Mamta Kalia

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of patient Vijay Mitra’s treatment but also crossed the rules and regulations of the institute. The members of the inquiry commission were unanimous on this fact also that due to the suicide of his son, his wife’s long suffering and the courtcase about not being made the director of Cardiology Institute, Dr. Bhagat has become hopeless, complexed and frustrated. His mental situation also doesn’t seem normal. About the legal validity of the death certificate issued by Dr. Bhagat, they gave this conclusion— Since Dr. Bhagat wasn’t on duty on the night of first January he shouldn’t have issued the death-certificate. This will not only develop anarchy but a wrong tradition will also develop. The death-certificate 126 :: April-June 2010 issued by Dr. Bhagat is against the rules. However, an opinion of legal expert is expected on this issue. The decision of the Government According to the opinion of members of the inquiry commission, the attached statements of witnesses and circumstances, it is clear that Dr. C.K. Bhagat had close relationship with the Naxal leader. Vijay Mitra, and due to this he issued the illegal death certificate under a preplanned conspiracy to defame the government, which shows serious indiscipline and breach of conduct of a government servant. Due to the contravention of medical ethics and irresponsible conduct, Dr. C.K. Bhagat is discharged immediately. The reaction of Dr. C.K. Bhagat Comrade Vijay Mitra, if only you didn’t have a heart! Aadhesh Preet, born 1958, writes short stories in hindi. Four major stories are to his credit— ‘Nrishansa’, ‘Kohre Me Kandil’, ‘Ham Jamin’ and ‘Hastakshep’. He has received Phanishwar Nath Renu Samman, Vijay Verma Katha Samman, Surendra Choudhary Katha Samman. At present he is editor of daily news paper, Hindustan, Patna.
Films GENDERING THE ‘LOOK’ IN CONTEMPORARY IRANIAN CINEMA Lalit Joshi Filmmakers across the world have had to contend with the question of the look 1 particularly when the image to be looked at happens to be a woman. The challenge has been to direct and anchor audience gaze by appropriately positioning the image of the woman on the screen. Moreover, spectatorship has to be constituted in such a way that the intent of the filmmaker can be affectively communicated. But one must remember that films are made within multiple constraints, the screen always being a contested space for rival ideologies. The modern state tries to resolve this by designing a system of censorship poised dangerously between popular aspirations, market forces and the pressures of its political constituencies. Also, filmmaking still remains an enterprise dominated by men. Thus, despite resistance from women’s organizations, feminist writers and women directors of international acclaim, cinemas across the world have tried to achieve gendering both at the level of scripting and the deployment of technology. A gendered narrative is a powerful guarantee against box-office failures, even though every filmmaker is aware that little can be done to manipulate interpretation and meaning, which remain until the end, resolute domains of the audience. This essay is concerned with the production of the gendered look in contemporary Iranian cinema. I also examine how filmmakers have accomplished subtle transgressions of censorship regulations even when the bulk of the filmic narrative is synchronous with patriarchal imaginings. It is challenging to read Iranian films in India 2 particularly at a time when the art film movement has practically withered April-June 2010 :: 127
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A Journal of Mahatma Gandhi Antarra
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Contents Focus LANGUAGE DISCOURSE W
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Editor's Note Those who have a pass
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Focus JOOTHAN Om Prakash Valmiki Tr
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unwarranted. Ram Singh and Sukkhan
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angry that his dense moustache was
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place where uplas or cow dung cakes
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He had entered the cowsheds of the
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that she kept with great care with
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to lose touch with those companions
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It rained a lot in the year 1962. A
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was cooked at home, we all got very
Page 25 and 26:
Discourse JOOTHAN: A DALIT LITERARY
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in the present. These are memories
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sun and the needle pricks of the sh
Page 31 and 32:
as well as the rhetorical use of th
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he used to come to our house in Alm
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although drawing its special charac
Page 37 and 38:
the forests, or the discovery of la
Page 39 and 40:
oth the above-mentioned tendencies
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enterprising elements with more cap
Page 43 and 44:
quite opposite to them. This has on
Page 45 and 46:
considerable “reverse flow”, th
Page 47 and 48:
on the basis of a new model. This n
Page 49 and 50:
Our mind Clouds with the din of Loo
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He’s not born in any castle- In t
Page 53 and 54:
Such Is The Time Such is this time
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manning machines returning home, af
Page 57 and 58:
I have to tell them each time that
Page 59 and 60:
Said—I used to love this man. Had
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Poetry FIVE POEMS Nilesh Raghuvansh
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How dear it is to hear him so! His
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Books Never willed anybody for a gi
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Discourse POST MODERNISM: A CRITICA
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(Daniel Bell), or ‘post-modern ti
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According to Jameson and Baudrillar
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Modern Architecture’, 1977), impl
Page 75 and 76: perpetuation of dissensus - on a pe
Page 77 and 78: information because of media’s bi
Page 79 and 80: catastrophe and progress together
Page 81 and 82: theories, it has encouraged identit
Page 83 and 84: 11. J. Baudrillard (1975), “ The
Page 85 and 86: article was published in 1901 and f
Page 87 and 88: Conversation FIRAQ GORAKHPURI IN HI
Page 89 and 90: and set definition for everything.
Page 91 and 92: e hard put to explain. Or take this
Page 93 and 94: Short story CAMEL WITH SILVER WINGS
Page 95 and 96: “No sir, you require rest.” His
Page 97 and 98: next month.” “To marry you?”
Page 99 and 100: from the jungle or people in their
Page 101 and 102: They were refugees of permanent kin
Page 103 and 104: offer it to a man! He had thought.
Page 105 and 106: “At times they charge so much for
Page 107 and 108: I have been in this job for a numbe
Page 109 and 110: emembered my old friend Professor S
Page 111 and 112: time I got home it was ten at night
Page 113 and 114: about her school, syllabus, timing,
Page 115 and 116: my paralysed wife from bathroom to
Page 117 and 118: to the Oxygen mask. And then, there
Page 119 and 120: treatment like bonded labourers, it
Page 121 and 122: forehead. His mind wandered towards
Page 123 and 124: in search of any senior doctor. Sin
Page 125: The inquiry commission felt it was
Page 129 and 130: Mumbai) was released in Iran and ci
Page 131 and 132: early years of the revolution, the
Page 133 and 134: of getting their scripts approved b
Page 135 and 136: subverting the rules of modesty and
Page 137 and 138: 9. Ayatollah Ruhollah Khomeini, Isl
Page 139 and 140: ack insulted & a loser . She was so
Page 141 and 142: credits of the film. Jagmohan’s e
Page 143 and 144: Language HINDI LANGUAGE AND LITERAT
Page 145 and 146: and some reference material are als
Page 147 and 148: It is for these reasons that the Ro
Page 149 and 150: Language TRANSLATION: A QUEST OF PO
Page 151 and 152: called words but whole languages we
Page 153 and 154: Translation in the global village T
Page 155 and 156: Book Review COUNTER-TELLING OF THE
Page 157 and 158: the Victorian legal system, run on
Page 159 and 160: The mention of Madam Ripley Bean’
Page 161: proof Reading Words Rs. Editorial N
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Mamta Kalia

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