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1962: The War in the Hills is an Indian Hindi-language war drama streaming television series on Disney+ Hotstar, written and directed by Mahesh Manjrekar. Inspired by the 1962 Sino-Indian war, the series features Abhay Deol, Sumeet Vyas, Rohan Gandotra, Mahie Gill and Akash Thosar in leading roles. The series showcases a fictional account of real battles fought in Galwan Valley and Rezang La where 125 Ahir soldiers of the Indian Army were tasked with defending against a 3000 strong People's Liberation Army[1][2]
Over time, the structure of the economy has changed considerably.[174] Historically, it has been weighted heavily towards agriculture, reflecting both its stage of economic development and government policies in the 1950s and 1960s to promote agricultural self-sufficiency.[174] A gradual process of industrialisation and urbanisation began in the late 1960s and accelerated in the 1980s as falling oil prices saw the government focus on diversifying away from oil exports and towards manufactured exports.[174] This development continued throughout the 1980s and into the next decade despite the 1990 oil price shock, during which the GDP rose at an average rate of 7.1%. As a result, the official poverty rate fell from 60% to 15%.[175] Trade barriers reduction from the mid-1980s made the economy more globally integrated. The growth ended with the 1997 Asian financial crisis that severely impacted the economy, including a 13.1% real GDP contraction in 1998 and a 78% inflation. The economy reached its low point in mid-1999 with only 0.8% real GDP growth.[176]
Wayang, the Javanese, Sundanese, and Balinese shadow puppet theatre displays several legends from Hindu mythology such as the Ramayana and the Mahabharata.[318] Other forms of local drama include the Javanese Ludruk and Ketoprak, the Sundanese Sandiwara, Betawi Lenong,[319][320] and various Balinese dance dramas. They incorporate humour and jest and often involve audiences in their performances.[321] Some theatre traditions also include music, dancing and silat martial art, such as Randai from the Minangkabau people of West Sumatra. It is usually performed for traditional ceremonies and festivals[322][323] and based on semi-historical Minangkabau legends and love story.[323] Modern performing art also developed in Indonesia with its distinct style of drama. Notable theatre, dance, and drama troupe such as Teater Koma are famous as it often portrays social and political satire of Indonesian society.[324]
The most famous of these, however, is also one of the few woman's voices we hear from any quarter of antiquity. Her name is Sappho, and her love poetry is perhaps the most famous of all time. The beauty of Sappho's lyrics in Greek was heralded throughout antiquity, as was the complexity, subtlety and rapturous grace of her rhythms and melodies.
Unfortunately, most of her poetry is now lost, shattered in its long passage through neglectful ages. So much has been disappeared that we are not sure we have even a single poem of hers complete. But the many fragments of her songs which survive today attest to the high reputation in which the ancients held her. More important for our purposes, lyric poetry like Sappho's played an important role in the formulation of Greek drama which borrowed heavily from lyric modes of expression and, in fact, rose at the very time that lyric poetry began to decline. So, Sappho's legacy lived on, at least in part, through the tragedies and comedies that followed in her wake.
In the end, be it called the Lyric Age, the Age of Colonization, the Age of Tyrants, the Age of Lawgivers or simply the Pre-Classical Age, these three centuries of Greek civilization (800-500 BCE) are by any name one of the great revolutionary periods in human history. Were it not followed by an age even more magnificent (i.e. the Classical Age), this could easily be deemed a golden age. If nothing else, all the titles of this epoch point up the centrality of these centuries as a pivotal and formative moment in not only Greek history but all of Western Civilization. And so it will come as little surprise that this was the time and place, the laboratory if you will, where Greek drama was created.
Health education is important not only for educating the public on risk reduction measures and changing behavior, but has also been found to facilitate diagnosis, surveillance, and treatment [157]. Through health education activities and water contact studies, many high-risk behaviors and at-risk populations have been identified [158]. This has enabled health messages to be tailored to specific groups, such as school-age children swimming in freshwater and farmers and fishermen, and has largely been aimed at methods of avoiding water contact and self-protection [158]. However, it can be difficult to change behavior in some groups, such as fishermen or farmers, due to the nature of their occupations [158]. The support of local and national governments, through implementing infrastructure such as public toilets and using sanitary containers for stool on fishing boats, is therefore important in these situations [117,159]. The vehicles used for health education messages are many-fold and include audio-visual (radio, television, film, drama, traditional opera, and exhibits), print media (poems, slogans, posters, magazines, and newspaper), and other daily articles such as printed shirts, towels, fans, and umbrellas, among others [158]. Health information can also be passively disseminated through the community by students, teachers, village leaders, and parents [158]. Although health education is considered an important component of an integrated control program for schistosomiasis [160,161,162,163], it needs to be thoroughly planned, targeted, trialed, and evaluated prior to implementation [158], and needs to be sustained over a long period of time in order to maximize effectiveness [164]. To date, health education has been a major focus in P.R. China. Elsewhere, health education has generally been combined with preventive chemotherapy and has played a limited role in schistosomiasis control and elimination programs [82,165].
2. After imagining a petition to God for divorce, an exhausted Gilbert answers her phone to news that her husband has finally signed. During a moment of quietude before a Roman fountain, she opens her Louise Glück collection to a verse about a fountain, one reminiscent of the Balinese medicine man's drawing. After struggling to master a 182-verse daily prayer, she succeeds by focusing on her nephew, who suddenly is free from nightmares. Do these incidents of fortuitous timing signal fate? Cosmic unity? Coincidence? 3. Gilbert hashes out internal debates in a notebook, a place where she can argue with her inner demons and remind herself about the constancy of self-love. When an inner monologue becomes a literal conversation between a divided self, is this a sign of last resort or of self-reliance? 4. When Gilbert finally returns to Bali and seeks out the medicine man who foretold her return to study with him, he doesn't recognize her. Despite her despair, she persists in her attempts to spark his memory, eventually succeeding. How much of the success of Gilbert's journey do you attribute to persistence? 5. Prayer and meditation are both things that can be learned and, importantly, improved. In India, Gilbert learns a stoic, ascetic meditation technique. In Bali, she learns an approach based on smiling. Do you think the two can be synergistic? Or is Ketut Liyer right when he describes them as "same-same"? 6. Gender roles come up repeatedly in Eat, Pray, Love, be it macho Italian men eating cream puffs after a home team's soccer loss, or a young Indian's disdain for the marriage she will be expected to embark upon at age eighteen, or the Balinese healer's sly approach to male impotence in a society where women are assumed responsible for their childlessness. How relevant is Gilbert's gender? 7. In what ways is spiritual success similar to other forms of success? How is it different? Can they be so fundamentally different that they're not comparable? 8. Do you think people are more open to new experiences when they travel? And why? 9. Abstinence in Italy seems extreme, but necessary, for a woman who has repeatedly moved from one man's arms to another's. After all, it's only after Gilbert has found herself that she can share herself fully in love. What does this say about her earlier relationships? 10. Gilbert mentions her ease at making friends, regardless of where she is. At one point at the ashram, she realizes that she is too sociable and decides to embark on a period of silence, to become the Quiet Girl in the Back of the Temple. It is just after making this decision that she is assigned the role of ashram key hostess. What does this say about honing one's nature rather than trying to escape it? Do you think perceived faults can be transformed into strengths rather than merely repressed? 10. Sitting in an outdoor café in Rome, Gilbert's friend declares that every city-and every person-has a word. Rome's is "sex," the Vatican's "power"; Gilbert declares New York's to be "achieve," but only later stumbles upon her own word, antevasin, Sanskrit for "one who lives at the border." What is your word? Is it possible to choose a word that retains its truth for a lifetime?
Gilbert (The Last American Man) grafts the structure of romantic fiction upon the inquiries of reporting in this sprawling yet methodical travelogue of soul-searching and self-discovery. Plagued with despair after a nasty divorce, the author, in her early 30s, divides a year equally among three dissimilar countries, exploring her competing urges for earthly delights and divine transcendence. First, pleasure: savoring Italy's buffet of delights-the world's best pizza, free-flowing wine and dashing conversation partners-Gilbert consumes la dolce vita as spiritual succor. "I came to Italy pinched and thin," she writes, but soon fills out in waist and soul. Then, prayer and ascetic rigor: seeking communion with the divine at a sacred ashram in India, Gilbert emulates the ways of yogis in grueling hours of meditation, struggling to still her churning mind. Finally, a balancing act in Bali, where Gilbert tries for equipoise "betwixt and between" realms, studies with a merry medicine man and plunges into a charged love affair. Sustaining a chatty, conspiratorial tone, Gilbert fully engages readers in the year's cultural and emotional tapestry-conveying rapture with infectious brio, recalling anguish with touching candor-as she details her exotic tableau with history, anecdote and impression. (On sale Feb. 20) Copyright 2005 Reed Business Information.