Results for sita has been living in this city f... translation from English to Hindi

my friend has been living in this city for two years.
मेरा मित्र ने पत्र लिखकर अपना काम किया

have you been living in this city since 2005 ad
क्या तुम 2005 ईस्वी से इस शहर में रह रहे थे

my son has been living in london for three months
मेरा बेटा लंदन में रहता है।

tom has been living in boston for almost ten years .
टॉम बॉस्टन में लगभग दस सालों से रह रहा है ।

your maternal uncle has been lived in this city for 10 years
your maternal uncle has lived in this city for 10 years.

we have been living in this house since 2006.
पानी सुबह से वर्षा रहा है

mohan has been living in jaipur since yesterday.
मोहन कल से जयपुर रहता है

it has been going on for five days.
mai exam ke liye puri tarah se taiyar hu

i shall have been living in delhi for five years by the end of this year.
मैं इस साल के अंत तक पांच साल के लिए दिल्ली में रह रहा होगा

i have been living in this house ever since she went away .
उसके जाने के बाद से बराबर मैं इसी मकान में रहता आया हूँ ।

he has been suffering from fever for five days
वह इस मकान में 1990 से रह रही है

the community says that my wife has been in a state of exhaustion for five days, not recovering.
उसकी ईलाज हेतु मुझे घर जाना अति आव्शयक है

in august 1868 the journal new essays wrote : for five years now the current of theatrical and musical performances has been flowing strong in this city .
अगस्त , 1868 में न्यू ऐसेज पत्रिका ने लिखाः पांच वर्ष हुए इस शहर में रंगमंचीय तथा संगीतीय प्रदर्शनों की धारा प्रबल रूप से प्रवाहित होती आ रही है ।

kumbakarna knows that , unlike vibhishana , he has been living in a plane of lower values and it would be cowardly and untrue to his own being to abandon ravana and suddenly seek to fight for higher ideals .
कुम्भकर्ण जानता है कि , विभीषण से अलग , वह जीवन मूल्यों के निम्नतर स्तर पर विद्यमान है और इसलिए रावण को छोड़ना उसके लिए कायरता और बेईमानी होगी तथा एकाएक उच्चतर सिद्धान्तों के लिए लड़ना भी ।

if jhabvala is an outsider - insider , kamala markandaya purnaiah taylor , 1924 is an insider - outsider in that she is an expatriate , who has been living in england for a numbei of years .
भास्कर के जीवन में आनेवाली दोनो लडकियों - सत्यजित के बेटी सुमिता और पाश्चात्य सभ्यता में आधी रँगी हुई रूपा को क्रमशः चरखे एवं टर्बाइन की उपमा दी गयी है ।

विद्वान सेटिंग 1 students’ research global media journal – indian edition/issn 2249 - 5835 sponsored by the university of calcutta/ www.caluniv.ac.in summer issue / june 2012 vol. 3/no.1 gender reflections in mainstream hindi cinema nidhi shendurnikar tere junior resea rch scholar department of political science, maharaja sayajirao university of baroda, gujarat , india website: http://www.msubaroda.ac.in email: mailtonidhi@sify.com , blog: www.68pagesofmylife.blospot.com abstract : cinema is meant and believed to entertain, to take the viewer to a world that is starkly different from the real one, a world which provides escape from the daily grind of life. cinema is a popular media of mass consumption which plays a key role in moulding opinions, constructing images and reinforcing dominant cultural values. the paper deals with representations of women characters in mainstream bollywood movies. it is deemed appropriate to exami ne this issue because women are a major chunk of the country‟s population and hence their portrayal on screen is crucial in determining the furtherance of already existing stereotypes in the society. the paper begins with a discussion on the field of femin ist film criticism and how mainstream hindi cinema has restricted itself to defined sketches of womanhood. it also undertakes some glimpses from popular films to analyse this process of stereotyping the „other‟ – considering that reality in mainstream cine ma is constructed from the male view point. a section is devoted to discussion on contemporary realistic brand of cinema and its understanding of women . in conclusion , a debate ensues on whether mainstream hindi cinema has been successful in portraying ind ian women of different shades in a society dominated by patriarchal values. key words : cinema, popular, media, women, bollywood, movies, stereotypes, feminist, mainstream, patriarchal feminist film criticism the issues of media, identity and gender are being discussed all over today. they have become integral to the discipline of media studies. the reason is the popularity and diversity of media as a source of mass consumption and its influence on constructing ideas and generating debate. the media scene in india has expanded in the recent times as there is a plethora of media choices available to the audiences. media structures and systems have also undergone a sea change with privatization and globalization. huge corporations with their own profit motiv es own media houses. media has been able to transcend borders and look at issues more holistically rather than in the context of nationalism. hence, these developments are bound to affect the manner in which media scrutinizes and covers any issue – gender being an important one. women are also major consumers of mass media and thus the way they are represented in media coverage is a major concern for the discipline. several international forums have recognized the ramifications of such a transformed media e nvironment on women‟s access to media, their role in the media structure and the presentation of their perspective in media coverage. i in this paper, there has been an attempt to examine the relationship between women and popular hindi cinema. while cinema in india is in itself a diverse strand of expression incorporating mainstream cinema which holds popular appeal, art/parallel cinema that engages with social issues, middle cinema and regional language cinema. the explorations in this paper are limited to mainstream/popular hindi cinema better known as 2 „bollywood‟ 1 because such cinema is seen to exercise widespread influence over people and enjoys mass appeal. popular cinema and culture derive from each other. films are believed to be the opium of the indi an masses as people rely on this medium to help them escape to a world of fantasy. ii in a very explicit way, cinema 2 has shaped the cultural, social and political values of people of this country. while, the other forms of cinema are also important when it comes to the representation of women, restricting to popular cinema is the core concern of the paper. the interest in films taken by feminists stems from concern about the under - representation and misrepresentation of women in cinema. it adopts a critical approach towards gender bias on celluloid. the feminist approach to cinema asks a few pertinent questions like how women are represented on screen, how women‟s issues are treated in cinema, what does feminism mean to film - makers, how does the feminist age nda manifest on screen, how is the women character positioned vis a vis the male character and what is the role of women film - makers and women writers in depicting women‟s issues through cinema. iii feminist critique of cinema has helped to view the reality p resented by cinema in a different way and thus has contributed significantly to the discipline of media studies as well as film studies. certain underlying aspects of a popular medium can only be brought to surface by criticism, scrutiny and introspection and feminists have attempted to do it with cinema as well as with other fields of study and practice. the links between women‟s studies and cinema are evident. after the women‟s movement, the field of women‟s studies has allied with almost every disciplin e to provide an alternative perspective of knowledge and reality as viewed by the practitioners and academia of the discipline. feminist theory took up a distinct stance in relation to the objectification, exclusion and silence of women in cinematic narrat ives. it also evaluated the stereotyping of female characters in cinema. for eg: in „visual pleasure and narrative cinema‟ (laura mulvey, 1975) , the male character was identified as the driver of the film‟s narrative, the character followed by the camera. the female character served as a spectacle to provide pleasure to the male spectator, for which mulvey used the term „gaze‟ . iv the theory of „absences and presences‟ was concerned with the absence of a certain type of female characters in films and the pres ence of the other type, which was seen to be influenced by patriarchal values. thus feminist theory in its critique of films incorporated the valorisation of women‟s experiences thereby posing a challenge to gender hierarchy as well as opening up new realm s for a post - gendered future. the paper in its ensuing sections will build an argument about the portrayal of women in hindi cinema based on various strands of f eminist film criticism which have certainly enriched our understanding of women on screen. the leading lady’s sketch though there exists a body of feminist film making in hindi cinema, the leading lady of hindi films has more or less played defined roles which conform to the values upheld by indian society. women in bollywood have been uni - dimensi onal characters, who are good or bad, white or black. there are no shades of grey. this dichotomy was reinforced in popular films which distinguished between the heroine and the vamp, the wife and the other woman. films have also been inspired to a large e xtent from religion and mythology whereby women characters were seen as the epitome of virtue and values, those who could do no wrong. the image of women as „sita‟ has been repeatedly evoked in many films after independence. through the ideas of loyalty an d obedience to the husband, hindi cinema successfully institutionalized patriarchal values. films like „dahej‟ (1950), „gauri‟ (1968), „devi‟ (1970), „biwi ho to aisi‟ (1988), „pati parmeshwar‟ (1988) depicted women as passive, submissive wives as perfect figure s and martyrs for their own families. in these films, though the practices of 1 according to wikipedia, bollywood is the informal term popularly used for the hindi - language film industry based in mumbai , maharashtra . the term is often incorr ectly used to refer to the whole of indian cinema ; it is only a part of the total indian film industry, which includes other production centers producing films in regional langua ges . it is one of the largest centers of film production in the world. 2 the term ‘cinema’ henceforth in this paper will signify mainstream/popular hindi films
विद्वान सेटिंग