This is a general narration of the entire drama of the elections in the largest democracy of the world, India. Being a slugfest intended to decide who should sit in the seat of power, it attracts a lot of attention within and outside the country and ropes in a number of enthusiastic actors, big and small, and rakes up a lot of din and dust throwing up money and material in the process. The general elections are quinquennial affair in India and every time they are held they create a lot of commotion and hype throughout the country. This time around, i.e., in 2019, this battle of ballots provided a colourful, intensely absorbing and juicy drama which was not witnessed on previous occasions, with some exceptions. There were many players in the arena, with an ardent desire to seize power including the incumbent prime minister Mr. Narendra Modi and others, like Mamata Banerjee, Mayawati, K. Chandrashekhar Rao, Sharad Pawar, Arvind Kejriwal, Deve Gowda and of course the Gandhi scion Rahul. The array of the political stalwarts, everyone having with an axe to grind and everyone exuding fierce instinct and confidence to fight the sworn enemy, viz., the Bharatiya Janata Party and its top leader and Prime Minister, Narendra Modi, made it a saga of grand proportions. As every election brings some lessons, messages and some experiences to guide the political leaders, people and the scholars, this story of 2019 elections is a piece of brief political history that can guide to assess the past and prove to be an instrument of reality check to the political parties, its leaders and the people.
The brochur touches upon all the principal precepts of Tantra, especially the esotric practices. an account of the Sakta pithas has also been given in the background of the ethnological divisions of India. New light has been thrown on the origin of bija, mantra and gayatrt occurring in Tantric works. The study may be regarded as a new one, since scientific discussion of Tantricism has not yet progressed so far satisfactorily, especially from the point of view of the Tantrics themselves.
To Connect. To Feel. To Empathize. Weather patterns are changing. Deforestation is accelerating climate change. This sorry state of affairs has extended to the oceans as well. Overfishing and rampant dumping is seriously endangering the marine ecosystem. There has never been a more urgent need to re-engage with nature. We have been away from nature for far too long and what was once an interdependent relationship, has now become a one-way street. Where we have just been taking and not giving back in the same measure. The premise of this book is to reawaken the ‘kindred spirit’ feeling with nature. It believes that when we go back to nature, we will be able to get the relationship going. The book is written as a collection of adventures, memories and thrilling encounters with wildlife over 40 years of trails and treks of the Wilson College Nature Club in biodiversity across India. The pages chronicle amazing creatures, plants, herbs, animals, birds and everything that makes nature so fascinating. It is the voice of a nature lover keen to get people off their couches and screens to experience nature at their own pace. It is meant to rekindle the desire to go out there and give Mother Nature much needed TLC.
This book is a critical history of Marathi cinema, from its formative years in the 1920s till the end of 1990s. It is the first work to explore the industrial and aesthetic dynamics of Marathi cinema, and elaborate on the idea of region as performance using the framework of critical socio-spatial analysis. Against the dominance of Hindi cinema, the Marathi film industry, as a regional film practice in India, has developed within a cultural and spatial liminality. This historical situation of the Marathi film industry is formulated here as the shaping and dispersal of a vernacular cultural space; and is traced over a period of seven decades, across genres like the saint-film, social melodramas, and the tamasha film, as well as in urban and mofussil sites of film circulation. The book aims to be a useful resource for students, researchers, and general readers, while attending to a lack of scholarly inquiries on this important regional film culture.
Post-millennial Marathi cinema is a dynamic and expanding practice that is celebrated as a “new-wave” but has not received much critical engagement. This book presents the first comprehensive inquiry of contemporary films and examines their textual, industrial, and cultural intersections to understand what constitutes the “new-ness” of Marathi cinema. Establishing the vernacular particularity of Marathi cinema, the book argues that newage films are actively engaged in a reflexive intellectual and social critique as a mark of new filmmaking in India. In the diversity of genres and topics handled by Marathi filmmakers since 2004 this study identifies four broad affective topographies for analysis – an imagery of nostalgia underpinning the narrative strategies of Marathi films, the articulation of social aspiration as a theme as well as a societal dialectic, an experiential reflexivity in the representation of Dalit and marginal narratives, and a mediatic network of border-crossings through transnational influences on films. Contemporary Marathi Cinema: Space, Marginality, and Aspiration offers a critical dialogue on broad issues of film policy, multiplex economics, genre forms, queer politics, and neoliberal contexts. It will be indispensable to students and researchers of Indian cinemas, regional filmmaking, media, cultural studies, popular culture and performance, literature, and South Asian studies, and will also be of interest to filmmakers and cinephiles.
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