Relevant bibliographies by topics / Hindi National songs

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Academic literature on the topic 'Hindi National songs'

Author: Grafiati
Published: 27 February 2023

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Journal articles on the topic "Hindi National songs"

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Arnold, Alison. "Popular film song in India: a case of mass-market musical eclecticism." Popular Music 7, no. 2 (1988): 177–88. http://dx.doi.org/10.1017/s0261143000002749.

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The ubiquitous songs in India's commercial feature films play a dual role in Indian society: they serve as both film songs and pop songs for India's 800 million people. India is the largest film-producing country in the world and one fifth of its current annual production of approximately 750 films is made in Hindi, each film having an average of five to six songs (Dharap 1985). As the major form of mass entertainment available on a national scale, rivalled only by the government-run television network, Hindi cinema plays a prominent and influential role in Indian society. Yet its songs, which
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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as we
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3

Offredi, Mariola. "Educating the Young against Discrimination." Archiv orientální 82, no. 1 (2014): 59–116. http://dx.doi.org/10.47979/aror.j.82.1.59-116.

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The paper takes into consideration the Hindi textbooks of the National Council of Educational Research and Training (NCERT, set-up in 1961 and fully funded by the Central Government) for sixth to twelfth grade students (11/12 to 17/18 years of age) published in the 2000s. In accordance with the NCERT’s aim of seeking qualitative improvements in school education, these new generation textbooks are framed so as to bridge the gap between education and life. The literary texts of the collections – prose works, poetry, drama, songs, all introduced (with the exception of the syllabus for class 6) by
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4

Tanjung Turaini, Ni Nyoman. "BENTUK, FUNGSI , DAN MAKNA TRADISI LISAN “MABEBASAN” DALAM UPACARA KEAGAMAAN DI JAWA TIMUR (Form, Function, and Meaning of The Oral Tradition “Mabebasan” in Religious Ceremony in East Java)." METASASTRA: Jurnal Penelitian Sastra 4, no. 2 (2016): 171. http://dx.doi.org/10.26610/metasastra.2011.v4i2.171-180.

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Dharma Gita adalah lagu-lagu keagamaan atau lebih dikenal dengan nyanyian tentang nilai- nilai kebenaran. Nyanyian ini berfungsi sebagai media untuk mengembangkan nilai keagamaan karena di dalamnya terkandung sastra-sastra agama. Yang termasuk dalam Dharma Gita adalah Seloka, Palawakya, Kakawin, Kidung, dan Geguritan. Melagukan nyanyian-nyanyian keagamaan di Bali disebut makidung, makakawin, mageguritan atau mamutru. Bila makakawin disertai dengan memberikan arti dan ulasan, kegiatan itu disebut mabebasan. Mabebasan merupakan seni tradisional masyarakat (Hindu) di Bali, tidak dapat dipisahkan
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5

Devasundaram, Ashvin Immanuel. "Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films." BioScope: South Asian Screen Studies 11, no. 1 (2020): 27–43. http://dx.doi.org/10.1177/0974927620935236.

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Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative
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6

Kurniasari, Ni Gusti Ayu Ketut, and Ahmad Toni. "Filosofi Hindu Narasi Banalisme Filosofi Hindu Dalam Konten Wonderland Indonesia 2 Karya Alffy Rev." Dharma Duta 20, no. 2 (2022): 49–62. http://dx.doi.org/10.33363/dd.v20i2.874.

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This study raises the topic of Hindu pghilosophy contained in the Wonderland Indonesia 2 video by Alffy Rev. The method is narrative analysis with secondary text data in the form of videos on the youtube channel. The results show the: the prologue narration describes the historical symbol constructs the were excavated in the garuda mythology, the Majapahit symbol and depict the under or dark culture of the dragon and the light culture of the garuda. The content narration describes the relationship between the historicity of the mythological wolrd of garuda, Majapahit and national values combin
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Hubbes, László Attila. "New Hungarian Mythology Animated." Acta Universitatis Sapientiae, Philologica 5, no. 2 (2014): 223–40. http://dx.doi.org/10.2478/ausp-2014-0016.

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Abstract Hungarian civil religion in general, and various ethno-pagan spiritualities in special are deeply unsatisfied with the canonical version(s) of ancient national history. Screening history is an act of powerful pictorial mythologization of historical discourses and also a visual expression of national characterology. In recent years two animated films were released, telling the ancient history of Hungarians, but the stories they tell are very different. Not long after Marcell Jankovics’s Song of the Miraculous Hind1 (Ének a csodaszarvasról, 2002), a long fantasy animation based on ethno
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8

Wiasti, Ni Komang. "SEKAR RARE SEBAGAI MEDIA PEMBELAJARAN NILAI ETIKA HINDU DI PENDIDIKAN ANAK USIA DINI." Kumarottama: Jurnal Pendidikan Anak Usia Dini 1, no. 1 (2021): 36–48. http://dx.doi.org/10.53977/kumarottama.v1i1.267.

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Dharmagita is a sacred religious song that is sung during religious ceremonies. Within a specific scope, Dharmagita can be sung at the level of formal, non-formal and informal education. Because the benefits are very important for Hindus, and even used to accompany dances that are profane and sacred, children's play, and even worship to Ida Sanghyang Widhi wasa. Sekar rare as a children's song that has a cheerful character, as an accompaniment to children's games today needs to be raised from an early age to an adult level, with the aim of fostering social sensitivity, courtesy, sradha bhakti,
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Prokofieva, I. T. "The Young Goddess in the Ancient Pantheon of India." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 88–100. http://dx.doi.org/10.24833/2541-8831-2019-3-11-88-100.

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The paper covers the origin and functioning of ‘Mother India’ (Bharat Mata) – the goddess, who joined the ancient and vast Hindu pantheon only in the beginning of the XX century. ‘Mother India’ emerged as the embodiment of national territory, and the universal symbol of the country’s diverse communities. Paraded in various media, the new goddess swiftly changed her names (from the Spirit of Motherland through Banga Mata on to Bharat Mata) and appearances, incorporating the map shape of the subcontinent into the portrait of the original four-handed young woman.The new image reflected the nation
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Gupta, Nishikant, Mark Everard, Ishaan Kochhar, and Vinod Kumar Belwal. "Avitourism opportunities as a contribution to conservation and rural livelihoods in the Hindu Kush Himalaya - a field perspective." Journal of Threatened Taxa 11, no. 10 (2019): 14318–27. http://dx.doi.org/10.11609/jott.4911.11.10.14318-14327.

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The Hindu Kush Himalaya is a biodiversity hotspot subject to multiple anthropogenic stressors, including hydropower plants, pollution, deforestation and wildlife poaching, in addition to changing climate. Bird photography tourism, as a locally important element of avitourism, has the potential to integrate sustainable development and wildlife conservation. We conducted field surveys around the reaches of four Indian Himalayan rivers—the Kosi, western Ramganga, Khoh, and Song—outside of protected national parks (the Corbett and Rajaji tiger reserves) to ascertain the distribution of bird specie
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Books on the topic "Hindi National songs"

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Fāʼūnḍeshan, Naẓariyah-yi Pākistān, ред. Bande mātaram: Musalmānon̲ ke k̲h̲ātame aur ʻālamī Hindu rāj kā gīt. Naẓariyah-yi Pākistān Fāʼunḍeshan, 2008.

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2

Svādhīnatā ke gīta. Rājasthāna Rājya Abhilekhāgāra, 1987.

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Book chapters on the topic "Hindi National songs"

1

"Digitizing the national imaginary: Technology and hybridization in Hindi film songs of the post-liberalization period." In Routledge Handbook of Indian Cinemas. Routledge, 2013. http://dx.doi.org/10.4324/9780203556054-18.

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Dwyer, Rachel. "New Myths for an Old Nation: Bollywood, Soft Power and Hindu Nationalism." In Cinema and Soft Power. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456272.003.0010.

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Bollywood, the name by which mainstream Hindi cinema has come to be known over the last two decades, is recognised internationally as a style of glamour and kitsch, associated with song and dance. From being seen as something of a national guilty secret, it has come to mark a new image of modern India where it continues to hold around 95% of domestic film market (Thussu 2007) with the new and other media reinforcing, rather than detracting from, the cinema. India has had a Hindu nationalist government since 2014. Concerns with how the nation is depicted have been mostly internal affairs with cultural wars on social media and on university campuses. This chapter looks at how the Hindi film industry, which practises self-censorship is shaping a new image of Indian history in this climate and how this appeals to its overseas audiences who are mostly found in the Indian diaspora.
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