List of Eligible Candidates for PET : Promotion on the Post of Sub
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Draft PROGRAMME October 16
“Media and Entertainment Business Conclave” Draft PROGRAMME October 16 -17, 2012 As on October 8th, 2012 Time Theme Day – I : 16 October 2012 9am – 10am Registration 10 -11 am Inaugural Lighting of Lamp Welcome Address : Dr. Kamal Haasan, Chairman, Media & Entertainment Business Conclave, FICCI Release of FICCI –Deloitte Knowledge Report Keynote Address : Barrie Osborne, Oscar-winning Director-Producer, Hollywood Inaugural Address: Shri Uday K Varma, Secretary, Ministry of Information & Broadcasting, Government of India Vote of Thanks: P. Murari, Advisor to President, FICCI 1 Session chaired by Kamal Haasan, Chairman, FICCI MEBC 11:15 – MEBC Broadcast Industry Knowledge Series: Opportunities in the digitized era. 12:30 pm Policy-makers and industry stakeholders share their vision and knowledge on the scope and opportunities for the sector during the progress of digitization. N Parameshwaran, Principal Advisor, TRAI* K Madhavan, MD, Asianet Rahul Johri , Senior Vice President & General Manager- South Asia, Discovery Networks Asia-Pacific Narayan Rao, Executive Vice Chairman, NDTV Group Supriya Sahu, Joint Secretary, Ministry of Information & Broadcasting * Ashok Mansukhani, President, MSO Alliance Moderated by : Bhupendra Chaubey, National Bureau Chief, CNN IBN* 11:15 – Redefining Digital Production 12:30 pm The concept of what's 'eye candy' in feature films has evolved over time - films are about people, feelings, ideas, circumstances and relationships and the 'emotional quotient' is provided essentially by an able director through screenplay, actors, music, cinematography. However, one element has changed every aspect of this mix and that is "visual effects" which is now a source of inspiration from the "pre- production" stage itself. This session will look at making cutting-edge visual effects come alive with an energizing dialogue with experts from Hollywood and India. -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Bharatanatyam: Eroticism, Devotion, and a Return to Tradition
BHARATANATYAM: EROTICISM, DEVOTION, AND A RETURN TO TRADITION A THESIS Presented to The Faculty of the Department of Religion In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Taylor Steine May/2016 Page 1! of 34! Abstract The classical Indian dance style of Bharatanatyam evolved out of the sadir dance of the devadāsīs. Through the colonial period, the dance style underwent major changes and continues to evolve today. This paper aims to examine the elements of eroticism and devotion within both the sadir dance style and the contemporary Bharatanatyam. The erotic is viewed as a religious path to devotion and salvation in the Hindu religion and I will analyze why this eroticism is seen as religious and what makes it so vital to understanding and connecting with the divine, especially through the embodied practices of religious dance. Introduction Bharatanatyam is an Indian dance style that evolved from the sadir dance of devadāsīs. Sadir has been popular since roughly the 6th century. The original sadir dance form most likely originated in the area of Tamil Nadu in southern India and was used in part for temple rituals. Because of this connection to the ancient sadir dance, Bharatanatyam has historic traditional value. It began as a dance style performed in temples as ritual devotion to the gods. This original form of the style performed by the devadāsīs was inherently religious, as devadāsīs were women employed by the temple specifically to perform religious texts for the deities and for devotees. Because some sadir pieces were dances based on poems about kings and not deities, secularism does have a place in the dance form. -
Group Housing
LIST OF ALLOTED PROPERTIES DEPARTMENT NAME- GROUP HOUSING S# RID PROPERTY NO. APPLICANT NAME AREA 1 60244956 29/1013 SEEMA KAPUR 2,000 2 60191186 25/K-056 CAPT VINOD KUMAR, SAROJ KUMAR 128 3 60232381 61/E-12/3008/RG DINESH KUMAR GARG & SEEMA GARG 154 4 60117917 21/B-036 SUDESH SINGH 200 5 60036547 25/G-033 SUBHASH CH CHOPRA & SHWETA CHOPRA 124 6 60234038 33/146/RV GEETA RANI & ASHOK KUMAR GARG 200 7 60006053 37/1608 ATEET IMPEX PVT. LTD. 55 8 39000209 93A/1473 ATS VI MADHU BALA 163 9 60233999 93A/01/1983/ATS NAMRATA KAPOOR 163 10 39000200 93A/0672/ATS ASHOK SOOD SOOD 0 11 39000208 93A/1453 /14/AT AMIT CHIBBA 163 12 39000218 93A/2174/ATS ARUN YADAV YADAV YADAV 163 13 39000229 93A/P-251/P2/AT MAMTA SAHNI 260 14 39000203 93A/0781/ATS SHASHANK SINGH SINGH 139 15 39000210 93A/1622/ATS RAJEEV KUMAR 0 16 39000220 93A/6-GF-2/ATS SUNEEL GALGOTIA GALGOTIA 228 17 60232078 93A/P-381/ATS PURNIMA GANDHI & MS SHAFALI GA 200 18 60233531 93A/001-262/ATS ATUULL METHA 260 19 39000207 93A/0984/ATS GR RAVINDRA KUMAR TYAGI 163 20 39000212 93A/1834/ATS GR VIJAY AGARWAL 0 21 39000213 93A/2012/1 ATS KUNWAR ADITYA PRAKASH SINGH 139 22 39000211 93A/1652/01/ATS J R MALHOTRA, MRS TEJI MALHOTRA, ADITYA 139 MALHOTRA 23 39000214 93A/2051/ATS SHASHI MADAN VARTI MADAN 139 24 39000202 93A/0761/ATS GR PAWAN JOSHI 139 25 39000223 93A/F-104/ATS RAJESH CHATURVEDI 113 26 60237850 93A/1952/03 RAJIV TOMAR 139 27 39000215 93A/2074 ATS UMA JAITLY 163 28 60237921 93A/722/01 DINESH JOSHI 139 29 60237832 93A/1762/01 SURESH RAINA & RUHI RAINA 139 30 39000217 93A/2152/ATS CHANDER KANTA -
Lions Film Awards 01/01/1993 at Gd Birla Sabhagarh
1ST YEAR - LIONS FILM AWARDS 01/01/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR TAPAS PAUL for RUPBAN BEST ACTRESS DEBASREE ROY for PREM BEST RISING ACTOR ABHISEKH CHATTERJEE for PURUSOTAM BEST RISING ACTRESS CHUMKI CHOUDHARY for ABHAGINI BEST FILM INDRAJIT BEST DIRECTOR BABLU SAMADDAR for ABHAGINI BEST UPCOMING DIRECTOR PRASENJIT for PURUSOTAM BEST MUSIC DIRECTOR MRINAL BANERJEE for CHETNA BEST PLAYBACK SINGER USHA UTHUP BEST PLAYBACK SINGER AMIT KUMAR BEST FILM NEWSPAPER CINE ADVANCE BEST P.R.O. NITA SARKAR for BAHADUR BEST PUBLICATION SUCHITRA FILM DIRECTORY SPECIAL AWARD FOR BEST FILM PREM TELEVISION BEST SERIAL NAGAR PARAY RUP NAGAR BEST DIRECTOR RAJA SEN for SUBARNALATA BEST ACTOR BHASKAR BANERJEE for STEPPING OUT BEST ACTRESS RUPA GANGULI for MUKTA BANDHA BEST NEWS READER RITA KAYRAL STAGE BEST ACTOR SOUMITRA CHATTERHEE for GHATAK BIDAI BEST ACTRESS APARNA SEN for BHALO KHARAB MAYE BEST DIRECTOR USHA GANGULI for COURT MARSHALL BEST DRAMA BECHARE JIJA JI BEST DANCER MAMATA SHANKER 2ND YEAR - LIONS FILM AWARDS 24/12/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR CHIRANJEET for GHAR SANSAR BEST ACTRESS INDRANI HALDER for TAPASHYA BEST RISING ACTOR SANKAR CHAKRABORTY for ANUBHAV BEST RISING ACTRESS SOMA SREE for SONAM RAJA BEST SUPPORTING ACTRESS RITUPARNA SENGUPTA for SHWET PATHARER THALA BEST FILM AGANTUK OF SATYAJIT ROY BEST DIRECTOR PRABHAT ROY for SHWET PATHARER THALA BEST MUSIC DIRECTOR BABUL BOSE for MON MANE NA BEST PLAYBACK SINGER INDRANI SEN for SHWET PATHARER THALA BEST PLAYBACK SINGER SAIKAT MITRA for MISTI MADHUR BEST CINEMA NEWSPAPER SCREEN BEST FILM CRITIC CHANDI MUKHERJEE for AAJKAAL BEST P.R.O. -
मुख्य आरक्षी ना0पु0 से उप ननरीक्षक ना0पु0 के पद पर पदोन्ननि हेिु ददनाांक 19-09-2016 से 27-09-2016 िक आयोजिि शारीररक दक्षिा परीक्षा में सफल अभ्यर्थियों की सूची
मु奍य आरक्षी ना0प0ु से उप ननरीक्षक ना0प0ु के पद पर पदोꅍननि हेिु ददना車क 19-09-2016 से 27-09-2016 िक आयोजिि शारीररक दक्षिा परीक्षा मᴂ सफल अ땍य셍थयि ⴂ की सूची Sl No SENIORITY PNO NAME FATHER NAME POSTING NO. 1 3A 760910090 KAYAM SINGH MUNNI LAL LALITPUR 2 5 782650051 ANANDPAL SINGH RAMPAL SINGH MEERUT 3 26 762450525 SOBRAN SINGH KILEDAR YADAV JHANSI 4 37 790880240 ANTOSH KUMAR TRIPATHI DAYARAM TRIPATHI HAMIRPUR 5 43 782610187 HIRA LAL PANDEY JAI NARAYAN PANDEY FATEHPUR 6 44 782830433 RAJVEER SINGH NIROTTAM SINGH KANNAUJ 7 47 792650142 RANVEER SINGH SUKHVEER SINGH HAPUR 8 49 772121196 CHANDRA PAL SINGH RAM LAL BIJNOR 9 51 772650885 JAGAT VEER SINGH POORAN SINGH GAUTAM BUDDHA NAGAR 10 58 792120056 CHANDRA PAL SINGH RAM PRASAD PILIBHIT 11 63 752501031 SHIVJI RAM ANUGRAHIT RAM MAU 12 67 772630102 RAM VILAS SUKHDEV SINGH SITAPUR 13 68 762110203 SARVENDRA RAI RAM SAMBHAR RAI BALLIA 14 69 762220353 ANIRUDDHA YADAV RAM RAKSHA YADAV BALLIA 15 76 802320665 SAROJ PANDEY RUDRA NATH TRIPATHI LUCKNOW 16 80 812540204 DEVENDRA SINGH JAGPAL SINGH BAGHPAT 17 83 800910237 DINESH KUMAR SHUKLA GANGA PRASAD MAHOBA 18 84 782200214 RAJENDRA SINGH AMRIT SINGH ALLAHABAD 19 92 782500734 SHRI PRAKASH LAL SRIVASTAVA AMBIKA LAL SRIVASTAVA BALLIA 20 95 782637601 DEVIDEEN SINGH SARYU PRASAD SINGH KABIRNAGAR 21 98 782700378 RAM ROOP NAGESHWAR BALRAMPUR 22 99 782028201 RAMAUTAR YADAV RAGHUNATH SINGH GHAZIABAD 23 106 772800512 VISHWAMBAR BAJ KALE BAJ MUZAFFAR NAGAR 24 112 792080020 SANT RAM RAM ADHAR BALRAMPUR 25 122 772761651 RAMAPATI RAM LAKHAN RAI SONBHADRA 26 131 792121798 -
1481186712P4M12TEXT.Pdf
PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement. -
Tradition and the Individual Dancer
1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries. -
FACULTY of MANAGEMENT STUDIES, MOHANLAL SUKHADIA UNIVERSITY, UDAIPUR, RAJASTHAN International Conference on Standardizing Manage
FACULTY OF MANAGEMENT STUDIES, MOHANLAL SUKHADIA UNIVERSITY, UDAIPUR, RAJASTHAN International Conference on Standardizing Management Practices: Challenges and Opportunities (ICSMP-2021) 12-14 August, 2021 Track 3: Human Resource Form_no presentation_type title name co_author_name other_author_name Online Ensuring fair pay and working hours 551 Presentation for employees working remotely Rachita bajaj The Work Family Balance of Indian Online Working Women During The Covid 556 Presentation Pandemic Anjali Sabale Dr. Gomathi S FIVE-PRONGED APPROACH TO BUILD RESILIENCE AT WORKPLACE IN TEACHERS’ COMMUNITY IN Online ANDAMAN ISLANDS DURING COVID- 583 Presentation 19 Kala Sneha Dr.G.S.Maheswari A study on knowledge sharing Online practices in selected private sector Dr. Shamal 588 Presentation banks of Baroda Bhakti Yash Vyas Pradhan A Study of Work Life Balance Issues Online Faced by Married School Teachers in 597 Presentation Baroda Ms. Shalini Saxena Online A STUDY ON STRESS IN ONLINE 613 Presentation TEACHING DURING COVID-19 P. NITHYAKIRRTHY Dr. R. SHANTHI I. PRAVALLIKA ONLINE TEACHING A NEW NORM: INVESTIGATION OF FACULTIES Online ATTITUDE TOWARDS ONLINE 626 Presentation TEACHING-LEARNING Dr. Darshna Joshi Online A Review paper on CSR: Challenges Dr Rashmi 742 Presentation and implications for HRM Devika Sharma Sharma Work-Life Balance and Stress among Online Bus Drivers and Conductors in 751 Presentation NEKRTC – In Kalaburagi District Dr A P HOsmani Nithyanand Patil Work-Life Balance and Stress among Online Bus Drivers and Conductors -
B.Sc. B.Ed. Syllabus
MOHAN LAL SUKHADIA UNIVERSITY, UDAIPUR (Raj.) SYALLBUS FACULTY OF EDUCATION SCHEME OF EXAMINATION & COURSE OF STUDIES B.Sc.B.Ed. FOUR- YEARS INTEGRATED PROGRAMME Mohanlal Sukhadia University, Udaipur (Raj.) – 313 001 MOHAN LAL SUKHADIA UNIVERSITY, UDAIPUR (Raj.) MOHAN LAL SUKHADIA UNIVERSITY, UDAIPUR (Raj.) Scheme of Examination and Course of Studies BACHELOR OF SCIENCE (B.Sc) & BACHELOR OF EDUCATION (B.Ed.) B.Sc.B.Ed FOUR YEARS INTEGRATED COURSE (B.Sc.B.Ed. Programme Is a Full Time, Four Academic Session Programme; Each Session Will Be of 200 Days Duration) 1. INTRODUCTION Destiny of a nation is shaped in its classrooms and teacher is the architect who shapes the destiny. Enlightened, emancipated and empowered teachers lead communities and nations towards better and higher quality of life. Teachers are expected to create soul cohesion, national integration and learning society. They disseminate knowledge and generate new knowledge. It is therefore, essential for nation to have a sound and effective programme of teacher preparation. The teacher education programme needs to be upgraded and updated periodically. A perusal of the reports of various commissions and committees indicate the preference for longer duration of B.Sc.B.Ed.course. It was also endorsed by the Hon‟ble Supreme Court of India in its judgement on 15 June 1993. “The Teachers Training Institutes are meant to teach children of impressionable age and we cannot let loose on the innocent and unwary children the teachers who have not received proper and adequate training. True, they will be required to pass the examination but that may not be enough. -
Prioritized Species for Mariculture in India
Prioritized Species for Mariculture in India Compiled & Edited by Ritesh Ranjan Muktha M Shubhadeep Ghosh A Gopalakrishnan G Gopakumar Imelda Joseph ICAR - Central Marine Fisheries Research Institute Post Box No. 1603, Ernakulam North P.O. Kochi – 682 018, Kerala, India www.cmfri.org.in 2017 Prioritized Species for Mariculture in India Published by: Dr. A Gopalakrishnan Director ICAR - Central Marine Fisheries Research Institute Post Box No. 1603, Ernakulam North P.O. Kochi – 682 018, Kerala, India www.cmfri.org.in Email: [email protected] Tel. No.: +91-0484-2394867 Fax No.: +91-0484-2394909 Designed at G.K. Print House Pvt. Ltd. Rednam Gardens Visakhapatnam- 530002, Andhra Pradesh Cell: +91 9848196095, www.gkprinthouse.com Cover page design: Abhilash P. R., CMFRI, Kochi Illustrations: David K. M., CMFRI, Kochi Publication, Production & Co-ordination: Library & Documentation Centre, CMFRI Printed on: November 2017 ISBN 978-93-82263-14-2 © 2017 ICAR - Central Marine Fisheries Research Institute, Kochi All rights reserved. Material contained in this publication may not be reproduced in any form without the permission of the publisher. Citation : Ranjan, R., Muktha, M., Ghosh, S., Gopalakrishnan, A., Gopakumar, G. and Joseph, I. (Eds.). 2017. Prioritized Species for Mariculture in India. ICAR-CMFRI, Kochi. 450 pp. CONTENTS Foreword ................................................................................................................. i Preface .................................................................................................................