DOCSLIB.ORG

Documentation Kerala

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Documentation Kerala DDOOCCUUMMEENNTTAATTIIOONN KKEERRAALLAA An index to articles in journals/periodicals available in the Legislature Library Vol. 11 (3) July – September 2016 SECRETARIAT OF THE KERALA LEGISLATURE THIRUVANANTHAPURAM DOCUMENTATION KERALA An index to articles in journals/periodicals available in the Legislature Library Vol.11 (3) July to September 2016 Compiled by G. Maryleela, Chief Librarian V. Lekha, Librarian Preetha Rani K.R., Deputy Librarian Denny.M.X, Catalogue Assistant Type setting Sindhu.B BapJw \nbak`m sse{_dnbn e`yamb {][m\s¸« B\pImenI {]kn²oIcW§fn h¶n-«pÅ teJ-\-§-fn \n¶pw kmamPnIÀ¡v {]tbmP\{]Zhpw ImenI {]m[m\yapÅXpambh sXc-sª-Sp¯v X¿m-dm-¡nb Hcp kqNnIbmWv ""tUm¡psatâj³ tIcf'' F¶ ss{Xamk {]kn²oIcWw. aebmf `mjbnepw Cw¥ojnepapÅ teJ\§fpsS kqNnI hnjbmSnØm\¯n c−v `mK§fmbn DÄs¸Sp¯nbn«p−v. Cw¥ojv A£camem {Ia¯n {]tXyI "hnjbkqNnI' aq¶mw `mK¯pw tNÀ¯n«p−v. \nbak`m kmamPnIÀ¡v hnhn[ hnjb§fn IqSp-X At\z-jWw \S-¯m³ Cu teJ\kqNnI klmbIcamIpsa¶v IcpXp¶p. Cu {]kn²oIcWs¯¡pdn¨pÅ kmamPnIcpsS A`n{]mb§fpw \nÀt±i§fpw kzm-KXw sN¿p¶p. hn.-sI. _m_p-{]-Imiv sk{I«dn tIcf \nbak`. CONT ENTS Pages Malayalam Section 01-34 English Section 35-52 Index 53-79 PART I MALAYALAM Agriculture 6. If ]dn¨v tIcfw ]mS-¯n-d-§p- t¼mÄ 1. lnµp-Xz-hm-Zn-I-fpsS hnI-k-\- ]n.-sI. kp[m-I-c³ ¯nsâ s]mÅ-¯cw ka-Im-enI ae-bmfw, 1 BKÌv 2016, AÀ¨\m {]kmZv t]Pv 48þ50 Nn´, 23 sk]vXw-_À 2016, Iq«m-bva-bp-sSbpw ]mc-kv]-cy-¯n-sâbpw t]Pv 38-þ40 kmaq-lnI PohnXw hos−-Sp-¡m\pw ImÀjnI {]Xn-k-Ôn-tbbpw hÀ²n-¨p- A´-tÊmsS Irjn-¡m-c\p Pohn-¡m\pw h-cp¶ Bß-l-Xy-tbbpw Ipdn-¨pÅ Ign-bp¶ tIc-f-amWv s\ÂIrjn teJ-\w. kwc-£W]²-Xn-bn-eqsS cq]-s¸-«p-h-tc-−- sX¶v teJ-I³ Nq−n-¡m-«p-¶p. 2. Xm¦Ä AXv sNbvXp ImWn¡q alm-tizXm tZhn 7. XncnsI ]nSn¡mw \½psS amXr-`q-an, 7 BKÌv 2016, t]Pv 43þ47 ImÀjnI ss]XrIw hn.-F-kv. ANyp-Xm-\-µ³ c−mw `q]-cn-jv AUz.-hn.-F-kv.-kp-\nÂIp-amÀ ¡-cWw \S-¸n-em-¡p-sa¶v {]Jym-]n¨ Nn´, 19 BKÌv 2016, t]Pv 60-þ62 kµÀ`-¯n AXns\ ]n´p-W-¨p-sIm−v alm-tizXm tZhn Fgp-Xnb Xpd¶ I¯v. ImÀjnI taJ-esb ]p\-cp-Öo-hn-¸n-¡p-¶- Xn-\pÅ IÀ½ ]²-Xn-I-sf-¡p-dn-¨pÅ teJ\w 3. Icp-Xn-bn-cn-¡Ww; ISp-Inepw ]nSn- ap-dp-¡p¶p Dj.-F-kv. 8. Irjn a{´n-bpsS I¶n-sImbv¯v amXr-`q-an, 25 sk]vXw-_À 2016, ]n.-F-kv.-dw-jmZv t]Pv 64-þ67 ae-bm-fw, 26 sk]vXw-_À 2016, P\n-X-I-amäw hcp-¯nb ISp-Insâ t]Pv 14-þ25 D]-tbmKw DbÀ¯p¶ `oj-Wn-Isf Irjn-a{´n hn.-F-kv. kp\nÂIp-am-dp-am- hni-I-e\w sN¿p¶ teJ-\w. bpÅ A`n-ap-J-¯n Irjn cmjv{Sob {]hÀ¯-\-ambn amdp-¶-Xn-s\-¡p-dn¨pw HmW-¡m-e¯v ImÀjnI tIcfw ssI h-cn¨ t\«-§-sf-¡p-dn¨pw At±lw 4. Ic-¸m-S-§Ä IXn-c-Wn-bs« hni-Zo-I-cn-¡p-¶p. tUm. Fkv. eo\m-Ip-amcn tIc-f-IÀj-I³, Pqsse 2016, t]Pv 12þ14 Animal Husbandry Ic-s\ÂIr-jn-bpsS coXn-Ifpw {]m[m-\yhpw hni-Z-am-¡p¶ teJ\w 9. \mbv¡Ä¡pw thWw ]cn-io-e\w 5. ImÀjnI tkh\w Hcp tUm. Fw. cta-jvIp-amÀ IpS-¡o-gn tIc-f-IÀj-I³, Pqsse 2016, AUz.-hn.-F-kv. kp\nÂIp-amÀ t]Pv 40þ41 tIcf IÀj-I³, BKÌv 2016, s]mXp-k-aq-l-¯n\v CW-§p¶ coXn-bn t]Pv 6þ8 s]cp-am-dm³ -\mbv¡sf F§s\ s\ÂIrjn hym]-\-¯n\v kwØm\ ]cn-io-en-¸n-s¨-Sp¡mw F¶v hnh-cn-¡p¶ kÀ¡mÀ \S-¸m-¡p¶ ]²-Xn-I-sf- teJ\w ¡p-dn-¨p-ff teJ-\w. 2 Archives Cash Crops 15. hdp-XnbpsS tXmSp-XÃn 10. BÀss¡-hvkn\v Hcp Bap-Jw. Iip-h−n taJe Un.-Z-bm-\-µ³ Fkv. Itejv ka-Im-enI P\-]-Yw, 1 BKÌv 2016, ka-Im-enI ae-bmfw, 1 BKÌv 2016, t]Pv 36-þ39 t]Pv 17-þ24 kwØm\ BÀss¡hvkns\¡p-dn-¨pÅ Iip-h−n taJ-e-bnse {]Xn-k-Ôn-Isf hnh-c-Ww. ¡pdn-¨p-ff teJ-\w. Banking Cinema 16. "]ns¶bpw' ASq-cnsâ Ne-¨n{X 11. `oa³ _m¦nsâ A]-ISw adp-]Sn kn.-sP. tPmÀPv AeIvkv hÅn-Ip¶w Iem-Iu-apZn, 7 BKÌv 2016, ka-Im-enI ae-bm-fw, 22 HmKÌv 2016, t]Pv 24þ25 t]Pv 10-þ17 s]mXp-ta-Jem _m¦p-I-fpsS eb\w ASqÀ tKm]m-e-Ir-jvW-\p-am-bpÅ hcp¯n sh¡m-hp¶ A]-I-S-§-sf- A`n-ap-Jw. ¡p-dn¨v teJ-I³ \nco-£n-¡p-¶p. 17. kv{XobmWv Ønc-X, kv{Xobn-eq- 12. eb\w t\«-amIpw sS-bmWv XpS-¡-§fpw XpSÀ¨-Ifpw aocm \¼q-Xncn sI.-F³.-jmPn Iem-Iu-apZn, 7 BKÌv 2016, amXr-`q-an, 28 BKÌv 2016, t]Pv 18þ23 t]Pv 12-þ20 tÌäv _m¦v Hm^v {Smh³IqÀ amt\-PnwKv ASqÀ tKm]m-e-Ir-jvW-\p-am-bpÅ Ub-d-IvSÀ kn.-BÀ. iin-Ip-am-dp-am-bp-ff A`n-ap-Jw. A`n-ap-Jw. 18. I¯n-¡-cnª ImgvN-I-fmWv FXn-tc-äXv 13. sImÅbSn¡m³ F.Sn.F½pIÄ F.sI.ctaiv ]n.-Fw. Pb³ IemIuapZn, 21 BKÌv 2016, N{µn-I, 9 Pqsse 2016, t]Pv 22þ33 {]ikvX kwhn-[m-b-I\pw BIvSn-hn-Ìp- t]Pv 32þ35 amb sI.-]n.-iin HUo-jy-bnse F.Sn.Fw. X«n¸pIsf¡pdn¨pÅ teJ\w I´am-en-ep-−mb hÀ¤ob Iem-]s¯ ap³\nÀ¯n sNbvX tUmIyp-saâdn "thmbn-kkv {^w Z dqbn³kv' s\ 14. kl-I-cW _m¦p-IÄ¡v t\sc Ipdn¨pÅ hnh-c-Ww. dnkÀÆv _m¦nsâ ]S-\o¡w ]n.-P-b-N-{µ³ 19. Ahsâ IrjvW-a-Wn-I-fn ag tIc-f-i-_vZw, 18 sk]vXw-_À 2016, sXmSp-t¼mÄ t]Pv 38-þ40 Ia _m¦nwKv dKp-te-j³ BIvSnsâ t]cp- am[y-aw, 5 sk]vXw-_À 2016, ]-dªv kwØm-\s¯ 1602 kl-I-cW t]Pv 36-þ37 _m¦p-IÄ¡v Xmgn-So-¡p-hm-\pÅ dnkÀÆv BKÌv 15-þ\v A´-cn¨ Xnc-¡-Ym-Ir¯v _m¦nsâ \o¡-s¯-¡p-dn-¨pÅ teJ\w Sn.-F.-d-km-Jns\ kwhn-[m-b-I-\mb teJ-I³ HmÀ½n-¡p-¶p. 3 25. Poh-\-¡mÀ ]q¡-f-sam-cp-¡p- 20. ]Àh-X-§-fn t¼mÄ ]n.-]n.-jm-\-hmkv Fkv.-bp.-cm-Pohv tZim-`n-am-\n, 28 BKÌv 2016, Iem-Iu-apZn, 11 sk]vXw-_À 2016, t]Pv 44-þ47 t]Pv 8þ11 A´-cn¨ Xnc-¡YmIr¯v Sn.-F.-d-km-Jn-s\- Hm^okv {]hr¯n ka-b¯v ]q¡-f-an-tS-− ¡p-dn-¨pÅ teJ-\w. - Xnà F¶ \nÀt±iw \ÂIn-b-Xn-eqsS Poh-\-¡mÀ k©-cn-t¡− icn-bmb ]mX GXm-sW¶v ImWn-¡m³ apJy-a-{´n¡v 21. Ifn-b-ÃnXv IpXn¸v Ign-ªn-cn-¡p¶p F¶v A`n-{]m-b-s¸-Sp¶ Nmcp \nth-ZnX teJ\w Iem-Iu-apZn, 7 BKÌv 2016, t]Pv 32þ37 Constitution Hgnhv Znh-ks¯ Ifn F¶ ae-bmf Ne-¨n-{Xs¯ ¡pdn-¨p-ff \ncq-]-Ww. 26. `cWLS\bpsS lrZb¯pSn¸pIÄ 22. \½psS ssIbnse P\m-[n-]Xyw sI.Fw.`cX³ Ime-l-c-W-s¸-«Xpw tZim`nam\n, 21 BKÌv 2016, cmtPjv sPbnwkv t]Pv 48þ51 am[y-aw, 19 sk]vXw-_À 2016, C´y³ `cWLS\bv¡v `cWLS\m t]Pv 12-þ17 \nba\nÀ½mW k` AwKoImcw A´m-cmjv{S {]ikvX tUmIyp-saâdn \ÂInbn«v 66hÀjw Ignªncn¡p¶p. kwhn-[m-b-I\pw BIvSnhn-Ìp-amb CXnsâ ]Ým¯e¯n `cWLS\ kRvP-bvImIv Xsâ Ne-Nn{X Pohn-X-s¯ - sb¡pdn¨v X¿mdm¡nb teJ\w. ¡p-dn¨pw cmjv{So-b-s¯-¡p-dn¨pw kwkm-cn-¡p-¶p. Co-operation 23. {]W-b-a-Ã, kmaq-ln-Im-h-Ø 27. tImSn-I-fpsS kl-I-cW kwLw bmWv Fsâ kn\n-a-bpsS {]tabw X«n¸v: \qdp-I-W-¡n\v sXmgn-e-t\z-j- ^low N{a-h«w IÀ am[y-aw, 29 BKÌv 2016, t]Pv 44-þ49 ssa¡nÄ hÀ¤okv sN§m-S-¡cn Inkva¯v F¶ kn\n-a-bpsS kwhn-[m-b- tIc-f-i_vZw, 14 BKÌvv 2016, I³ jm\-hmkv sI.-_m-h-¡p-«n-bp-am-bpÅ A`n-ap-Jw. t]Pv 35þ37 Xncp-sIm¨n A{Kn-IĨÀ s{]mU-£³ t{]mk-knwKv B³Uv amÀ¡-änwKv Civil Service kl-I-cW kwLw F¶ hymP kl-I-cW kwL-¯nsâ ad-hn \S-¯nb X«n-¸n-s\- ¡p-dn-¨p-ff dnt¸mÀ«v. 24. ^b CÃm¯ Hm^okv ]n.-F-kv.-{io-Ip-amÀ Corruption Iem-Iu-apZn, 11 sk]vXw-_À 2016, t]Pv 12-þ14 C¶v tIc-f-¯nse kÀ¡mÀ Hm^o-kp- 28.
Load more

Recommended publications
  • Masculinity and the Structuring of the Public Domain in Kerala: a History of the Contemporary
    MASCULINITY AND THE STRUCTURING OF THE PUBLIC DOMAIN IN KERALA: A HISTORY OF THE CONTEMPORARY Ph. D. Thesis submitted to MANIPAL ACADEMY OF HIGHER EDUCATION (MAHE – Deemed University) RATHEESH RADHAKRISHNAN CENTRE FOR THE STUDY OF CULTURE AND SOCIETY (Affiliated to MAHE- Deemed University) BANGALORE- 560011 JULY 2006 To my parents KM Rajalakshmy and M Radhakrishnan For the spirit of reason and freedom I was introduced to… This work is dedicated…. The object was to learn to what extent the effort to think one’s own history can free thought from what it silently thinks, so enable it to think differently. Michel Foucault. 1985/1990. The Use of Pleasure: The History of Sexuality Vol. II, trans. Robert Hurley. New York: Vintage: 9. … in order to problematise our inherited categories and perspectives on gender meanings, might not men’s experiences of gender – in relation to themselves, their bodies, to socially constructed representations, and to others (men and women) – be a potentially subversive way to begin? […]. Of course the risks are very high, namely, of being misunderstood both by the common sense of the dominant order and by a politically correct feminism. But, then, welcome to the margins! Mary E. John. 2002. “Responses”. From the Margins (February 2002): 247. The peacock has his plumes The cock his comb The lion his mane And the man his moustache. Tell me O Evolution! Is masculinity Only clothes and ornaments That in time becomes the body? PN Gopikrishnan. 2003. “Parayu Parinaamame!” (Tell me O Evolution!). Reprinted in Madiyanmarude Manifesto (Manifesto of the Lazy, 2006). Thrissur: Current Books: 78.
    [Show full text]
  • Current Affairs Questions and Answers for February 2010: 1. Which Bollywood Film Is Set to Become the First Indian Film to Hit T
    ho”. With this latest honour the Mozart of Madras joins Current Affairs Questions and Answers for other Indian music greats like Pandit Ravi Shankar, February 2010: Zakir Hussain, Vikku Vinayak and Vishwa Mohan Bhatt who have won a Grammy in the past. 1. Which bollywood film is set to become the first A. R. Rahman also won Two Academy Awards, four Indian film to hit the Egyptian theaters after a gap of National Film Awards, thirteen Filmfare Awards, a 15 years? BAFTA Award, and Golden Globe. Answer: “My Name is Khan”. 9. Which bank became the first Indian bank to break 2. Who becomes the 3rd South African after Andrew into the world’s Top 50 list, according to the Brand Hudson and Jacques Rudoph to score a century on Finance Global Banking 500, an annual international Test debut? ranking by UK-based Brand Finance Plc, this year? Answer: Alviro Petersen Answer: The State Bank of India (SBI). 3. Which Northeastern state of India now has four HSBC retain its top slot for the third year and there are ‘Chief Ministers’, apparently to douse a simmering 20 Indian banks in the Brand Finance® Global Banking discontent within the main party in the coalition? 500. Answer: Meghalaya 10. Which country won the African Cup of Nations Veteran Congress leader D D Lapang had assumed soccer tournament for the third consecutive time office as chief minister on May 13, 2009. He is the chief with a 1-0 victory over Ghana in the final in Luanda, minister with statutory authority vested in him.
    [Show full text]
  • Annual Report 2016-17
    ANNUAL REPORT 2016 -17 ANNUAL REPORT 1st April 2016 to 31st March 2017 AES+F’s video installation Inverso Mundus (2015) at Anand Warehouse CONTENTS 06 INTRODUCTION 08 KOCHI BIENNALE FOUNDATION 10 BOARD OF TRUSTEES 12 KOCHI-MUZIRIS BIENNALE 2016 14 ARTISTS OF KOCHI-MUZIRIS BIENNALE 2016 22 KOCHI BIENNALE FOUNDATION PROGRAMMES 30 AUDIENCE 32 HIGHLIGHTS 46 CSR SUPPORT AND KOCHI BIENNALE FOUNDATION 46 MEETING OF THE BOARD OF TRUSTEES 47 CONSTITUTION OF INTERNAL COMPLAINTS COMMITTEE 48 AUDIT & ACCOUNTABILITY 70 KOCHI-MUZIRIS BIENNALE 2016 SPONSORS, PATRONS & SUPPORTERS Front Cover: Abir Karmakar’s painting Home (2016) at Kashi Art Gallery 4 5 INTRODUCTION The Kochi Biennale Foundation is the statement ‘Forming in the Pupil of an Ours is an effort tethered to the idea of Art By Children was an artistic interven- honoured to present the annual report Eye’, and asking a central question: What learning and growing from experience. tion into public schools in Kerala that of the Foundation for the year 2016-2017. does it mean to be together in time – Every edition teaches us new lessons, as reached out to 100 schools across the Of course, as always, the audited balance to be contemporary? we grapple with new challenges. The state. The team at ABC also created sheet of the Foundation for the year levels of support, trust and faith our on-site workshops at the Biennale, 2016-17 is an integral part of this report. Ninety-seven artists from 31 countries, Patrons, Partners and Supporters provide bringing vast numbers of schoolchildren more than 100 works of installation, us with gives us a great deal of strength to into Aspinwall House every day.
    [Show full text]
  • 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.
    [Show full text]
  • EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
    UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col.
    [Show full text]
  • Social Science TABLE of CONTENTS
    2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus.
    [Show full text]
  • Padma Vibhushan * * the Padma Vibhushan Is the Second-Highest Civilian Award of the Republic of India , Proceeded by Bharat Ratna and Followed by Padma Bhushan
    TRY -- TRUE -- TRUST NUMBER ONE SITE FOR COMPETITIVE EXAM SELF LEARNING AT ANY TIME ANY WHERE * * Padma Vibhushan * * The Padma Vibhushan is the second-highest civilian award of the Republic of India , proceeded by Bharat Ratna and followed by Padma Bhushan . Instituted on 2 January 1954, the award is given for "exceptional and distinguished service", without distinction of race, occupation & position. Year Recipient Field State / Country Satyendra Nath Bose Literature & Education West Bengal Nandalal Bose Arts West Bengal Zakir Husain Public Affairs Andhra Pradesh 1954 Balasaheb Gangadhar Kher Public Affairs Maharashtra V. K. Krishna Menon Public Affairs Kerala Jigme Dorji Wangchuck Public Affairs Bhutan Dhondo Keshav Karve Literature & Education Maharashtra 1955 J. R. D. Tata Trade & Industry Maharashtra Fazal Ali Public Affairs Bihar 1956 Jankibai Bajaj Social Work Madhya Pradesh Chandulal Madhavlal Trivedi Public Affairs Madhya Pradesh Ghanshyam Das Birla Trade & Industry Rajashtan 1957 Sri Prakasa Public Affairs Andhra Pradesh M. C. Setalvad Public Affairs Maharashtra John Mathai Literature & Education Kerala 1959 Gaganvihari Lallubhai Mehta Social Work Maharashtra Radhabinod Pal Public Affairs West Bengal 1960 Naryana Raghvan Pillai Public Affairs Tamil Nadu H. V. R. Iyengar Civil Service Tamil Nadu 1962 Padmaja Naidu Public Affairs Andhra Pradesh Vijaya Lakshmi Pandit Civil Service Uttar Pradesh A. Lakshmanaswami Mudaliar Medicine Tamil Nadu 1963 Hari Vinayak Pataskar Public Affairs Maharashtra Suniti Kumar Chatterji Literature
    [Show full text]
  • 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
    Alphaville: Journal of Film and Screen Media no. 21, 2021, pp. 239–243 DOI: https://doi.org/10.33178/alpha.21.21 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta. Rowman & Littlefield, 2019, 283 pp. Darshana Chakrabarty Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences. Within India and abroad “the traditional division between India’s popular cinema and its ‘art’ or ‘parallel’ cinema, modelled after India's most prestigious film-director Satyajit Ray, often produced the uncritical assumption that Indian films are either ‘Ray or rubbish’” (Chaudhuri 137). Recently, Indian film criticism has begun focusing on popular Indian cinema, assessing the multi-discursive elements of the cinematic creations. Bollywood “gained prominence within academia due to its growing popularity and unique manner of glorifying Indian familial values” (Sinha 3). From a history and origin of Indian motion pictures to selecting films that best represent the diversity, integrity and heritage of the nation, 100 Essential Indian Films by Rohit K. Dasgupta and Sangeeta Dutta is a concise book on Indian cinema for connoisseurs and for film enthusiasts taking an interest in India’s classic and contemporary cinema.
    [Show full text]
  • 1 Sample Question Paper on Cinema Prepared by : Naresh Sharma: Director
    1 Sample question paper on cinema prepared by : Naresh Sharma: Director. CRAFT Film School.Delhi.www.craftfilmschool.com: [email protected] Disclaimer about this sample paper ( 50+28 Objective questions ) by Naresh Sharma: 1. This is to clarify that I, Naresh Sharma, neither was nor is a part of any advisory body to FTII or SRFTI , the authoritative agencies to set up such question paper for JET-2018 entrance exam or any similar entrance exam. 2. As being a graduate of FTII, Pune, 1993, and having 12 years of Industry experience in my quiver as well the 12 years of personal experience of film academics, as being the founder of CRAFT FILM SCHOOL, this sample question-answers format has been prepared to give the aspiring students an idea of variety of questions which can be asked in the entrance test. 3. The sample question paper is mainly focused on cinema, not in exhaustive list but just a suggestive list. 4. As JET - 2018 doesn't have any specific syllabus, so any question related to General Knowledge/Current Affair can be asked. 5. Since Cinema has been an amalgamation of varied art forms, Entrance Test intends to check as follows; a) Information; and b) Analysis level of students. 6. This sample is targeted towards objective question-answers, which can form part of 20 marks. One need to jot down similar questions connected with Literature/ Panting Music/ Dance / Photography/ Fine arts etc. For any Query, one can write: [email protected] 2 Sample question paper on cinema prepared by : Naresh Sharma: Director.
    [Show full text]
  • Manoj Kumar to Be Conferred Dadasaheb Phalke Award for the Year 2015 by : INVC Team Published on : 4 Mar, 2016 09:30 PM IST
    Manoj Kumar to be conferred Dadasaheb Phalke Award for the year 2015 By : INVC Team Published On : 4 Mar, 2016 09:30 PM IST INVC NEWS New Delhi, Veteran Film Actor and Director Shri Manoj Kumar is to be conferred the 47th Dadasaheb Phalke Award for the year 2015. Award is conferred by the Government of India for outstanding contribution to the growth and development of Indian Cinema. The Award consists of a Swarn Kamal (Golden Lotus), a cash prize of Rs. 10 lakhs and a shawl. The Award is given on the basis of recommendations of a Committee of eminent personalities set up by the Government for this purpose. This year, a five member jury viz. Latha Mangeshkar, Asha Bhosle, Salim Khan, Nitin Mukesh and Anup Jalota, unanimously recommended Shri Manoj Kumar for the prestigious Award. Minister for Information & Broadcasting, Shri Arun Jaitley spoke to Shri Manoj Kumar today and congratulated him on being conferred the Award. Shri Manoj Kumar is an Award-winning actor and director. He is remembered for his films Hariyali Aur Raasta, Woh Kaun Thi, Himalaya Ki God Mein, Do Badan, Upkaar, Patthar Ke Sanam, Neel Kamal, Purab Aur Paschim, Roti Kapda Aur Makaan, and Kranti. He is known for acting in and directing films with patriotic themes. Manoj Kumar was born in July 1937, in Abbottabad, then part of Pre- Independent India. When he was 10, he shifted to Delhi. After graduating from Hindu College, University of Delhi, he decided to enter the film industry. After making a début in film Fashion in 1957, Manoj Kumar got his first leading role in Kaanch Ki Gudia in 1960.
    [Show full text]
  • Indian Film Festival of Los Angeles. Journal of South Asian Studies
    78 The Indian Film Festival of Los Angeles Preeti Chandan n the last decade Bollywood hype has increasingly The intent of the festival, Marouda has said, was to captured the fancy of Indians in the United States as provide exposure to films that needed a platform, a pre- Iwell as the mainstream media and audiences. This mier Indian film festival in the U.S. with its feet firmly is such a preevalent trend that the extravaganzas once grounded in films from and about India. considered vacuous and escapist have now become a re- Marouda, just 27 at the time, pulled in about eight spected and integral component of Indian culture. supporters to kick-start the planning process. She and In the face of Bollywood’s seductive allure, Indian al- two other programmers, including Mumbai based jour- ternate cinema has always found itself relegated to the nalist and experienced festival curator Uma Da Cunha, shadows, where barely registers on the periphery of most searched for worthy titles and called filmmakers to enter Indians’ viewing choices. With few, if any, distribution them in the inaugural edition. Cold calling was a norm in outlets, Indie films look to film festivals as a Mecca that those early days, recalled IFFLA publicist Surekha Pa- connects their distinctive voices to an audience. The In- ruchuri, who has been with the fest from the start. They dian Film Festival of Los Angeles (IFFLA) is one such called companies seeking sponsorships and contacted platform, a haven for filmmakers who eschew glamour airlines to provide passage for participating filmmakers and venture into unexplored directions, often working on shoestring budgets and with little support, as well as for audiences that hunger for films outside of Bollywood.
    [Show full text]
  • Parichya Patra.P65
    Student Paper PARICHAY PATRA Spectres of the New Wave : The State of the Work of Mourning, and the New Cinema Aesthetic in a Regional Industry 1 Introduction My title refers to Derrida’s controversial account of his concern with Marx amidst the din and bustle of the ‘end of history’. Time was certainly out of joint and the pluralistic outlook of the great thinker was pitted against the monolith that orthodox communists used to uphold. My primary concern in the paper would be an account of the Malayalam film industry in its post-New Wave phase as well as a handful of filmmakers whose works seem to be difficult to categorize. Within the domain of the popular and amidst the mourning from the film society circle for the movement that lasted no longer than a decade, these films evoke the popular memory of the New Wave. Though up in arms against the worthy ancestors, these filmmakers are unable to conceal their indebtedness to the latter. The New Wave too was not without its heterogeneity, and the “disjointed now” that I am talking about is something “whose border would still be determinable”. I would like to consider the possibility of moving towards translocal contexts without shifting our focus from a specific site of inquiry which, in this case, is Malayalam cinema. The paper will concentrate upon the phenomenon known JOURNAL OF THE MOVING IMAGE 81 as the resurfacing/resurgence of art cinema aesthetics in Indian cinema. Recent scholarly interest in the history of this forgotten film movement is noticeable, more so because it was ignored in the age of disciplinary incarnation of cinematic scholarship in India.
    [Show full text]