您搜索了: misrepresentation (英语 - 印地语)

misrepresentation cases
मिथ्या बयान मामले

misrepresentation of minorities should be avoided .
अल्पसंख्याक वर्ग के अन्यथा - कथन से बचना चाहिए ।

as you know , our country has been the victim of misrepresentation for years in the past .
जैसा आप जानते है , हमारा देश भूतकाल में वर्षो तक गलतबयानी का शिकार रहा है ।

consent obtained through coercion , undue influence , fraud and misrepresentation is not free consent .
दबाव , अनुचित प्रभाव , धोखाधड़ी और गलत बयानी से ली गई सहमति स्वतंत्र सहमति नहीं है ।

when consent is obtained by coercion , undue influence and misrepresentation or fraud is voidable by the aggrieved party .
यदि सहमति दबाव डालकर , अनुपयुक्त प्रभाव से और तथ्यों के गलत प्रस्तुतीकरण से ली गई हो तो वह पीडित पक्ष द्वारा अमान्यकरणीय होती है ।

consent is said to be free if it is not induced by coercion , undue influence , fraud , misrepresentation or mistake .
सहमति तभी ‘स्वेसच्छाए से’ कही जाती है यदि वह बिना दबाव के , अनुचित असर डालकर , धोखाधड़ी से समस्तद सूचना देकर या भूल वश न दी गई है ।

as the misrepresentation was prima facie established being in its nature calculated to deceive , the court granted temporary injunction in favour of the plaintiff
क्योंकि दुर्व्यपदेशन , जिसकी प्रकृति धोखा देने की है , वह प्रथमदृष्टया स्थापित किया गया , न्यायालय ने वादी के पक्ष में अस्थायी निषेधाज्ञा दी .

facts prove that in most constituencies , the winning candidates get elected on the basis of a minority of the votes cast , resulting in general nationwide misrepresentation .
तथ्यों से सिद्ध हुआ है कि अधिक निर्वाचन क्षेत्रों में उम्मीदवार डाले गए कुल मतों का अल्पमत हासिल करके ही विजयी होता है ।

that moin nawaz jung is only a . careerist is evident from the fact that he accounted for the failure of his mission to achieve anything by attributing wanton misrepresentation to sir sultan ahmed regarding the situation here .
मोइन नवाज जंग केवल एक व्यक्तिगत सफलतावादी हैं , यह इस हकीकत से स्पष्ट होता है कि उन्होंने अपने मिशन की संपूर्ण असफलता का कारण सर सुलतान अहमद के उस अविचारी असत्य कथन को बताया , जो उन्होंने हैदराबाद की परिस्थितियों के विषय में दिल्ली में किया ।

if , however , the reports are mala fide or there is wilful misrepresentation or suppression of speeches of particular members , it is a breach of privilege and contempt of the house and the offender is liable to punishment .
परंतु यदि रिपोर्ट दुर्भावना से की गई हो या किन्हीं सदस्यों के भाषणों को जानबूझ कर गलत रूप दिया गया हो या छिपाया गया हो तो वह विशेषाधिकार भंग करना और सदन की अवमानना करना होगा और दोषी व्यक्ति को दंड दिया जायेगा ।

i hereby declare that all the statements made in the application are true to the best of my knowledge and belief and the appcation has been filed up by me 2 i have never been debarred from appearing in any examination nor have i ever been withdrawn from defence traning establishments on disciplinary grounds nor have i ever been arrested prosecuted or convicted by criminal court or convicted by criminal court or involved in any other case registred by the police i have not sumbitted more than one application for this batch 3 i undercate note to make any claim for compensation if at any stage of selection ineligbility for my candidature is deceted and my canddidature is cancelled as a result thereof 4 any wilful misrepresentation of facts and concealment of information will result in the cancellation and may debar me permanently or for a specific period from applying for future examinations
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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