 March – 16 April 2021 D-40 Defence Colony, New Delhi Vadehra Art Gallery is pleased to announce a continuation of our presentation titled Homeward, featuring a recent body of worK by Arpita Singh, which was recently presented as part of On Site, a collaborative exhibition by four leading galleries held at BiKaner House, New Delhi, earlier this month, and is now on view at our modern gallery. Described as a figurative artist and a modernist, Arpita Singh still maKes it a point to stay tuned in to traditional Indian art forms and aesthetics, like miniaturist painting and different forms of folk art, employing them regularly in her work. Afflicted by the problems that are faced each and every day by women in her country and the world in general, Singh paints the range of emotions that she exchanges with these subjects – from sorrow to joy and from suffering to hope – providing a view of the ongoing communication she maintains with them. In this latest body of watercolours on paper and oil paintings, Singh’s cartographical autobiographies assume new dimensions through an intensification of colour, accenting her imagined landscapes with the flourish of expressionist emotion. With compositions foregrounded in movement, Singh tends to emphasize the potential of individual agency operating within collective constraints, though her mapping doesn’t seem to prioritize any one aspect – whether the fictional, mythical, personal, public fact or dream. -
Humanties Science (HSS)
DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES Course Number & Title: HS 101 (English Communication Skills) L-T-P-C: 2-0-2-0 Type of Letter Grading (Regular Letter Grades / PP or NP Letter Grades): Kind of Proposal (New Course / Revision of Existing Course): Revision of Existing Course Offered as (Compulsory / Elective): Compulsory Offered to: B Tech/B.Des Semester I Offered in (Odd/ Even / Any): Odd Offered by (Name of Department/ Center): Humanities and Social Sciences Pre-Requisite: A Classroom with movable furniture for flipped class ; Multi-media Language Laboratory Preamble / Objectives (Optional): The Course has the following objectives: The Course will help the learners to develop general proficiency in English in terms of listening, speaking, reading and writing, gain confidence to use grammatically accepted English for communication, gain confidence to speak English intelligibly, learn to use self - study strategies, use interpersonal communication skills effectively, become aware of the skills of critical thinking, information transfer and problem solving, develop analytical skills. Course Content/ Syllabus (as a single paragraph if it is not containing more than one subject. Sub-topics/ Sections may be separated by commas(,). Topics may be separated by Semi-Colons(;). Chapters may be separated by Full-Stop(.). While starting with broad heading, it may be indicated with Colon symbol before the topics. For example: Multi- variable Calculus: Limits of functions, Continuity, ……) General proficiency in English and Communication skills: -
National Law University, Delhi Sector-14, Dwarka New Delhi-110078
NATIONAL LAW UNIVERSITY, DELHI SECTOR-14, DWARKA NEW DELHI-110078 ALL INDIA LAW ENTRANCE TEST-2016 (AILET-2016), B.A. LL.B.(HONS.) RESULT Marks Wise S.No. Roll No Name of the Candidate Name of Father/Mother/ Guardian DoB Gender Marks 1 52788 KARAN DHALLA DEEPESH DHALLA 03/02/1998 M 119 2 55979 SHUBHAM JAIN BHUPENDRA JAIN 20/11/1997 M 116 3 56876 VANSH AGGARWAL PAWAN SINGHAL 25/03/1998 M 116 4 63245 ARTH NAGPAL RAJESH NAGPAL 28/08/1997 M 114 5 64122 RIJU SHRIVASTAVA YUGENDRA ARYA 27/04/1998 F 114 6 69185 ROHIL BIPIN DESHPANDE BIPIN GAJANAN DESHPANDE 10/05/1998 M 114 7 70191 ARVIND KUMAR TIWARI AKHILESH CHANDRA TIWARI 03/10/1997 M 114 8 75260 ANUBHUTI GARG ARUN GARG 13/06/1997 F 114 9 63398 EKANSH ARORA RAJESH ARORA 08/01/1997 M 113 10 66089 KARISHMA KARTHIK KARTHIK SUBRAMANIAN 06/04/1998 F 113 11 75266 ANUNA TIWARI SANJAY TIWARI 14/08/1997 F 113 12 77055 ANMOL DHAWAN SANJEEV DHAWAN 29/12/1998 M 113 13 77061 ANUKRITI KUDESHIA ANURODH KUDESHIA 27/09/1997 F 113 14 64048 PRANSHU SHUKLA SANJAY SHUKLA 24/02/1998 M 112 15 71044 NIKHIL SHARMA PRAMOD KUMAR SHARMA 21/01/1997 M 112 16 75365 AVANI AGARWAL SURENDRA KUMAR AGARWAL 28/06/1998 F 112 17 63385 DIVYA KUMAR GARG NITIN GARG 05/04/1998 M 111 18 64071 PRIYANKA CHATURVEDI D. P. CHATURVEDI 20/02/1997 F 111 19 72316 PRITHVI JOSHI ARUN JOSHI 28/10/1998 M 111 20 74213 SHIVAM SINGHANIA SUNIL SINGHANIA 27/02/1998 M 111 21 74227 SHREYA JAIPURIA BIRENDRA JAIPURIA 22/12/1997 F 111 22 77417 SREEDEVI GOPALAKRISHNAN NAIR GOPALAKRISHNAN NAIR 01/07/1997 F 111 23 50911 ANKUR SINGHAL ANIL KUMAR SINGHAL 26/12/1997 -
Anurag Kashyap, Guneet Monga, Nawazuddin Siddiqui, Richa Chadda, Vikramaditya Motwane
[LISTED] THE UNDERDOG TURNED SUPERSTAR ANURAG KASHYAP, GUNEET MONGA, NAWAZUDDIN SIDDIQUI, RICHA CHADDA, VIKRAMADITYA MOTWANE Text Shahnaz Siganporia Photography Ishika Mohan Motwane N THE INDIAN FILM INDUSTRY, there are good and bad words. ‘Un- derdog’, ‘struggler’, ‘starlet’ are clubbed into the ‘bad’ category while I words such as ‘Superstar’, ‘100 Crore Club’, ‘legacy’ fall into the ‘good’ category. However, sometimes the two combine to form a heady cocktail. The starlet bags a 100 crore film and the underdog becomes the superstar. The latter is a tricky balance—there’s the formulaic superstar and then there’s the superstar who paves his or her own way and creates cinema that goes way beyond the norm. Over the last few years, the tides have been busy changing, contorting and transforming our home-grown film industry. And let’s face it, in an industry raking in the moolah, thanks to wish-fulfilment and feel- good stories, we’re suckers for the runt who becomes the alpha. In the 100th year of Indian cinema, Platform celebrates the erstwhile underdogs who have gone on to carve out a space for themselves and have begun their ascent to stardom. NOV/DEC 2013 · PLATFORM · CREATIVE LIFESTYLE · 031 [LISTED] Anurag Kashyap FROM BANNED TO LAUDED THE BEGINNING I don’t know why I wanted to make films. It’s like asking yourself why you love someone. How do you explain that? You just do, you know? I just knew that filmmaking is what I wanted to do. I was studying to be a scientist and something just snapped—I knew that I should have- been making films. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
Modernisms in India
Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com plicated in the case of India, but remain crucial to a historical understanding of the ‘mod ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic. -
From Mother India to Queen
KCG-Portal of Journals Continuous Issue-36 | October – November 2018 A study of Female hero: From Mother India to Queen Movies are considered to be a source of entertainment though they carry some societal reflection, significantly, most of the movies are made keeping public taste in mind. But few are made to highlight the social evil, out dated rituals and tradition prevalent in the society; providentially, condition of woman is among them. Usually, in most of the Indian movies the role of a female counterpart (heroine) is to entertain the public by dancing, singing and by acting on some romantic scenes; thus, the role of a heroine in most of the movies is to add spices and seductive flavor by exposing her figure, while acting is not so important. Consequently, role of a heroine in most of the Indian movies is narrowed down and she is used just to sell the product, mere commoditization of a woman body, nothing else!Humorously, the condition of a female shown in most of the movies projects advancement in style of costumes, make up and life styles but thinking is still outdated. But certain categories of movies have female heroes.They steer the movie on her shoulders without any dominant male counterpart. And they leave behind a long lasting message for the society as they attack those apparently spotless surface of social evil, patriarch locked perception! Though Indian cinema, especially, Bollywood has produced many movies in which women have main lead creating a tiny revolution of 21st century! For instance Fashion(2008), narrating a story of an ambitious girl, there are movies like Chak de India (2007)Mary Kom(2014), Dangal(2016), two of them are based on real life story, it also brought in an issue of promoting girls for sports. -
Archer Art Gallery
A Ramachandran (Archer Art Gallery) Aaditi Joshi (TARQ) Abanindranath Tagore (Akar Prakar) Abhijith Pathak (Art Explore) Abhishek Narayan Verma (Anant Art) Abir Karmakar (GALLERYSKE) Achia Anzi (Serendipity Arts Foundation, Threshold Art Gallery) Addepalli Tirupathi Rao (Art District XIII) Adi Davierwalla (DAG) Adip Dutta (Experimenter) Aditi Singh (Chemould Prescott Road) Ai Weiwei (neugerriemschneider) Ajay Rajgarhia (Wonderwall) Ajit Kumar Jha (Gallery Ragini) Ajit Nelumangad (Metta Contemporary) Akhil Chandra Das (Aakriti Art Gallery) Alexander Gorlizki (Anant Art) Alice Neel (David Zwirner) Amber Hammad (Wonderwall) Amina Ahmed (Italian Embassy Cultural Centre Aminul Islam Ashik (Britto Arts Trust) Amit Mahadev Dombhare (Arts of the Earth) Amitava Das (Art Indus) Amitesh Shrivastava (Project 88) Amol K Patil (Metta Contemporary) Amrita Sher-Gil (Akara Art, Crayon Art Gallery) Anant Joshi (Chemould Prescott Road) Andreas Eriksson (neugerriemschneider) Anindita Bhattacharya (Threshold Art Gallery) Anisuzzaman Sohel (Britto Arts Trust) Anita Dube (MASH Sculptural Space, MASH) Anjan Modak (Emami Art) Anjaneyulu G (Art Alive Gallery) Anjolie Ela Menon (Dhoomimal Gallery) Anju Dodiya (Chemould Prescott Road, Vadehra Art Gallery) Ankon Mitra (Art.Motif) Ankush Safaya (Sakshi Gallery) Anna Leonhardt (Marc Straus) Anni Albers (David Zwirner) Anni Kumari (Art District XIII) Anoli Perera (Shrine Empire) Anu Malhotra (Wonderwall) Anupam Sud (Art Heritage) Anwar Jalal Shemza (Jhaveri Contemporary) Apnavi Makanji (TARQ) Apurba Nandi (Palette Art -
Priyanka Chopra Jonas Is the New Chairperson of Jio MAMI Mumbai Academy of Moving Image Unveils Plans for 2021-22
Priyanka Chopra Jonas is the new Chairperson of Jio MAMI Mumbai Academy of Moving Image unveils plans for 2021-22 17th August, 2021, Mumbai - The Mumbai Academy of Moving Image (MAMI) today unveiled its plans for the coming year and edition. The blueprint for the festival will feature new leadership and a new creative vision that is attuned to the radical changes the world has witnessed in the last two years. Taking over the reins as Chairperson is actor, producer and author Priyanka Chopra Jonas. She was unanimously nominated by MAMI’s Board of Trustees which comprises Nita M. Ambani (Co- Chairperson), Anupama Chopra (Festival Director), Ajay Bijli, Anand G. Mahindra, Farhan Akhtar, Isha Ambani, Kabir Khan, Kaustubh Dhavse, Kiran Rao, Rana Daggubati, Riteish Deshmukh, Rohan Sippy, Siddharth Roy Kapur, Vikramaditya Motwane, Vishal Bhardwaj and Zoya Akhtar. The board also welcomed two new members to its fold, acclaimed filmmaker Anjali Menon and renowned filmmaker and archivist Shivendra Singh Dungarpur. "For us, building a unique cultural space and platform for cinema like the Jio MAMI Mumbai Film Festival over six years has been immensely fulfilling. Now more than ever, we need to nurture the power of cinema and art to heal and help humanity move forward. I look forward to my dear friend Priyanka Chopra Jonas joining our team and leading the way for Jio MAMI to reach new heights. She is a multifaceted global artist and a force of nature, we are privileged to have her on board," said Isha Ambani (Board of Trustees, MAMI) “Continuing Jio MAMI’s strong tradition of female leadership, the indomitable Priyanka Chopra Jonas now joins as chairperson. -
UTV Spotboy and Anurag Kashyap Reunite for a Madcap Comedy Titled
UTV acquires the Feature Film rights of Chetan Bhagat's latest bestseller Revolution 2020 Mumbai 16th November, 2011: UTV Motion Pictures has acquired the movie rights of Chetan Bhagat's latest bestseller Revolution 2020. Revolution 2020 will be made into an epic drama with strong roles for the lead cast. Chetan's new novel has notched up sales of 800,000 copies in just a month since its release and its already on track to become the largest selling book of all time by an Indian author in English. The book has great roles for its key protagonists, as it narrates the story of three central characters - Gopal, Raghav and Aarti whose destinies are intertwined. Speaking on the development, CEO of UTV Motion Pictures Siddharth Roy Kapur says, "We have been in discussions with Chetan for a while to do something together. When he shared his latest book with us even before it was published, we read it cover to cover in a single sitting. Its simply unputdownable. He has crafted such a dramatic plot with such sharply defined characters, that you're constantly wondering how things will play out. The issues he deals with in the book are those today's youth will instantly relate to and identify with. We're very excited to work with him on making a great film from what we all believe is a great book." Excited about this development, Chetan Bhagat says, "Yes, UTV finally managed to seduce me. A great offer, immense excitement about the story and a wonderful team with a track record makes me feel they can do justice to Revolution 2020, a story very close to me and the readers' hearts." Every book authored by Chetan so far has been optioned for movie rights.