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Akram, M., and P. K. Bhoyar. "Impact of COVID-19 and Online Streaming Services on the Movie Theater." CARDIOMETRY, no. 25 (February 14, 2023): 627–32. http://dx.doi.org/10.18137/cardiometry.2022.25.627632.
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Movie Theaters in India face a big crisis amid COVID-19, which leads to the shutdown of Theaters for more than five months. In the meantime, Online Streaming Services are expanding their business and revenue like never before. This scenario raises the very prominent questions (1) whether the movie theater business will survive this hard time and get back to normal growth and business once COVID-19 cases will reduce. The situation gets back to ‘old normal’. (2) Will Online Streaming services and Movie Theater business co-exist in the future, as Satellite TV and Movie Theater exist for many decades. Based on data from an empirical survey conducted among regular moviegoers, this paper questions the claims of the industry that the Movie Theater business is in danger due to the emergence of online streaming services. It has been observed that the increase in traffic on these online streaming services is mainly because of the lockdown situation, and once theater reopens and the COVID-19 health crisis went, people will get back to Theaters in a large number. Data from the reopening of Theaters in other countries are also showing the same result.
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G. Yadagiri. "ISSUES OF GENDER BAISED, CASTE, HEREDITY, RELIGION AND SEX IN THE PLAYS OF GIRISH KARNAD: A CRITICAL ANALYSIS." Journal of English Language and Literature 10, no. 02 (2023): 61–64. http://dx.doi.org/10.54513/joell.2023.10206.
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Girish Karnad was one of the most prominent and celebrated figures in Indian drama. He was an actor, playwright, and director, whose contribution to Indian theatre was immense. Karnad's plays were deeply rooted in Indian history and mythology, and dealt with issues such as identity, language, and cultural conflict. His works were widely performed and admired not only in India, but also internationally. Karnad's contribution to Indian drama can be seen in his numerous awards and accolades throughout his career, including the Padma Shri, Padma Bhushan, and Jnanpith Award, considered the highest literary honour in India. His plays, such as Yayati, Tughlaq, and Hayavadana, are regarded as modern classics of Indian theatre. Girish Karnad, the renowned Indian playwright, has addressed various social, cultural, and political issues in his works. While caste, heredity, religion, and sex are themes that occasionally appear in his plays, it is important to note that Karnad’s works are not limited to these topics. He explores a wide range of subjects and uses them as a means to reflect upon the complexities of Indian society and human nature. Here are some instances where these themes are present in Karnad’s plays. Karnad excelled in multiple fields, including theater, cinema, and literature. He was an accomplished playwright, having written numerous plays in Kannada, his native language, as well as in English. Some of his notable plays include Tughlaq, Hayavadana, and Nagamandala. He also acted in films and directed critically acclaimed movies like Vamsha Vriksha and Utsav.
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Swiderski, Richard M., and Ministry of Education and Culture. "Our Cultural Fabric. Puppet Theater in India." Asian Folklore Studies 44, no. 1 (1985): 148. http://dx.doi.org/10.2307/1178000.
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Kotin, Igor Yu, Nina G. Krasnodembskaya, and Elena S. Soboleva. "India of 1920s as Seen by Soviet Playwright, Consulting Indologists, Theater Critics." RUDN Journal of Russian History 20, no. 1 (December 15, 2021): 125–44. http://dx.doi.org/10.22363/2312-8674-2021-20-1-125-144.
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The authors of this contribution analyze the circumstances and the history of a popular play that was staged in the Soviet Union in 1927-1928. Titled Jumah Masjid, this play was devoted to the anti-colonial movement in India. A manuscript of the play, not indicating its title and the name of its author, was found in the St. Petersburg Branch of the Archive of the Russian Academy of Sciences among the papers related to A.M. and L.A. Meerwarth, members of the First Russian Expedition to Ceylon and India (1914-1918). Later on, two copies of this play under the title The Jumah Masjid were found in the Russian Archive of Literature and Art and in the Museum of the Tovstonogov Grand Drama Theatre. The authors of this article use archival and published sources to analyze the reasons for writing and staging the play. They consider the image of India as portrayed by a Soviet playwright in conjunction with Indologists that served as consultants, and as seen by theater critics and by the audience (according to what the press reflected). Arguably, the celebration of the 10th anniversary of the October Revolution in Russia in 1927 and the VI Congress of the Communist International (Comintern) in 1928 encouraged writing and staging the play. The detailed picture of the anti-colonial struggle in India that the play offered suggests that professional Indologists were consulted. At the same time the play is critical of the non-violent opposition encouraged by Mahatma Gandhi as well as the Indian National Congress and its political wing known as the Swaraj Party. The research demonstrates that the author of the play was G.S. Venetsianov, and his Indologist consultants were Alexander and Liudmila Meerwarth.
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Tatarkov, Dmitriy B. "Comparative Analysis of the Use of the Naval Forces of India and Pakistan During the 1971 War." Vestnik of North-Ossetian State University, no. 1(2021) (March 25, 2021): 28–35. http://dx.doi.org/10.29025/1994-7720-2021-1-28-35.
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The destructive processes that are observed in the modern world, the crisis of the world order determine a new round of power confrontation both in the line of global and regional actors of world politics. There is an increase in armed confrontation, the desire to solve old, including territorial, problems by force. The study of the historical experience of the armed confrontation between India and Pakistan actualizes the problem of this paper. The purpose of the article is to analyze and summarize the experience of the use of naval forces during military operations at sea in the Indo-Pakistani war of 1971, to identify the main factors that influenced the planning of naval operations, the course and results of combat operations at sea. The author used a narrative approach and a historical-comparative method to identify the evolution of ideas about the use of naval forces in the Indo-Pakistani conflict of 1971. The article highlights and examines the main factors and their impact on the training and use of naval forces during military operations at sea in the Indo-Pakistani conflict of 1971. Special attention is paid to the assessment of the impact of the political nature of the war, its goals and scale, the views of the military-political and military leadership of India and Pakistan on the training and use of naval forces; the tasks that were solved by the fleets of the parties; the role and place of individual types of forces in solving certain tasks in the theater of operations. To determine factors that directly affect the use of the naval forces of India and Pakistan in the 1971 conflict, the author analyzes the conditions in the Maritime theaters of war, the factors that have characterized the theater, and the impact of conditions in the theater on the planning and implementation of operations. The main sources are archival and analytical materials of the Ministry of Defense of India and the Ministry of Defense of Pakistan, memoirs of war participants.
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Dasgupta, Probal. "The Theater and Classical India: Some Availability Issues." Philosophy East and West 66, no. 1 (2016): 60–72. http://dx.doi.org/10.1353/pew.2016.0016.
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Subrata Saha, Asoke Howlader, Arindam Modak,. "THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI." Psychology and Education Journal 58, no. 2 (February 1, 2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.
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Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.
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Bhuyan, Abul Basher MD Ziaul Haque. "The synthesis of tradition in contemporary theatre of Bangladesh: “The theatre of roots”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 84–104. http://dx.doi.org/10.35852/2588-0144-2022-4-84-104.
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The article examines how the Eastern traditional theatre responded to the Western theatre in the context of the British colonial regime in the Indian subcontinent. From this point of view, the dialogue between cultures was practically not considered. Hence, this study is devoted to understanding the synthesis of European theatre and traditional theatre, which began to be considered a rural art form by the early twentieth century, meaning something simple or low. In contrast, urban theatre of the European type was perceived as something refined or high. Rabindranath Tagore had not been fully successful in synthesizing heterogeneous theatrical traditions in his lyrical plays. The Indian People’s Theatre Association (IPTA), an all-India organization of progressive writers-artists-activists, was established in Mumbai (Bombay) in 1943, played a significant role in creating the new cultural expression in the map of colonial Bengali theatre. Also, after obtaining independence in 1971, the theatre artists of Bangladesh sought a new language of performance in the urban theater, which would embody the people’s lives, hopes, and dreams. Eventually, the national cultural movement emerged in the decade of 90s in the last century. The movement was called the “Theatre of Roots”, which attempted to synthesize the traditional elements with the Western forms and enjoyed great popularity. Therefore, the article analyzes the play Wheel by Selim Al Deen, directed by Syed Jamil Ahmed, the most significant examples of the “Theatre of Roots” movement. In the study of this production, an analysis of the artistic process of synthesis of traditions in the modern urban theatre of Bangladesh is carried out.
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Khan, Shahab Yar. "Shakespeare i Orijent / Shakespeare and the Orient." Context: Journal of Interdisciplinary Studies 3, no. 2 (March 21, 2022): 77–83. http://dx.doi.org/10.55425/23036966.2016.3.2.77.
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The history of drama in Asia is as old as the history of the world itself. In India however, according to the popular belief, the tradition of drama dates back to the prehistoric times. Due to this unique approach towards drama, that makes it a valuable divine gift for humanity, the esoteric significance of this art form has never seen decline in the cultural history of India. Drama, thus, acquires in Indian context a religious significance and represents as an art form the union of the celestial and the terrestrial. Drama (in Sanskrit Natak), in the Indian Subcontinent, has distinctive characteristic features. Essentially, as reflection of human existence, it is a combination of all the known art forms and, therefore, becomes the deepest expression of the human soul. The rise of Islamic culture and civilization in the twelfth and thirteenth centuries contributed to the amalgamation of the two great civilizations. The impact of the Muslim culture in transforming the classical features of Indian music, architecture, science, literature, etc. can by no means be undermined. By the end of the sixteenth century, the century of liberal humanism and coincidently the era of the rise of the Mughal Empire, the theatrical art had gained enormous significance in India. There is enough evidence to believe that Shakespeare’s plays were first performed in India during the reign of the Mughals (1526-1857). Later, the newly emerging colonial power, the English, in its first stronghold in India, Calcutta, established alongside other bureaucratic, political and educational institutions, the Garrison Theater. The earliest performances at this theater date back to 1770s and the first ever documented English play on the Indian soil happens to be Shakespeare’s Othello. Shakespeare’s unique dramatic structure smoothly found its place of prominence in the cultural life of India, offering new dimensions to the already existing rich local tradition and at the same time enriching its own dramatic expression. Today, all the major educational institutions of the Subcontinent cherish the tradition of mounting on stage the annual performances of Shakespeare’s plays and the cinematographic tradition has incorporated his works into its popular tradition from the very beginning of the history of the film industry in India.
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Roy, Oliva. "Contentious Politics, State Repression and Civil Dissidence: The Discourse of Resistance in Utpal Dutt’s Nightmare City." Journal of Foreign Languages and Cultures 7, no. 1 (June 28, 2023): 103–13. http://dx.doi.org/10.53397/hunnu.jflc.202301011.
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In the Post-Independence era, the prolific playwrights of India started using the aesthetic form of theater to contest authoritarian structures, and to voice their anti-establishment dissent. Utpal Dutt, a pioneering figure in Modern Indian Theater, used the medium of drama for propaganda and political conscientization of the oppressed. The indefatigable thespian contributed significantly towards the formation of modern Bengali theater, as his plays voiced his intransigent protest against the authoritarian government and concurrently, showed his impressive experimentation with different dramatic techniques, theatrical devices and theatrical genres. Dutt’s anti-establishment play, Nightmare City presents a fastidious account of the turbulent years of late-1960s and early-1970s Bengal gripped by Naxalite violence and police brutalism. Set against the backdrop of Naxalite insurgency, the play savagely exposes the ideological hypocrisy of the autocratic government leaders of the time and their violent hooliganism. However, the playwright, in sync with his earlier plays, has not only portrayed the tumultuous socio-political ambiance of the 70s Calcutta, but has also constructed a soul-shattering voice of resistance to the political oppressions perpetuated by the state apparatuses. The objective of this paper is to study the revolutionary propaganda of Dutt and redefine his concept of “political theater” with special reference to his intricately structured political satire, Nightmare City.
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Gommans, Jos. "Cosmopolitanism and Imagination in Nayaka South India." Archives of Asian Art 70, no. 1 (April 1, 2020): 1–21. http://dx.doi.org/10.1215/00666637-8124961.
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Abstract Questions arising from the so-called Brooklyn kalamkari, a seven-panel, hand-painted cotton textile, have confronted art historians for decades: what do we see, who produced it for whom, what does it mean? With royal court scenes from all over the Indian Ocean world, the Brooklyn kalamkari represents a uniquely cosmopolitan worldview from early-seventeenth-century South India. In this essay I discuss the makings of this particular worldview in the context of early modern processes of globalization and state-formation. By engaging with the work of Indologists Johan Huizinga, Jan Heesterman, and David Shulman on Indian kingship and theater, I then attempt to decode the local and the global, as well as the seen and unseen, meaning of this textile.
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Samidi, S. "Identitas Budaya Masyarakat Kota: Teater Tradisi di Kota Surabaya Pada Awal Abad XX." Indonesian Historical Studies 3, no. 1 (July 7, 2019): 1. http://dx.doi.org/10.14710/ihis.v3i1.5308.
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This study examines why does Ludruk represent the cultural identity of the people of Surabaya? How does society appreciate the traditional theater, especially in Ludruk in their daily practice? The purpose of this article explains the historical reality of Ludruk art that serves as entertainment and cultural identity. This article using the historical method by relying on historical sources. The result shows that theater traditions that existed and famous in Surabaya at the beginning of the 20th century were Comedy Stambul, Wayang Wong, and Ludruk, then appeared Ketoprak in the late 1930s. The appearance of this theater has been adapted to the tastes of the support community. Comedy Stambul is a theater that originated in India, then spread to Southeast Asia. Comedy Stambul is considered as a hybrid art because it comes from a blend of local cultural elements, while Wayang Wong, Ludruk, and Ketoprak an original art derived from customs and local values. Theater that represents the cultural identity of the people of Surabaya is Ludruk.
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Ahmed, Siraj. "The Theater of the Civilized Self: Edmund Burke and the East India Trials." Representations 78, no. 1 (2002): 28–55. http://dx.doi.org/10.1525/rep.2002.78.1.28.
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IN FEBRUARY 1788 EDMUND BURKE OPENED the impeachment of Warren Hastings, the East India Company's first Governor-General, for the crimes that his administration had committed in India with a four-day-long speech before the House of Lords, and London's fashionable society bought tickets as if attending theater. Referred to as ''the greatest public sensation of the seventeen-eighties, ''the impeachment brought more attention than any other contemporary event to the complicated relationships of the British nation-state and its young empire in India and, more broadly, of the principles of civil society and the early modern history of imperialism. Burke's Indian speeches constitute a much longer and more intense engagement with the fundamental question that he believed the French Revolution also posed: would the modern civil society that the late eighteenth century was clearly in the process of shaping subordinate the private interests of commerce to the public virtues of landed wealth, thereby preserving national progress, or would it subordinate property to the unchecked power of capitalism, thereby making the merchant's private ethic the basis of the nation's public life and precipitating national degeneration? While the Reflections on the Revolution in France claim that the civil self is the product of national traditions, Burke's speeches and writings on British India suggest that the civil self is in fact merely a performance that masks degeneracy. Indeed, Burke's performance in the impeachment, with its own exaggerated theatricality, represented the very basis of civil society, sympathy, in terms of a set of unmistakably legible signs. Burke assumed the role of a character easily recognizable to his fashionable audience, the male protagonist of sentimental fiction, unable to control his emotions in the face of women's suffering. His very theatricality suggested that the basis of civil society lies neither in reason nor in historical development, but rather in social mimicry, giving the lie to his own theory of civil progress.
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Roy, Parama. "On Verminous Life." Representations 148, no. 1 (2019): 86–113. http://dx.doi.org/10.1525/rep.2019.148.1.86.
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By the nineteenth century, models of just and civilized sociability in the Anglophone world came to encompass forms of obligation to the nonhuman, and the colony assumed the status of a crucial theater for thinking about forms of cruelty, sympathy, and protection. On the terrain of the Indian colony, this new moral economy of care and inclusion encountered an existing Indic economy of vegetarianism and nonkilling of animals, which it sought to cast, not as kindness to animals, but as a form of cruelty to them—of vegetarian cruelty if you will. Using John Lockwood Kipling’s Beast and Man in India (1891) as its text, the essay examines the encounter of these two contrasting economies of animal protection and animal cruelty, especially Kipling’s understanding of carnivory as the basis not only for human sociability but also of kindness to the nonhuman.
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Fajar, Fajar, and Ridhwan Ridhwan. "PERAN SENI TEATER DALAM MENTRANSFER NILAI-NILAI AKHLAK PADA PEMBELAJARAN SEJARAH KEBUDAYAAN ISLAM." AL-QAYYIMAH: Jurnal Pendidikan Islam 4, no. 2 (November 29, 2021): 151–74. http://dx.doi.org/10.30863/aqym.v4i2.2033.
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This paper examines the role of theater arts in transferring moral values in islamic cultural history learning. This paper aims to reveal the meaning and origin of theater as well as the moral values contained in learning the history of Islamic culture through theater. The research method uses literature review. The results of the research show that theater is a matter of mysticism, in my eyes there are many things that can be tried in theater, because the crisis experienced by the Indonesian state for me is a spiritual tension. At first the theater was only performed for ritual purposes only about thousands of years BC. From several ancient nations that experienced rapid cultural development such as Ancient Egypt, Maya in South America, Central Asia, Babylon, China and India, theater was used as a medium that could bring them in direct contact with the Almighty. Along with the development of the times, the Greeks changed the design pattern in developing theatrical performances, not only centered on rituals, but can also be presented as an entertainment spectacle.Theater can be a medium for forming Muslim personalities and can be done through learning the history of Islamic culture. With this method, this formation will be reflected in the moral personality of students, which includes noble moral values which include religious values, discipline, independence, responsibility, creativity, cooperation and care for the environment.
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Swiderski, Richard M., and Friedrich Seltmann. "Schattenspiel in Kerala. Sakrales Theater in Süd-Indien [The Shadow-Play of Kerala. Sacred Theater in South India]." Asian Folklore Studies 46, no. 2 (1987): 331. http://dx.doi.org/10.2307/1178609.
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Orsini, Francesca. "Whose Amnesia? Literary Modernity in Multilingual South Asia." Cambridge Journal of Postcolonial Literary Inquiry 2, no. 2 (August 3, 2015): 266–72. http://dx.doi.org/10.1017/pli.2015.17.
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AbstractThe debate over the impact of British colonialism and “colonial modernity” in India has hinged around questions of epistemic and aesthetic rupture. Whether in modern poetry, art, music, in practically every language and region intellectuals struggled with the artistic traditions they had inherited and condemned them as decadent and artificial. But this is only part of the story. If we widen the lens a little and consider print culture and orature more broadly, then vibrant regional print and performance cultures in a variety of Indian languages, and the publishing of earlier knowledge and aesthetic traditions belie the notion that English made India into a province of Europe, peripheral to London as the center of world literature. Yet nothing of this new fervor of journals, associations, literary debates, of new genres or theater and popular publishing, transpires in Anglo-Indian and English journals of the period, whose occlusion of the Indian-language stories produced ignorance, distaste, indifference—those “technologies of recognition” (Shu-Mei Shih) that produce “the West” as the agent of recognition and “the rest” as the object of recognition, in representation.
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Vu, Linh D. "Bones of Contention: China’s World War II Military Graves in India, Burma, and Papua New Guinea." Journal of Chinese Military History 8, no. 1 (May 17, 2019): 52–99. http://dx.doi.org/10.1163/22127453-12341339.
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Abstract Exploring the construction and maintenance of Nationalist Chinese soldiers’ graves overseas, this article sheds light on post-World War II commemorative politics. After having fought for the Allies against Japanese aggression in the China-Burma-India Theater, the Chinese expeditionary troops sporadically received posthumous care from Chinese veterans and diaspora groups. In the Southeast Asia Theater, the Chinese soldiers imprisoned in the Japanese-run camps in Rabaul were denied burial in the Allied war cemetery and recognition as military heroes. Analyzing archival documents from China, Taiwan, Britain, Australia, and the United States, I demonstrate how the afterlife of Chinese servicemen under foreign sovereignties mattered in the making of the modern Chinese state and its international status.
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Patwardhan, Narendra, and Uday Kelkar. "Disinfection, sterilization and operation theater guidelines for dermatosurgical practitioners in India." Indian Journal of Dermatology, Venereology, and Leprology 77, no. 1 (2011): 83. http://dx.doi.org/10.4103/0378-6323.74965.
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Veling, Sanket, and Neha Ahire. "Assessment of operation theatre complex efficiency and utilization at a 750 bedded multispeciality hospital, Mumbai, India." Journal of Complementary Medicine Research 13, no. 4 (2022): 121. http://dx.doi.org/10.5455/jcmr.2022.13.04.23.
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Introduction: The operation theatre complex of a hospital represents an area of considerable spending in a hospital budget and requires utmost utilization to guarantee optimum cost benefit. Operating room (OR) functions with a lot of resources. Thus, any form of inappropriate functioning will cause revenue loss as well as decreased quality of patient care and satisfaction. Any delaying the operation theatre detrimental to the image and overall functioning of the hospital and any ways to reduce the delays are key to improve patient care and to maximize consumption of the resources in the operating room. Objective: To determine OR utilization and efficiency in the OT complex. Methodology: A prospective study was done from 1st May 2019 to 15th May 2019 in the OT complex of a 750 bedded Multispeciality Hospital in Mumbai, India . OT utilization and efficiency over a time period of two months was studied with respect to number of operation theaters, working hours in that particular study period, OR working capacity, Utilized hours. Results: Collected data showed that ORs were serviceable for 52 days through the study period and in that period 726 cases were operated. Total OR utilization time was 1820 hours for the study period. Collected data showed that in a two month period from 1st May 2019 to 30th June 2019 there was the highest utility of 58% (OR 2) whereas there was the lowest utility of 27 % (OR 3) in the 5th floor OT complex. However considering the entire 5th floor OT complex, actual utilized OT hours were only 655 out of the available 1820 hours during the study period. Thus a utility of 36% only was seen. Conclusion: Integrated time management and time utilization will result in a cost reduction, increase in hospital revenues with improved quality and patient satisfaction. Improving the performance of operating theatres is key to achieving shorter waiting times for treatment, implementing booking of elective operations and reducing cancelled operations. Change can only be implemented successfully if employees are fully engaged in the change process and are able and willing to make the changes required. Subjects: Science and Medical Education, Human Resources, Statistics Keywords: Operation theater utilization, OT cancellations, OT efficiency
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Koo, Jaseon. "China's Military Reform under Xi Jinping and the Sino-Indian Border Dispute: Focusing on Organizing Structure." Institute for Historical Studies at Chung-Ang University 57 (December 30, 2022): 307–55. http://dx.doi.org/10.46823/cahs.2022.57.307.
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Unlike other civilian leaders, Xi Jinping pushed ahead with sweeping military reforms after taking office as General Secretary of the Communist Party and Chairman of the Central Military Commission. This was a reaction to the situation in which the chairman had not been able to secure control of the military since Deng Xiaoping. Through anti-corruption, Xi Jinping eliminated high-ranking officials who used the military as a tool for personal gain, and tried to eliminate trafficking of official posts and factions within the military. In addition, through structural reorganization, the power of command of the military commander, who had been ineffective, was clarified. The 4 headquarters that interfered with the commander's command system were dismantled and reconstituted as an organization that assisted the military commission. The defense- oriented 7 military districts were also reorganized into 5 theater to prepare for both peacetime and wartime. And the army was established to break the grand army principle, strengthen the status of other forces necessary for modern warfare, and rearrange the composition of troops for them.
The theater is not just a defense system, but a system responsible for operations. Accordingly, the eastern theater was responsible for Taiwan, the southern theater was responsible for the South China Sea and Vietnam, the western theater was responsible for India and Central Asia, the northern theater was responsible for the Korean Peninsula, and the central theater was responsible for the mission of the strategic reserve force. In general, it is evaluated that the risk of war in the Taiwan Strait, which is in charge of the Eastern Front, is the highest. However, the area where the largest number of troops are actually deployed is in the Western Front. There are two group army, as well as Xinjiang and Xizang military district. This is because west operation area is vast and its borders are very long, even though China has continuously pushed for weapon modernization. In addition, India is the only country that China does not have a border agreement with, and continues to confront each other across the LAC. In addition, the region should be responsible for operations in Central Asia in case of emergency. Therefore, west are organizing units and distributing weapons with the possibility of a small-scale armed clash or conflict rather than a large-scale war. In fact, it is judged that the possibility of an armed conflict in this area is much higher than in the Taiwan Strait.
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Lal, Ananda. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor, MI: University of Michigan Press, 2004; pp. vi + 206 pp. $49.50 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 311–13. http://dx.doi.org/10.1017/s0040557405210207.
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There are few dependable books in English on political theatre in India. Professor Bhatia's collection of essays, therefore, fills a long-felt need. She introduces the subject contextually, followed by four chapters chronologically examining key areas (British censorship of nationalistic drama, Indianizations of Shakespeare as an anticolonial statement, the Indian People's Theatre Association as a mass phenomenon in the mid-twentieth century, and Utpal Dutt's reinterpretation of Raj history in his play The Great Rebellion 1857), and concludes with a short epilogue on contemporary activist theatre by women. Most valuably for theatre historians, she places in the public domain many primary sources previously untapped in English, and unearths much secondary material that has escaped academic attention. Not least of all, she writes articulately and readably.
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Gupta, Shakti Kumar, IB Singh, Parmeshwar Kumar, and Aarti Vij. "A Comparative Study of Hand Hygiene Practices in Operation Theaters in Tertiary Level Hospitals in Delhi, India." International Journal of Research Foundation of Hospital and Healthcare Administration 2, no. 2 (2014): 87–93. http://dx.doi.org/10.5005/jp-journals-10035-1021.
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ABSTRACT Background Healthcare associated infections (HCAIs) are directly related to the hand hygiene practices. Differences in implementation of practices may exist among hospitals despite standard guidelines. Objective To compare the hand hygiene practices in the operation theaters of tertiary care hospitals in Delhi. Design and setting: A 6-months descriptive and cross-sectional study conducted in operation theaters of tertiary level, referral public and private sector hospitals in Delhi. Design and setting A 6-months descriptive and cross-sectional study conducted in operation theaters of tertiary level, referral public and private sector hospitals in Delhi. Materials and methods Six leading multispecialty hospitals, three each from the private and public sectors were selected through purposive sampling. The sample comprised of cases from one major operation theater (OT) from each hospital conducting general surgery cases (10% of all cases). A performa with 24 parameters was designed using the Center for Disease Control Guidelines for hand hygiene. Hospitals were analysed in categories and also independently. Results One thousand nine hundred and twenty observations were analyzed from six hospitals. The level of compliance was higher among the private sector and the autonomous hospital. Statistically significant differences were observed with groups of hand hygiene parameters namely hand washing, selection of hand hygiene agent, skin care, and educational programs and surgical scrub, but not regarding hand hygiene policy or technique. Comparison of five hand hygiene practices strongly recommended by CDC practices revealed significant differences. Adherence to hand washing practices was 76%, surgical scrub practice was 85% and overall compliance of hand hygiene practice was 80.5%. Conclusion The study revealed gaps in implementation of hand hygiene practices despite standard guidelines. In future, post interventional studies may reflect the extent of improvement of these practices through reduction in HCAIs. How to cite this article Kumar P, Gupta SK, Kapil A, Vij A, Singh IB. A Comparative Study of Hand Hygiene Practices in Operation Theaters in Tertiary Level Hospitals in Delhi, India. Int J Res Foundation Hosp Healthc Adm 2014;2(2):87-93.
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KAPFERER, BRUCE. "The Theater of the Mahābhārata: Terukkūttu Performances in South India. RICHARD A. FRASCA." American Ethnologist 20, no. 3 (August 1993): 637–38. http://dx.doi.org/10.1525/ae.1993.20.3.02a00220.
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Johnson, Alan, and Nandi Bhatia. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India." Rocky Mountain Review of Language and Literature 59, no. 2 (2005): 108. http://dx.doi.org/10.2307/3655058.
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Sharma, Anuradha. "Turra-Kalangi: Traditional communication of Nimar region of Madhya Pradesh." International Journal of Research -GRANTHAALAYAH 7, no. 3 (March 31, 2019): 158–62. http://dx.doi.org/10.29121/granthaalayah.v7.i3.2019.956.
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In the Nimar region of Madhya Pradesh, the stage or theater activities like Hindi provinces are currently less. Where other provinces of India have theater identity and awareness in their respective languages, there is neither identity nor awareness in Hindi provinces. It seems that there is a continuous cultural decline in Hindi states. For this, terrible economic decline, unemployment and corruption as well as anomalous social conditions are responsible. Apart from this, excessive publicity of internet along with radio and television is also responsible.
मध्यप्रदेष के निमाड़ क्षेत्र में हिन्दी प्रांतों की तरह मंच अथवा रंगमंच की गतिविधियां वर्तमान में कम ही है। जहां भारत के अन्य प्रांतों में अपनी-अपनी भाषा में रंगमंच की पहचान एवं जागरूकता विद्यमान है वहां हिन्दी प्रांतों में न पहचान है न जागरूकता। ऐसा प्रतीत होता है कि हिन्दी प्रदेषों में लगातार सांस्कृतिक हृास हो रहा है। इसके लिये भयानक आर्थिक गिरावट, बेरोजगारी और भ्रष्टाचार के साथ-साथ विषम सामाजिक स्थितियां जिम्मेदार है। इसके अलावा रेडियो और टेलीविजन के साथ इन्टरनेट का अत्यधिक प्रचार भी जिम्मेदार है।
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Dharwadker, Aparna Bhargava. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India (review)." Modern Drama 48, no. 2 (2005): 440–44. http://dx.doi.org/10.1353/mdr.2005.0024.
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Bose, Neilesh. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India (review)." Theatre Journal 57, no. 3 (2005): 542–43. http://dx.doi.org/10.1353/tj.2005.0088.
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Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.
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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.
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Qureshi, Bilal. "Elsewhere." Film Quarterly 71, no. 1 (2017): 59–64. http://dx.doi.org/10.1525/fq.2017.71.1.59.
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The Jewel in the Crown was based on a quartet of acclaimed novels by the British writer Paul Scott and told the interwoven stories of colonial officers and their families living in India as the empire collapsed around them. It aired over fourteen weeks on PBS's Masterpiece Theater, from December 1984 to March 1985, and arrived in the midst of a golden age of television that included groundbreaking miniseries such as The Thorn Birds (ABC, 1983) and Brideshead Revisited (ITV, 1981). The new British import produced by Granada Television became a critical and cultural sensation–the definition of appointment television. One in nine Americans with a television set tuned in, over several months, as it transported audiences to the unseen exotic landscapes of India and the twilight of the British Raj. Qureshi reflects on this series thirty years after it first aired on American television, and finds it unexpectedly subversive, sly, and prescient.
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Burt, Sally. "The Ambassador, the General, and the President: FDR’s Mismanagement of Interdepartmental Relations in Wartime China." Journal of American-East Asian Relations 19, no. 3-4 (2012): 288–310. http://dx.doi.org/10.1163/18765610-01904013.
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China played an important part in Franklin Roosevelt’s vision for the post-World War II world. The president, however, lacked a clear and coherent plan of the tactics he should use to help turn his vision into a reality. The relationship between the U.S. ambassador in China, Clarence Gauss, and the U.S. commander of the China-Burma-India Theater, General Joseph Stilwell, provides an instructive case study of FDR’s mismanagement of the relations between the War and State Departments over China. This article argues that the president’s mismanagement resulted from the failure to develop a clear plan to bring about the conditions in China that would see his vision succeed.
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ATTRI, SHALINI. "Folk Theater and History: Constructing Indian Identity through The Khyal of Amar Singh Rathore." Journal of Indian and Asian Studies 01, no. 01 (January 2020): 2050004. http://dx.doi.org/10.1142/s2717541320500047.
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Folklores can epitomize the nation as a unifying principle crossing the horizons of regional divisions and subcultures. The connecting factors of folklores among regional and local levels give an understanding of manifold and contextual-based identities. The collective/coalesce of social memory is understood through the folk narratives. There is a cognitive and affective deliberation that structures the manner in which memory is interpreted. These narratives shape and reconstruct “identity” as they consist of a trans-subjective truth value providing ever new understanding of reality. The present research focuses on the Marwari folk Drama The Khyal of Amar Singh Rathoretranslated by Cecil Thomas Ault and folk performing art Khyal that constitutes meanings and symbols. Khyal, a popular folk dramatic art, is especially linked to martial and romantic ballads of Rajputana. It is indicative of the gap between past and present with spontaneity and originality and is seen as a transmissible entity with reference to the performing arts in the northern region of India. There is an exploration of the dynamics of the origin of the folk narrative of Amar Singh Rathore, a source of Rajasthani culture and identity thus paving way for the other folk narratives that form the pan-Indian identity. The folk literature draws cartographies of a nation or region giving a historical depth and continuity. The dissemination of historical folk anecdotes and their retellings are plausibly a move towards identification. The historical imagination and socio-cultural memory, mostly drawn from Rajasthani rural landscape, influences and reshapes history and culture of Rajasthan, thereby making it a historical artifact providing abidance and insights into folklore as a heritage/national construct. The research reflects and projects the values, feelings, ideas and identity of the groups which identify with and perform this art. Another dimension of the present study formulates an understanding of the forms and style of Khyal folk theater of Rajasthan and how The Khyal of Amar Singh Rathore communicates and travels through linguistic and cultural boundaries constructing new spatial cartographies serving as evidence of connectivity and consistencies.
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Рыжакова, Светлана Игоревна. "The Bhavāī of Gujarat: The cultural context and social functions of traditional Indian theater." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 93–105. http://dx.doi.org/10.26158/tk.2019.20.3.008.
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В статье представлен анализ истории, культурного контекста и социальных функций бхаваи - одного из традиционных театров Индии, распространенного в ряде районов западноиндийского штата Гуджарат. Он представляется немногочисленными труппами наследственных актеров, музыкантов и танцоров сообщества таргала, чей социальный статус в кастовой иерархии характеризуется некоторой двойственностью: хотя артисты связывают свое происхождение с брахманом Асаитой Тхакаром, жившим в XIV в., носят священный шнур и соблюдают ряд обычаев, характерных для брахманов, очевидно также и их небрахманское и даже весьма «низкое» социальное происхождение. Театр бхаваи был одним из важнейших культурных институтов в северных районах Гуджарата и в части Саураштры, выполнял несколько функций: развлекательную, обрядовую, дидактическую, социоинтегрирующую, был формой выражения социальной критики. В ряде мест он и поныне играет существенную роль в жизни деревень, хотя его популярность и распространенность ныне значительно сузились. На материале полевых этнографических исследований автора 2015, 2016 и 2018 гг. выявляются характер, цели и задачи театра бхаваи, социально-культурный профиль его носителей, его место в культуре и истории Гуджарата. This article analyzes the cultural context and social functions of Bhavāī, the traditional theater of India from the state of Gujarat. Bhavāī is performed by small groups of the Targala caste community, whose social status is characterized by some duality. Although the artists associate their origin with the Brahman Asait Thakar, who lived in the 14th century, wear a sacred cord and follow a number of typical Brahman customs, it is also obvious that they are of very low social origin. Bhavāī theater was one of the most important cultural institutions in the northern regions of Gujarat and in part of the Saurashtra Peninsula. It performed several functions - entertainment, ceremonial, didactic, social integrating - and served as a form of social criticism. Bhavāī still exists today, although its popularity and pervasiveness have narrowed considerably. This article discusses the outlook of Bhavāī theater, its socio-cultural profile, and the position of this tradition in the culture and history of Gujarat; it is based on the author’s field research in Gujarat in 2015, 2016 and 2018.
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Woodson, Dorsey W. "The Burma Road: The Epic Story of the China-Burma-India Theater in World War II (review)." Journal of Military History 68, no. 3 (2004): 997–99. http://dx.doi.org/10.1353/jmh.2004.0159.
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HORBACHOVA, Valeriia. "CHOLAMANDAL ARTISTS’ VILLAGE: AN INTERACTION BETWEEN THE TRADITION AND MODERNITY (INDIA, THE MADRAS SCHOOL)." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 32–43. http://dx.doi.org/10.33625/hudprom2023.02.032.
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Based on the analysis of scientific literature, a successful example of an independent and self-organized community of Cholamandal artists was studied as a continuation of the artistic searches and experiments of the Madras school during the second half of the 20th – early 21st centuries. The prerequisites for the emergence and development of the Cholamandal commune headed by K. Paniker are analyzed. The activities of individual artists of the art association – painters (K. Paniker, R. Pooviah, T. Tarani), graphic artists (K. Haridasan, K. Ramanujam), sculptors (C. Patnaik, S. Nandagopal) and others are considered. The plot and thematic features of their achievements are clarified – the search for original interaction with folk, religious and tantric art is characteristic for these artists. The special position of folk art becomes one of the distinguishing features of the association’s activities. Traditions and their inheritance are seen as an important communicative part and as a source of experiments for modern practices, which, in turn, supported the cross-platform nature of Cholamandal. The settlement included not only workshops and an exhibition gallery, but also an open-air theater for dancing and theatrical performances, a textile workshop, a library and all the necessary infrastructure for everyday life. Cholamandal artists are known for their experiments with traditional Indian techniques and materials such as terracotta, bronze casting, a combination of fresco and oil painting. They combined these techniques with contemporary styles and themes to create unique works of art, reflecting the richness and complexity of India’s artistic tradition. The Cholamandal commune also played an important role in popularizing of modern Indian art among a wide audience. Art exhibitions and events held at Cholamandal attracted art enthusiasts and collectors from all over India and abroad and have helped bring Indian contemporary art to the attention of the global art scene.
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Qaseem Saeed, Muhammad. "HOW VIABLE IS TRACK II AND III DIPLOMACY BETWEEN PAKISTAN AND INDIA?" Journal of Social Sciences and Humanities 60, no. 2 (December 31, 2021): 15–24. http://dx.doi.org/10.46568/jssh.v60i2.545.
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This article examines viability of track II and III initiatives between India and Pakistan and their contribution in creating a cordial environment for track I diplomacy. The objective is the probe whether informal dialogues pave the way for states to communicate formally or their presence is cosmetic in nature. Pakistan and India share a belligerent history of bilateral relationships. Despite four wars, diplomacy has somehow remained at work between the two. Although the two countries have been engaged in official and backdoor dialogues periodically, however, this diplomatic contact appeared fragile and felt prey of severity many times. Track II and Track III diplomacy initiatives were launched and sought as means to reach the end of cordiality in bilateral relationships. The methodology used in this article is qualitative with primary and secondary sources. Through analysis of semi-governmental and people to people initiative, it is found that unofficial contact (track II and III) between the two states has not contributed toward paving the way for track I diplomacy. Such initiatives enjoy at length in good times more, rather than converting hostility into harmony in tense times. From Neemrana Dialogue to Ashoka Theater, track II and track III were unable to substitute track I.
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Balme, Christopher. "Theater in Colonial India: Play-House of Power By Lata Singh, ed. Oxford University Press, 2009, 354 pp." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 3 (July 11, 2018): 428–29. http://dx.doi.org/10.1017/pli.2018.16.
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Gopal, Sangita. "Media Meddlers." Feminist Media Histories 5, no. 1 (January 1, 2019): 39–62. http://dx.doi.org/10.1525/fmh.2019.5.1.39.
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This article explores and historicizes the rise of the woman filmmaker in India in the late 1970s and the 1980s in two overlapping domains: a vastly expanded communications infrastructure, including the spread of television, and second wave feminism. It takes as a case study the media maker Sai Paranjpye, whose eclectic career across a range of media—theater, TV, cinema, print—in multiple formats—ad films, documentaries, educational shorts, TV films, full-length features—was fairly typical of the nature of women's media work at this time, as women took whatever work they could find in a rapidly mutating media ecology. The article suggests that these media migrations provide a model of gendered media work that is constitutively intermedial, and thus reorders the aesthetic and narrative protocols of mainstream cinema.
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Arabadzhyan, Zaven A. "SKOBELEV’S PLAN FOR A CAMPAIGN IN BRITISH INDIA AS A REFLECTION OF RUSSIAN-ENGLISH RIVALRY." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations 4, no. 3 (2023): 379–92. http://dx.doi.org/10.28995/2073-6339-2023-4-379-392.
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The article analyzes the views of the prominent Russian military commander M.D. Skobelev on the organization of Russia’s military campaign in India. The author shows that although such an operation was conceived as an auxiliary action to achieve Russia’s strategic goal – to capture the Bosphorus and Constantinople, but gradually M.D. Skobelev began to give it much more importance and came to the conclusion that it can challenge Great Britain’s dominance in the Hindustan subcontinent and put an end to its world domination. Skobelev assigned an important role to Afghanistan, whose ruler, Emir Shir Ali Khan, at that time was extremely concerned by the influence of the government of British India on his country and was very friendly towards Russia. Analyzing the plans of the White General, the author concludes that Skobelev had a clear strategic vision of the tasks and goals of the expedition, a clear definition of moves, an understanding of the need for combined strikes, etc., but at the same time, clearly underestimated the means required by the Russian army and the resources that the enemy will have in a potential theater of operations. The author proposes the reasons for such an underestimation and considers the factors that could favor Russian success and hinder it.
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Saikia, Amrit Kumar, Kamath Sriganesh, Manish Ranjan, Marie Claire, Mohit Mittal, and Paritosh Pandey. "Audit of the Functioning of the Elective Neurosurgical Operation Theater in India: A Prospective Study and Review of Literature." World Neurosurgery 84, no. 2 (August 2015): 345–50. http://dx.doi.org/10.1016/j.wneu.2015.03.031.
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Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (May 2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.
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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With Hindi films now the major cultural signifier for the middle classes and the ‘masses’ in South Asia and its diaspora, documentation and evaluation of the Parsi theatre is much needed, especially to connect it convincingly to the cinematic medium that followed.
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Tiwari, AseemK, Geet Aggarwal, DeviPrasad Acharya, Dinesh Arora, Gunjan Bhardwaj, Divya Setya, Vijay Vohra, and ArvinderS Soin. "Salvage of red blood cell units using remote electronic blood issue system in operation theater: A pilot study from India." Global Journal of Transfusion Medicine 3, no. 2 (2018): 132. http://dx.doi.org/10.4103/gjtm.gjtm_38_18.
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Nambiar, Devaki, Vimala Ramakrishnan, Paresh Kumar, Rajeev Varma, Nithya Balaji, Jeeva Rajendran, Loretta Jhona, Chokkalingam Chandrasekar, and David Gere. "Knowledge, Stigma, and Behavioral Outcomes among Antiretroviral Therapy Patients Exposed to Nalamdana's Radio and Theater Program in Tamil Nadu, India." AIDS Education and Prevention 23, no. 4 (August 2011): 351–66. http://dx.doi.org/10.1521/aeap.2011.23.4.351.
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Deka, Aditi. "Scenography and Societal Change and the Creation of Artworks in Contemporary Art: An Analysis of the Practice of Scenography in Nabajyoti Nagar, Guwahati, Assam, India." Journal of Humanities,Music and Dance, no. 43 (May 10, 2024): 11–22. http://dx.doi.org/10.55529/jhmd.43.11.22.
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The most beautiful visual element of a theater is its scenery. It entails placing a performance in a distinct and recognizable setting, defining the characters in terms of costumes and the accessories and qualities that go along with them, and lighting the performance appropriately to maximize the audience's enjoyment of the performance. Therefore, in addition to a mastery of architectural principles, the practice of scenography requires a sufficient understanding of the fundamentals of design, fair knowledge of graphics, and a working knowledge of the fine and practical arts, carpentry, tailoring, and electrical engineering. Because of this, the scenographer needs to be a well-rounded artist with enormous creative potential. Scenography can be used to create a civilization in the right way. Scenography investigates societal influence. In this study, the practice of scenography in Nabajyoti Nagar, Guwahati, Assam, India, is analyzed in relation to societal change and the creation of art works in contemporary art.
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Gandhe, Rajashree U., Chinmaya P. Bhave, Neha T. Gedam, and Rashnita Sengupta. "Neuroanesthesia Practice during COVID-19: A Single-Center Experience." Journal of Neuroanaesthesiology and Critical Care 7, no. 03 (September 2020): 166–69. http://dx.doi.org/10.1055/s-0040-1721164.
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AbstractThe coronavirus disease 2019 (COVID-19) pandemic is a challenge for all health care providers (HCPs). Anesthesiologists are vulnerable to acquiring the disease during aerosol-generating procedures in operating theater and intensive care units. High index of suspicion, detailed history including travel history, strict hand hygiene, use of face masks, and appropriate personal protective equipment are some ways to minimize the risk of exposure to disease. Neurologic manifestations of COVID-19, modification of anesthesia regimen based on the procedure performed, and HCP safety are some implications relevant to a neuroanesthesiologist. National and international guidelines, recommendations, and position statements help in risk stratification, prioritization, and scheduling of neurosurgery and neurointervention procedures. Institutional protocols can be formulated based on the guidelines wherein each HCP has a definite role in this ever-changing scenario. Mental and physical well-being of HCPs is an integral part of successful management of patients. We present our experience in managing 143 patients during the lockdown period in India.
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Arabadzhyan, Zaven A. "Eastern Persia as an Arena of Rivalry and Possible Cooperation between Russia and the United Kingdom in the Late 19th – early 20th Centuries." Oriental Courier, no. 4 (2023): 196. http://dx.doi.org/10.18254/s268684310029242-4.
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In the 19th century after the end of the Napoleonic wars, the contradictions between Russia and the United Kingdom gradually increased both in Europe and in Asia. In Asia, the possessions of both empires gradually approached each other. This happened as the territory of British India grew in the direction of the North-West and the territorial formations in Central Asia joined the Russian Empire. It was about a possible large-scale clash between the two powers, the main theater of which was supposed to be Afghanistan. However, according to the existing plans, the eastern part of Persia (Iran) could become the scene of hostilities, and both sides tried to strengthen their positions in this area. In this regard, Russian military and diplomatic representatives in Khorasan (the northeastern province of Persia) and Central Asia reported on the extraordinary activity of the British in this part of the country, directed against Russian interests. The government was asked to take measures to counter the British expansion, but these calls did not receive support from the Ministry of Foreign Affairs of the Russian Empire. At the same time, Russia had plans to build a railway line to Persian ports in the Persian and Oman Gulfs. Several routes were worked out along which the road could be laid. This would make it possible to take control of a significant part of the trade between Europe and India. The construction of such a route would undermine the monopoly of Great Britain, which owned the Suez Canal, to control the trade of Europe and India, and depreciate the German plan to create a Berlin-Istanbul-Baghdad railway.
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Surendran, Surya, Candice Bonaconsa, Vrinda Nampoothiri, Oluchi Mbamalu, Anu George, Swetha Mallick, Sudheer OV, et al. "Visual Mapping of Operating Theater Team Dynamics and Communication for Reflexive Feedback and Surgical Practice Optimization." Annals of Surgery Open 5, no. 3 (July 17, 2024): e463. http://dx.doi.org/10.1097/as9.0000000000000463.
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Background: Effective operating theater (OT) communication and teamwork are essential to optimal surgical outcomes. We mapped the OT team dynamics and infection control practices using visual methods to guide reflexive feedback and optimize perioperative practices. Methods: Data were gathered from adult gastrointestinal surgical teams at a tertiary hospital in India using observations, sociograms (communication mapping tool), and focus group discussions (FGDs). Our methods aimed to map team communication, roles and responsibilities in infection-related practices, and door openings. Qualitative data were thematically analyzed. Quantitative data were analyzed using descriptive statistics. Results: Data were gathered from 10 surgical procedures (over 51 hours) using 16 sociograms, 15 traffic flow maps, and 3 FGDs. Senior surgeons directly influence team hierarchies, dynamics, and communication. While the surgeons, anesthetic residents, and technicians lead most tasks during procedures, the scrub nurse acts as a mediator coordinating activity among role players across hierarchies. Failing to provide the scrub nurse with complete details of the planned surgery leads to multiple door openings to fetch equipment and disposables. Traffic flow observed in 15-minute intervals corresponds to a mean frequency of 56 door openings per hour (min: 16; max: 108), with implications for infection control. Implementing the World Health Organization surgical safety checklist was inconsistent across pathways and does not match reported compliance data. Conclusions: Human factors research is important in optimizing surgical teamwork. Using visual methods to provide feedback to perioperative teams on their communication patterns and behaviors, provided an opportunity for contextualized enhancement of infection prevention and control practices.
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Rennie, Bryan. "Mircea Eliade’s Understanding of Religion and Eastern Christian Thought." Russian History 40, no. 2 (2013): 264–80. http://dx.doi.org/10.1163/18763316-04002007.
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This article introduces Mircea Eliade. His biography and his understanding of religion are outlined and the possibly formative influence of Eastern Orthodoxy is considered, as are recent publications on the issue. His early essays present Orthodoxy as a mystical religion in which, without some experience of the sacred, profane existence is seen as meaningless and he later identified this same basic schema in all religion. Orthodox theologians Vladimir Lossky and Dumitru Stăniloae are inspected for similarities to Eliade. Ten consonances between Eliade’s thought and Orthodox theology are considered. However, dissonances are also noted, and for every potential Orthodox source of Eliade’s theories there is another equally credible source, causing a controversy over the formative influences of his Romanian youth as opposed to his later Indian experience. It is suggested that Eliade gained insight from Orthodoxy, but that this was brought to consciousness by his sojourn in India. Theology in the form of categorical propositions is present in the Eastern Church but exists alongside other equally important expressions in the visual, dramatic, and narrative arts. The Eastern Church as a multi-media performative theater prepared Eliade to apprehend religion as inducing perceptions of the “really real”—creative poesis exercising a practical influence on its audience’s cognitions. Orthodoxy is a tradition in which categorical propositions had never come to dominate the expression of the sacred, and Eliade wrote from a vantage point on the border, not only between East and West, but also between the scholar and the artist.
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Sluis, Ageeth. "BATACLANISMO! Or, How Female Deco Bodies Transformed Postrevolutionary Mexico City." Americas 66, no. 04 (April 2010): 469–99. http://dx.doi.org/10.1017/s0003161500004764.
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In the spring of 1925, Santa Anita's Festival of Flowers seemed to follow its tranquil trend of previous years. The large displays of flowers, the selection of indias bonitas (as the contestants of beauty pageants organized in an attempt to stimulate indigenism were known) and the boat-rides on the Viga Canal, all communicated what residents of neighboring Mexico City had come to expect of the small pueblo in the Federal District since the Porfiriato: the respite of a peaceful pastoral, the link to a colorful past, and the promise that mexicanidad was alive and well in the campo. Unfortunately, wrote Manuel Rámirez Cárdenas of El Globo, “the modern newspaper,” the next day, this idyllic tradition was rudely interrupted by a group of audacious, scantily clad women. The culprits were actresses of Mexico City's Lirico theater, who walked around Santa Anita's streets in “picaresque clothing”—stage outfits that left little to the imagination, particularly in broad daylight—and upset visitors and campesinos alike. According to Cardenas, abuelitas and mamas were shocked by the display, averting their eyes from the female spectacle in fear of “elpecado mortal.” Thankfully, for the mothers and grandmothers in the audience, the festival continued in predictable fashion after the initial uproar. Organizers continued with the traditional dances, and judges selected an india bonita from a pool of young, decente mestizo girls to represent the pueblo and the festival.
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Sluis, Ageeth. "BATACLANISMO! Or, How Female Deco Bodies Transformed Postrevolutionary Mexico City." Americas 66, no. 4 (April 2010): 469–99. http://dx.doi.org/10.1353/tam.0.0258.
Full textAbstract:
In the spring of 1925, Santa Anita's Festival of Flowers seemed to follow its tranquil trend of previous years. The large displays of flowers, the selection of indias bonitas (as the contestants of beauty pageants organized in an attempt to stimulate indigenism were known) and the boat-rides on the Viga Canal, all communicated what residents of neighboring Mexico City had come to expect of the small pueblo in the Federal District since the Porfiriato: the respite of a peaceful pastoral, the link to a colorful past, and the promise that mexicanidad was alive and well in the campo. Unfortunately, wrote Manuel Rámirez Cárdenas of El Globo, “the modern newspaper,” the next day, this idyllic tradition was rudely interrupted by a group of audacious, scantily clad women. The culprits were actresses of Mexico City's Lirico theater, who walked around Santa Anita's streets in “picaresque clothing”—stage outfits that left little to the imagination, particularly in broad daylight—and upset visitors and campesinos alike. According to Cardenas, abuelitas and mamas were shocked by the display, averting their eyes from the female spectacle in fear of “elpecado mortal.” Thankfully, for the mothers and grandmothers in the audience, the festival continued in predictable fashion after the initial uproar. Organizers continued with the traditional dances, and judges selected an india bonita from a pool of young, decente mestizo girls to represent the pueblo and the festival.