Gallery 1910S-1930S

Total Page:16

File Type:pdf, Size:1020Kb

Gallery 1910S-1930S Hindi Cinema Artists 1910s-1930s http://memsaabstory.wordpress.com Baburao Pendharkar Ashok Kumar (1939) B. Nandrekar (1936) Bal Gandharva (1935) Bismillah (1936) Chandramohan (1939) (1939) Enakshi Rama Rau Charlie (1939) Charu Roy (1929) Devika Rani (1939) Durga Khote (1932) Fearless Nadia (1936) (1929) Gohar (1939) Govindrao Tembe (1932) Gulshan (1936) Himansu Rai (1925) Jaddanbai (1933) Jal Khambata (1936) All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. If any copyright has been infringed, please contact me: memsaabstory [at] gmail [dot] com or leave a comment on my blog at http://memsaabstory.wordpress.com. Hindi Cinema Artists 1910s-1930s ~ page 2 http://memsaabstory.wordpress.com Jaydev (1936) Jayshree (1939) John Cawas (1937) Karunadevi (1936) Keshavrao Date (1937) K.L. Saigal (1939) K. Narain Kale (1936) Lalita Pawar (193?) Leela Chitnis (1937) Leela Desai (1939) Madhuri (1936) Manchi Thoothi (1936) Master Mohammed Master Shankar Vazre Mandakini Phalke (1919) Master Vinayak (1932) Meenakshi (1939) Minoo the Mystic (1936) (1936) (1930s) All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. If any copyright has been infringed, please contact me: memsaabstory [at] gmail [dot] com or leave a comment on my blog at http://memsaabstory.wordpress.com. Hindi Cinema Artists 1910s-1930s ~ page 3 http://memsaabstory.wordpress.com Motilal (1939) Mubarak (1939) Mumtaz Ali (1936) Nalini Tarkhad (1934) Naseem Bano (1939) P.F. Pithawala (1936) Pramila (1936) Profulla Roy (1925) Prithviraj Kapoor (1939) Rani Bala (1925) Ratanbai (1933) Rose (1939) Sadhana Bose (1939) Sarada Gupta (1929) Sarada Ukil (1925) Sardar Akhtar (1939) Sardar Mansur (1936) Saroja (Baby) (1937) All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. If any copyright has been infringed, please contact me: memsaabstory [at] gmail [dot] com or leave a comment on my blog at http://memsaabstory.wordpress.com. Hindi Cinema Artists 1910s-1930s ~ page 4 http://memsaabstory.wordpress.com Sarojini (1939) Sayani Atish (1936) Seeta Devi (1929) Shanta Apte (1936) Shahu Modak (1939) Shanta Hublikar (1939) Sheela (1939) Shobhana Samarth (1939) Sitara Devi (1939) Sohrab Modi (1939) Surendra (1939) Trilok Kapoor (1939) Ulhas (1937) Usha Devi (1939) Vasanti (1936) All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. If any copyright has been infringed, please contact me: memsaabstory [at] gmail [dot] com or leave a comment on my blog at http://memsaabstory.wordpress.com..
Recommended publications
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • Shankar Jaikishan – Emperors of Music by Ashwini Kumar Rath
    Shankar Jaikishan – Emperors of Music By Ashwini Kumar Rath Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated album Raga in Jazz Style, and background music for documentary Everest expedition among many others. If we look at the popular impact by any personalities in the field of music during the post-independence period in India, the obvious choice is Shankar Jaikishan. Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. While Shankar's musical jhankar propels divine dwellers to zoom in unison with ecstasy, romantic effervescence of Jaikishan music brings divine feelings on to earth. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non- drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social.
    [Show full text]
  • INDIA PERSPECTIVES MARCH 2003 2 Beyond Khardungla the VALLEY of NUBRA
    INDIA PERSPECTIVES MARCH 2003 2 Beyond Khardungla THE VALLEY OF NUBRA Text & Photographs: ANIL MEHROTRA e left the town of Leh (11000 ft) dominated by Wthe massive, nine-storey Palace of Sengge Namgyal – the king of Leh, at about 10 am on a cool May morning. The Palace is an exquisite piece of Tibetan architecture, believed to have been the inspiration behind the construction of the Dalai Lama’s famous Potala Palace in Lhasa, Tibet. The road and the surrounding terrain dictates the abject need for moving in an absolutely reliable, sturdy and powerful vehicle. Meandering along the single-lane, rough road, blacktopped in stretches, we headed towards Khardungla, which, at 18,300 ft, qualifies as the highest motorable road in the world. Enroute, the air with just sufficient oxygen was crisp and fresh. With clinical precision it cut through layers of woollens and jackets we had optimistically covered ourselves with. Every now and then, cute little brownish marmots, resembling well fed, overgrown distant cousins of cats, would emerge, bounce around on the rocks and teasingly run along the car at a very safe distance. Our attempts to stop for a photo opportunity with them proved futile, as no sooner did the car stop, they, too, ducked The Nubra Valley. INDIA PERSPECTIVES MARCH 2003 3 and vanished in the rocky looked around in awe. In the bleak mountainside. snowscape, hundreds of multicolored prayer flags did The sky above Leh and around is a precisely what they were meant perpetual inky blue, thanks to the for – praying silently through their absence of the omnipresent flutter, appeasing the mountain god pollution of the plains.
    [Show full text]
  • Tnpsc Current Affairs - English April-2021 the Way to Your Destiny | Since 2014
    TNPSC CURRENT AFFAIRS - ENGLISH APRIL-2021 THE WAY TO YOUR DESTINY | SINCE 2014 S.NO INDEX PAGE NO 1. TAMILNADU NEWS 2 2. SPECIAL NEWS 16 3. IMPORTANT EVENTS 33 4. PERSON IN NEWS 40 5. ECONOMIC AFFAIRS 51 6. SCIENCE & TECHNOLOGY 61 7. NATIONAL NEWS 69 8. INTERNATIONAL NEWS 74 9. OTHER STATE NEWS 89 10. SPORTS NEWS 94 11. IMPORTANT DAYS 99 TNPSC CURRENT AFFAIRS – ENGLISH APRIL-2021 Page | 1 THE WAY TO YOUR DESTINY | SINCE 2014 1. TAMIL NADU NEWS Activities which held up in Tamil Nadu during April 2021 Any one of the 12 documents is enough to vote Voters can cast their ballots even if they do not have a voter ID card with photo to vote in the Legislative Assembly. Boy must be on the voter list. Voters can cast their ballots by displaying any of the 11 documents defined by the Board of Trustees in the absence of a voter ID card from the voter list. Details of 11 documents defined by the Total Authority: 1. Aadhar card. 2. Passport. 3. Driving license. 4. Identity card with photo for working in Central, State Governments, Public Sector Undertakings. 5. Bank or Postal Savings Account Book. 6. Smart card issued by National Population Register. 7. Card for one hundred day work plan. 8. Pan Card (Permanent Account Number) 9. Health Insurance Card of the Department of Labor Welfare. 10. Retirement document with photo. 11. Official Identity Card for MPs and MLAs. 2021 Assembly poll holds similarities to 2016 The 2021 Assembly election has similarities to the 2016 election, going by an analysis of the voter turnout data.
    [Show full text]
  • Unit-2 Silent Era to Talkies, Cinema in Later Decades
    Bachelor of Arts (Honors) in Journalism& Mass Communication (BJMC) BJMC-6 HISTORY OF THE MEDIA Block - 4 VISUAL MEDIA UNIT-1 EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA UNIT-2 SILENT ERA TO TALKIES, CINEMA IN LATER DECADES UNIT-3 COMING OF TELEVISION AND STATE’S DEVELOPMENT AGENDA UNIT-4 ARRIVAL OF TRANSNATIONAL TELEVISION; FORMATION OF PRASAR BHARATI The Course follows the UGC prescribed syllabus for BA(Honors) Journalism under Choice Based Credit System (CBCS). Course Writer Course Editor Dr. Narsingh Majhi Dr. Sudarshan Yadav Assistant Professor Assistant Professor Journalism and Mass Communication Dept. of Mass Communication, Sri Sri University, Cuttack Central University of Jharkhand Material Production Dr. Manas Ranjan Pujari Registrar Odisha State Open University, Sambalpur (CC) OSOU, JUNE 2020. VISUAL MEDIA is made available under a Creative Commons Attribution-ShareAlike 4.0 http://creativecommons.org/licences/by-sa/4.0 Printedby: UNIT-1EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA Unit Structure 1.1. Learning Objective 1.2. Introduction 1.3. Evolution of Photography 1.4. History of Lithography 1.5. Evolution of Cinema 1.6. Check Your Progress 1.1.LEARNING OBJECTIVE After completing this unit, learners should be able to understand: the technological development of photography; the history and development of printing; and the development of the motion picture industry and technology. 1.2.INTRODUCTION Learners as you are aware that we are going to discuss the technological development of photography, lithography and motion picture. In the present times, the human society is very hard to think if the invention of photography hasn‘t been materialized. It is hard to imagine the world without photography.
    [Show full text]
  • A Study of Shakespearean Presence in Bollywood
    ISSN No. 0974-035X An Indexed Refereed Journal of Higher Education Towards Excellence UGC-ACADEMIC STAFF COLLEGE, GUJARAT UNIVERSITY, AHMEDABAD, INDIA CINEMATIZING PLAYS IN INDIAN MOVIES: A STUDY OF SHAKESPEAREAN PRESENCE IN BOLLYWOOD Pathik Dodiya Abstract Movie-making of plays of William Shakespeare has been a practice in Indian cinema for many years. The well-known characters of Shakespearean have universal characteristics which motivate viewers to utopian life, have insightful thought about behaviour. In Bollywood, the concept of Adaptation has been observed as blending of Eastern and the Western culture, which presents Shakespearean theme in local milieu. It leads to emergence of the term ‘glocal’ which signifies cinematizing the global theme in local setting. This research paper explores Indian melodramatic phenomenon, insisting the adaptation of Shakespearean plays in Indian cinema, the movies created by Bollywood. Keywords : Glocalization (Glocal), Adaptation, Appropriation Introduction In the recent years, the term ‘Glocal’ has achieved a remarkable stand in India; among them cinematizing plays of William Shakespeare has been outstanding. The legendary characters of Shakespeare are galvanic, and a boundless source of motivation for innumerable individuals over the globe. At the point when Shakespeare’s composing sets it on fire, and exchanges the gathering of people to a true to utopian life. Indian adjustment of both Shakespearean tragedy and comic drama can be fathomed as a blending of ‘videsi’ and ‘desi’, an. amalgamation of East and West, and an Oriental and Occidental social trade. Shakespeare’s ‘androgynous’ mind, the convolution of his narration, music, description and aesthetic sensibility classifies him as a literary scholar. July, 2016.
    [Show full text]
  • Fipresci-India Newsletter: April 2021 1
    Fipresci-India Newsletter: April 2021 1 FIPRESCI-INDIA NEWSLETTER April 2021 Monthly Bulletin of the India Chapter of International Federation of Film Critics Website: www.fipresci-india.online SATYAJIT RAY MEMORIAL AWARD CONFERRED TO ARUNA VASUDEV To commemorate the Birth Centenary of Satyajit Ray (2nd May 1921-2021) Fipresci-India announced an annual Award for the outstanding contributions to writing on cinema in any Indian language including English for propagation of film culture which was Ray's primary area of concern. First recipient of this prestigious Award would be Ms. Aruna Vasudev. Aruna Vasudev (B.1936) is an eminent film scholar, critic, editor and author. She did her doctorate from the University of Paris on cinema and censorship. She was the founder-editor of the 1st Asian film journal of India "Cinemaya" (1988). She founded NETPAC in 1991 and the India chapter of FIPRESCI with Chidananda Dasgupta in 1992. She was the founder-director of "Cinefan: Festival of Asian Cinema" (1999). She has been honoured with many national and international awards like Officer of Arts & Letters by the French Government, Korean Cinema Award, Italian Star of Solidarity and several lifetime achievement awards. She has written, edited and co-edited many books, articles and essays on cinema. Some of her selected publications as author/ editor/ co-editor are: “Liberty and License in the Indian Cinema” (1978), “Indian Cinema Superbazaar” (1983), “Les cinemas indiens” (1984), “Frames of Mind: Reflections on Indian Cinema” (1996), “Being and Becoming: The Cinemas of Asia” (2002), “Modernity & Nationality in Vietnamese Cinema” (2007), “Kenji Mizoguchi and the Art of Japanese Cinema” (2008) and others.
    [Show full text]
  • Writing Women's Film History Against an Absent Archive
    LeadershipArticle Insights from Jaina text Saman Suttam 9 BioScope Notes on a Scandal: Writing 4(1) 9–30 © 2013 Screen South Asia Trust Women’s Film History Against an SAGE Publications Los Angeles, London, Absent Archive New Delhi, Singapore, Washington DC DOI: 10.1177/097492761200483052 http://bioscope.sagepub.com Debashree Mukherjee Never as yet has there been an industry or profession over which so much ink has been spilled as the flm business, and never will there arise a more acute question than now over the exact status our society should grant those men and women whom we have come to know, as “stars”. Zahir B. Kureishi aka “Zabak” (Zabak, 1940) Very early into the life of cinema in India it became apparent that this new phenomenon would generate talk. In its affective manifestations, cinema was able to circulate more freely and widely than the physi- cal film object. Fan magazines and tabloids were regularly swamped by letters demanding biographical information about stars. The studios that were associated with these glamorous names became sites of intense speculation and wonder. The film studio was exciting both as an emblem of technological moder- nity and as a thrilling heterosocial work space. This combined excitement can be glimpsed in a descrip- tion of the new Ranjit Studio: “Ah, the new studio—the new Ranjit studio! It is big and beautiful with such perfect acoustics that even if the director tried a tete-a-tete in whispers with the heroine it would all come out on the sound track as distinct as the song of a lark.” (Judas, 1938, p.
    [Show full text]
  • RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et
    Direction de la communication DOSSIER DE PRESSE VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE et www.centrepompidou.fr VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) DDirection sommaire de la communication 75 191 Paris cedex 04 responsable du pôle presse I. COMMUNIQUE DE PRESSE page 2 Carole Rio-Latarjet chargée des relations presse Albane Jouis-Maucherat II. VOUS AVEZ DIT « BOLLYWOOD » ! page 4 téléphone par Nadine Tarbouriech 00 33 (0)1 44 78 13 81 télécopie III PROGRAMMATION ET SYNOPSIS DES FILMS page 6 00 33 (0)1 44 78 13 02 mél IV. CALENDRIER DES PROJECTIONS page 29 albane.jouis-maucherat @cnac-gp.fr V. RENCONTRE ORGANISEE PAR LES FORUMS DE SOCIETE La « résistance » de Bollywood ? page 38 VI. EVENEMENTS AUTOUR DE LA MANIFESTATION page 40 VII. LISTE DES PHOTOS DISPONIBLES POUR LA PRESSE page 48 VIII. REMERCIEMENTS page 52 IX. INFORMATIONS PRATIQUES page 53 VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) Direction Pour la première fois en France, une grande rétrospective consacrée à la cinématographie de la communication indienne populaire est proposée par les Cinémas du Centre Pompidou. 75 191 Paris cedex 04 responsable du pôle presse er Carole Rio-Latarjet Pensée en deux temps, la manifestation rend d’abord hommage, du 4 février au 1 mars 2004, chargée des relations presse aux auteurs des grands classiques en noir et blanc des années 50 considérées comme l’âge Albane Jouis-Maucherat d’or des studios indiens : Guru Dutt, Raj Kapoor, Bimal Roy, Mehboob Khan, V.
    [Show full text]
  • Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
    Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof.
    [Show full text]
  • Dadasaheb Phalke Awards
    Dadasaheb Phalke Awards The Dadasaheb Phalke Awards is the highest award in cinema. It is annually presented at the National Film Awards ceremony by the Directorate of Film Festivals. The award is named after Dhundiraj Govind Phalke, popularly known as Dadasaheb Phalke. Dadasaheb Phalke is regarded as the ‘father of Indian cinema’. In the 2021 edition of the Dadasaheb Phalke Awards Deepika Padukone received the best actress award for her film Chhapaak while Akshay Kumar got the awards for fis performance in the film Laxmi. This article will give details about Dadasaheb Phalke Awards within the context of the IAS Exam Brief facts about Dadasaheb Phalke Ddasheb Phalke was a producer-director-screenwriter who made India’s first feature-length film, Raja Harishchandra in 1913. He made 95 feature-length films and 27 short films in his career, spanning 19 years, until 1937, including his most noted works: Mohini Bhasmasur (1913), Satyavan Savitri (1914), Lanka Dahan (1917), Shri Krishna Janma (1918) and Kaliya Mardan (1919). His contributions to India cinema was legendary and thus was the reason why the Indian government instituted an award in his honour. Recipients of the Dadasaheb Phalke Awards The following table gives the list of winners of the Dadasaheb Phalke Awards through the years Dadasaheb Phalke Awards Recipients (1969-1979) Year Recipient Film Industry 1969 Devika Rani Hindi 1970 Birendranath Sircar Bengali 1971 Prithviraj Kapoor Hindi 1972 Pankaj Mullick ● Hindi ● Bengali 1973 Ruby Myers (Sulochana) Hindi 1974 Bommireddy Narasimha Reddy Telugu 1975 Dhirendra Nath Ganguly Bengali 1976 Kanan Devi Bengali 1977 Nitin Bose Bengali Hindi 1978 Raichand Boral ● Hindi ● Bengali 1979 Sohrab Modi Hindi The following table gives the list of winners from 1980-1989 Dadasaheb Phalke Awards Recipients (1980-1989) Year Recipient Film Industry 1980 Paidi Jairaj ● Hindi ● Telugu 1981 Naushad Hindi 1982 L.
    [Show full text]
  • Dilip-Kumar-The-Substance-And-The
    No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved.
    [Show full text]