Score Plus CBSE Sample Question Paper with Model Test Papers in English Core (Subject Code 301) CBSE Term II Exam 2021-22 for Class XII As per the latest CBSE Reduced Syllabus, Design of the Question Paper, and the latest CBSE Sample Question Paper for the Board Examinations to be held in 2021. The latest CBSE Sample Question Paper 2020-21 (Solved) along with the marking scheme, released by the CBSE in October 2020 for the Board Examinations to be held in 2021. 10 Sample Papers (Solved) based on the latest Reduced Syllabus, Design of the Question Paper and the latest CBSE Sample Question Paper for the Board Examinations to be held in 2021. 5 Model Test Papers (Unsolved) based on the latest Reduced Syllabus, Design of the Question Paper and the latest CBSE Sample Question Paper for the Board Examinations to be held in 2021. Goyal Brothers Prakashan
It is the very nature of representation to be theatrical and self-referential. This book undercuts the fact that all representational knowledge is autonomous and sovereign. At times, theatrical representations can misguide and mislead. Representation can also ineluctably project ones own preferences and preoccupations. Thus, representation and subjective interpretation divulge into myriad domains. This book is concerned with the effects and consequences of representation and its politics. This book examines not only how language as well as representation produce meaning, but also how discursive knowledge connected to power regulates, conducts, and constructs identities and defines the way certain things are thought about practices and are studied. The book takes note of the fact that within the framework of performance, a performative subject does not wear a coherent identity as it is fragmented, decentered, simulated and is unstable, while being both virtual as well as actual. In the field of semiotics, theatre is historically and reciprocally affected by practice, especially within contingent conditions of time. In theatre semiotics, the new image of knowledge is that of turbulence. Here, knowledge is not so much a system as it is a confluence. Carrying this stance further we can say that contemporary Assamese theatre is characterised by shifting counter-voices and sub-textual underpinnings. This act forces reading into two directions: dialogic openness and variability of meaning that question the theatre directors as the only ones who know.
‘Picture abhi baaki hai...’ If there’s one experience that unites India, it is cinema. In Reel India, award-winning film critic Namrata Joshi journeys through the interiors of the country intimately chronicling little-known accounts about the nation’s incessant obsession with the movies. In Lucknow, she encounters a Shah Rukh Khan fan who has embraced an alternate reality in which he lives and breathes the star. In Wai, she finds an entire economy fuelled by the film industry as the town transforms into a film set. An activist filmmaker in Odisha demonstrates how he teaches local tribal people the basics of his craft, empowering them to train the spotlight on issues threatening their habitat and livelihood. From the fever pitch of the ‘first day first show’ in makeshift halls to the rivalries of regional cinema, this is India’s immersion in the movies like it’s never been seen before. Filled with real-life stories that are as fascinating as the revelations and insights they offer, Reel India raises the curtain on the starry-eyed dreams and big-screen passions that live on after the final ‘cut’ is announced.
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