Indian Shadow Puppets Puppetry‚ which is a real challenge to the imagination and the creative ability of the individual‚ is one of the most ancient forms of entertainment. Besides entertainment‚ puppetry serves as an applied art‚ conveying meaningful messages. Of all art forms‚ it is probably the least restricted in form‚ design‚ colour and movement. It is also the least expensive of all animated visual art forms. Traditional Indian shadow puppets are two-dimensional and are made of animal skin
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Why does Jun’ichirō Tanizaki label his compilation of essays as an appraisal of shadows? What influenced his writing choices and inspired his word choice? The title is originally 陰翳礼讃 which in Japanese translates to Shadow of Praise and in Chinese translates to Shine. However‚ when one explores into the anatomy of those original words in Chinese; 陰 translates to Yin which is a Chinese philosophy characterized as feminine‚ sustaining‚ earthly‚ dark‚ cold‚ and opposite to the Yang philosophy; 翳 translates
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which may not be someone else’s reality. Amitav Ghosh in his book The Shadow Lines (1988) dwells on reality as a construction‚ that is‚ reality as an individual creates it for him/herself. This paper will look at the construction of reality for us by the Author‚ narrator and the various other characters in the story and thus giving the reader the reality effect or realism. One of the ways in which reality is constructed in The Shadow Lines (1988) is by the use of detail. For one Amitav Ghosh naturalizes
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“Oh‚ you play catcher? So‚ basically you just squat behind the plate and catch the ball that’s being pitched?” Most people assume that a catcher’s job is simply to wear catcher’s gear and catch the ball. Easy‚ right? Wrong. The catcher position requires an extensive amount more than that. Catchers assume the role of leaders‚ hard workers‚ and motivators. First‚ a catcher must undertake leadership abilities. When thinking about the skills and talents that have to be possessed for the game of softball
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Analyse how the writer uses a character for a symbolic purpose in an extended written text you have studied. In the novel ‘Catcher in the Rye’ by J.D Salinger the author used the main character ‚sixteen year old Holden Caulfield as a symbol for the loss of innocence and protection of innocence. Trough the novel Salinger has Holden as the first person narrative to really emphasise how Holden sees the situations he gets into and how he feels about them. Holden has just got kicked out of Pency Prep
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becoming a better catcher and the drills and tools you can use to achieve your goals of being a better catcher. Catching isn’t for everyone. It’s like volunteer work; you have to work hard and it isn’t very rewarding. A majority of the time volunteer work is unpaid and in the MLB catchers are the lowest paid position players. But when people step back and see what volunteer workers do they are impressed by what the workers are willing to do for such little reward. The same goes for catchers‚ people are
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CATCHERS OF MAJOR LEAGUE BASEBALL The catcher‚ the most physically demanding position on the baseball diamond‚ and the most knowledgeable player on the field have gone through changes. Through the long history of the American past-time of baseball‚ the catcher has seen their equipment up-date to meet the challenging force of a pitcher and the battle against a hardball gaining velocity off the wooden bat while only a couple feet off the plate. The catcher has developed as a weak-offensive threat
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After seeing this house‚ Ila and the narrator qurrel about the importance of radical politics. Ila considers the death of Alan‚ Mike and Dan who raised their voices against war-mongering as sad because they were casualties of a ruthless nationalism. She also thought that Alan and his friends‚ who were witness to the war and the fight against fascism‚ must have been happy as she was in her political activism. The quarrel about courage and political activism continues between Ila and the narrator
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In The Shadow Lines and The Hungry Ghosts‚ both Amitav Ghosh and Shyam Selvadurai‚ critique the emphasis that society puts on geo-political borders by acknowledging that we live in a world that is deeply inter-connected. Spanning different countries and continents‚ both of the novels explore issues of identity and belonging that are unique to the diaspora. This is accomplished through the characterization of a grandmother who is displaced from her homeland due to the Bengal Partition and the struggles
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represented as a dynamic arrangement between people‚ places‚ cultures and societies. Shadow Lines wakes us up to the furiously changing geo-political scenarios and governmental regulations that have led to the formation of the modern world as we know it. The process of othering‚ i.e. the creation of a certain sense of "us" and "them" has inevitably been created between nations and people due to the creation of boundaries or ‘Shadow Lines’ as Ghosh puts it. In this paper‚ I aim to analyze the feasibility or
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