Q.1. (A) Choose the Correct Option and Rewrite the Complete Answers : 4 (I)
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(73) History & Political Science
MT Seat No. 2018 .... .... 1100 MT - SOCIAL SCIENCE (73) History & Political Science - Semi Prelim I - PAPER VI (E) Time : 2 hrs. 30 min MODEL ANSWER PAPER Max. Marks : 60 A.1. (A) Choose the correct option and rewrite the complete answers : (i) Vishnubhat Godase wrote down the accounts of his journey from 1 Maharashtra to Ayodhya and back to Maharashtra. (ii) Harishchandra Sakharam Bhavadekar was also known as Savedada. 1 (iii) Louvre Museum has in its collection the much acclaimed painting of 1 Mona Lisa by Leonardo da Vinci. (iv) Indian Hockey team won a gold medal in 1936 at Berlin Olympics 1 under the captaincy of Major Dhyanchand. A.1. (B) Find the incorrect pair in every set and write the correct one. (i) Atyapatya - International running race 1 Atyapatya is Indian outdoor game. (ii) Ekach Pyala - Annasaheb Kirloskar 1 Ekach Pyala is written by Ram Ganesh Gadkari. (iii) Bharatiya Prachin Eitihasik Kosh - Mahadev Shastri Joshi 1 Bharatiya Prachin Eitihasik Kosh - Raghunath Bhaskar Godbole (iv) Gopal Neelkanth Dandekar - Maza Pravas 1 Gopal Neelkanth Dandekar - Hiking tours A.2. (A) Complete the following concept maps. (Any Two) (i) 2 Pune Vadodara Kolhapur Shri Shiv Chhatrapati Kreeda Sankul Vyayam Kashbag Shala Talim Training centres for wrestling Swarnim Kreeda Gujarat Vidyapeeth Sports Hanuman Vyayam Prasarak Mandal Gandhinagar Patiyala Amaravati 2/MT PAPER - VI (ii) 2 (4) Name of the Place Period Contributor/ Artefacts Museum Hanagers (1) The Louvre Paris 18th C Members of the Royal MonaLisa, Museum family and antiquities 3 lakh and eighty brought by Napolean thousand artefacts Bonaparte (2) British London 18th C Sir Hans Sloan and 71 thousand Museum British people from objects British Colonies Total 80 lakh objects (3) National USA 1846CE Smithsonian 12 crore Museum Institution (120 millions) of Natural History (iii) Cultural Tourism 2 Visiting Educational Institutions Get a glimpse of local culture history and traditions Visiting historical monuments at a place Appreciate achievements of local people Participating in local festivals of dance A.2. -
Realism in Vijay Tendulkar's Ghashiram Kotwal (1972)
SJ IMPACT FACTOR: 2.912 CRDEEP Journals Global Journal of Current Research Anamika Gupta Vol. 5 No. 2 ISSN: 2320-2920 Global Journal of Current Research Vol. 5 No. 2. 2017. Pp. 88-97 ©Copyright by CRDEEP. All Rights Reserved. Full Length Research Paper Realism in Vijay Tendulkar’s Ghashiram Kotwal (1972) Anamika Gupta Research Scholar, Department of English & MELs, University of Allahabad, Allahabad. Article history Abstract Received: 08-08-2017 This paper is an attempt to expose the use of realism in the play Ghashiram Kotwal (1972) by Vijay Revised: 12-08-2017 Tendulkar. As society and politics have strongly been highlighted in Vijay Tendulkar’s Plays, this Accepted: 14-08-2017 play also highlights the harsh and bare realities of society, especially those of politics, administration and religion. As a social realist, he presents the black side of humanity in his plays. While dealing Corresponding Author: with the realistic portrayal of the contemporary socio-political senerio, Tendulkar underscores various Anamika Gupta, social and political evils such as hypocrisy, casteism, prostitution, decline of moral and human Research Scholar, values, patriarchy, power game, violence (sexual and political) corruption in politics and Department of English & administration. MELs, University of Allahabad, Allahabad. Keywords: Power, Violence, Power politics, Casteism, Patriarchy, Religion, Corruption, Hypocrisy, Moral degradation, Realism (Political, Social and Psychological). Realism is a movement in art, which started in the mid nineteenth century in France, and later spread to the entire world. Realism entered literature at almost at the same time. Its real objective was to root out what is called romantic in literature and art, to insert what is real. -
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Modern India 1857-1972 [Rai Foundation Final]
Subject: MODERN INDIA (1857 – 1969) Credits: 4 SYLLABUS Historical background – British rule and its legacies, National movement, Partition and Independence Origins and goals of the Indian National Congress, Formation of the Muslim League Roles played by Gandhi, Nehru, Jinnah and the British in the development of the Movement for independence Challenges faced by the Government of India, Making the Constitution, Political, Economic and Social developments from 1950-1990, The Nehru Years – challenges of modernization and diversity, Brief on Indira Gandhi Developments post-1990, Economic liberalization, Rise of sectarianism and caste based politics, Challenges to internal security Foreign Policy: post – Nehru years, Pakistan and Kashmir, Nuclear policy, China and the U. S. Suggested Readings: 1. Ramachandra Guha, Makers of Modern India, Belknap Press 2. Akash Kapur, India Becoming: A Portrait of Life in Modern India, Riverhead Hardcover 3. Bipin Chandra, History Of Modern India, Orient Blackswan 4. Barbara D. Metcalf, Thomas R. Metcalf, A Concise History of Modern India, Cambridge University Press CHAPTER 1 IMPERIALISM, COLONIALISM AND NATIONALISM STRUCTURE Learning objectives Imperialism and colonialism: A theoretical perspective Imperialism: Its effects The rise of national consciousness The revolt of 1857 Colonialism: The new administrative system - pre and post 1857 Consolidation of the Raj: Frontier and foreign policy Review questions LEARNING OBJECTIVES After going through this Unit you will be able to learn: What is colonialism, its -
Current Affairs November - 2018
MPSC integrated batchES 2018-19 CURRENT AFFAIRS NOVEMBER - 2018 COMPILED BY CHETAN PATIL CURRENT AFFAIRS NOVEMBER – 2018 MPSC INTEGRATED BATCHES 2018-19 INTERNATIONAL, INDIA AND MAHARASHTRA J&K all set for President’s rule: dissolves state assembly • Context: If the state assembly is not dissolved in two months, Jammu and Kashmir may come under President’s rule in January. What’s the issue? • Since J&K has a separate Constitution, Governor’s rule is imposed under Section 92 for six months after an approval by the President. • In case the Assembly is not dissolved within six months, President’s rule under Article 356 is extended to the State. Governor’s rule expires in the State on January 19. Governor’s rule in J&K: • The imposition of governor’s rule in J&K is slightly different than that in otherstates. In other states, the president’s rule is imposed under the Article 356 of Constitution of India. • In J&K, governor’s rule is mentioned under Article 370 section 92 – ‘ Provisions in case of failure of constitutional machinery in the State.’ Article 370 section 92: Provisions in case of failure of constitutional machinery in the State: • If at any time, the Governor is satisfied that a situation has arisen in which the Government of the State cannot be carried on in accordance with the provisions of this Constitution, the Governor may by Proclamation: • Assume to himself all or any of the functions of the Government of the State and all or any of the powers vested in or exercisable by anybody or authority in the State. -
Vijay Tendulkar's Ghashiram Kotwal
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE VIJAY TENDULKAR’S GHASHIRAM KOTWAL : THEME OF POWER AND KNOWLEDGE Mintu Patra (Research Scholar (M. Phil), Mewar University, Chittorgarh, India) ABSTRACT Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought – provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972- 1977. -
Vijay Tendulkar's Ghashiram Kotwal
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE VIJAY TENDULKAR’S GHASHIRAM KOTWAL : THEME OF POWER AND KNOWLEDGE Mintu Patra (Research Scholar (M. Phil), Mewar University, Chittorgarh, India) ABSTRACT Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought – provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972- 1977. -
History of Modern Maharashtra (1818-1920)
1 1 MAHARASHTRA ON – THE EVE OF BRITISH CONQUEST UNIT STRUCTURE 1.0 Objectives 1.1 Introduction 1.2 Political conditions before the British conquest 1.3 Economic Conditions in Maharashtra before the British Conquest. 1.4 Social Conditions before the British Conquest. 1.5 Summary 1.6 Questions 1.0 OBJECTIVES : 1 To understand Political conditions before the British Conquest. 2 To know armed resistance to the British occupation. 3 To evaluate Economic conditions before British Conquest. 4 To analyse Social conditions before the British Conquest. 5 To examine Cultural conditions before the British Conquest. 1.1 INTRODUCTION : With the discovery of the Sea-routes in the 15th Century the Europeans discovered Sea route to reach the east. The Portuguese, Dutch, French and the English came to India to promote trade and commerce. The English who established the East-India Co. in 1600, gradually consolidated their hold in different parts of India. They had very capable men like Sir. Thomas Roe, Colonel Close, General Smith, Elphinstone, Grant Duff etc . The English shrewdly exploited the disunity among the Indian rulers. They were very diplomatic in their approach. Due to their far sighted policies, the English were able to expand and consolidate their rule in Maharashtra. 2 The Company’s government had trapped most of the Maratha rulers in Subsidiary Alliances and fought three important wars with Marathas over a period of 43 years (1775 -1818). 1.2 POLITICAL CONDITIONS BEFORE THE BRITISH CONQUEST : The Company’s Directors sent Lord Wellesley as the Governor- General of the Company’s territories in India, in 1798. -
Marathi Theatre in Colonial India the Case of Sangeet Sthanik-Swarajya Athva Municipality
Südasien-Chronik - South Asia Chronicle 5/2015, S. 287-304 © Südasien-Seminar der Humboldt-Universität zu Berlin ISBN: 978-3-86004-316-5 Tools of Satire: Marathi Theatre in Colonial India The Case of Sangeet Sthanik-Swarajya athva Municipality SWARALI PARANJAPE [email protected] Introduction Late nineteenth and early twentieth century colonial India witnessed a remarkable change in its social and political manifestations. After the Great Rebellion of 1857-8, the East India Company, until then domi- nating large parts of the Indian subcontinent, lost its power and the 288 British Crown officially took over power. The collision with the British and their Raj, as the British India was also called by its contem- poraries, not only created mistrust among the people and long-term resistance movements against the impact of foreign rule, it also generated an asymmetrical flow between cultural practices, ideologies, philosophies, art and literatures. This is evident in various Indian languages and Marathi is no exception. Marathi is one of the prominent modern Indian languages and the official language of the State Maharashtra. According to the Census of India 2001, it is the fourth most spoken language in India, after Hindi, Bengali and Punjabi. Traces of satire in Marathi literature can be found in the literary works of Marathi writers as far back as the thirteenth and fourteenth centuries. By the second half of the nineteenth and early twentieth centuries, during the colonial era, satire was abundantly used in the literature of Western India. Satire for these Marathi intellectuals – themselves products of the British colonial encounter – was a powerful literary mode to critique the colonial regime and the prevalent social evils of the time. -
Vijay Tendulkar's Ghasiram Kotwal by Mr. Deepak
Vijay Tendulkar’s Ghasiram Kotwal Deepak Assistant Professor (English, MGCUB) Former, Jr. Research Assistant, Penn State University, USA Ghashiram Kotwal Ghashiram Kotwal is a historical play, and the dates goes back to the rule of Nana Peshwa Violence and Sexual instinct play an important role for the construction of theme and content. Ghasiram, the Kotwal, is embodiment of violence whereas Nana Phadnavis represents sexual urge. Gauri, the daughter of Kotwal, stands for the cruelty against women by men to achieve their target. She is silent victim of violence. Vijay Tendulkar Vijay Tendulkar is one of the most controverisal Indian dramatist. His controversial drama includes Silence! The Court is Session and Sakharam Binder but, Ghashiram Kotwal is considered by many his most controversial play. According to Tendulkar, “Ghashirams are creations of socio-political forces which know no barriers of time and place.” Structure Two-act play Song, dance and music are integral part of the plot construction Story revolves around Ghasiram Savaldas’s rise and fall to the position of Kotwal of Poona and then his death through mob after a plot being hatched by Nana Phadnavis. Acquiring power remains the main thrust play, whereas, who challenged the authorities deserves nothing more than death. Various folk forms like Dashavatar, Khel, Tamasha, Kirtan and Bharud are employed by dramatist to make it more appealing to the regional audience. Moral corruption is depicted when Kotwal exchanges his daughter , Gauri, to Nana for the post of Kotwal. In the end, Nana order a mob lynching of Ghasiram without any hesitation: “Use a thorn to take out a thorn. -
Ghashiram Kotwal’’
‘A Study of Dramatic Devices of Politicking invested by Tendulkar in ‘Ghashiram Kotwal’’ A Seminar Paper by Dr. Uttam B. Parekar (Associate Professor, Ph.D. Supervisor, Head (Dept. of English) Yeshwant Mahavidyalaya, Wardha (M.S.) Date: 25th February 2017 Introduction of the Speaker Name: Dr. Uttam Baburao Parekar Date of Birth: 05-07-1959 Qualification: M.A.(English), M.Phil., B.Ed. & Ph.D. Ph.D. Supervisor Principal Investigator of UGC’s Major Research Project Office Address: Yeshwant Mahavidyalaya, Wardha (M.S.) Creative Pursuits: Writing Short Stories & Plays; Drama Actor, Director; Playing Banjo, Flute & Harmonium Home Address: Prof. Uttam B. Parekar, Sahakar-Nagar, Near Sai- Nagar, Wardha, Ta & Dist. Wardha (M.S.) Mobile No. 09921436640 Email: [email protected] Vijay Tendulkar as a celebrated Marathi Playwright 1- Prestigious Awards 2- Translation Works 3- His Plays: Full Length Plays- 27. One Act Plays- 7 4-Place of Tendulkar in the tradition of Marathi dramatists I-Theatre revived after lapse of ten centuries with the setting up of proscenium in 1874 Kirloskar’s ‘Soubhadra’ and translations of Sanskrit & English Plays in to Marathi Musical Plays II- After 1906 Khadilkar’s plays gave social dimension to the plays e. g. ’Kichak Wadha’ III- After 1935 the Realism of Ibsen, Shaw & Existentialism influenced e.g. Atre’s plays IV- Post Independence Playwrights: Tendulkar, Girish Karnad, Mohan Rakesh, Badal Sircar…Anti-Hero, Alienation, Situation into aesthetic experience, naturalism, Reality through history and myths Brecht’s V-Effect -
Russian Drama in Marath I Polysystem 255
RUSSIAN DRAMA IN MARATH I POLYSYSTEM 255 Chapter VI: RUSSIAN DRAMA IN MARATHI POLYSYSTEM I A brief discussion o,n the theoretical aspect of translation of drama: Before examining the specific trends in drama translation, it is essential to place the main streams in the area of theatre translation within the framework of broader main streams in literary translation theory. It is observed that drama translation generally follows these trends. As we have already discussed in Chapter II, in the last twenty-five years there have been two major conflicting developments in the translation theory. The linguistically-oriented trend considers literary translation as a process of textual transfer. This is an ST oriented approach. In this approach translation scholars draw on recent work in descriptive linguistics. They attempt to grasp systematically the syntactic, stylistic and pragmatic properties of the texts in question. Moving away from comparative textual analysis, attempts are also made to set translations and their reception within the context of the receiving culture. This involves the study of the translations in the TL culture. The focus is not on mere textual transfer, but on cultural mediation and interchange. With regard to the first trend, Bogatyrev in discussing the function of the linguistic system in theatre in relation to the total experience states: Linguistic expression in theatre is a structure of signs constituted not only as discourse signs, but also as other signs. (Bogatyrev 1971:517-30) In a study of the specific problems of literary translation, with particular reference to the translation of dramatic texts, Susan Bassnet states that: In trying to formulate any theory of theatre translation, Bogatyrev's description of linguistic expression must be taken into account, and the 256 linguistic element must be translated bearing in mind its function in theatre discourse as a whole. -
Performing Modernity Musicophilia in Bombay/Mumbai
TISS Working Paper No. 3 March 2013 PERFORMING MODERNITY MUSICOPHILIA IN BOMBAY/MUMBAI TEJASWINI NIRANJANA Research and Development Tata Institute of Social Sciences © Tata Institute of Social Sciences TISS Working Paper No. 3, March 2013 Contents Introduction ......................................................................................................................................1 Musicophilia and Modernity .............................................................................................................3 Studying Music in Bombay ...............................................................................................................5 Theatre and Hindustani Music ..........................................................................................................6 Musical Pedagogy ..............................................................................................................................7 Lingua Musica ...................................................................................................................................9 References .......................................................................................................................................11 Additional Data Sources ..................................................................................................................13 Appendix I ......................................................................................................................................14 iii iv ABSTRACT This