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Draft Seniority Inspector 2012
CUSTOMS & CENTRAL EXCISE COMMISSIONERATE, DELHI ZONE SENIORITY LIST OF INSPECTOR IN THE PAY SCALE OF Rs 9300-34800 GRADE PAY Rs. 4600 - AS ON 31.12.2011 (Corrected upto 07.08.2012) SL. NAME OF THE OFFICER EDUCATIO WHETHER DATE OF DATE OF REMARKS NO. (S/Sh/Ms) NAL SC/ST, IF BIRTH APPTT/ DATE QUALIFICA NOT SAY OF REGULAR TION NEITHER PROMOTION/ DATE OF JOINING IN DELHI COMM'TE (IN CASE I/C) (1) (2) (3) (4) (5) (6) (7) 1 KANWAL SUMAN B.Com (H) SC 11.03.63 29.04.86 2 ZAKI ANWAR B.Sc NEITHER 28.02.58 23.10.86 I/C MEERUT(12.4.84) 3 VINOD KUMAR BA SC 01.06.62 01.04.87 4 RAJ NATH ZUTSHI BA NEITHER 29.07.55 10.07.86 UDC 30.9.80(AN) 5 RAM SWAROOP MEENA BA ST 03.03.63 01.02.89 6 V.K. KHURANA M.Sc NEITHER 15.07.57 16.01.89 I/C MEERUT (13.5.82) 7 RAJENDER SINGH B.Com NEITHER 26.01.60 26.05.89 UDC 21.10.83, TA 15.7.88 8 BHAG SINGH MEENA M.Com ST 28.07.58 20.11.89 I/C PUNE (10.8.87) 9 SUNIL DUTT RAJPAL B.Com NEITHER 08.03.56 13.07.89 I/C S&I, LDC 9.5.77, INSPECTOR 22.12.95 ( Promoted to the grade of Inspector on Notional Basis w.e.f. 13.7.89 vide EO No. 106.2001) 10 ONKAR NATH TIWARI MA, LLB NEITHER 10.01.58 17.08.90 I/C ALLAHABAD (21.6.82) 11 ANURAG KUMAR SAXENA MA NEITHER 11.11.65 20.08.91 I/C MEERUT(26.2.88) 12 SUVINDER KUMAR GRADUATE NEITHER 05.02.70 28.02.93 13 PARMINDER KAUR Hr. -
Copyright by Gwendolyn Sarah Kirk 2016
Copyright by Gwendolyn Sarah Kirk 2016 The Dissertation committee for Gwendolyn Sarah Kirk certifies that this is the approved version of the following dissertation: Uncivilized language and aesthetic exclusion: Language, power and film production in Pakistan Committee: _____________________________ Craig Campbell, Co-Supervisor _____________________________ Elizabeth Keating, Co-Supervisor _____________________________ Kamran Ali _____________________________ Patience Epps _____________________________ Ali Khan _____________________________ Kathleen Stewart _____________________________ Anthony Webster Uncivilized language and aesthetic exclusion: Language, power and film production in Pakistan by Gwendolyn Sarah Kirk, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2016 To my parents Acknowledgements This dissertation would not have been possible first and foremost without the kindness and generosity of the filmmakers I worked with at Evernew Studio. Parvez Rana, Hassan Askari, Z.A. Zulfi, Pappu Samrat, Syed Noor, Babar Butt, and literally everyone else I met in the film industry were welcoming and hospitable beyond what I ever could have hoped or imagined. The cast and crew of Sharabi, in particular, went above and beyond to facilitate my research and make sure I was at all times comfortable and safe and had answers to whatever stupid questions I was asking that day! Along with their kindness, I was privileged to witness their industry, creativity, and perseverance, and I will be eternally inspired by and grateful to them. My committee might seem large at seven members, but all of them have been incredibly helpful and supportive throughout my time in graduate school, and each of them have helped develop different dimensions of this work. -
2017-18 AIPS Annual Report
2017-2018 Annual Report of the American Institute of Pakistan Studies 1 TABLE OF CONTENTS Cover Photo Credit: Edward Almasy Junior Scholars Conference ---------------------------------------------------------------------------------- 2-6 Fellowships ---------------------------------------------------------------------------------------------------------- 7 Funded by CAORC ---------------------------------------------------------------------------------------- 7 Funded by AIPS -------------------------------------------------------------------------------------------- 7 Travel Grants ---------------------------------------------------------------------------------------------------- 8-11 Funded by CAORC -------------------------------------------------------------------------------------- 8-9 Funded by AIPS -------------------------------------------------------------------------------------- 10-11 Short-Term Research Grants ------------------------------------------------------------------------------ 12-13 Junior Faculty Training and Exchange Program ------------------------------------------------------ 14-19 Exchanges: US Scholars to Pakistan ------------------------------------------------------------ 14-18 Exchanges: Pakistani Scholars to US Institutions ------------------------------------------------ 19 2016-17 AIPS Book Prize --------------------------------------------------------------------------------------- 20 Co-Sponsored Events --------------------------------------------------------------------------------------- 21-24 -
Climate Risks and Food Security Analysis: a Special Report for Pakistan
Climate Risks and Food Security Analysis: A Special Report for Pakistan Islamabad, December 2018 Climate Risks and Food Security Analysis: A Special Report for Pakistan Climate Risks and Food Security Analysis: A Special Report for Pakistan All rights reserved. Reproduction and dissemination of material in this information product for educational or other non-commercial uses are authorized without any prior written permission from the copyright holders provided the source is fully acknowledged. Reproduction of material in this information product for resale or other commercial purposes is prohibited without written permission. Applications for such permission should be addressed to the Director, Communications Division, E-mail: [email protected] © WFP 2018 Photos: WFP/Photo Library/Pakistan Copy editor: Ruya Leghari ii Climate Risks and Food Security Analysis: A Special Report for Pakistan CONTENTS ACKNOWLEDGEMENTS ........................................................................................ vii PREFACE BY THE FEDERAL MINISTER ................................................................. viii STATEMENT BY THE PARLIAMENTARY SECRETARY ............................................ ix FOREWORD ............................................................................................................. x EXECUTIVE SUMMARY ............................................................................................ 1 1. INTRODUCTION ................................................................................................. -
Fascist Imaginaries and Clandestine Critiques: Young Hindi Film Viewers Respond to Violence, Xenophobia and Love in Cross- Border Romances
CORE Metadata, citation and similar papers at core.ac.uk Provided by LSE Research Online Shakuntala Banaji Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross- border romances Book section Original citation: Banaji, Shakuntala (2007) Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances. In: Bharat, Meenakshi and Kumar, Nirmal, (eds.) Filming the line of control: the Indo–Pak relationship through the cinematic lens. Routledge, Oxford, UK. ISBN 9780415460941 © 2007 Routledge This version available at: http://eprints.lse.ac.uk/27360/ Available in LSE Research Online: May 2011 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances Shakuntala Banaji1 Tarang: I’ve watched Hindi films all my life. -
Shia Target Killing Report
PAKISTAN 31/12/2012 Shaheed Detail in January 2012 Name Date City Reason Nisar Ahmed s/o Sardar Muhammad 18-Jan-12 Quetta Gun Shot Ghulam Muhammad s/o Ghulam Ali 16-Jan-12 Karachi Gun Shot Ghulam Raza 15-Jan-12 Karachi Gun Shot S. Mushtaq Zaidi 12-Jan-12 Karachi Gun Shot Kalb-e-Abbas Rizvi 9-Jan-12 Karachi Gun Shot Dr Jamal 7-Jan-12 Peshawar Gun Shot ASI Ghullam Abbas 5-Jan-12 Quetta Target killing Mushkoor Hussain 5-Jan-12 Lahore Target killing DSP Ibrahim 4-Jan-12 Gilgit Target killing Ghulam Abbas 15-Jan-12 Khanpur Bome Blast Faiz Hussain 15-Jan-12 Khanpur Bome Blast Abad Hussain 15-Jan-12 Khanpur Bome Blast Zahid Abbas 15-Jan-12 Khanpur Bome Blast Asad Abbas 15-Jan-12 Khanpur Bome Blast Mureed Hussain 15-Jan-12 Khanpur Bome Blast Akhter Hussain 15-Jan-12 Khanpur Bome Blast Mohammed Ashaq 15-Jan-12 Khanpur Bome Blast Khezhar Hayat 15-Jan-12 Khanpur Bome Blast Amjad Hussain 15-Jan-12 Khanpur Bome Blast Sadam Hussain 15-Jan-12 Khanpur Bome Blast Abad Hussain 15-Jan-12 Khanpur Bome Blast Aatif 15-Jan-12 Khanpur Bome Blast Adnan 15-Jan-12 Khanpur Bome Blast Faisal Hayat 15-Jan-12 Khanpur Bome Blast Tahir Abbas 15-Jan-12 Khanpur Bome Blast Syed Hussain 15-Jan-12 Khanpur Bome Blast Qurban Hussian 15-Jan-12 Khanpur Bome Blast Ghulam Qadir 17-Jan-12 Khanpur Bome Blast Shahnawaz 17-Jan-12 Khanpur Bome Blast Ali Hussain s/o Muzaffar Abbas 22-Jan-12 Karachi Target killing Asghar Karrar 19-Jan-12 Karachi Target killing Dr. -
Magazine July-2020
VOLUME-1 | ISSUE-14 | JULY 2020 Sino-India Stand-off CHINA EXPLAINS THE LADDAKH CONFLICT HAS INDIA OVERPLAYED ITS HAND? CPEC – A NOSH FROM HEAVEN? IN INDIA CLASH, CHINA SHOWS OFF MUSCLE FIXING PAKISTAN'S AVIATION THE SINO-INDIAN STANDOFF 13-K F-7 Markaz (051) 8437318 Islamabad | FROM INTIMATE HUG TO ESTRANGEMENT SUPERIORITY, THE RACE TO BE ONE UP. @WILDWINGSPAKISTAN @WILDWINGSPK f matrixxmedia matrixxmedia matrix.media matrixmag.com TEAM MATRIX Editor in Chief Content Editor Imtiaz Gul Aliya Naseer Farooq Managing Editor Content Writer Sameena Durrani Jehangir Khattak Associate Editor Content Writer Saad Gul Faizah Gillani Editor at large Content Writer Zeeshan Salahuddin Saddam Hussein Special Contributors Shaan Mehdi - Toronto Rafiq Jan - Doha Sitwat Bokhari Haroon Gul CONTENTS EDITOR’S NOTE The Sino-Indian Stand off 04 A deadly clash on June 15 between the Chinese and Indian soldiers close to Ladakh stand-off: China-Pakistan closer than ever before! 06 Patrol Point 14 in the Galwan Valley of eastern Ladakh, more than 4,300 metres above sea level, resulted in 20 Indian fatalies. China says the China explains the Laddakh Conflict 08 Galwan Valley falls enrely within its territory and blamed New Delhi for the clash and stated the clash occurred on the Chinese side of the Line of Actual India Imports over 80% of Pharma Raw Materials From China 09 Control (LAC) - the de facto border between the two Asian rivals. As both sides traded allegaons with confused messaging on the incident In India clash, China shows off muscle 10 out of New Delhi, the episode also alarmed the enre world, with analysts conjecturing as to whether this could flare up into a full-fledged Indo-China Efforts towards intra-Afghan negotiations pick up momentum 12 war. -
Pir Mehr Ali Shah ARID AGRICULTURE UNIVERSITY RAWALPINDI
Pir Mehr Ali Shah ARID AGRICULTURE UNIVERSITY RAWALPINDI DEPARTMENT OF ZOOLOGY (M. Phil. Programme) Self Assessment Report 4rth Cycle (2012-14) Program Team Dr. Mazhar Qayyum (Coordinator) Dr. Muhammad Sajid Nadeem (Member) Mr. Muhammad Irfan (Member) 1 CONTENTS Pages DEPARTMENT OF ZOOLOGY Introduction History SECTION 1 Criterion-1: PROGRAM MISSION, OBJECTIVES AND OUTCOMES Mission Statement of the Department of Zoology Standard 1-1: Documented measurable objectives Main elements of strategic plan to achieve mission and objectives Standard 1-2: Program outcomes Program outcomes measurement SECTION 2 Criterion 2: CURRICULUM DESIGN AND ORGANIZATION Degree Title: PhD, M.Phil and M. Sc Zoology/Biology Definition of Credit Hour Degree Plan Standard 2.1: Assessment of the Zoology Curriculum. Standard 2-2: Elements vs Courses Standard 2-3: Core requirements for the program Standard 2-4: Major requirements for the program Standard 2-5: General requirements for the program Standard 2-6: Information technology component of the curriculum Standard 2-7: Enhancing Oral and Written Communication Skills of the Students SECTION 3 Criterion 3: LABORATORIES AND COMPUTER FACILITIES Laboratory Titles Location and Area Objectives Standard 3.1: Laboratory Manuals Standard 3.2: Support/Laboratory Personal for Maintenance of Laboratory INSTITUTIONAL FACILITIES INTSTITUTIONAL SUPPORT Standard 3.3: Computing Infrastructure and Facilities SECTION 4 Criterion 4: STUDENT SUPPORT AND ADVISING Standard 4.1: Frequency of Courses Standard 4.2: Structure of -
Rang Sazi: Introduction and Evolution of Color Film Technology in Pakistan Zuraiz Ur Rehman Niazi
Rang Sazi: Introduction and Evolution of Color Film Technology in Pakistan Zuraiz ur Rehman Niazi Abstract This paper discusses the introduction and evolution of color film technology in Pakistani cinema. It focuses on the transitional period from the 1960s to the 1980s and highlights the major technological and practical changes in the production of films in Pakistan, contextualizing the semiotics and importance of color for this film industry. While discussing this transition from black and white to color film in Pakistan, it also connects this shift with the evolution and introduction of color film technology on a global level, including earlier technologies of color and colorization. The research is supported by a short analysis of some early Pakistani color films. Field research at Evernew Studios, one of Pakistan's oldest film studios, also sheds some light on how the industry transitioned to color film and how technology and filmmaking was affected. Keywords: Color Film Technology, Development of Pakistani Film, Pakistani Film Studios, Film Technology and Infrastructure Introduction Color films have evolved greatly since they were first introduced in Pakistan in the 1960s. Unfortunately, there is little literature available that can address the questions of the technology and techniques that were used to make color films in the country at that time. Azra (dir. Munshi Dil, 1962) is known to be the first Pakistani color film. However, color was not new to the subcontinent. Azra came out twenty-five years after the first Hindi color film Kisan Kanya (dir. Moti B. Gidwani, 1937). Early color films in the subcontinent were either hand painted or used color film stock, like those is western countries. -
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 -
Gender Stereotypes in the Language of Pakistani Newspapers
Proceedings, 8th International Conference on Language and Development, Bangladesh 2009 Gender Stereotypes in the Language of Pakistani Newspapers Sarwet Rasul Abstract Language, culture and media create a triangle in which each affects the other two and in turn is affected by them. As far as language is concerned, it is greatly influenced by social and cultural features, of which gender is an important factor. Choices of language are more gender biased in male dominant and female subservient societies. In Pakistan too, gender discrimination is a prominent feature of language use. Printed media clearly reflects this bias. The showbiz section that constitutes an important part of Pakistani newspapers also manifests gender specific language choices. The present research explores the language of the showbiz section of selected newspapers to examine how gender is portrayed in entertainment features of newspapers with reference to social and cultural stereotypes operating in our society. The data is categorized and analyzed from both linguistic and social perspectives. It is expected that the research would not only help in understanding gender specific language choices in Pakistani print media but would also be relevant to the Bangladeshi context in many ways. Issue in the Context of Pakistani Society Pakistan is a traditional patriarchal society with gender ideologies and disparities operating in different walks of life in favour of men and against women. The stereotypical image of women is created through their binary projection as incarnations of subordination, obedience, subservience, docility and compliance on one hand, and commodities to be purchased, used, and played with on the other. Like in most fields, Pakistani media also works under a structure in which women are either submissive sufferers or objects to entertain. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema.