Results for today's life of indian women in mar... translation from English to Hindi

essay on today's strong women in marathi language
मराठी भाषा में आज की सशक्त महिलाओं पर निबंध

role of indian women in olympics, essay in-hindi
ओलंपिक में भारतीय महिलाओं की भूमिका, निबंध में हिंदी

jamuna of nari becomes representative of indian women .
नारी की जमुना भारतीय नारी की प्रतिनिधि बनती है ।

she established the roots of indian women poetry association
उन्होंने भारत में महिला कवि सम्मेलनों की नीव रखी ।

that untold millions of indian women apply to their foreheads ,
जो कि लाखों भारतीय महिलाएं अपने माथे पर लगाती हैं ,

yildirim was now busy making grandiose schemes for the advancement and liberation of indian women !
यिल्दिरिम इस समय भारतीय महिलाओं की मुक्ति और उन्नति के लिए भव्य योजनायें बनाने में व्यस्त थे ।

but in a wider context it is the story of the life of women in general in those days .
परतु विस्तृत संदर्भ में यह उन दिनों आम औरतों की कहानी है ।

tragic end of kalpana chawla : the first indian women in space kalpana chalwa ' s second space journey was her the last journey .
कल्पना चावला का दुखद अंतः अंतरिक्ष पर पहुंचने वाली पहली भारतीय महिला कल्पना चावला की दूसरी अंतरिक्ष यात्रा ही उनकी अंतिम यात्रा साबित हुई ।

sarojini naidu will tell of the changes that are coming over the lives of indian women against the most ancient traditions .
सरोजिनी नायडू उन परिवर्तनों का बतलांयगी जो अत्याधिक प्राचीन परम्पराओं के विरुद्ध भारतीय स्त्रियों के जीवन में हो रहे हैं ।

lectures on the conditions of indian women before a board of mission - aries and religious life in india at the house where she was staying , followed .
इसके बाद उसने अपने निवास - स्थान पर धर्म - प्रचारकों की एक मंडली के समक्ष ' भारतीय महिलाओं की स्तिथि ' तथा ' भारत में धार्मिक जीवन ' पर व्याख्यान दिए ।

but although the percentage of indian women parliamentarians has increased over the years , it is still lower in comparison to countries like sweden , argentina , the uk and the usa .
लेकिन जहां धीरे - धीरे महिला सांसदों की संख्या बढ़ी है वहीं यह अभी भी स्वीडन , अर्जेंटीना , यू . के . तथा अमरीका के मुकाबले कम है ।

even british observers wrote that if the civil disobedience movement had not accomplished anything else , it had contributed greatly to the mass social emancipation of indian women .
अंग्रेज पर्यवेक्षकों तक ने लिखा है कि नागरिक अवज्ञा आंदोलन से और किसी उद्देश्य की पूर्ति हुई हो या नहीं , उसने बड़े पैमाने पर भारतीय स्त्रियों को सामाजिक मुक्ति दिलाने का महान कार्य किया ।

in february 1946 , an important bill to reduce the working hours of the workers from 10 to 8 was sanctioned creating a revolutionary progress in the life of indian workers .
फरवरी 1946 में उन्होंने दस घंटों से काम का दिन छोटा कर उसे आठ घंटों का कार्य दिवस बनाने के लिए विधेयक पास करवाकर भारत के मजदूरों के जीवन में क्रांतिकारी सुधार ला दिया ।

some of the finest portions of indian philosophy belong to his study of an atmosphere , in buddhism the concrete s . radhakrishnan embodiment of thought in the life of man .
उनके अध्ययन में भारतीय दर्शन के कुछ उत्कृष्टतम पक्ष बौद्ध धर्म के उस वातावरण से सम्बद्ध हैं , जिन्हें व्यक्ति के जीवन में विचार का साक्षात् अवतार माना जाता है ।

ms . bhatt has been recognized both nationally and internationally for empowering women in our country and enabling them lead a life of dignity and independence .
सुश्री भट्ट को , हमारे देश की महिलाओं को सशक्त बनाने तथा गरिमापूर्ण स्वतंत्र जीवन जीने में समर्थ बनाने के लिए राष्ट्रीय और अंतरराष्ट्रीय स्तर पर जाना जाता है ।

it vitally touches the life of every single indian , makes him feel aglow with the possession of a power that has lain hidden within himself , and makes him proud of his identity with every drop of the ocean of indian humanity .
वह प्रत्येक भारतीयके जीवनके मर्मको स्पर्श करता है , उसे अपने भीतरकी सुप्त शक्तियोंका भान कराता है और उसे इस बातका गर्व अनुभव कराता है कि उसका भारतीय जनताके महासागरकी प्रत्येक बूंदके साथ तादात्म्य है ।

the book speaks of astronomical principles of the working of indian calendric system which has been influencing the socio - religious life of the indian people for more than a millennium and a half .
यह पुस्तकक भारतीय कैलेंडर प्रणाली में कार्य करने के ज्योपतिष विज्ञानी सिद्धांतों पर है , जिन्होंाने लगभग डेढ़ सहस्राब्दि से अधिक समय से भारतीय जनता के सामाजिक - धार्मिक जीवन पर प्रभाव डाला है ।

' 6 having thus emerged as a solid rock amidst the wreckage left by the crisis of 1830 - 33 , dwarkanath realised that now was the time to build on his own a new edifice of indian entrprise to dominate and lead the commercial life of the then leading metropolis of india .
6 1830 - 33 के आर्थिक - संकट से उत्पन्न तबाही से जो मलबा बचा था , उसके बीच एक ठोस चट्टान के रूप में उभर कर द्वारकानाथ ने महसूस किया कि यही समय था जब उनको चाहिए कि भारतीय कारोबार और उद्यम को एक नई इमारत खड़ीं करें जो उस समय के भारत की राजधानी के व्यावयसायिक जीवन पर हावी हो सके और उसका नेतृत्व कर सके ।

our national ambition is to raise the quality of life of indians by quantum leaps and raise generations enlightened by learning , patriotism , compassion , honesty and a sense of duty .
हमारी राष्ट्रीय महत्त्वाकांक्षा , भारतीय जनता के जीवन स्तर को तेजी से ऊंचा उठाना तथा ज्ञान , देशभक्ति , करुणा , ईमानदारी तथा कर्तव्य बोध से संपन्न पीढ़ियों को तैयार करना 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