CENTRE for ENGLISH STUDIES SYLLABUS at a GLANCE Semester I
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Current Affairs 2013- January International
Current Affairs 2013- January International The Fourth Meeting of ASEAN and India Tourism Minister was held in Vientiane, Lao PDR on 21 January, in conjunction with the ASEAN Tourism Forum 2013. The Meeting was jointly co-chaired by Union Tourism Minister K.Chiranjeevi and Prof. Dr. Bosengkham Vongdara, Minister of Information, Culture and Tourism, Lao PDR. Both the Ministers signed the Protocol to amend the Memorandum of Understanding between ASEAN and India on Strengthening Tourism Cooperation, which would further strengthen the tourism collaboration between ASEAN and Indian national tourism organisations. The main objective of this Protocol is to amend the MoU to protect and safeguard the rights and interests of the parties with respect to national security, national and public interest or public order, protection of intellectual property rights, confidentiality and secrecy of documents, information and data. Both the Ministers welcomed the adoption of the Vision Statement of the ASEAN-India Commemorative Summit held on 20 December 2012 in New Delhi, India, particularly on enhancing the ASEAN Connectivity through supporting the implementation of the Master Plan on ASEAN Connectivity. The Ministers also supported the close collaboration of ASEAN and India to enhance air, sea and land connectivity within ASEAN and between ASEAN and India through ASEAN-India connectivity project. In further promoting tourism exchange between ASEAN and India, the Ministers agreed to launch the ASEAN-India tourism website (www.indiaasean.org) as a platform to jointly promote tourism destinations, sharing basic information about ASEAN Member States and India and a visitor guide. The Russian Navy on 20 January, has begun its biggest war games in the high seas in decades that will include manoeuvres off the shores of Syria. -
AML 2410—Issues in American Literature and Culture: American Empire and Territories, Spring 2019
AML 2410—Issues in American Literature and Culture: American Empire and Territories, Spring 2019 Instructor: Ms. Rachel Hartnett Section: 5700 Meeting Times: MWF Period 7 Location: Matherly 0114 Email: [email protected] Office: Turlington 4321 Office Hours: Wednesday 9 AM - Noon, or by appointment COURSE DESCRIPTION AND OBJECTIVES This course will focus on an important theme in the study of American literature and culture: empire. Many critics and citizens have argued that the United States of America is an inherently anti-imperial nation; however, this ignores the multitude of colonial enterprises and imperialistic tendencies of the U.S. While the founding fathers were resisting British colonial tyranny, American colonists were actively attempting to replace the indigenous population and settle tribal lands west of the Appalachian Mountains. The U.S. continued this removal of the native population, and began its wars of imperialism, in their drive for Manifest Destiny. The involvement of U.S. military forces in the coup of the Hawaiian monarchy, led by the American businessmen in Hawaii, marked the first external connection to imperialism for the United States. Despite the nation’s decision to back independence-minded colonies of Spain in the Spanish-American War, it subsequently took over colonial authority for the Philippines, ignoring the budding First Philippine Republic. The U.S.’s imperialism shifted after World War II and began to be shaped through the use of foreign military bases, particularly in places like Japan and Germany. This only intensified during the Cold War, as the U.S. and the Soviet Union arose as true global powers. -
Resisting Diaspora and Transnational Definitions in Monique Truong's the Book of Salt, Peter Bacho's Cebu, and Other Fiction
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-5-2012 Resisting Diaspora and Transnational Definitions in Monique Truong's the Book of Salt, Peter Bacho's Cebu, and Other Fiction Debora Stefani Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Stefani, Debora, "Resisting Diaspora and Transnational Definitions in Monique ruong'T s the Book of Salt, Peter Bacho's Cebu, and Other Fiction." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/81 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RESISTING DIASPORA AND TRANSNATIONAL DEFINITIONS IN MONIQUE TRUONG’S THE BOOK OF SALT, PETER BACHO’S CEBU, AND OTHER FICTION by DEBORA STEFANI Under the Direction of Ian Almond and Pearl McHaney ABSTRACT Even if their presence is only temporary, diasporic individuals are bound to disrupt the existing order of the pre-structured communities they enter. Plenty of scholars have written on how identity is constructed; I investigate the power relations that form when components such as ethnicity, gender, sexuality, religion, class, and language intersect in diasporic and transnational movements. How does sexuality operate on ethnicity so as to cause an existential crisis? How does religion function both to reinforce and to hide one’s ethnic identity? Diasporic subjects participate in the resignification of their identity not only because they encounter (semi)-alien, socio-economic and cultural environments but also because components of their identity mentioned above realign along different trajectories, and this realignment undoubtedly affects the way they interact in the new environment. -
Recruitment.Guru in Case of Any Guidance/Information/Clarification Regarding Their Applications, Candidature Etc
EXAMINATION NOTICE NO. 05/2020-CSP DATE: 12/02/2020 (LAST DATE FOR RECEIPT OF APPLICATIONS: 03/03/2020) of CIVIL SERVICES EXAMINATION, 2020 (The Commission’s Website: www.upsc.gov.in) IMPORTANT 1. CANDIDATES TO ENSURE THEIR ELIGIBILITY FOR THE EXAMINATION: All candidates (male/female/transgender) are requested to carefully read the Rules of Civil Services Examination notified by the Government (Department of Personnel and Training) and this Notice of Examination derived from these Rules. The Candidates applying for the examination should ensure that they fulfill all eligibility conditions for admission to examination. Their admission to all the stages of the examination will be purely provisional subject to satisfying the prescribed eligibility conditions. Mere issue of e-Admit Card to the candidate will not imply that his/her candidature has been finally cleared by the Commission. The Commission takes up verification of eligibility conditions with reference to original documents only after the candidate has qualified for Interview/Personality Test. 2. HOW TO APPLY: Candidates are required to apply Online by using the website https://upsconline.nic.in Detailed instructions for filling up online applications are available on the above mentioned website. Brief Instructions for filling up the "Online Application Form" given in Appendix-IIA. 2.1 Candidate should have details of one Photo ID Card viz. Aadhaar Card/Voter Card/PAN Card/Passport/Driving Licence/Any other Photo ID Card issued by the State/Central Government. The details of this Photo ID Card will have to be provided by the candidate while filling up the online application form. The candidates will have to upload a scanned copy of the Photo ID whose details have been provided in the online application by him/her. -
Syllabus for M.Sc. (Film Production)| 1
Syllabus for M.Sc. (Film Production)| 1 Detailed Syllabus for Master of Science (Film Production) (Effective from July 2019) Department of Advertising & Public Relations Makhanlal Chaturvedi National University of Journalism and Communication B-38, Press Complex, M.P. Nagar, Zone-I, Bhopal (M.P.) 462 011 Syllabus for M.Sc. (Film Production)| 2 MAKHANLAL CHATURVEDI NATIONAL UNIVERSITY OF JOURNALISM AND COMMUNICATION (DEPARTMENT OF ADVERTISING AND PUBLIC RELATIONS) Master of Science (Film Production) (Effective from July 2019) Marks Distribution Subject Theory Practic Intern Total Credit al al CCC-1 Evolution of Cinema 80 00 20 100 6 CCC-2 Origin and Growth of Media 80 00 20 100 6 Introduction to Socio CCC-3 80 00 20 100 6 Economic Polity Sem - I CCE-1 Art of Cinematography 50 30 20 OR OR 100 6 CCE-2 Storyboarding 50 30 20 OE-1 Understanding Cinema 25 15 10 50 3 CCC-4 Drama & Aesthetics 50 30 20 100 6 CCC-5 Lighting for Cinema 50 30 20 100 6 CCC-6 Audiography 50 30 20 100 6 Sem - II CCE-3 Art of Film Direction 50 30 20 OR OR 100 6 CCE-4 Film Journalism 50 30 20 OE-2 Ideation and Visualization 25 15 10 50 3 CCC-7 Multimedia Platform 50 30 20 100 6 Editing Techniques & CCC-8 50 30 20 100 6 Practice CCC-9 Film Research 50 30 20 100 6 Sem - III Screenplay Writing for CCE-5 50 30 20 Cinema OR 100 6 OR CCE-6 50 30 20 Advertisement Film Making OE-3 Film Society & Culture 40 00 10 50 3 CCC-10 Film Business & Regulations 80 00 20 100 6 CCC-11 Cinematics 50 30 20 100 6 CCC-12 Project Work on Film Making 00 80 20 100 6 Sem - Literature & Cinema CCE-7 80 00 20 IV OR OR 100 6 Film Management & CCE-8 80 00 20 Marketing OE-4 Documentary Film Making 25 15 10 50 3 Syllabus for M.Sc. -
IFFLA Showcases Film As a Powerful Creative Force. India Journal. April
IFFLA Showcases Film as A Powerful Creative Force indiajournal.com /filmi-buzz/iffla-showcases-film-as-a-powerful-creative-force 4/23/2015 The 13th annual Indian Film Festival of Los Angeles(IFFLA) not only honored gifted, daring film makers but was a unique blend of narrative, social commentary, humor, and unusual perspectives on life. Chaired by visionary , Christin Marouda the Festival is inarguably the most influential. non profit organization devoted to recognizing cinematic perspectives from India and the Indian diaspora. This year Marouda collaborated with Artistic Director Jasmine Jaisinghani and Producer Rukmani Bachal.The films represented 10 different languages from six countries ranging from Hindi and Tamil to English, Spanish and German. They were enthralling, funny, moving and chronicled the masters of film art bridging the gap between the two largest entertainment industries in the world Hollywood and India. One hopes that these films with no star power or big budgets will be taken up by distributors who will recognize the creativity , talent, skill, ambition and commitment of the filmmakers who shoot in a backyard, in a lonely field, a slum, a crowded road, or a cramped studio. The Festival was five Days of pure film pleasure with packed auditoriums and appearances by film makers and actors. Here are a few films worth mentioning. ‘Labor Of Love’ An eloquent and extraordinary film with nuanced performances(Ritwick Chakrborty, Basabdutta Chatterjee) and directed by the brilliant Aditya Vikram Sengupta. He is also the screenwriter, editor and cinematography credits go to him and Mahendra Shetty. There is no dialogue. With swaggering self confidence ,the Director demands us to listen to merely the sounds of their lives. -
General Studies Series
IAS General Studies Series Current Affairs (Prelims), 2013 by Abhimanu’s IAS Study Group Chandigarh © 2013 Abhimanu Visions (E) Pvt Ltd. All rights reserved. No part of this document may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or any information storage or retrieval system or otherwise, without prior written permission of the owner/ publishers or in accordance with the provisions of the Copyright Act, 1957. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claim for the damages. 2013 EDITION Disclaimer: Information contained in this work has been obtained by Abhimanu Visions from sources believed to be reliable. However neither Abhimanu's nor their author guarantees the accuracy and completeness of any information published herein. Though every effort has been made to avoid any error or omissions in this booklet, in spite of this error may creep in. Any mistake, error or discrepancy noted may be brought in the notice of the publisher, which shall be taken care in the next edition but neither Abhimanu's nor its authors are responsible for it. The owner/publisher reserves the rights to withdraw or amend this publication at any point of time without any notice. TABLE OF CONTENTS PERSONS IN NEWS .............................................................................................................................. 13 NATIONAL AFFAIRS .......................................................................................................................... -
The Ghost As Ghost: Compulsory Rationalism and Asian American Literature, Post-1965
ABSTRACT Title of Document: THE GHOST AS GHOST: COMPULSORY RATIONALISM AND ASIAN AMERICAN LITERATURE, POST-1965 Lawrence-Minh Bùi Davis, Doctor of Philosophy, 2014 Directed By: Professor Sangeeta Ray, Department of English Since the early 1980s, scholarship across disciplines has employed the “ghostly” as critical lens for understanding the upheavals of modernity. The ghost stands metaphorically for the lasting trace of what has been erased, whether bodies or histories. The ghost always stands for something , rather than the ghost simply is —a conception in keeping with dominant Western rationalism. But such a reading practice threatens the very sort of violent erasure it means to redress, uncovering lost histories at the expense of non-Western and “minority” ways of knowing. What about the ghost as ghost? What about the array of non-rational knowledges out of which the ghostly frequently emerges? This project seeks to transform the application of the ghostly as scholarly lens, bringing to bear Foucault’s notion of “popular” knowledges and drawing from Asian American studies and critical mixed race studies frameworks. Its timeline begins with the 1965 Immigration Act and traces across the 1970s-1990s rise of multiculturalism and the 1980s-2000s rise of the Multiracial Movement. For field of analysis, the project turns to Asian American literature and its rich evocations of the ghostly and compulsory rationalism, in particular Maxine Hong Kingston’s The Woman Warrior and China Men , Amy Tan’s The Hundred Secret Senses , Nora Okja Keller’s Comfort Woman , Lan Cao’s Monkey Bridge , Heinz Insu Fenkl’s Memories of My Ghost Brother , Shawna Yang Ryan’s Water Ghosts , and Ruth Ozeki’s A Tale for the Time Being . -
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Été Indien 10E Édition 100 Ans De Cinéma Indien
Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde. -
Le Indie Del Cinema
Se il termine Bollywood è ormai familiare, meno note sono MAIN SPONSOR CONVERSATIONS probabilmente le avventurose circostanze che hanno reso WITH possibile la nascita di un’industria cinematografica divenuta CONTEMPORARY così imponente come quella indiana. INDIA sogno e realtà, tra conscio e subconscio si confonde nella febbrile A colmare questa lacuna è il primo titolo di questa immaginazione di Kalyappan ubriaco. La caratterizzazione stessa rassegna, La fabbrica di Harishchandra (2010), che racconta è piena di contrasti: la corda del boia, che uccide il condannato, come Dhundiraj Govind Phalke (1870-1944, superando ha il potere di curare i malati, dicotomia sottolineata in tutto il l’insuperabile, sia riuscito nel 1913 a realizzare il suo sogno: film. Il passare del tempo ha un ruolo cruciale La corda del boia dare all’India un proprio cinema. che si accorcia, i solchi che si allungano sul viso devastato di Ma torniamo a Bollywood: il termine, invece di indicare Kaliyappan e l’eterea qualità del flauto dell’orfano evocano un soltanto il cinema hindi popolare, prodotto a Bombay (ora senso di atemporalità quanto indicano l’inesorabilità della marcia Mumbai), è diventato sinonimo di cinema indiano tout court. Info del Tempo. Sono questi momenti di magia che rendono il cinema Invero, la realtà è un pochino più complessa. L’India, infatti, [email protected] di Adoor una tale sfida. Ma impongono anche pressanti domande [email protected] allo spettatore.” (Saibal Chatterjee, da Hindustan Times) è una Unione di stati federali, ognuno dei quali, come gli Le Indie www.unive.it/cfz stati europei, si distingue per la sua storia, la sua cultura e la sua lingua (o più di una).