Ramayan 2012 All Episodes

[Athenasby Regalado]

PrasarBharati CEO Shashi Shekhar confirmed the news through his tweet and said that looking at the immense popularity and the interest of the people towards the ongoing Ramayan, they have now decided to broadcast the story of 'Luv Kush' which came under the name Uttara Ramayana and was broadcasted in the year 1988. He wrote, "Tomorrow morning Saturday 9am slot and Tomorrow night 9pm slot will air the last few remaining episodes of Yuddha Kanda of Ramayan bringing the main storyline to an end before Uttarakand begins."

Further, he said, "Sunday morning 9am slot will be a repeat of the finale of the main storyline of Yuddha Kanda. From Sunday night 9pm the episodes pertaining to Uttarakand that have been produced as Uttar Ramayan will start airing."

Tweeting more information, he wrote, "In view of several states starting Educational Classes via Doordarshan and All India Radio in the mornings, there will be fresh episodes of Uttar Ramayan at nights in 9pm slots and repeats of the same during the day in the 9am slots."

For the unversed, Luv Kush has 39 episodes which show the birth of Luv Kush and the abandonment of Maa Sita's from the palace to go to exile. In this serial too, the characters of Ramayana will be seen in their roles. In Uttar Ramayana, Luv and Kush were played by Swapnil Joshi and Mayuresh Kshetramade. Child artist Swapnil Joshi has become an actor in the Marathi industry. He has also appeared in Bollywood films with several TV serials. Whereas, Mayuresh a CEO of a private company in New Jersey.

New Delhi: Nazara TV's one of the most popular TV series, Dhartiputra Nandini, completes 200 episodes. Ramanand Sagar's Ramayan fame, Dipika Chikhlia Topiwala, is playing a vital role in it. Actress Shagun Singh is playing the titular role in this popular series.

Dhartiputra Nandini is the first project from Dipika's production house, DCT Movies. Dipika is known for portraying the role of Sita in the Ramayan series, which created history in the Indian television industry. The same series was re-telecasted on Doordarshan during lockdown, was highly loved by the Indian audience once again, and had a bigger impact. Even post-lockdown, when she started her own production house, she received much love for her first TV series as a producer.

In a chat with the media, Dipika Chikhlia Topiwala says, "I am really thrilled and happy about Dhartiputra Nandini, which is the first TV series from my newly started production house. So far, I was known as an actress only, but now I have tasted success as a producer as well. This really matters for me, and it's like a dream come true. I am thankful to all my cast and crew for giving their best. I am also thankful to the Indian audience, which has been showering their love for almost four decades. I wish I would be able to entertain the best through my future projects too. Keep loving me as usual."

This chapter examines the role of the great Indian epics in the process of signification in the Panji romance Hikayat Misa Taman Jayeng Kusuma (copied or written between 1860 and 1870), concentrating on five episodes in its narrative. It traces the intertextual presence of elements familiar from Mahabharata and Ramayana, and suggests that the hikayat's most probable sources are New Javanese (wayang kulit purwa) and Malay (hikayat's) adaptations of episodes of these epics, the creation of which was more or less contemporary with the hikayat's probable date of composition, and not Old-Javanese ones in the form of kakawin. The unknown author of the hikayat freely combines disparate elements from these adaptations to create what may be called mirrortexts commenting on the hikayat's narrative and thus adds new layers of meaning to it. The chapter closes with some considerations about how and why the hikayat foregrounds its own fictionality, relating this to what Malay poetics calls creative amplification (memanjangkan), a key characteristic of all narrative in the genre of the Panji romance.

First the story is told that the gods were sitting together in the Hall of the Lotus of Illusion, discussing a plan to send Betara Indera Naya and his wife down to incarnate in the Illusionary Abode. Since the Pandawa kings had long ago gone back to the heavens, the Illusionary Abode had become a deserted place and their land was about to become forest again. The gods therefore liked the idea and all agreed with Betara Kala's proposal.

With these words opens the narrative of a bulky Malay Panji romance, entitled Hikayat Misa Taman Jayeng Kusuma (henceforth called HMTJK), that according to its editor, Abdul Rahman Kaeh (1976), was possibly copied or written between 1860 and 1870. On Betara Kala's proposal, so the hikayat subsequently tells us, Betara Indera Naya and his wife Dewi Mandurati descend to earth and incarnate as the king and queen of Koripan, whose sons then become the kings of the Javanese kingdoms of Koripan, Daha, Gagelang and Singasari, and whose daughter marries the king of Manjapahit.

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