Browsing by Author "Saini, Alpana"
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Item Construction of Subjectivity in Girish Karnad’s Nagamandala(Research Scholar, 2013) Saini, AlpanaItem Construction and Treatment of Social Taboos in Contemporary Indian Cinema with Special Focus on Sexual Taboos(Central University of Punjab, 2014) Sumeet; Saini, AlpanaItem Demystifying Theatre: Badal Sircar(Alchemist Journal of Humanities, 2013) Saini, AlpanaItem Historico-mythical analysis of girish karnad's tugh laqhlaq and swarajbir's krishna(Central University of Punjab, 2013) Disha; Saini, AlpanaThe present study proposes to do the comparative analysis of two plays- Tughlaq by Girish Karnad and Krishna by Swarajbir. Both the playwrights go back to ancient sources to conceive their plays. Karnad exploits the history of intelligent, sharp but unsuccessful Muslim ruler Tughlaq who is popularly known as "mad Muhammad". Swarajbir has used the mythical and historical character of Krishna to construct his play. The thread that unites both the plays is the negotiation of mythical and historical personages used in the plays with the contemporary reality. Both the plays transcend the periods they belong to and emerge as examples of metaphoric depiction of modern times. This study explores how these plays are charged with a contemporary flavour and to analyse these texts from a poststructuralist perspective comprising of various streams of thought such as archetypal criticism, Marxism, Historicity, Discourse analysis, Culture Studies and Gender Studies that further allow the texts to unravel and allow for a multifaceted research.Item Is this the End for Ghazal(Alchemist Journal of Humanities, 2013) Saini, AlpanaThus wrote MirzaGhalib in pangs of apprehension and trepidation fearing all will be lost in indifference. Ghazal in India has come to witness a similar fate today. Within a very short span, the musical heritage of Indo-Pak ghazal has seen the loss of its two stalwarts: Jagjit Singh who introduced guitar to the rendition of ghazals and is credited with having popularised them in cinema and popular culture, and Mehdi Hassan- the name synonymous with the classical tradition of the ghazal, the name which makes musicians and music lovers aliketouch their ears in veneration. Will ghazal along with its mellifluous harmony, nostalgia and incisiveness be lost forever? The question haunts the ghazal enthusiasts with increasing immediacy in the absence of any successors. The demise of Mehdi Hassan has reawakened and reinforced the anxiety that had first arisen near the close of 2011, the year that took away half a dozen gems of artistic faculties in India: musicians Bhimsen Joshi, BhupenHazarika, UstadSultan Khan, Asad Ali Khan and Jagjit Singh; artists M.F. Husain, JehangirSabavala and Mario Miranda; theatre persons Badal Sircar and SatyadevDubey; filmmaker Mani Kaul; writer Indira Goswami; photographer GautamRajadhyaksha; actors ShammiKapoor, NavinNischol and DevAnand. The questiontroubles us: will the new generation of artists be able to carry forward the tradition inaugurated by these exemplary veterans?Item Negotiating the Ethical Crisis: A View of Contemporary Indian Drama(Creative Books, 2008) Saini, AlpanaItem Rewriting History for Politics : Girish Karnad’s Tughlaq(Re- Marking, 2009) Saini, AlpanaItem Sakharam Binder : A Study in Contemporary Indian Subjectivity(2009) Saini, AlpanaItem Seven Plays on Sikh History by Sant Singh Sekhon(South Asian Ensemble, 2011) Saini, AlpanaItem A Study of Deepa Mehta’s Videsh as a Cinematic Adaptation of Giri sh Karnad’s Nagamandala(ISSUU, 2012) Saini, AlpanaItem Subjectivity of Gender in Ma hesh Dattani’s Bravely Fought the Queen(Techmind Research Society, 2008) Saini, Alpana