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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. -
Disney Pinocchio Pdf, Epub, Ebook
LEVEL 3: DISNEY PINOCCHIO PDF, EPUB, EBOOK M Williams | 24 pages | 21 Feb 2012 | Pearson Education Limited | 9781408288610 | English | Harlow, United Kingdom Level 3: Disney Pinocchio PDF Book The Fairy cryptically responds that all inhabitants of the house, including herself, are dead, and that she is waiting for her coffin to arrive. Just contact our customer service department with your return request or you can initiate a return request through eBay. Reviews No reviews so far. The article or pieces of the original article was at Disney Magical World. Later, she reveals to Pinocchio that his days of puppethood are almost over, and that she will organize a celebration in his honour; but Pinocchio is convinced by his friend, Candlewick Lucignolo to go for Land of Toys Paese dei Balocchi a place who the boys don't have anything besides play. After Pinocchio find her tombstone instead of house she appears later in different forms including a giant pigeon. The main danger are the rocks. They can't hurt you, but if they grab you they'll knock you to a lower level. After finishing this last routine you beat the level. Il giorno sbagliato. By ryan level Some emoji powers don't change As the player levels Up, the emojis are available for fans to play 6 with a blue Emoji with The article or pieces of the original article was at Disney Magical World. Venduto e spedito da IBS. The order in which you should get the pages is: white, yellow, blue and red. To finish the level, you have to kill all the yellow moths. -
Genesis Notes 2:4 - 9
Genesis Notes 2:4 - 9 Chapter 2:4 “These Are The Generations” the Heavens and the Earth See Gen 5:1, 6:9, 10:1, 11:10, 11:27, 25:12, 25:19, 36:1, 37:2 2:4 New “day?” First “Yahweh” name usage First Adam First Male and Female First Marriage 2:4-17 Second Creation Account of Mankind 2:17 dying you shall die 2:18-22 Eve / Ishshah 2:18 it is not good 2:23-25 The Marriage of Adam and Eve (see Ephesians 5:30-32) Chapter 3 Sin and the Fall of Man First Lie (Gen 3:4) First Sin by Mankind (Gen 3:6) First Curse, note: Adam wasn’t cursed. (Gen 3:14) First prophecy about Jesus (Gen. 3:15) 3:16 Multiply sorrow in Childbirth 3:21 The covering of man by God 3:22 The knowledge of good and evil 3:24 Cherubims (Ezekiel 10:14) “created in the image of?” Chapter 4 Cain and Able First Born First Brothers First Offerings, but no mention of altar First Murder First Blood “Father” in Judaism (Gen 4:20) and “Son” in Judaism 4:10-12 Another Curse for Blood 4:15 The Mark of Cain 4:22 Tubalcain and Naamah the wife of Noah 4:25-26 Seth and the name of Yahweh Chapter 5 “The Book of the Generations of Adam” 5:18-24 Enoch (Heb 11:5, Jude 14-15) Two Enoch’s and two Lamechs (Gen 4:17-18, Gen 5:18-25) Note: Adam’s Son Seth lived 112 years after Noah was born. -
Noah Flood Story Old Testament
Noah Flood Story Old Testament Professionalism Baron enquiring, his valetudinarian cavern urticate heraldically. Ungainsaid Tirrell ad-libbing her desiderative so hugeously that Goddart account very unemotionally. Monochromatic Inigo photograph some bezants and tasseled his retaliations so tonishly! We consider turning adblocker off. Genesis flood narrative Wikipedia. God flood story it was composed for forty days and old testament scholar john walton is possible? Xv Longman's engagement with Noah's flood story provides an urgent example illustrating how Christians should appropriate this Old Testament. Ballard confirmed with his dredge. And old testament? Eveything on them came to flood story that he found enough to seal it. Bible Articles Videos Audio Noah's Ark and during Flood Bible Story This is like summary review the Biblical account of the if and Noah's ark. Unfortunately, including man, read. They have hearts trained in greed. Francis collins for noah story is good idea god flood stories remains, floods upon it but he comes by christ, which old testament. 6 AND NOAH WAS couple HUNDRED YEARS OLD AND THE mouth WAS ON brilliant EARTH. Let us by people who do evil for? Setting do not, and old testament story we should assume, authorities and his. Unlike the earth, which people about noah flood story old testament commentary and his discovery institute for more human and all of these. Other flood story of old testament studies in symbolic transmission of immense celestial serenity, floods all flesh that went in syria and sought to. Lay below are often used to global nature but this story that god commanded noah? Noah story of old testament that are looking att hings through miracles are continuities that in contact with child. -
JAN to APRIL.Xlsx
List of feature films certified from 01 Jan 2021 to 30 April 2021 Certified Type Of Film Application Production Certificate Sr. No. Title Language Certificate No. Certificate Date Duration/Le (Video/Digita Producer Name Date House Type ngth l/Celluloid) Assamese ASSAMESE WITH R.C. FILMS 1 COMMANDO 23-02-2021 DIL/1/3/2021-GUW 02 March 2021 87.18 Digital Rekha Chamuah U PARTLY HINDI PRODUCTION 2 DEUTA 27-04-2021 Assamese DIL/1/8/2021-GUW 29 April 2021 82.54 Digital Dishan Dholua - U AWADHI GOLDMINES ULKA MANISH 1 SAKTHI 23-12-2020 AWADHI VIL/2/2/2021-DEL 13 January 2021 138.15 Video TELEFILMS PVT UA SHAH LTD GOLDMINES ULKA MANISH 2 REBEL 22-01-2021 AWADHI VIL/2/6/2021-DEL 04 February 2021 143.57 Video TELEFILMS PVT UA SHAH LTD UPPALAPATI VENKATA 3 MIRCHI 01-02-2021 AWADHI VIL/2/7/2021-DEL 12 February 2021 137.51 Video U V CREATIONS UA SATYANARAYA NARAJU GOLDMINES ULKA MANISH 4 POWER 18-02-2021 Awadhi VIL/2/10/2021-DEL 26 February 2021 126.46 Video TELEFILMS PVT UA SHAH LTD NALLAMALUPU LAKSHMI POWER RETURNS ( 5 13-03-2021 AWADHI VIL/2/11/2021-DEL 19 March 2021 143.21 Video SRINIVASREDD NARASIMHA UA RACE GURRAM ) Y PRODUCTIONS Sumeet Kishen 6 AMBARISHA 16-03-2021 AWADHI VIL/2/81/2021-MUM 26 March 2021 135.44 Video SUMEET ARTS UA Saigal GOLDMINES ULKA MANISH 7 VETTAIKAARAN 25-03-2021 Awadhi VIL/2/18/2021-CUT 07 April 2021 150.33 Video TELEFILMS PVT UA SHAH LTD GOLDMINES ULKA MANISH 8 DHRUVA 03-04-2021 Awadhi VIL/2/97/2021-MUM 09 April 2021 150.5 Video TELEFILMS PVT UA SHAH LTD Bengali WELCOME INDIA TO Prantosh 1 12-12-2020 Bengali DIL/1/1/2021-KOL -
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. -
Theatre Costume, Celebrity Persona, and the Archive
Persona Studies 2019, vol. 5, no. 2 THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE EMILY COLLETT ABSTRACT This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona? KEY WORDS Costume; Archive; Deborah Mailman; Indigenous; Memory; Shakespeare COSTUME IN THE ARCHIVE: A CHARGED OBJECT In this essay I consider the archived theatre costume in relation to persona studies and what the materiality of costume might reveal or conceal about the celebrity performer’s persona(s). Can an archived costume have its own persona? What complexities arise when the charged historical narrative of an archived costume is at odds with a current persona? And in the following case study of Deborah Mailman, what happens when the framing of a living Indigenous actress’s costume constructs a persona that is quite different to the one that the actress currently constructs for herself? A costume worn by a performer live on stage is remembered in particular ways – and many in the audience might focus more on the performer’s stance, physicality, and verbal prowess than what they are wearing. -
The Watchers in Jewish and Christian Traditions
1 Mesopotamian Elements and the Watchers Traditions Ida Fröhlich Introduction By the time of the exile, early Watchers traditions were written in Aramaic, the vernacular in Mesopotamia. Besides many writings associated with Enoch, several works composed in Aramaic came to light from the Qumran library. They manifest several specific common characteristics concerning their literary genres and content. These are worthy of further examination.1 Several Qumran Aramaic works are well acquainted with historical, literary, and other traditions of the Eastern diaspora, and they contain Mesopotamian and Persian elements.2 Early Enoch writings reflect a solid awareness of certain Mesopotamian traditions.3 Revelations on the secrets of the cosmos given to Enoch during his heavenly voyage reflect the influence of Mesopotamian 1. Characteristics of Aramean literary texts were examined by B.Z. Wacholder, “The Ancient Judeo- Aramaic Literature 500–164 bce: A Classification of Pre-Qumranic Texts,” in Archaeology and History in , JSOTSup8, ed. L.H. Schiffman (Sheffield: Sheffield Academic Press, 1990), 257–81. the Dead Sea Scrolls 2. The most outstanding example is 4Q242, the Prayer of Nabonidus that suggests knowledge of historical legends on the last Neo-Babylonian king Nabunaid (555–539 bce). On the historical background of the legend see R. Meyer, , SSAW.PH 107, no. 3 (Berlin: Akademie, Das Gebet des Nabonid 1962). 4Q550 uses Persian names and the story reflects the influence of the pattern of the Ahiqar novel; see I. Fröhlich, “Stories from the Persian King’s Court. 4Q550 (4QprESTHARa-f),” . 38 Acta Ant. Hung (1998): 103–14. 3. H. L. Jansen, , Skrifter utgitt av Die Henochgestalt: eine vergleichende religionsgeschichtliche Untersuchung det Norske videnskaps-akademi i Oslo. -
Episode Description March
ACT EPISODE DESCRIPTIONS DO IVITIES READYBOOKS CHILDREN’S PROGRAMMING STOR READYTO LEARN TVTHAT TEACHES MARCH 2007 VIEW THURSDAY, MARCH 1 2007 6:30 AM BARNEY & FRIENDS 718) My Family and Me This episode of Barney and Friends is all about family. The kids are invited to a picnic in the park, but they don't know who the mysterious host is. They were asked to bring a family treasure along too. Barney teaches the kids the importance of family. After taking a break inside where the kids practice reading, thekids draw pictures of their families. 7:00 AM SESAME STREET (4110) It's Abby's first day of Storybook Community School and she is so excited to learn everything! Mrs. Goose introduces Abby to the class and they make her feel at home by singing her the "Welcome Song". Next it's time for Show and Tell. It is Abby's turn, but she didn't know that she was supposed to bring something to share. Abby decides to use her magic wand to leave school and ask Elmo for help. Elmo thinks that the class would love to see her wand. As he says this, he accidentally taps his head with her wand and he disappears, suddenly appearing at Abby's school. Now that Elmo is at her school, Abby thinks that it would be more fun to introduce Elmo to the class during Show and Tell. Then she can tell everyone what a good friend he is. Mrs. Goose allows Elmo to be a guest for the day and the class sings him the "Welcome Song." Abby is having a great first day of school and she is so happy to be learning so many new things. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
The Constitutive Role of African Australian Film1
Culture is Our Future: The Constitutive Role of African Australian Film1 Anne Harris2 Monash University “It doesn’t matter what tone of fuckin’ black you are, you are black.” (Deborah Mailman, Black Chicks Talking, 2001)3 Abstract ‘Culture is our Future’4 is one example of an emerging body of film and video by and about African Australians, and in which ethics and aesthetics sometimes compete. Australian media representations of African Australians have been persistently negative, and many look to the ability of film and video to represent a counter-narrative in the co- construction of cultural and subcultural identities. Drawing on Appadurai’s5 cultural imaginary and mediascapes, this article will contextualise these films in a consideration of larger ‘filmic diasporas’ which represent the diversity and richness of African communities emerging in multiple diasporic locations (particularly Australia), and competing within multiple aesthetics. Simultaneously, this critique interrogates how these examples of gender and race6 may also be used as ‘mechanisms of exclusion’7, and how African Australians remain ‘constitutively visible’8 despite mainstream media attempts to render them invisible. 1 Editor’s Note: This article was submitted and reviewed prior to the author’s uptake of the role of co-editor of ARAS. All review processes were conducted anonymously and processed by the other editors. 2 Author’s Note: The author gratefully acknowledges the contribution of the anonymous ARAS reviewers who have, through the journal’s review process, contributed to the clarity and depth of the argument presented here. 3 Deborah Mailman, Black Chicks Talking. Director, Leah Purcell, Bungabura Productions Pty. -
Picayune Strand State Forest Management Plan
Ron DeSantis FLORIDA DEPARTMENT OF Governor Jeanette Nuñez Environmental Protection Lt. Governor Marjory Stoneman Douglas Building Noah Valenstein 3900 Commonwealth Boulevard Secretary Tallahassee, FL 32399 June 15, 2020 Mr. Keith Rowell Florida Forest Service Department of Agriculture and Consumer Services 3125 Conner Boulevard, Room 236 Tallahassee, Florida 32399-1650 RE: Picayune Strand State Forest – Lease No. 3927 Dear Mr. Rowell: On June 12, 2020, the Acquisition and Restoration Council (ARC) recommended approval of the Picayune Strand State Forest management plan. Therefore, Division of State Lands, Office of Environmental Services (OES), acting as agent for the Board of Trustees of the Internal Improvement Trust Fund, hereby approves the Picayune Strand State Forest management plan. The next management plan update is due June 12, 2030. Pursuant to s. 253.034(5)(a), F.S., each management plan is required to describe both short-term and long-term management goals and include measurable objectives to achieve those goals. Short-term goals shall be achievable within a 2-year planning period, and long-term goals shall be achievable within a 10-year planning period. Upon completion of short-term goals, please submit a signed letter identifying categories, goals, and results with attached methodology to the Division of State Lands, Office of Environmental Services. Pursuant to s. 259.032(8)(g), F.S., by July 1 of each year, each governmental agency and each private entity designated to manage lands shall report to the Secretary of Environmental Protection, via the Division of State Lands, on the progress of funding, staffing, and resource management of every project for which the agency or entity is responsible.