Você procurou por: gauri (Inglês - Hindi)

gauri
गौरी

maz nav gauri
patracha namuna tayaar kara

gauri i miss you
गौरी आई मिस यू

mai gauri mam ko kal call karti hu
mai gauri mam ko kal call karti hu

riddhi siddhi sahit padharjo gauri nandan ganesh,
रिद्धि सिद्धि sahit padharjo गौरी नंदन गणेश,

that is why pandit gauri shankar translated the gita into dogri .
यही कारण है कि पं . गौरीशंकर ने गीता का डोगरी अनुवाद किया ।

gauri is a novel about marriage and it uses a wide canvas .
गौरी का चर्चित विषय है विवाह और इसके लिए सुविस्तृत फलक का उपयोग किया गया है ।

gauri te bhagwan budh contains an advocacy for the love censured by all .
गौरी ते भगवान् बुद्ध में सबके द्वारा प्रतिबन्धित प्रेम की वकालत की गई है ।

then they directly went to pay obeisance at the feet of the shaktipeeth mother, mangala gauri.
जहां से वे सीधे शक्तिपीठ मां मंगला गौरी के चरणों में मत्था टेका।

mai ye is lie bhej rahi hu kyuki gauri is group me add nahi h to kripya karke use add kre
mai ye is lie bhej rahi hu kyuki gauri is group me add nahi h to kripya karke use add kre

the songs are based on the life of siva and gauri , who represent the sun and the earth , respectively .
ये गीत शिव और गौरी के जीवन पर आधारित होते हैं जो क्रमशः सुर्य और भूमि का प्रतिनिधित्व करते हैं ।

riddhi siddhi sahit padharjo gauri nandan ganesh, sahu kutumb sathe padharjo bhrama, vishnu, mahesh
ऋद्धि सिद्धि सठ पधारो गौरी नंदन गणेश,

gauri , the only daughter of subbashastri and nanjamma , is presented in the novel as a symbol of innocence and purity .
उपन्यास में सुब्बशास्त्री और ननजम्मा की इकलौती बेटी भोले - भालेपन तथ पवित्रता के प्रतीक के रूप में प्रस्तुत की गई है ।

gauri shankar lal akhtar wrote about shiv brat lal ' s shri vigyan ramayan : a book of such brilliance is hard to find even in sanskrit .
शिवव्रत लाल की श्री विज्ञान रामायण के बारे में गौरी शंकर अख्तर का दावा है कि ऐसी पुस्तक संस्कृत भाषा में भी न निकलेगी ।

they wash and dress gaily , they worship the image of gauri and light lamps before it , they offer perfumes , abstain from eating , and play with swings .
इस दिन वे स्नान करती हैं और बढ़िया वस्त्र पहनती हैं . वे गौरी की मूर्ति की पूजा करती हैं और उसके सामने दीप जलाती हैं .

as the higher castes perform the vratas of lakshmi and gauri , the lower castes worship the minor deities and village goddesses like ellamma , maisamma , pochamma , balamma and others .
ऊंची जाति के लोग लक्ष्मी और गौरी के व्रत रखते हैं तो छोटी जातियों के लोग छोटी देवी - देवताओं को और ऐलम्मा , मैसम्मा , पोचम्मा , बालम्मा आदि ग्राम देवियों की पूजा करते हैं ।

they meet in the houses of the most 3rd magha prominent among them before the image of gauri , place before it various sorts of costly dresses , pleasant per - fumes , and nice dishes .
वे अपनों में सबसे अधिक प्रतिष्ठित लोगों के घरों में गौरी की मूर्ति के सामने एकत्र होती हैं , उसको अनेक प्रकार के बहुमूल्य वस्त्र , रमणीय सुगंधियां और स्वादिष्ट व्यंजन अर्पित करती हैं ।

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