To see the other types of publications on this topic, follow the link: Indic Singers.
Journal articles on the topic 'Indic Singers'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Indic Singers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Sharma, Vasudha, Srikanth Nayak, and Usha Devadas. "A survey of vocal health in church choir singers." European Archives of Oto-Rhino-Laryngology 278, no. 8 (April 10, 2021): 2907–17. http://dx.doi.org/10.1007/s00405-021-06770-0.
Full textAbstract:
Abstract Purpose Choir singing is an important tradition of Christian worship across India. However, vocal health issues related to the church choir singers are less addressed in the literature. Hence, this study aimed to investigate the prevalence of vocal symptoms, identify the variables associated with increased risk of voice problems and knowledge of factors influencing vocal health in church choir singers. Method One hundred and forty-eight church choir singers (61 males and 85 females) between the age range of 18 and 70 years participated in the study. They completed a self-reported questionnaire addressing demographic and singing-related details, vocal symptoms, variables associated with increased risk reporting voice problems and knowledge about factors influencing vocal health. Result Eighty-four percent of the choir singers reported two or more vocal symptoms sometimes or more frequently while or after singing. More than half of the church choir singers had experienced vocal symptoms such as accessing notes in the upper range, loss of vocal endurance, pitch breaks, hoarseness, dryness in the throat, and discomfort in the throat. Among the different variables, systemic hydration found to have a significant association with reporting of voice problems in church choir singers. The overall knowledge regarding the factors influencing vocal health was found to be limited among the choir singers. Conclusion Choir singers like other professional singers experienced a higher prevalence of vocal symptoms during or after singing and exhibited limited knowledge about factors that negatively influence vocal health. Hence, there is a need to look into these singer’s vocal requirements, who usually go unnoticed.
2
Dr. Shatakshi Misra. "Sarojini Naidu: The Singer of Beautiful Songs." Creative Saplings 1, no. 8 (November 25, 2022): 56–76. http://dx.doi.org/10.56062/gtrs.2022.1.8.173.
Full textAbstract:
Sarojini Naidu was an Indian political activist, feminist, and poet, a proponent of civil rights, women’s emancipation, and anti-imperialistic ideas. Despite all these qualities, she was known as “The Singer of Beautiful Songs” she will always be remembered and recalled by her two names: “The Nightingale of India” and” Bharat Kokila” as Mahatma Gandhi ornamented her. The present paper is a genuine effort to reveal her personality as a singer of beautiful songs; she emerged as the very soul of India and was attached firmly to its soil. Despite all her western garb and literary affiliation with the English poets, her sensibility was “wholly native.” Blessed with remarkable creative talent, she adroitly composed charming songs with a striking note of native fervour. In this task, she fell into the tradition of Indian women writers since the Vedic age. In the tradition of Vishwavara and Ghosha, the singers of sonorous songs in Vedas of Gargie, Maitreyi, and Sulabha, the unchangeable Upanishadic debaters of Sumana, Shyama, Sumangala, Sangh Mitra, and Rajyashri.
3
Weidman, Amanda. "Stigmas of the reality stage." Indian Theatre Journal 6, no. 1 (August 1, 2022): 11–23. http://dx.doi.org/10.1386/itj_00024_1.
Full textAbstract:
This article focuses on the symbolic work around gender accomplished by singing reality shows in South India. Examining moments from Tamil-, Malayalam- and Telugu-language reality shows aired in the 2010s, and using ethnographic research conducted during the shooting of episodes of one of these popular reality shows, Airtel Super Singer Junior, in Chennai from the early 2010s, it shows how, through the reality shows’ staging and contest format, contestants are subjected to different and often conflicting regimes of evaluation. While the shows’ emphasis on performance and visual presentation and consumption is certainly a factor in the way the shows manage these conflicting pressures, equally as important are the different ways that talk about and around the performance functions, both to increase the cultural capital of singing film songs and to create entertainment value, producing unscripted, seemingly ‘spontaneous’ moments that catch the contestants and judges off guard. Talk functions to reduce stigma in some places while amplifying it in others. While elevating the cultural capital of a formerly ‘lowbrow’ domain, these shows simultaneously place the singer in an increasingly precarious position, producing distinctly gendered stigmatizing effects for both the female contestants and the playback singers who serve as judges.
4
KUMAR, RAJESH, SHAILESH PANDEY, RAJA R. RISHI, and KRISHNA GIRI. "Macrolepiota procera (Scop.) Singer (Agaricomycetes) – a new generic record of edible mushroom for Nagaland, Northeast India." Asian Journal of Agriculture 1, no. 01 (May 15, 2017): 6–8. http://dx.doi.org/10.13057/asianjagric/g010102.
Full textAbstract:
Kumar R, Pandey S, Rishi RR, Giri K. 2017. Macrolepiota procera (Scop.) Singer (Agaricomycetes) - a new generic record of edible mushroom for Nagaland, Northeast India. Asian J Agric 1: 6-8. In August 2013, an interesting mushroom was collected from the Puliebzie forest range in Kohima District of Nagaland state of India. The mushroom was identified as Macrolepiota procera (Scop.) Singer based on the macroscopic and microscopic characters.
5
Veda, Andrew, and Luke Gerard Christie. "Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan." Studies in Media and Communication 11, no. 2 (February 22, 2023): 22. http://dx.doi.org/10.11114/smc.v11i2.5936.
Full textAbstract:
Khushwant Singh’s Train To Pakistan documents the horrors of the partition of India and Pakistan in the year 1947 by presenting a story set in a fictional village, Mano Majra which is an ecological synecdoche as the village stands for the two nations, India and Pakistan. The nation building narrative of Singh, as well as Gandhi - "the future of India lies in villages", though highly ecological as its focus is only on maintaining the "self-sufficiency" of every village, is paradoxical as it is concerned only with the microcosm of the villages and not with the macrocosm of the nation. The spiritual connection that Mano Majrans have with their land and river, which is the basis of their identity, cannot be limited by narratives of nation building revolving around political boundaries. The post-partition anxiety of the two countries, at the level of the microcosm, is the trauma of the loss of their ecological home. Khushwant Singh's novel provides a powerful insight into the deep roots of this eco-aesthetic identity and the anxiety of its loss resulting in the cultural divide that continues to exist between India and Pakistan. This essay makes the argument that Khushwant Singh highlights the anti-ecological nature of nation building narratives in his novel, Train to Pakistan.
6
Landauer, Carl. "Passage from India: Nagendra Singh’s India and international law." Indian Journal of International Law 56, no. 3-4 (December 2016): 265–305. http://dx.doi.org/10.1007/s40901-017-0057-4.
Full text
7
Ardiyono, Yoppy. "Perkembangan Motif Sineas Film Indie dalam Menghadapi Industri Film Mainstream." Jurnal The Messenger 7, no. 1 (March 24, 2016): 9. http://dx.doi.org/10.26623/themessenger.v7i1.284.
Full textAbstract:
<em>The research aims to review to review determine the effect and its impact raised by motive - a motive the ada in the hearts period travel time history of film short against cinematographer-filmmaker as principal especially filmmakers left path (indie). The used platform theory research hearts singer adopts from theory commodification media vincent mosco. Singer helped shift theory understanding the motive filmmakers working hearts differences fundamental basis of political pressure economic happens under with demands regime. The method used is descriptive qualitative research methods. Data collection techniques through observation of the environment of an independent film live and in-depth interviews with speakers including mr. Yang prayer orangutan direct contact 'with realm of research. Coupled with study to review the literature references adding insight research. And that was concluded change appears motif among indie film cinematographer it is true the situation is closely linked to the mainstream industry, konstilasi politics, and the orientation of capitalism. Necessary their one thing is clear and systematic regulation from the government to the future movement of currents sidestream (indie) more with good operates professionally arranged, the air so that the contribution of indie cinema film land for progress can feels good to yourself indie filmmakers as well as those of its main industries.</em>
8
Latif, Amer. "Ẕahīn Shāh Tājī’s (d. 1978) Signs of Beauty (Āyāt-i Jamāl)." Journal of Sufi Studies 10, no. 1-2 (December 14, 2021): 215–33. http://dx.doi.org/10.1163/22105956-bja10018.
Full textAbstract:
Abstract Bābā Ẕahīn Shāh Tājī (d. 1978) is a well-known Sufi poet in Pakistan. He belonged to the Chishtī Sufi order and his mausoleum in Karachi is a center of pilgrimage known for its weekly Qawwali (devotional singing) gatherings. This article presents an overview of Tājī’s experience and articulation of the Sufi path through selected English translations from his collection of Urdu ghazals, Signs of Beauty (Āyāt-i jamāl), which are performed by Qawwals and ghazal singers both in India and in Pakistan to this day.
9
Sachdeva Jha, Shweta. "Eurasian Women as Tawa'if Singers and Recording Artists: Entertainment and Identity-making in Colonial India." African and Asian Studies 8, no. 3 (2009): 268–87. http://dx.doi.org/10.1163/156921009x458118.
Full textAbstract:
Abstract Scholarship on Eurasians has often addressed issues of migration, collective identity and debates around home. Women performers however do not find themselves discussed in these histories of Eurasian peoples in India. This paper aims to account for individual agency in shaping one's identity within the meta-narratives of collective identity of migrant peoples. I focus on two Eurasian women entertainers in the colonial cities of Benares and Calcutta who chose to forget their mixed-race past to fashion successful careers using new identities as tawa'if singers and actors in the late nineteenth and early twentieth centuries. This, I shall argue, was possible within the wider context of emergent colonial modernities in colonial India. By choosing micro-level case histories of these celebrity entertainers, I want to argue for including popular culture as an arena of identity-making within histories of migration and gender. To engage with popular culture, I shall extend our perception of historical 'archive' to include a varied set of materials such as biographical anecdotes, discographies, songbooks, and address the fields of poetry, music and history. Through this project I hope to rethink ideas of gender, culture and agency within wider debates of migration and identity-making.
10
Khan, Dominique-Sila. "The Kāmaḍ of Rajasthan — Priests of a Forgotten Tradition." Journal of the Royal Asiatic Society 6, no. 1 (April 1996): 29–56. http://dx.doi.org/10.1017/s1356186300014759.
Full textAbstract:
In Rajasthan, one of the north-western states of India, whoever has heard of the Kāmaḍ (or Kāmaḍiyā) would define them as wandering minstrels or jugglers, singing hymns in praise of Bābā Rāmdeo, a famous saint from Mārwāṛ, whose footprints they worship. Most people could not say much more about this community of religious singers who, since Independence, have been listed among the “scheduled castes”. In any case, everybody seems to be aware of their connection with Rāmdeo, a famous folk deity, also popular in Gujarat and Madhya Pradesh, now venerated by devotees of all castes and creeds, but mostly by Hindus, as an avatār of Vishnu-Krishna.
11
Khan, Qaisar, and Muhammad Ramzan Pahore. "Ideology and Representation of the Nation: Aggressor and Transgressor in Film Sarfarosh." Progressive Research Journal of Arts & Humanities (PRJAH) 2, no. 1 (March 19, 2021): 79–94. http://dx.doi.org/10.51872/prjah.vol2.iss1.25.
Full textAbstract:
This paper analyses the narrative of Bollywood film Sarfarosh which portrays the ethnic, cultural and religious issues between majority Hindu-minority and Muslim communities in India with projection of identifying politics between India and Pakistan. Further, it t reveals that Pakistan army constitutes spies who are behind the plot of cross border terrorism and supplies of arms through their local agents in the Indian state of Rajasthan. The agents and their activities are projected as the machineries that are firmly responsible for a series of havocs and killings of innocent people in the most of cities and towns within their reach. Through crafting the notions of national (in) securities, the film picks up an Urdu Ghazal singer, the Pakistani who migrated from Rajasthan during the partition of the subcontinent in 1947. The singer as a metaphor of terrorism often sings Ghazals among Indian dignitaries in the front of his weaponry smuggling to India. The paper finds out that the historical traumatic event of partition is used for posing the Muslim minorities, „Other? as cultural methodological device, whereas Pakistanis understood as extremely dangerous enemy of the Indian nation. The identity politics of the film results the conflicting ideologies of Hinduism and Islam. This is due to the cultural industry?s ideological apparatus for making strategies to manage and maximize the profits by seeking wider audiences through its well- established capitalist system. Bollywood cinematic apparatus should be cautious of essentialist form of nationalist narratives and the post partition conflicts should be avoided for authentic peaceful culturalsocial relationships between India and Pakistan.
12
Afzal-Khan, Fawzia. "Roshan Ara Begum: Performing Classical Music, Gender, and Muslim Nationalism in Pakistan." TDR/The Drama Review 62, no. 4 (December 2018): 8–22. http://dx.doi.org/10.1162/dram_a_00790.
Full textAbstract:
The imbrication of issues of nation, class, gender, and religion necessitates a critical revision of the so-called secular postcolonial modernity embraced by Indian nationalists, including musicologists. The life and struggle of Roshan Ara Begum — Pakistan’s first and, to date, arguably greatest singer of classical music — is an instructive example of the complex intertwining of agency, resistance, and resignation in Muslim-identified Pakistan and Hindu-identified India.
13
WILLIAMS, RICHARD DAVID. "Songs between cities: listening to courtesans in colonial north India." Journal of the Royal Asiatic Society 27, no. 4 (September 26, 2017): 591–610. http://dx.doi.org/10.1017/s1356186317000311.
Full textAbstract:
AbstractIn the aftermath of 1857, urban spaces and cultural practices were transformed and contested. Regional royal capitals became nodes in a new colonial geography, and the earlier regimes that had built them were recast as decadent and corrupt societies. Demolitions and new infrastructures aside, this transformation was also felt at the level of manners, sexual mores, language politics, and the performing arts. This article explores this transformation with a focus on women's language, female singers and dancers, and the men who continued to value their literary and musical skills. While dancing girls and courtesans were degraded by policy-makers and vernacular journalists alike, their Urdu compositions continued to be circulated, published, and discussed. Collections of women's biographies and lyrics gesture to the importance of embodied practices in cultivating emotional positions. This cultivation was valued in late Mughal elite society, and continued to resonate for emotional communities of connoisseurs, listeners, and readers, even as they navigated the expectations and sensibilities of colonial society.
14
Johal, Kuldip, and R. H. L. Disney. "Phoridae (Diptera) as pests of cultivated oyster mushrooms (Agaricales: Pleurotaceae) in India." Bulletin of Entomological Research 84, no. 2 (June 1994): 247–54. http://dx.doi.org/10.1017/s0007485300039754.
Full textAbstract:
AbstractIn India the cultivated oyster mushroom Pleurotus sajor-caju (Fr.) Singer is attacked by the larvae of two species of Phoridae, Megaselia pleurota Disney sp. n. and M. scalaris (Loew). The new species is described. Biological data and damage symptoms are reported for both species. Serious economic damage is also caused by a bacterium associated with M. scalaris. The identities of the two Megaselia species, previously reported attacking this fungus, are called into question.
15
Phillips-Hutton, Ariana. "Private words, public emotions: performing confession in indie music." Popular Music 37, no. 3 (September 12, 2018): 329–50. http://dx.doi.org/10.1017/s0261143018000387.
Full textAbstract:
AbstractThis essay examines the work of singer-songwriter William Fitzsimmons as an example of how confessional performance is constructed within indie music. I contend that both audiences and artists participate in a discourse that draws on narratives of personal communication, intimacy and authenticity in order to create a distinctively confessional aesthetic. This aesthetic orientation is then reflected in performances that are framed as autobiographical and truth-telling. After surveying aspects of indie music that contribute to the formation of this aesthetic, I trace the implications of performed confession through an exploration of the sonic, visual and relational characteristics of Fitzsimmons's performances from his 2008 albumThe Sparrow and the Crow.By examining how artist and audience construct the confessional, I suggest a new perspective on how the confessional trope operates in indie music.
16
Khader, Vijaya. "Health Benefit of the Pleurotus sajorcaju (Fr.) Singer (Oyster Mushroom) in India." International Journal of Medicinal Mushrooms 7, no. 3 (2005): 421–22. http://dx.doi.org/10.1615/intjmedmushr.v7.i3.630.
Full text
17
Dubey, Abhay. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3390.
Full textAbstract:
In India, music is believed to be as eternal as God. Before the creation of the world —it existed as the all-pervading sound of "Om" —ringing through space. Brahma, the Creator, revealed the four Vedas, the last of which was the Sama Veda —dealing with music.Vedic hymns were ritualistic chants of invocation to different nature gods. It is not strange therefore to find the beginnings of Hindu music associated with Gods and Goddesses. The mythological heaven of Indra, God of Rain, was inhabited by Gandharvas (singers), Apsaras (female dancers) and Kinnaras (instrumentalists). Saraswati, Goddess of Music and Learning, is represented as seated on a white lotus playing on the Veena. The great sage Narada first brought the art to earth and taught it to men.
18
Shovon, Ashfaque Ahmad. "Depiction of Post-Partition Violence in Khushwant Singh’s Train to Pakistan." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 144–47. http://dx.doi.org/10.22161/ijels.76.20.
Full textAbstract:
After the end of World War II, the British colonial grip loosened, and many independent countries emerged. In August 1947, two countries got their independence: India and Pakistan, which were created on the basis of the religious majority in each part. The following days saw one of the biggest migrations of human history as Many Muslims from India tried to migrate to newborn Pakistan and vice versa. The whole subcontinent fell under fire, and violence erupted in many places. Stories of murder, rape, beating, forced conversion, kidnapping, and property grabbing emerged in various corners, especially in the frontier zones. As a survivor of partition ensued violence, Khushwant Singh describes the mayhem he witnessed, in a fictional term in his novel Train to Pakistan. He modelled Mano Majra, a small peaceful village in the Punjab frontier, as a miniature of the society and showed how the poisonous communal hatred had engulfed the whole place, where people were living in peaceful harmony for thousands of years, and made it a fireball. This paper is going to explore Singh’s picturization of Violence and atrocities in post-partition India through the fictional village Mano Majra.
19
Jha, Gaurav Kumar, and Amrita Banerjee. "India–Myanmar Relations." South Asian Survey 19, no. 1 (March 2012): 79–99. http://dx.doi.org/10.1177/0971523114539583.
Full textAbstract:
Despite long historical ties, post-colonial relations between India and Myanmar have fluctuated between magnanimity and mistrust. While India often stood for high moral grounds and promotion of democracy, it did so at the cost of losing Myanmar to China. This affected both India and Myanmar adversely: while New Delhi’s economic, energy and security interests were hurt, isolated Yangon became more China-dependent. However, since the early 1990s, domestic developments in Myanmar and post-Cold War structural changes in the world order necessitated conditions for cooperation and mutual gains. It appears that blatant domestic suppression in, and international seclusion of, Myanmar is not desirable. Having witnessed two eras of magnanimity and mistrust, Prime Minister Manmohan Singh’s visit to Myanmar in 2012 heralds a prospective era of market interdependence while opening Pandora’s box: can India get a better share of Myanmar’s commercial possibilities without compromising its core interests in promoting democracy, development and diaspora protection?
20
Magued Mina, Mario, and Jasmina Kerla. "The Fricative Manoeuvre: Dialect Style-Shifting between Castilian and Mexican Spanish in YouTube Interviews with Musician Paul Banks." Lifespans and Styles 3, no. 2 (June 1, 2017): 13–19. http://dx.doi.org/10.2218/ls.v3i2.2017.1863.
Full textAbstract:
This study examines style-shifting in the case of Paul Banks, lead singer of the indie rock band Interpol, who spent a substantial amount of time during his adolescence in Spain and Mexico and therefore has access to their corresponding dialects. Our results show that Banks uses the dialect of the viewers during interviews. We see this as a strategy to index locality and solidarity in both Spanish-speaking regions and to convey aspects of his past and identity in order to win over viewers and fans.
21
Yumnam, Rameshori, Yengkhom Chinglemba, and Vishwanath Waikhom. "New record of the Sewing Needle Zipper Loach Paracanthocobitis linypha Singer & Page, 2015 (Teleostei: Cypriniformes: Nemacheilidae) from the Chindwin drainage of Manipur, India." Journal of Threatened Taxa 13, no. 12 (October 26, 2021): 19813–17. http://dx.doi.org/10.11609/jott.7005.13.12.19813-19817.
Full textAbstract:
Paracanthocobitis linypha Singer & Page, a freshwater nemacheiline zipper loach, is reported for the first time from the Lokchao River of Manipur (headwaters of Chindwin drainage), in northeastern India. The species is diagnosed in having an incomplete lateral line, flank with 10–14 thin dark bars, long bars occasionally alternating with short bars extending up to about lateral mid-line, interspaces broader than bar width. Morphometric and meristic data of the examined specimens were compared with the original description to validate the species identity.
22
HOLMES, JESSICA A. "“The Dress-Clad, Out Loud Singer of Queer Punks”: Bradford Cox and the Performance of Disability." Journal of the Society for American Music 14, no. 3 (August 2020): 250–79. http://dx.doi.org/10.1017/s175219632000019x.
Full textAbstract:
AbstractBradford Cox's physical appearance has mystified audiences, critics, and fans since the inception of his American indie rock band Deerhunter in the early 2000s. As the band's frontman, Cox is 6’4” with an exceptionally thin, angular frame, physical effects associated with Marfan syndrome. Yet many critics and fans do not recognize that he has a disability per se, instead speculating about possible anorexia, drug abuse, mental illness, and even his gender and sexual orientation. Through analysis of Cox's reception and creative output, I argue that the simultaneous fetishization and normalization of his body is due to its resonance with two overlapping countercultural discourses: the current idealization of thinness in indie rock as it both extends and departs from an earlier tradition of freakery and androgyny in punk. I show that Cox resists what he views as the masculine heteronormativity and performative apathy of indie rock through “freakish” sartorial reference to his androgynous punk idols PJ Harvey, Joey Ramone, and Patti Smith, an aesthetic that for Cox is vitally queer. Cox uses his solo musical output to further convey his alienation as a queer-disabled male artist: through his lyrics, album art, and specific vocal affectations and production techniques, he establishes a continuity across the visual and sonic registers of his identity to ultimately achieve a sense of belonging.
23
Mohan, S., S. Mohan, and R. H. L. Disney. "A new species of scuttle fly (Diptera: Phoridae) that is a pest of oyster mushrooms (Agaricales: Pleurotaceae) in India." Bulletin of Entomological Research 85, no. 4 (December 1995): 515–18. http://dx.doi.org/10.1017/s0007485300033009.
Full textAbstract:
AbstractIn south India the cultivated oyster mushroom Pleurotus citrinopileatus Singer, which is treated as a subspecies of P. cornucopiae (Paul, ex Pers.) Rolland by some authors, is attacked by larvae of the phorid fly Megaselia tamilnaduensis Disney sp. n. The larvae feed on the mycelium. When more than 3% of the area of the surface of 2.5 kg cylindrical mushroom beds had been damaged the subsequent yields of sporophores fell from 400–500 g to 200–350 g. The new species is described and biological data are summarized.
24
M., Prabu, and Kumuthakalavalli R. "ANTIDIABETIC POTENTIAL OF THE OYSTER MUSHROOM PLEUROTUS FLORIDA (MONT.) SINGER." International Journal of Current Pharmaceutical Research 9, no. 4 (July 14, 2017): 51. http://dx.doi.org/10.22159/ijcpr.2017v9i4.20765.
Full textAbstract:
Objective: The present investigation comprises, in vitro antidiabetic activity such as α-amylase and α-glucosidase inhibitory activities and in vivo antidiabetic activity of methanolic extract of Pleurotus florida.Methods: The fruiting bodies of Pleurotus florida were obtained from Mushroom Unit, Department of Biology, Gandhigram Rural Institute-Deemed University, Gandhigram, Dindigul, Tamil Nadu, India. Sample preparation, qualitative phytochemical analysis, in vitro antidiabetic activities namely α-amylase and α-glucosidase inhibitory activity and in vivo antidiabetic activity namely evaluation of alloxan induced diabetic rats were carried out following the methods reported previously.Results: In vitro and in vivo antidiabetic activity of P. florida exhibited significant results for its α-amylase (94.93±1.75 % at 1000 µg/ml) and α-glucosidase inhibitory activity (84.90±0.42 % at 1000 µg/ml) in a dose-dependent manner. The extract also showed significant antidiabetic activity on in vivo (p<0.05) at the tested dose level (200 mg/kg b. w) this was comparable to Glibenclamide, a standard antidiabetic drug.Conclusion: The presence of phytochemicals namely phenols, flavonoids, saponins, tannins and terpenoids may be responsible for such antidiabetic activity. These results reveal that P. florida can be used as a potential antidiabetic agent.
25
Sarowa, Anil Kumar. "Indo-US relations: With special reference to Manmohan Singh's tenure." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 8 (August 17, 2022): 83–86. http://dx.doi.org/10.31305/rrijm.2022.v07.i08.013.
Full textAbstract:
India had to ignore its interests many times to build its relationship with America. Although the relations between India and America are seeing a progressive improvement and it is expected that the intensity of the relationship between the two will increase, but the possibility cannot be ruled out that the world's contractors Disagreements with America on many points can lead to anything at any time. Even after this, it has to be accepted that in view of the global scenario, melody in the bilateral relations of these two ends in the East-West is the first demand of the time and in view of this demand, both the democracies have new hopes. have come close to each other. Not only this, during the period of the UPA government of India, various new dimensions have also been added to the relations between the two countries.
Abstract in Hindi Language:
अमेरिका के साथ भारत को अपने संबंध बनाने के लिए कई बार अपने हितों को नजरांदाज भी करना पड़ा। यद्यपि भारत-अमेरिका के संबधों मंे उत्तरोत्तर सुधार देखा जा रहा है और आगे भी ऐसी ही आशाएं की जा रही है कि दोनों के संबधों की प्रगाढ़ता बढ़ती जायेगी, किन्तु इस संभावना से भी इंकार नहीं किया जा सकता कि विश्व की ठेकेदारी का दम भरने वाले अमेरिका से अनेक बिन्दुओं पर असहमति कभी भी कुछ भी कर सकती है। इतना होने के बाद भी इस बात को स्वीकार करना ही पड़ेगा कि वैश्विक परिदृश्य को देखते हुए आज पूरब-पश्चिम में इन दो छोरों के द्विपक्षीय संबंधों में माधुर्यता का होना ही समय की प्रथम मांग है और इसी मांग को देखते हुए दोनों ही लोकतंत्र नयी आशाओं के साथ एक-दूसरे के करीब आए हैं। इतना ही नहीं भारत की सप्रंग सरकार का काल में दोनों देशों के संबंधों में विविध नए आयाम भी जुड़े हैं।
Keywords: भारत, अमेरिका, मनमोहन सिंह, परमाणु करार।
26
Woodfield, Ian. "The ‘Hindostannie Air’: English Attempts to Understand Indian Music in the Late Eighteenth Century." Journal of the Royal Musical Association 119, no. 2 (1994): 189–211. http://dx.doi.org/10.1093/jrma/119.2.189.
Full textAbstract:
A ‘hindostannie air‘ may be defined as a short piece derived from an Indian original but arranged in a European idiom. The genre came to prominence among the English inhabitants of Calcutta during the 1780s and 1790s. A small group of women, reflecting the currently fashionable interest in anything oriental, began to employ professional musicians to ‘collect’ Indian songs – that is, to notate them as best they could from the performances of leading Indian singers. Once the melodies had been transcribed, they were arranged as solo keyboard pieces or as songs, a process which necessitated the use of a key signature, a time signature and a harmonization in a European idiom. At the height of the fashion, pieces were performed regularly at the fashionable soirées of Calcutta society, often to great applause, with the singers sometimes adopting Indian dress to add to the ‘authenticity’ of the presentation. At the same time the repertory began to attract the attention of the small group of orientalists led by Sir William Jones, who were engaged in the first serious European attempt to understand the principles that lay behind Indian music. By the turn of the century, with Anglo-Indian attitudes to Indian culture becoming steadily more hostile, the genre began to decline in popularity, but it was then taken up by scholars in England. ‘Hindostannie’ specimens from collections brought back from India provided important material for the compilations of national airs published by Crotch, Jones and others. Having thus established a small but distinctive niche in popular English culture as exotic imports, Indian tunes of one kind or another continued to appear throughout the nineteenth century.
27
Mukhopadhyay, Amites. "Yogendra Singh: Remembering the Sociologist (1932–2020)." Sociological Bulletin 69, no. 3 (December 2020): 402–13. http://dx.doi.org/10.1177/0038022920963326.
Full textAbstract:
Yogendra Singh, the sociologist and the Professor emeritus of Jawaharlal Nehru University (JNU) passed away in May this year. Professor Singh’s demise is not only a loss to the sociology fraternity, but also to the scholarship on and more importantly, to the tradition of critical studies in India. The article remembers Yogendra Singh and reflects on his career as a teacher, an academic and institution builder. Yogendra Singh was not simply a professor of JNU, but he collaborated with his colleagues in the late sixties in making possible the school of social sciences of JNU. The paper remembers him as a fine human being careful with his words and committed to the society he made the subject of his study. His sociology taught him to be critical about his ascriptive ancestry. In spite of being born in a zamindar family in Uttar Pradesh, Singh made caste, hierarchy and privileges an object of his critical analysis. The paper looks at Professor Singh’s contribution to different domains of sociology and Indian society, particularly modernizing India, Indian tradition, caste, class and hierarchies. He is also remembered for his works on historical roots of Indian sociology and institutions of science and critical learning.
28
Sadovnikova, Ya. "India: from “M. Singh’s Reform” to Economic Policy of N. Modi." World Economy and International Relations 64, no. 5 (2020): 118–23. http://dx.doi.org/10.20542/0131-2227-2020-64-5-118-123.
Full text
29
Ruisheng, Cheng. "Prospect of China–India Relations after Prime Minister Manmohan Singh's Visit." China Report 44, no. 1 (February 2008): 57–61. http://dx.doi.org/10.1177/000944550704400108.
Full text
30
Festino, Cielo. "Grinding Songs from Goa." Aletria: Revista de Estudos de Literatura 31, no. 1 (March 31, 2021): 225–46. http://dx.doi.org/10.35699/2317-2096.2021.25541.
Full textAbstract:
The aim of this paper is to bring an analysis of oviyos, folkloric songs that Indian women from the Hindu community of Goa, former Portuguese colony in India used to sing while working at the grinding stone. These songs, a sample of Goan folklore, were collected by Heta Pandit in the book Grinding Stories. Songs from Goa (2018), based on her field work with singers Subhadra Arjun Gaus, Saraswati, Dutta Sawant and Sarojini Bhiva Gaonkar. The songs, sung in a dialect of Marathi-Konkani, were transcribed into English. These elaborate songs are of psychological and social significance as they provide a release from a sometimes harsh reality, at the same time they are an invaluable cultural document. They have been analyzed from the perspective of Goan folklore as discussed by Phaldesai (2011), the meaning of folkloric narratives (Dundes, 2007) and a reflection on the genre oviyos (Jassal, 2012).
31
Moffat, Chris. "Politics and the Work of the Dead in Modern India." Comparative Studies in Society and History 60, no. 1 (January 2018): 178–211. http://dx.doi.org/10.1017/s0010417517000457.
Full textAbstract:
AbstractThis article provides a framework for understanding the continuing political potential of the anticolonial dead in twenty-first-century India. It demonstrates how scholars might move beyond histories of reception to interrogate the force of inheritance in contemporary political life. Rather than the willful conjuring of the dead by the living, for a politics in the present, it considers the more provocative possibility that the dead might themselves conjure politics—calling the living to account, inciting them to action. To explicate the prospects for such an approach, the article traces the contested afterlives of martyred Indian revolutionary Bhagat Singh (1907–1931), comparing three divergent political projects in which this iconic anticolonial hero is greeted as interlocutor in a struggle caught “halfway.” It is this temporal experience of “unfinished business”—of a revolution left incomplete, a freedom not yet perfected—that conditions Bhagat Singh's appearance as a contemporary in the political disputes of the present, whether they are on the Hindu nationalist right, the Maoist student left, or amidst the smoldering remains of Khalistani separatism in twenty-first-century Punjab. Exploring these three variant instances in which living communities affirm Bhagat Singh's stake in the struggles of the present, the article provides insight into the long-term legacies of revolutionary violence in India and the relationship between politics and the public life of history in the postcolonial world more generally.
32
Bansal, Dr Alka. "Train to Pakistan: A Saga of Unsalvaged Suffering." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 29, 2021): 41–55. http://dx.doi.org/10.24113/ijellh.v9i7.11118.
Full textAbstract:
The torments of the colossal human tragedy of the partition of India and its aftermath are still being borne by the people of India in some way or the other. The fissured social and emotional spirit of the people is still not healed. The horrific scenes of partition still haunt the psyche of the Indians. Millions were massacred and those that were alive were like live corpses moving around. Their sufferings are unfathomed. They not only suffered physically but also mentally and emotionally. Khushwant Singh’s Train to Pakistan is a novel that unfolds all aspects of suffering and pain which were endured by the people at that time. Singh has been successful in communicating to his readers the tribulations of the partition days, the harrowing experiences, grossness, the madness and the bestial horrors.The displacement of people from one country to another became the root cause of the whole holocaust. The village which bustled with activity turned into a kenopsia. Singh’s rankling at the idea of partition can be perceived in the novel. In the novel, Singh has vehemently written about every aspect of the dreaded violence to which women were subjected. It is quite obvious from the conditions prevailing in India that this splitting of the country was a futile effort. It sowed the seeds of communal discord permanently. People are still suffering they have not fully recovered from this psychosomatic trauma. The seeds of harmful weeds that were sown by the partition are still being reaped by the Indians.
33
Yadav, Mahabir Prasad. "Psychosoma of Disabilities as Reflected in Professor Prem Singh’s Short Stories." Literary Studies 28, no. 01 (December 1, 2015): 52–57. http://dx.doi.org/10.3126/litstud.v28i01.39567.
Full textAbstract:
Disability is perennial international phenomenon which has been existing on the continuum of the world literature, education and society for over ages be it since the days of Homer and Tiresias in Greece, Milton, Pope and Byron in England, Louis Braille in France or Ashtavakra, Dirghatamas, Soordas, saint Virjanand and saint Gangeshwaranand in India. History and perspectives reveal that right since the days of antiquity to the postmodern and contemporary times of fourth world literature and society, disability community has been combating the odds for sustenance and self-esteem.
34
Sayed, Suhail I., Rehan Kazi, Shubhra Sengupta, Abhay Chowdhari, and Mohan Jagade. "Microbial colonization of Blom-Singer Indwelling Voice Prostheses in Laryngectomized Patients: A Perspective from India." Ear, Nose & Throat Journal 91, no. 4 (April 2012): E19—E22. http://dx.doi.org/10.1177/014556131209100418.
Full text
35
Raghav, Radhika. "Power, privilege and paradox: Understanding Ranveer Singh’s sartorial fame and the (un)making of the new millennial masculinity in contemporary Indian society." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 177–98. http://dx.doi.org/10.1386/csmf_00024_1.
Full textAbstract:
Bollywood film star Ranveer Singh’s fashion choices are often defined as eccentric, outlandish and even androgynous, in particular, his much-talked-about public appearances in bright floral pantsuits, or kohl-lined eyes and man-skirts are discussed in popular media as subverting gender norms and challenging gender binaries. Commenting on the shift in representation of contemporary Bollywood’s male protagonist, film scholars have argued that Singh embodies ‘metrosexual masculinity’ in neoliberal India and that his on- and off-screen persona involves deliberate scripting of a ‘feminist’ and ‘less patriarchally structured masculinity’. Testing the extent of the assertions mentioned above, I examine Singh’s media persona as a site of cultural production and a form of social reproduction. I use a feminist theoretical framework, and gender studies debates to critique Singh’s negotiations with gender and sexuality in his media images across – film, advertisement and social media. I argue that the millennial star as a fashion icon is not only far from offering a progressive model of millennial masculinity, but is also working towards normalizing Hindu gender ideologies that have long sanctioned power to men and subjugated women in Indian society. Focusing on the role played by the corporatized androcentric media industry, I argue that ‘feminist’ posturing of the star appropriates and suppresses other forms of marginal identities. Singh’s media persona thus works to maintain the status quo as far as gender, class and caste identities are concerned, and becomes a vehicle of the nationalist ideology under the present right-wing leader, Narendra Modi.
36
Sumati, Yadav. "Substantial and Substantive Corporeality in the Body Discourses of Bhakti Poets." Perichoresis 18, no. 2 (June 1, 2020): 73–94. http://dx.doi.org/10.2478/perc-2020-0012.
Full textAbstract:
AbstractThis paper studies the representation of human corporeal reality in the discourses of selected Bhakti poets of the late medieval period in India. Considering the historical background of the Bhakti movement and contemporary cultural milieu in which these mystic poets lived, their unique appropriation of the ancient concept of body is reviewed as revolutionary. The focus of the study is the Kabir Bijak, Surdas’s Vinay-Patrika, and Tulsidas’s Vinay-Patrika, wherein they look at and beyond the organic corporeality and encounter human body not as a socially, religiously, economically stamped noble body or lowly body; male body or female body, but a human body. This paper explores how, like existential phenomenologists, these poet/singers decode the material reality of human beings and link it to the highest goal of achieving Moksha (liberation from the cycle of birth-death) by making body a vulnerable but essential instrument towards spiritual awakening. The paper also reflects upon how these poets have suggested a middle path of absolute devotion to God while performing all earthly duties, seek spiritual enlightenment and avoid the extremities of asceticism and hedonism.
37
Roy, Kaushik, Amar Singh, Susanne Hoeber Rudolph, Lloyd I. Rudolph, and Mohan Singh Kanota. "Reversing the Gaze: Amar Singh's Diary: A Colonial Subject's Narrative of Imperial India." Journal of Military History 65, no. 3 (July 2001): 814. http://dx.doi.org/10.2307/2677568.
Full text
38
Carbajal, Alberto Fernández. "Trans*versality, a hijra politics of knowledge, and Partition postmemory in Khushwant Singh’s Delhi: A Novel." Journal of Commonwealth Literature 57, no. 3 (September 2022): 532–43. http://dx.doi.org/10.1177/00219894221115909.
Full textAbstract:
In contrast with Train to Pakistan (1956), Khushwant Singh’s Delhi: A Novel (1990) has not received critical attention in light of India and Pakistan’s Partition. The diegetic narrator, a middle-aged Sikh writer, and his long-term intersex lover, the hijra Bhagmati, constitute the text’s main focalizers in contemporary Delhi. Bhagmati is constructed as a metonym for Delhi, a bold trans*versal choice on Singh’s part given her marginal social position as a religiously syncretic hijra. In Singh’s novel, the Sikh narrator and his hijra lover become the witnesses of India’s modern history, with the narrative building up to the watershed moment that is the Partition. This article proposes that Bhagmati offers an inclusive vision of post-Partition Delhi that is mordantly steeped in a “hijra politics of knowledge” (Lal, 1999). While the novel seemingly suppresses the trauma of the Partition throughout most of the narrative, this article argues that its compressed depiction in one single short chapter, and its later revisitation on the Sikh community after the assassination of Indira Gandhi in 1984, demonstrates the traumatic and cyclical nature of Partition violence and the novel’s belated position as a form of Partition postmemory. It is also proposed that the choice of the Sikh narrator and Bhagmati as the focalizers for contemporary Delhi acts as a dissident antidote to the predominant binary focus on Hindus and Muslims, offering a trans*versal version of recent Indian history challenging majoritarian and minor-majoritarian identity politics.
39
Agnihotri, R. K. "Continuing debates over the native speaker: a report on a symposium on English in India and Indian English." English Today 24, no. 4 (November 7, 2008): 51–57. http://dx.doi.org/10.1017/s0266078408000400.
Full textAbstract:
ABSTRACTThe Central Institute of Indian Languages, Mysore, India organized a symposium/dialogue on English in India and Indian English held during January 4–6, 2007 at the The Central Institute of Indian Languages (CIIL), Mysore, India. It was devoted to a discussion of the issues addressed in the keynote paper by Rajendra Singh, which some 23 scholars from throughout the world had been invited to respond to. Although a few of the invited scholars were not able to attend, they were kind enough to send their papers and we had a very productive and lively discussion in which the academic staff of CIIL and local journalists, students, and educationists also participated. This report is organized as follows: in section 1, we summarize the keynote address and all the full-length responses to it; in section 2, we summarize the brief comments and observations that were presented or tabled by the invited respondents; in section 3, we offer concluding remarks and a brief summary of Singh's responses to the interventions summarized in sections 1 and 2.
40
Putcha, Rumya S. "The Mythical Courtesan." Meridians 20, no. 1 (April 1, 2021): 127–50. http://dx.doi.org/10.1215/15366936-8913140.
Full textAbstract:
Abstract This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentieth-century dancer-singer-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.
41
Gangadhar, Bongurala. "Role of Women in Telangana Statehood Movement from South India: Contributions and Case Story of Belli Lalitha." ANTYAJAA: Indian Journal of Women and Social Change 5, no. 1 (April 30, 2020): 70–77. http://dx.doi.org/10.1177/2455632719880871.
Full textAbstract:
The role of women in Telangana statehood movement has immense importance and has paved a way for the realization of the dreams of women who aspired for emancipation from human trafficking, dowry, domestic violence and liquor mafia. The role of Belli Lalitha in the 1990s sparked a wave of movement with her folk songs to mobilize people to demand their rights. Belli Lalitha’s journey started with ups and downs as a school dropout, married early, labourer in a cotton mill, labour activist, folk singer and political leader, but her sudden murder by the goons and political leaders changed the pace of the movement from peak level to ground. To mobilize millions of people in the final phase of the Telangana movement, the folk song tradition familiarized at grass-root level by Belli Lalitha occupies an important position.
42
TAYLOR, JEAN GELMAN. "The Sewing-Machine in Colonial-Era Photographs: A record from Dutch Indonesia." Modern Asian Studies 46, no. 1 (November 25, 2011): 71–95. http://dx.doi.org/10.1017/s0026749x11000576.
Full textAbstract:
AbstractEveryday technologies of the nineteenth century—mass-produced items that were small, sturdy, and affordable—transformed the daily lives of working people in Asian colonies. There is already a large literature on colonial technology transfer and a specialist literature on the sewing-machine, which draws on Singer archives, production figures, sales techniques, and advertising to establish uptake by households from North America to the Philippines, India, China, and Egypt. Still, documentation of how and why imported objects such as the sewing-machine were appropriated is difficult to find because, unlike elites, ordinary people left few records of their own. Here a visual archive is investigated to complement existing studies. Photographs and early moving pictures from the former Dutch East Indies show that ordinary Indonesians sought and appropriated imported goods such as the sewing-machine. The colonial camera's visual record of sewing-machine operators displaces attention from the more impersonal trade and productivity statistics. It brings the silent user into the history of technological uptake and allows us to consider the repercussions across a wide social band and period. Indigenous tailors and seamstresses expanded their own work options. Through the Singer they fitted out and launched their compatriots into modern jobs and lifestyles in the Dutch colony. The sewing-machine changed habits, manners, and expectations; machine operators influenced senses of propriety, fashion, and status. Appropriation of mundane technology demonstrates that modernization was not only a process trickling down to the masses from Westernizing elites; it also bubbled up from below.
43
Mines, Mattison, and Vijayalakshmi Gourishankar. "Leadership and Individuality in South Asia: The Case of the South Indian Big-man." Journal of Asian Studies 49, no. 4 (November 1990): 761–86. http://dx.doi.org/10.2307/2058235.
Full textAbstract:
Although there has been great interest in how properly to conceptualize the person in Indian culture, few have explored Indian perceptions of leadership, achievement, and agency as valued features of individuality (Singer 1972; Mines 1988; Fox 1989). Indeed, since Dumont (1970a,b) forcefully argued that the values of equality and liberty that support the Western notion of the individual were absent from Indian society, the important roles that personal uniqueness, volition, and achievement play in Indian history have been largely overlooked or understated. This paper reconsiders an Indian sense of these roles by examining the south Indian concept of the “big-man” (periyar, periyavar), a notion of individuality and instrumentality that is central to the politics of south India and crucial to an understanding of the dynamic relationship that exists between action and organization in Indian society (cf., Fox 1989).
44
Rudolph, Lloyd I. "Self as Other: Amar Singh's Diary as Reflexive ‘Native’ Ethnography." Modern Asian Studies 31, no. 1 (February 1997): 143–75. http://dx.doi.org/10.1017/s0026749x00016966.
Full textAbstract:
Amar Singh at twenty began writing on a daily basis. His diary extends over 44 years, from 1898 to 1942. Its last entry is dated 1 November 1942. He died that night. These days, the 89 quarto-size bound volumes averaging 800 manuscript pages can be found at Kanota Fort, ten miles east of Jaipur off the Agra road, where Mohan Singh, his nephew and heir, keeps them in glass-fronted Victorian cabinets in one of the several rooms Amar Singh called his library. In the essay that follows1 I try to show why and how Amar Singh, a diarist writing reflexively about himself, constructed a ‘self as other’ethnography of turn-of-the-century princely and British India. Through the medium of his diary he becomes a participant, an observer, an informant, a narrator, and an author. I set the stage for Amar Singhʼns self-as-other ethnography by examining the separation and alienation in anthropological discourse of self and other. Common to ethnography since Malinowskiʼns invented participant-observer field work, the separation was questioned, then challenged by postcolonial Indian and by postmodern Western anthropologists. I then show how Amar Singh, a self-conscious and critical ‘native’ self, constitutes the other in constituting himself. It is a story about how a native came to represent, speak for, and know himself.
45
Maclean, Kama. "The Portrait's Journey: The Image, Social Communication and Martyr-Making in Colonial India." Journal of Asian Studies 70, no. 4 (November 2011): 1051–82. http://dx.doi.org/10.1017/s0021911811001562.
Full textAbstract:
Bhagat Singh, the revolutionary nationalist executed by the British in 1931, continues to be an enormously popular figure in contemporary India, immediately recognizable in ubiquitous posters, stickers and placards by his distinctive hat. This article uncovers the story behind Bhagat Singh's original ‘hat photograph’ by tracing the portrait's journey from the time it was taken, in 1929, to the early 1930s. The portrait was devised as a tactic of political subversion and intended as revolutionary propaganda, although it became more widely interpreted as an icon of defiant nationalism and a symbol of imperial injustice. The image quickly morphed from its original format, and rapidly circulated in the form of reproductions, paintings and drawings, travelling well beyond the confines of the literate domain, making a decisive impact on the charged political landscape of the early 1930s.
46
Mani, Charulatha. "On breaking with." Journal of Interdisciplinary Voice Studies 5, no. 1 (April 1, 2020): 59–80. http://dx.doi.org/10.1386/jivs_00016_1.
Full textAbstract:
It is through voice that oftentimes individuals find themselves breaking with conventions and systematically ingrained injustices. In the recent literature in the burgeoning field of interdisciplinary voice studies, the phenomenon of voicing has been projected as a powerful process, across cultures, to represent human agency at its most potent, and this article is a critical discussion on this very uniqueness of voicing in relation to social equity, corporeality and cultural value. The author, a female singer-researcher of Karnatik music of South India, unpacks the burdens and privileges of voice in the light of cultural contingency, global mobility and interculturality. Following a discussion encompassing literature and theories on voice, historical ideas of voice and feminist critiques on voice and the voicing female body from a South Indian angle, the author proposes a Pentagonal Entanglement framework for equitable engagement with the voice ‐ across scenarios and cultures, to critically address the socially pressing issues of our time through the medium of voice.
47
Mehrotra, Sonia, Smriti Verma, and Ishani Chakraborty. "Samosa Singh: the fast food of India." Emerald Emerging Markets Case Studies 8, no. 3 (September 26, 2018): 1–32. http://dx.doi.org/10.1108/eemcs-03-2018-0035.
Full textAbstract:
Subject area The subject areas are entrepreneurship, start-up ventures and business strategy. Study level/applicability The case is appropriate for undergraduate and graduate MBA. Case overview Shikhar Veer Singh (Singh), a post graduate in Medical Biotechnology, quit a cushy corporate job to start his own food venture WoknStove Foodworks Pvt. Ltd. (WSFL) in October 2015. WSFL sold the ubiquitous popular Indian snack food “Samosas” under the brand name of “Samosa Singh”. “Samosa” – a deep fried triangular in shape with conical edges crispy wrap with variety fillings of potatoes/vegetables – was part of unorganized sector and sold by small shops and road-side hawkers. Singh spotted an opportunity to “brand” the “Samosas” that as well was gaining momentum in the international convenience food markets. The company set up a central kitchen near Electronic city, Bangalore, and started experimenting with different fillings. In February 2016, WSFL opened its first quick service restaurant (QSR) in Electronic city, Bangalore. It was an instant hit with consumers of all age groups. Gradually, the company started supplying bulk orders to various other customer segments such as corporate customers, schools and movie theatres/event stalls, that resulted in revenue growth. By January 2017, his monthly annual revenues amounted to INR […] Singh had ambitious plans to expand his business from a single QSR to 15 QSRs across the city by 2018. However, to cater to the increasing demands and support his expansion plans, he was yet to find out the most suitable back-end processes. He had adopted few standard operating procedures (SOPs) for quality operations and implemented 30 per cent of automation for backend processes at his central kitchen. Singh was aware of the automated machinery available in international markets that had conveyor belt arrangements where one could place the flour dough and filling consecutively to get the end product in a shape, unlike the shape of the Indian “Samosas”. The triangular shape with conical edges of the Indian “Samosas” was of utmost importance for the Indian consumers, as the shape associated them with the favourite snack, the “Samosas”. Singh preferred the method of manual filling to maintain the shape and decided to focus on increasing the shelf life of the “Samosas” instead. He felt that an increased shelf life would better equip him to cater the increased market and seasonal demands. However, the question was that whether this was a feasible option to support his ambitious expansion plans (with only 30 per cent automation)? Was Singh’s thinking right with respect to the business operation? More importantly, whether WSFL venture would be able to make an attractive business proposition for investments from any future institutional/angel investor? Singh’s mood turned reflective as he pondered on the above questions. Expected learning outcomes The case is structured to discuss the structure of Indian QSR market and factors contributing to its growth, evaluate WSFL’s ability to leverage the Indian QSR market potential, its strengths and shortcomings, to highlight the steps of consumer decision making process in terms of selection of a QSR and discuss WSFL’s business model and its future sustainability. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 3: Entrepreneurship
48
Chatterjee, Sebanti. "Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other." Society and Culture in South Asia 6, no. 2 (July 2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.
Full textAbstract:
This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.
49
MACLEAN, KAMA. "The History of a Legend: Accounting for Popular Histories of Revolutionary Nationalism in India." Modern Asian Studies 46, no. 6 (February 16, 2012): 1540–71. http://dx.doi.org/10.1017/s0026749x12000042.
Full textAbstract:
AbstractNarratives about the revolutionary movement have largely been the preserve of the popular domain in India, as Christopher Pinney has recently pointed out. India's best-known revolutionary, Bhagat Singh—who was executed by the British in 1931 for his role in the Lahore Conspiracy Case—has been celebrated more in posters, colourful bazaar histories and comic books than in academic tomes. These popular formats have established a hegemonic narrative of his life that has proved to be resistant to subsequent interventions as new materials, such as freshly-declassified intelligence reports and oral history testimonies, come to light. This paper accounts for why Bhagat Singh's life story has predominantly prevailed in the domain of the popular, with special reference to the secrecy of the revolutionary movement and the censure and censorship to which it was subjected in the 1930s.
50
Bhattacharya, Shouvik, and Saurav Rajurkar. "What’s the Law? How Indian Courts Should Determine the Law Governing the Arbitration Agreement." Journal of International Arbitration 39, Issue 4 (August 1, 2022): 593–610. http://dx.doi.org/10.54648/joia2022026.
Full textAbstract:
Determination of the law governing the arbitration agreement is a long-standing subject of controversy. The highest courts in the United Kingdom and Singapore have now provided definitive guidance in their respective jurisdictions using a largely identical test, which we call a common choice of law framework. No such common framework for determining the law of the arbitration agreement exists in India. Despite the Indian Supreme Court’s early observations on this issue in NTPC v. Singer (1992), subsequent Supreme Court and High Court decisions have adopted varying approaches, which has resulted in jurisprudential uncertainty. We argue that consistent with India’s increasing friendliness to arbitration and the Indian Supreme Court’s prior decisions, Indian courts should adopt the common choice of law framework as articulated in the United Kingdom and Singapore. We further argue that the Indian courts should recognize the validation principle as articulated by the UK Supreme Court. Law governing the arbitration agreement, choice of law, validation principle, closest and most real connection, reasonable commercial parties, business efficacy, pro-arbitration approach