Narayanam Namaskritya I Bow Before Thee With Deep Reverence O Lord Krishna Says Great Indian Epic Mahabharata In Its Opening Benedictory Verse. The Impact Of Krishna Cult On Indian Art, Literature And Culture Is Stupendous. Krishna Worship Includes Music, Dance, Drama, Which Delights Him Most. Bhassa Describes Him As Sutradhar, String-Holder, Of The Drama Of Life That Is Being Enacted In All The Three Worlds. Bhagavata Purana Eulogise Him As Natavar, Supreme Actor, And Enjoins The Devotees To Offer Him Theatricals On Festive Occasions. Inscriptions Speak Of The Tradition Of Enacting Plays In The Krishna Temples. The Tradition Still Continues As River Yamuna, On Whose Bank Krishna Performed Ras Dance, Continues To Flow. All Over India Plays Based On Krishna Theme Are Enacted. Indian Classical Dance Forms Take Delight In Depicting Radha-Krishna Love Lore. The Ras Leela Of Vraj, Ankia Nat Of Assam, Kala Of Goa And Maharashtra, Krishna Attam Of Kerala, Ras Of Manipur, Odissi Of Orissa Kathak Of Uttar Pradesh Are Some Of The Traditional Drama And Dance Forms That Depict Krishna Lore? Many Krishna Plays Are There In The Repertory Of Kathakali, Yakshagana, Kuchipudi, Tamasha And Many Other Folk And Traditional Theatrical Forms Of India. In Fact Some Scholars Believe That Indian Theatre Itself Has Originated From The Cult Of Krishna That Flourished In Surasena Region. This Most Colourful Theatrical Saga Full Of Poetry, Dance And Music Is Narrated In The Book By Eminent Scholar Shri M.L. Varadpande In A Most Attractive Manner. In A Style Picturesque And Lucid The Author Tells Us How The Dark-Hued Krishna Danced With Milkmaids Fair As Champak Flower On The Bank Of Yamuna And How The Indian Traditional Theatre And Dance Forms Recreated This Romance On The Stage. The Spectacular Rainbow Of Delightful Romance Of Krishna S Eventful Life As Seen On Indian Stage Is Charmingly Revealed To The Readers Through The Pages Of This Profusely Illustrated Book Of Infinite Charm.
This book explores the development of multilingual policy in education in Nepal in sociopolitical and historical contexts and examines the frameworks of language use in schools. It investigates the dynamics and factors that influence the process of construction and appropriation of the policy of multilingualism in education. The book surveys the language situation in schools and discusses how it is impacted by local language positions, societal power relations, ideological and identity contestations, and the attitude, language behaviour and resistance of key actors. It highlights the role of pedagogy, linguistics and politics that govern the policy of multilingual education. The author assesses the prospects of a multilingual approach to learning via teacher preparation, curriculum and learning material development, coordination of actors and institutions, and resources available in schools. The book presents Nepal’s linguistic background while discussing how multilingualism in education recognises local languages to improve the quality of learning in classrooms in ethnolinguistic communities. Evaluating the use of local languages in classrooms, it explores monolingual, multilingual and language maintenance frameworks of multilingualism in education. This book will be of interest to teachers, students, and researchers of education and educational studies, linguistics, sociology of education, school education, language studies, sociolinguistics, language policy and planning, public administration, ethnolinguistics, and sociology of language. It will also be useful to educationists, policymakers, linguists, sociolinguists and those working in related areas.
This volume of the HISTORY OF INDIAN THEATRE presents most enhanting and colourful panorama of folk and traditional theatre flourishing in India since time immemorial. Utilising various sources the author meticulously and systematically builds up the theatre history, which spans over several centuries. It is for the first time an elaborate account of dramatic rituals associated with the Bhuta or the Cult of Spirits is given here. This will enable the students of theatre understand and relationship of ritual and dramatic performance in its correct perspective. Various ritualistic theatre forms such as Teyyam are described and discussed. The book also tells us how the teachnique of ballad singing was dramatized and finally evolved into full-fledged drama in the course of time. The history of narrative forms is traced from the Vedic times to the present. With the emergence of Bhakti cult the spics were dramatized. This gave rise to the Leela Theatre which dedicated itself to portraying the divine acts of incarnations such as Krishna and Rama. Various forms of Leela Theatre are described in the book. Audiences turn to theatre for entertainment. A class of folk theatre arose in India whose main function was secular entertainment. Swang, Tamasha, Nautanki, Khyal entertained the people with dance, music and song, as well as with humour and pathos, love and war. Their enchanting story is narrated here.
Anthropometry refers to the measurement of the human individual. Objective of the study: The study is to determine the Comparative Study on Selected Anthropometric Variables and Motor Abilities between Women Kho- Kho and Kabaddi Players of Hyderabad district. Hypothesis: There may not be any significant difference between the women Kho- Kho Players and Kabaddi Players of Hyderabad district in relation to anthropometric variables and motor abilities. Methods & Materials A total of fifty (50) subjects were randomly chosen for this study. Out of 50 players, 25 players were from Kho - Kho and 25 from kabaddi from Hyderabad district. Result and dissussio: From mean ± SD of height of kabaddi and kho - kho players were respectively 156.12±3.90 and 156.32±3.90 and the calculated t value 0.85. The mean ± SD of weight of kabaddi and kho - kho players were respectively 51.64±5.87 and 51±4.10 and the calculated t value 0.65. The mean ± SD of Arm length for kabaddi players were 71.24±4.10 and kho - kho players were 71.88±4.58, respective mean difference 0.64, standard error 4.60; leg length of the mean ± SD of kabaddi players were 90.92±6.56 and kho - kho players were 91.72±6.71, mean difference 0.80, standard error 6.14; The mean ± SD of AMSE(sit ups) for kabaddi players were 32.48±6.08 and kho - kho players were 32.40±5.51, respective mean difference 0.08, standard error 5.98 and the calculated t value 0.96; LES(SBJ) of the mean ± SD of kabaddi players were 2.03±0.21 and kho - kho players were 2.06±0.23, mean difference 0.02, standard error 0.22 and the calculated t value 0.66;Speed (50 yrd) of the mean ± SD of kabaddi players 8.63±0.54 and kho - kho were 7.96 ± 0.52, mean difference 0.66, standard error 0.53 and the calculated t value 0.5.45;The mean ± SD of Agility (St.Run) of kabaddi players and kho - kho players were respectively 9.67±0.45 and 9.35±0.60 and the calculated t value 0.04. ConclusionBased on the results of the present study have highlight anthropometric and fitness variables of kho - kho and kabaddi players. The following Recommendations are made on the basis of the results from the study which may be useful for the future research work.
‘It never occurred to me to just play it safe and get to where no Indian had gotten before—a Test triple century. Do I regret reaching for the ball well outside off from McGrath that I spooned to point? Do I feel I should have batted out that one hour at my disposal and ticked o_ the 25 needed to get to the Promised Land? No, and no. I have never played my cricket that way . . . The individual milestone would have been terrific, but if I were to get the chance to replay that day, I would do exactly the same. I walked off the park immensely satisfied. I hadn’t missed out on 300 by 19 runs; I had made 281 . . . and put the team in a position from where we could expect to pull off a win against all odds. Isn’t that what you play the game for?’ A stylish batsman who could score against any kind of bowling, VVS Laxman played over a hundred Tests to aggregate more than 8000 runs. Cricket fans still remember with awe his game-changing knock of 281 against Australia in 2001 at Eden Gardens. But playing for India was never easy, and despite his vast experience and unimpeachable skill, he never made it to a World Cup team. All through his playing years, Laxman was known to be a soft-spoken man who kept his distance from controversy. Which is what makes this autobiography truly special. It’s candid and reflective, happy and sad by turns. He writes of dressing-room meltdowns and champagne evenings, the exhilaration of playing with and against the best in the world, the learnings with John Wright and the rocky times under Greg Chappell. In 281 and Beyond, Laxman lays bare the ecstasy and the trauma of being one of the chosen XI in a country that is devoted to cricket.
Prof (Dr) Anshuman Srivastava, obtained his Ph.D in the field of Material Science and Engg from IIT (BHU) Varanasi, India. He has worked as a Joint Director (R and D), IIP Mumbai, Government of India. Presently, he is working as Head and Dean (R & D) in SIET Allahabad, India. Dr. Srivastava research work is focused on Physical, Dielectric and Mechanical properties of PVDF/CCTO and modified CCTO composites. He has published many research papers in journals like Composites Science and Technology, Journal of Power Sources, Material Research Bulletin, Journal of composites and many others.
This Monograph, First Of Its Kind, Surveys The Female Sculptures Created By Indian Artists Through Centuries, From An Ancient Era Of Indus Valley Civilization To Medieval Times. Archaeological Data Is Interpretd In The Light Of Literary And Cultural Traditions Of India. Various Images The Sculptors Conceived Of Her As Mother Doddess, Yakshi, Devangana And Surasundari, Lover Par Excellemce, One As Fond Of Wine , Dance And Musaic, Shrinagara Nayika, Paragon Of Beauty And Inerllect And Also Embodiment Of Forces Of Death And Destruction, And Made Into Sculptures, Are Described Here In Very Lucid Language, To Give The Readers An Insight Into Indian Art.
As the fourth largest military spender in the world, India has a huge defence economy supported by a budget amounting to nearly $67 billion in 2020–21. This book examines how well India’s defence economy is managed, through a detailed statistical exposition of five key themes – defence planning, expenditure, arms production, procurement and offsets. This book is based on hard-core evidence collected from multiple government and other credible sources including the ministries of Defence, Finance, and Commerce and Industry, Comptroller and Auditor General of India and the Reserve Bank of India. It discusses key issues such as the evolution of India’s defence plan; the feasibility of increasing defence spending; India’s defence acquisition system; and the recent reform measures taken under the rubric of the ‘Make in India’ initiative. Well supplemented with original tables and figures, India’s Defence Economy will be indispensable to students and researchers of defence and security studies, politics and international relations, finance, development studies, economics, strategic studies, South Asian politics, foreign policy and peace studies. It will also be of interest to defence ministry officials, senior armed forces personnel, military attachés, defence training institutes and strategic think tanks.
Preface Trends of Historiography in Modern India Robert Orme James Mill Thomas Babington Macaulay John Malcolm James Grant Duff Mark Wilkes Joseph Davy Cunningham James Tod John William Kaye Henry Beveridge George Bruce Malleson William Wilson Hunter Alfread lyall Vincent Arthur Smith William Harrison Moreland Dada Bhai Naroji Romesh Chandra Dutt Gauri Shankar Hirachand Ojha Jadunath Sarkar Goving Sakharam Sardesai C.S. Srinivasachari Surendra Nath Sen K.M. Panikkar Ramesh Chandra Majumdar Index
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