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hindi</title> <meta name="description" content="Search results for: hindi"> <meta name="keywords" content="hindi"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="hindi"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 62</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: hindi</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> Developing an Intonation Labeled Dataset for Hindi</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Esha%20Banerjee">Esha Banerjee</a>, <a href="https://publications.waset.org/abstracts/search?q=Atul%20Kumar%20Ojha"> Atul Kumar Ojha</a>, <a href="https://publications.waset.org/abstracts/search?q=Girish%20Nath%20Jha"> Girish Nath Jha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to develop an intonation labeled database for Hindi. Although no single standard for prosody labeling exists in Hindi, researchers in the past have employed perceptual and statistical methods in literature to draw inferences about the behavior of prosody patterns in Hindi. Based on such existing research and largely agreed upon intonational theories in Hindi, this study attempts to develop a manually annotated prosodic corpus of Hindi speech data, which can be used for training speech models for natural-sounding speech in the future. 100 sentences ( 500 words) each for declarative and interrogative types have been labeled using Praat. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=speech%20dataset" title="speech dataset">speech dataset</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi" title=" Hindi"> Hindi</a>, <a href="https://publications.waset.org/abstracts/search?q=intonation" title=" intonation"> intonation</a>, <a href="https://publications.waset.org/abstracts/search?q=labeled%20corpus" title=" labeled corpus"> labeled corpus</a> </p> <a href="https://publications.waset.org/abstracts/142503/developing-an-intonation-labeled-dataset-for-hindi" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142503.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">199</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> Solidarity and Authority in the Characters of Shakespeare’s Drama</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vinay%20Jain">Vinay Jain</a>, <a href="https://publications.waset.org/abstracts/search?q=Meena%20Jain"> Meena Jain</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Thee is generally used in Shakespeare by a master to a servant. Being the appropriate address to a servant, it is used in confidential and good-humoured utterances. You was received by a master. Hindi tu, tum, and aap express roughly the same social meanings as English thou/thee and you used to express respectively. The pronouns thou, thee and you have been reduced to you whereas in Hindi we still have all three pronouns – aap, tum and tu. It reveals that our society has not yet reached the unidimensional solidarity semantics toward which the present European pronominal usage seems to be moving. Shakespeare’s use of pronouns and Hindi pronouns are correlated with the interlocutor’s social status and intimacy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brown%20and%20gilman" title="brown and gilman">brown and gilman</a>, <a href="https://publications.waset.org/abstracts/search?q=elizabethan%20pronouns" title=" elizabethan pronouns"> elizabethan pronouns</a>, <a href="https://publications.waset.org/abstracts/search?q=honorific%20pronoun" title=" honorific pronoun"> honorific pronoun</a>, <a href="https://publications.waset.org/abstracts/search?q=power" title=" power"> power</a>, <a href="https://publications.waset.org/abstracts/search?q=solidarity" title=" solidarity"> solidarity</a> </p> <a href="https://publications.waset.org/abstracts/171140/solidarity-and-authority-in-the-characters-of-shakespeares-drama" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171140.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> Kitchenary Metaphors in Hindi-Urdu: A Cognitive Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bairam%20Khan">Bairam Khan</a>, <a href="https://publications.waset.org/abstracts/search?q=Premlata%20Vaishnava"> Premlata Vaishnava</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The ability to conceptualize one entity in terms of another allows us to communicate through metaphors. This central feature of human cognition has evolved with the development of language, and the processing of metaphors is without any conscious appraisal and is quite effortless. South Asians, like other speech communities, have been using the kitchenary [culinary] metaphor in a very simple yet interesting way and are known for bringing into new and unique constellations wherever they are. This composite feature of our language is used to communicate in a precise and compact manner and maneuvers the expression. The present study explores the role of kitchenary metaphors in the making and shaping of idioms by applying Cognitive Metaphor Theories. Drawing on examples from a corpus of adverts, print, and electronic media, the study looks at the metaphorical language used by real people in real situations. The overarching theme throughout the course is that kitchenary metaphors are powerful tools of expression in Hindi-Urdu. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitive%20metaphor%20theories" title="cognitive metaphor theories">cognitive metaphor theories</a>, <a href="https://publications.waset.org/abstracts/search?q=kitchenary%20metaphors" title=" kitchenary metaphors"> kitchenary metaphors</a>, <a href="https://publications.waset.org/abstracts/search?q=hindi-urdu%20print" title=" hindi-urdu print"> hindi-urdu print</a>, <a href="https://publications.waset.org/abstracts/search?q=and%20electronic%20media" title=" and electronic media"> and electronic media</a>, <a href="https://publications.waset.org/abstracts/search?q=grammatical%20structure%20of%20kitchenary%20metaphors%20of%20hindi-urdu" title=" grammatical structure of kitchenary metaphors of hindi-urdu"> grammatical structure of kitchenary metaphors of hindi-urdu</a> </p> <a href="https://publications.waset.org/abstracts/153455/kitchenary-metaphors-in-hindi-urdu-a-cognitive-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153455.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">93</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> PH.WQT as a Web Quality Model for Websites of Government Domain</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rupinder%20Pal%20Kaur">Rupinder Pal Kaur</a>, <a href="https://publications.waset.org/abstracts/search?q=Vishal%20Goyal"> Vishal Goyal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this research, a systematic and quantitative engineering-based approach is followed by applying well-known international standards and guidelines to develop a web quality model (PH.WQT- Punjabi and Hindi Website Quality Tester) to measure external quality for websites of government domain that are developed in Punjabi and Hindi. Correspondingly, the model can be used for websites developed in other languages also. The research is valuable to researchers and practitioners interested in designing, implementing and managing websites of government domain Also, by implementing PH.WQT analysis and comparisons among web sites of government domain can be performed in a consistent way. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=external%20quality" title="external quality">external quality</a>, <a href="https://publications.waset.org/abstracts/search?q=PH.WQT" title=" PH.WQT"> PH.WQT</a>, <a href="https://publications.waset.org/abstracts/search?q=indian%20languages" title=" indian languages"> indian languages</a>, <a href="https://publications.waset.org/abstracts/search?q=punjabi%20and%20hindi" title=" punjabi and hindi"> punjabi and hindi</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20model" title=" quality model"> quality model</a>, <a href="https://publications.waset.org/abstracts/search?q=websites%20of%20government" title=" websites of government"> websites of government</a> </p> <a href="https://publications.waset.org/abstracts/36782/phwqt-as-a-web-quality-model-for-websites-of-government-domain" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36782.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">306</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">58</span> Technique and Use of Machine Readable Dictionary: In Special Reference to Hindi-Marathi Machine Translation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Milind%20Patil">Milind Patil</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Present paper is a discussion on Hindi-Marathi Morphological Analysis and generating rules for Machine Translation on the basis of Machine Readable Dictionary (MRD). This used Transformative Generative Grammar (TGG) rules to design the MRD. As per TGG rules, the suffix of a particular root word is based on its Tense, Aspect, Modality and Voice. That's why the suffix is very important for the word meanings (or root meanings). The Hindi and Marathi Language both have relation with Indo-Aryan language family. Both have been derived from Sanskrit language and their script is 'Devnagari'. But there are lots of differences in terms of semantics and grammatical level too. In Marathi, there are three genders, but in Hindi only two (Masculine and Feminine), the Natural gender is absent in Hindi. Likewise other grammatical categories also differ in their level of use. For MRD the suffixes (or Morpheme) are of particular root word for GNP (Gender, Number and Person) are based on its natural phenomena. A particular Suffix and Morphine change as per the need of person, number and gender. The design of MRD also based on this format. In first, Person, Number, Gender and Tense are key points than root words and suffix of particular Person, Number Gender (PNG). After that the inferences are drawn on the basis of rules that is (V.stem) (Pre.T/Past.T) (x) + (Aux-Pre.T) (x) → (V.Stem.) + (SP.TM) (X). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=MRD" title="MRD">MRD</a>, <a href="https://publications.waset.org/abstracts/search?q=TGG" title=" TGG"> TGG</a>, <a href="https://publications.waset.org/abstracts/search?q=stem" title=" stem"> stem</a>, <a href="https://publications.waset.org/abstracts/search?q=morph" title=" morph"> morph</a>, <a href="https://publications.waset.org/abstracts/search?q=morpheme" title=" morpheme"> morpheme</a>, <a href="https://publications.waset.org/abstracts/search?q=suffix" title=" suffix"> suffix</a>, <a href="https://publications.waset.org/abstracts/search?q=PNG" title=" PNG"> PNG</a>, <a href="https://publications.waset.org/abstracts/search?q=TAM%26V" title=" TAM&V"> TAM&V</a>, <a href="https://publications.waset.org/abstracts/search?q=root" title=" root"> root</a> </p> <a href="https://publications.waset.org/abstracts/69852/technique-and-use-of-machine-readable-dictionary-in-special-reference-to-hindi-marathi-machine-translation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/69852.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">324</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">57</span> Vfx-Creativity or Cost Cutting Study of the Use of Vfx in Hindi Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nidhi%20Patel">Nidhi Patel</a>, <a href="https://publications.waset.org/abstracts/search?q=Amol%20Shinde"> Amol Shinde</a>, <a href="https://publications.waset.org/abstracts/search?q=Amrin%20Moger"> Amrin Moger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Mainstream Hindi cinema also known as Bollywood, is the largest film producing industry in India. The Indian film industry underwent a sea change since last few years. The industry adapted to the latest technologies and creative manpower to improve visual and cinematic effects. The changes helped the industry to improve its creative looks and ease on production budget. The research focuses on this very change, i.e. the use of VFX. There has been growing use of VFX in feature films. The primary focus is on how VFX can make a difference in the experience of watching a movie. The research examines the use of CGI/VFX in the narrative, which delivers a visually fulfilling film. It also focuses on the use of CGI/ VFX as a cost cutting tool. The research was exploratory in nature. It studies the industry’s evolvement, increment in its use by filmmakers and their intention to use it in their films. The researcher used qualitative method for data collection as an in-depth interview of 10 artists from VFX studios in Mumbai was conducted. The finding reveals the way VFX is used in Hindi cinema by the directors. The researcher learnt that VFX is majorly used as a tool to enhance creativity and provide the audience with creative viewing experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bollywood" title="Bollywood">Bollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20cinema" title=" Hindi cinema"> Hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=VFX" title=" VFX"> VFX</a>, <a href="https://publications.waset.org/abstracts/search?q=CGI" title=" CGI"> CGI</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=cost%20cutting" title=" cost cutting"> cost cutting</a> </p> <a href="https://publications.waset.org/abstracts/40206/vfx-creativity-or-cost-cutting-study-of-the-use-of-vfx-in-hindi-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40206.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">359</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">56</span> Reduplication In Urdu-Hindi Nonsensical Words: An OT Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Riaz%20Ahmed%20Mangrio">Riaz Ahmed Mangrio</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Reduplication in Urdu-Hindi affects all major word categories, particles, and even nonsensical words. It conveys a variety of meanings, including distribution, emphasis, iteration, adjectival and adverbial. This study will primarily discuss reduplicative structures of nonsensical words in Urdu-Hindi and then briefly look at some examples from other Indo-Aryan languages to introduce the debate regarding the same structures in them. The goal of this study is to present counter-evidence against Keane (2005: 241), who claims “the base in the cases of lexical and phrasal echo reduplication is always independently meaningful”. However, Urdu-Hindi reduplication derives meaningful compounds from nonsensical words e.g. gũ mgũ (A) ‘silent and confused’ and d̪əb d̪əb-a (N) ‘one’s fear over others’. This needs a comprehensive examination to see whether and how the various structures form patterns of a base-reduplicant relationship or, rather, they are merely sub lexical items joining together to form a word pattern of any grammatical category in content words. Another interesting theoretical question arises within the Optimality framework: in an OT analysis, is it necessary to identify one of the two constituents as the base and the other as reduplicant? Or is it best to consider this a pattern, but then how does this fit in with an OT analysis? This may be an even more interesting theoretical question. Looking for the solution to such questions can serve to make an important contribution. In the case at hand, each of the two constituents is an independent nonsensical word, but their echo reduplication is nonetheless meaningful. This casts significant doubt upon Keane’s (2005: 241) observation of some examples from Hindi and Tamil reduplication that “the base in cases of lexical and phrasal echo reduplication is always independently meaningful”. The debate on the point becomes further interesting when the triplication of nonsensical words in Urdu-Hindi e.g. aẽ baẽ ʃaẽ (N) ‘useless talk’ is also seen, which is equally important to discuss. The example is challenging to Harrison’s (1973) claim that only the monosyllabic verbs in their progressive forms reduplicate twice to result in triplication, which is not the case with the example presented. The study will consist of a thorough descriptive analysis of the data for the purpose of documentation, and then there will be OT analysis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=reduplication" title="reduplication">reduplication</a>, <a href="https://publications.waset.org/abstracts/search?q=urdu-hindi" title=" urdu-hindi"> urdu-hindi</a>, <a href="https://publications.waset.org/abstracts/search?q=nonsensical" title=" nonsensical"> nonsensical</a>, <a href="https://publications.waset.org/abstracts/search?q=optimality%20theory" title=" optimality theory"> optimality theory</a> </p> <a href="https://publications.waset.org/abstracts/164930/reduplication-in-urdu-hindi-nonsensical-words-an-ot-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164930.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">55</span> Auditing Hindi Celluloid as a Catalyst of Transition: The Eventual Delineation of LGBTQ+</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinmayee%20Nanda">Chinmayee Nanda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this modern era, India is still chained up with the idea of ‘Heteronormativity’. As a result, homonormativity, transgressions, preconceived notions, and bigotry add to many raised eyebrows, the majority being the norm and overpowering the voices of the minority. In this country an undeniable space is the need of the hour to identify those unheard voices. Media can be considered as the most powerful space for the same. This paper aims to examine the representation as well as transition (if any) of the varied figments of the imagination and alternative facts relating to the LGBTQ+ community in celluloid in Hindi. This paper will also explore the visibility of the queer aspirations through this media. The portrayal of the LGBTQ community as the ‘other’ and ‘not normal’ is a matter of concern about any individual’s sexuality. The years 2014 and 2018 turned out to be remarkable in the Indian Legal System pertaining to the recognition of the ‘Third Gender’ and ‘Decriminalization of Homosexuality,’ respectively. In relation to that, this paper will also explore the impression of these dynamics on the subsequent depiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sexuality" title="sexuality">sexuality</a>, <a href="https://publications.waset.org/abstracts/search?q=hindi%20cinema" title=" hindi cinema"> hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20fluidity" title=" gender fluidity"> gender fluidity</a>, <a href="https://publications.waset.org/abstracts/search?q=legal%20framework" title=" legal framework"> legal framework</a> </p> <a href="https://publications.waset.org/abstracts/190246/auditing-hindi-celluloid-as-a-catalyst-of-transition-the-eventual-delineation-of-lgbtq" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/190246.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">26</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">54</span> Identifying Children at Risk for Specific Language Impairment Using a Wordless Picture Narrative: A Study on Hindi, an Indian Language</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yozna%20Gurung">Yozna Gurung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents preliminary findings from an on-going study on the use of Internal State Terms (IST) in the production of narratives of Hindi-English bilinguals in an attempt to identify children at risk for Specific Language Impairment. Narratives were examined for macrostructure (story structure and story complexity) and internal state terms or mental state terms (IST/MST). 31 students generated stories based on six pictures that were matched for content and story structure in L1 (Hindi) and L2 (English) using a wordless picture narrative. From 30 sample population, 2 students are at risk of Specific Language Impairment, according to this study i.e 6.45%. They showed least development in story grammar as well as IST in both their languages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=internal%20state%20terms" title="internal state terms">internal state terms</a>, <a href="https://publications.waset.org/abstracts/search?q=macrostructure" title=" macrostructure"> macrostructure</a>, <a href="https://publications.waset.org/abstracts/search?q=specific%20language%20impairment" title=" specific language impairment"> specific language impairment</a>, <a href="https://publications.waset.org/abstracts/search?q=wordless%20picture%20narrative" title=" wordless picture narrative"> wordless picture narrative</a> </p> <a href="https://publications.waset.org/abstracts/58297/identifying-children-at-risk-for-specific-language-impairment-using-a-wordless-picture-narrative-a-study-on-hindi-an-indian-language" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58297.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">231</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">53</span> Kitchenary Metaphors In Hindi-urdu: A Cognitive Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bairam%20Khan">Bairam Khan</a>, <a href="https://publications.waset.org/abstracts/search?q=Premlata%20Vaishnava"> Premlata Vaishnava</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The ability to conceptualize one entity in terms of another allows us to communicate through metaphors. This central feature of human cognition has evolved with the development of language, and the processing of metaphors is without any conscious appraisal and is quite effortless. South Asians, like other speech communities, have been using the kitchenary [culinary] metaphor in a very simple yet interesting way and are known for bringing into new and unique constellations wherever they are. This composite feature of our language is used to communicate in a precise and compact manner and maneuvers the expression. The present study explores the role of kitchenary metaphors in the making and shaping of idioms by applying Cognitive Metaphor Theories. Drawing on examples from a corpus of adverts, print, and electronic media, the study looks at the metaphorical language used by real people in real situations. The overarching theme throughout the course is that kitchenary metaphors are powerful tools of expression in Hindi-Urdu. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitive%20metaphor%20theory" title="cognitive metaphor theory">cognitive metaphor theory</a>, <a href="https://publications.waset.org/abstracts/search?q=source%20domain" title=" source domain"> source domain</a>, <a href="https://publications.waset.org/abstracts/search?q=target%20domain" title=" target domain"> target domain</a>, <a href="https://publications.waset.org/abstracts/search?q=signifier-%20signified" title=" signifier- signified"> signifier- signified</a>, <a href="https://publications.waset.org/abstracts/search?q=kitchenary" title=" kitchenary"> kitchenary</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnocultural%20elements%20of%20south%20asia%20and%20hindi-%20urdu%20language" title=" ethnocultural elements of south asia and hindi- urdu language"> ethnocultural elements of south asia and hindi- urdu language</a> </p> <a href="https://publications.waset.org/abstracts/159664/kitchenary-metaphors-in-hindi-urdu-a-cognitive-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159664.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">52</span> Strategic Risk Issues for Film Distributors of Hindi Film Industry in Mumbai: A Grounded Theory Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rashmi%20Dyondi">Rashmi Dyondi</a>, <a href="https://publications.waset.org/abstracts/search?q=Shishir%20K.%20Jha"> Shishir K. Jha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the paper is to address the strategic risk issues surrounding Hindi film distribution in Mumbai for a film distributor, who acts as an entrepreneur when launching a product (movie) in the market (film territory).The paper undertakes a fundamental review of films and risk in the Hindi film industry and applies Grounded Theory technique to understand the complex phenomena of risk taking behavior of the film distributors (both independent and studios) in Mumbai. Rich in-depth interviews with distributors are coded to develop core categories through constant comparison leading to conceptualization of the phenomena of interest. This paper is a first-of-its-kind-attempt to understand risk behavior of a distributor, which is akin to entrepreneurial risk behavior under conditions of uncertainty. Unlike extensive scholarly work on dynamics of Hollywood motion picture industry, Hindi film industry is an under-researched area till now. Especially how do film distributors perceive risk is an unexplored study for the Hindi film industry. Films are unique experience products and the film distributor acts as an entrepreneur assuming high risks given the uncertainty in the motion picture business. With the entry of mighty corporate studios and astronomical film budgets posing serious business threats to the independent distributors, there is a need for an in-depth qualitative enquiry (applying grounded theory technique) for unraveling the definition of risk for the independent distributors in Mumbai vis-à-vis the corporate studios. Need for good content was a common challenge to both the groups in the present state of the industry, however corporate studios with their distinct ideologies, focus on own productions and financial power faced different set of challenges than the independents (like achieving sustainability in business). Softer issues like market goodwill and relations with producers, honesty in business dealings and transparency came out to be clear markers for success of independents in long run. The findings from the qualitative analysis stress on different elements of risk and challenges as perceived by the two groups of distributors in the Hindi film industry and provide a future research agenda for empirical investigation of determinants of box-office success of Hindi films distributed in Mumbai. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=entrepreneurial%20risk%20behavior" title="entrepreneurial risk behavior">entrepreneurial risk behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution%20strategy" title=" film distribution strategy"> film distribution strategy</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20film%20industry" title=" Hindi film industry"> Hindi film industry</a>, <a href="https://publications.waset.org/abstracts/search?q=risk" title=" risk "> risk </a> </p> <a href="https://publications.waset.org/abstracts/30088/strategic-risk-issues-for-film-distributors-of-hindi-film-industry-in-mumbai-a-grounded-theory-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30088.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">313</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">51</span> Sentence Structure for Free Word Order Languages in Context with Anaphora Resolution: A Case Study of Hindi </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pardeep%20Singh">Pardeep Singh</a>, <a href="https://publications.waset.org/abstracts/search?q=Kamlesh%20Dutta"> Kamlesh Dutta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many languages have fixed sentence structure and others are free word order. The accuracy of anaphora resolution of syntax based algorithm depends on structure of the sentence. So, it is important to analyze the structure of any language before implementing these algorithms. In this study, we analyzed the sentence structure exploiting the case marker in Hindi as well as some special tag for subject and object. We also investigated the word order for Hindi. Word order typology refers to the study of the order of the syntactic constituents of a language. We analyzed 165 news items of Ranchi Express from EMILEE corpus of plain text. It consisted of 1745 sentences. Eight file of dialogue based from the same corpus has been analyzed which will have 1521 sentences. The percentages of subject object verb structure (SOV) and object subject verb (OSV) are 66.90 and 33.10, respectively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anaphora%20resolution" title="anaphora resolution">anaphora resolution</a>, <a href="https://publications.waset.org/abstracts/search?q=free%20word%20order%20languages" title=" free word order languages"> free word order languages</a>, <a href="https://publications.waset.org/abstracts/search?q=SOV" title=" SOV"> SOV</a>, <a href="https://publications.waset.org/abstracts/search?q=OSV" title=" OSV"> OSV</a> </p> <a href="https://publications.waset.org/abstracts/9937/sentence-structure-for-free-word-order-languages-in-context-with-anaphora-resolution-a-case-study-of-hindi" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9937.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">473</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">50</span> A Board of Comparative Study of Central Secondary Education (CBSE) and Board of Secondry Education Madhya Pradesh BHOPAL (BSEMPB) Hindi Text Books of Class-VI</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shri%20Krishna%20Mishra">Shri Krishna Mishra</a>, <a href="https://publications.waset.org/abstracts/search?q=Badri%20Yadav"> Badri Yadav</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Proficient persons should be involved in formulation of the structure of the textbooks so that the topics selected in the Hindi textbooks for Class VII should contribute towards linguistic and literary development of the child and the language of the textbook matches the comprehension level of the student.The topics of tile textbooks should provide good illustrations and suitable exercises. Topics of variety of taste can be included in the textbook to satisfy the inquisitive children. There could be abstracts/hints at the beginning of each lesson. Meanings for difficult words must be given at the end of each topic for convenience of the parents and children as most of them find it difficult and time consuming to use Hindi dictionary. Exercises should be relevant covering the whole topic and the difficulty level should match the maturity level of the students in respect of CBSE Board. The stitching and binding of CBSE prescribed books may be improved to increase durability. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=comparative%20study%20of%20CBSE%20and%20BSEMPB" title="comparative study of CBSE and BSEMPB">comparative study of CBSE and BSEMPB</a>, <a href="https://publications.waset.org/abstracts/search?q=Central%20Secondary%20Education" title=" Central Secondary Education"> Central Secondary Education</a>, <a href="https://publications.waset.org/abstracts/search?q=Board%20of%20Secondry%20Education" title=" Board of Secondry Education"> Board of Secondry Education</a>, <a href="https://publications.waset.org/abstracts/search?q=BHOPAL" title=" BHOPAL"> BHOPAL</a> </p> <a href="https://publications.waset.org/abstracts/12756/a-board-of-comparative-study-of-central-secondary-education-cbse-and-board-of-secondry-education-madhya-pradesh-bhopal-bsempb-hindi-text-books-of-class-vi" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12756.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">397</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">49</span> The Analysis of Indian Culture through the Lexicographical Discourse of Hindi-French Dictionary</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tanzil%20Ansari">Tanzil Ansari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A dictionary is often considered as a list of words, arranged in alphabetical orders, providing information on a language or languages and it informs us about the spelling, the pronunciation, the origin, the gender and the grammatical functions of new and unknown words. In other words, it is first and foremost a linguistic tool. But, the research across the world in the field of linguistic and lexicography proved that a dictionary is not only a linguistic tool but also a cultural product through which a lexicographer transmits the culture of a country or a linguistic community from his or her ideology. It means, a dictionary does not present only language and its metalinguistic functions but also its culture. Every language consists of some words and expressions which depict the culture of its language. In this way, it is impossible to disassociate language from its culture. There is always an ideology that plays an important role in the depiction of any culture. Using the orientalism theory of Edward Said to represent the east, the objective of the present research is to study the representation of Indian culture through the lexicographical discourse of Hindi-French Dictionary of Federica Boschetti, a French lexicographer. The results show that the Indian culture is stereotypical and monolithic. It also shows India as male oriented country where women are exploited by male-dominated society. The study is focused on Hindi-French dictionary, but its line of argument can be compared to dictionaries produced in other languages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=dictionary" title=" dictionary"> dictionary</a>, <a href="https://publications.waset.org/abstracts/search?q=lexicographical%20discourse" title=" lexicographical discourse"> lexicographical discourse</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype%20image" title=" stereotype image "> stereotype image </a> </p> <a href="https://publications.waset.org/abstracts/74279/the-analysis-of-indian-culture-through-the-lexicographical-discourse-of-hindi-french-dictionary" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/74279.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">300</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">48</span> Musicals in Film Adaptation in Bollywood with Special Reference to Basu Bhattacharya's Film Teesari Kasam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gokul%20G.%20Kshirsagar">Gokul G. Kshirsagar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Native folk theatre and folk songs have a significant influence on the origin and development of Indian cinema. Therefore, the presence of songs and music has been an integral part and special characteristics of Indian cinema which is popularly known as Bollywood. An Indian cinema without songs, either in Hindi or other regional languages, is simply unimaginable. The present paper, in the first part, attempts to explain the use and need of musical songs and also the psychology of Indian audience in this respect with reference to some of the films which give primary importance to songs. In the second part, the paper tries to situate the present study in the context by referring to the Hindi language drama film Teesari Kasam directed by Basu Bhattacharys. The film is based on the Hindi novelist Phanishwarnath Renu’s short story Teesari Kasam (Mare Gaye Gulfam) in this adapted film, the director has made use of eight songs, but these songs are the extensive versions of the songs as used in the original story. Thus, the main aim of the paper is to underscore the fact that through artistic use of the musical, the director has succeeded in transforming the central feelings conveyed in the original story. Eventually, through the present study of the film adaptation, the relevance of songs in films will be illustrated and understood. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bollywood" title="Bollywood">Bollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20theatre" title=" folk theatre"> folk theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20songs" title=" folk songs"> folk songs</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20adaptation" title=" film adaptation"> film adaptation</a> </p> <a href="https://publications.waset.org/abstracts/82182/musicals-in-film-adaptation-in-bollywood-with-special-reference-to-basu-bhattacharyas-film-teesari-kasam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82182.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">221</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">47</span> The Regional Novel in India: Its Emergence and Trajectory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aruna%20Bommareddi">Aruna Bommareddi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The journey of the novel is well examined in Indian academia as an offshoot of the novel in English. There have been many attempts to understand aspects of the early novel in India which shared a commonality with the English novel. The regional novel has had an entirely different trajectory which is mapped in the paper. The main focus of the paper would be to look at the historical emergence of the genre of the regional novel in Indian Literatures with specific reference to Kannada, Hindi, and Bengali. The selection of these languages is guided not only by familiarity with these languages as also based on the significance that these languages enjoy in the sub-continent and for the emergence of the regional novel as a specific category in these languages. The regional novels under study are Phaneeswaranath Renu’s Maila Anchal, Tarashankar Bandopadhyaya’s Ganadevata, and Kuvempu’s House of Kanuru for exploration of the themes of its emergence and some aspects of the regional novel common to and different from each other. The paper would explore the various movements that have shaped the genre regional novel in these Literatures. Though Phaneeswarnath Renu’s Maila Anchal is published in 1956, the novel is set in pre-Independent India and therefore shares a commonality of themes with the other two novels, House of Kanuru and Ganadevata. All three novels explore themes of superstition, ignorance, poverty, and the interventions of educated youth to salvage the crises in these backward regional worlds. In fact, it was Renu who assertively declared that he was going to write a regional novel and hence the tile of the first regional novel in Hindi is Maila Anchal meaning the soiled border. In Hindi, anchal also means the region therefore, the title is suggestive of a dirty region as well. The novel exposes the squalor, ignorance, and the conflict ridden life of the village or region as opposed to the rosy image of the village in literature. With this, all such novels which depicted conflicts of the region got recognized as regional novels even though they may have been written prior to Renu’s declaration. All three novels under study succeed in bringing out the complexity of rural life at a given point of time in its history. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bengali" title="bengali">bengali</a>, <a href="https://publications.waset.org/abstracts/search?q=hindi" title=" hindi"> hindi</a>, <a href="https://publications.waset.org/abstracts/search?q=kannada" title=" kannada"> kannada</a>, <a href="https://publications.waset.org/abstracts/search?q=regional%20novel" title=" regional novel"> regional novel</a>, <a href="https://publications.waset.org/abstracts/search?q=telugu" title=" telugu"> telugu</a> </p> <a href="https://publications.waset.org/abstracts/159641/the-regional-novel-in-india-its-emergence-and-trajectory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159641.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">79</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">46</span> Biopics in Hindi Film Industry and the Youth Perception </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Divyani%20Redhu">Divyani Redhu</a>, <a href="https://publications.waset.org/abstracts/search?q=Sachin%20Bharti"> Sachin Bharti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> India, as a nation, has always been known for its concept of ‘Unity in Diversity’, and the same ideology can very well be witnessed in the kind of cinema that is produced in India. From mythological films in the beginning to historical films and from comedy to the all-entertaining commercial ‘masala’ films, the Indian film industry has time and again catered its viewers with varied flavors on screen. Needless to say that for a film industry which stood at a total value of 183.2 billion in the year 2019 as per the Statista Portal 2020, there is no dearth of viewers and at the same time, to cater to the needs of a humongous viewer base, variety in content needs to be offered. Particularly looking at the filmography of the Hindi film industry of the last decade, undoubtedly, the genre that has risen like a shining star is that of Biopics. Hindi cinema’s never-ending fascination with the biopic has grown stronger and become more evident in recent times. The success of biographical films like Jodha Akbar, The Dirty Picture, Mary Kom, Bajirao Mastani, Neerja, Aligarh, Azhar, etc. seems to have truly reinforced the industry’s faith and put Bollywood on a biopic spree. From films on the lives of sportspersons to those of the actors, gangsters, social workers, historical figures, and extraordinary citizens, the industry has left no stone unturned till now. Also, many more biopics are in the pipeline slated to be released soon. Also, when the film viewers are concerned, India is known as the youngest nation in the world where youth constituted about 34% of the country’s population in 2019, making India the country with maximum young people. Thus, the attempt of the researchers is to understand the perception of youth (15-24 years of age as per the UN) towards the biopic films. The above-mentioned study would be quantitative in nature. For the same, a survey would be conducted in the capital city of India, i.e., Delhi. The tool of the survey would be a questionnaire, and the number of respondents would be 200. The results derived from the study would focus on the film viewing preferences of youth in Delhi, the popularity of biopic films among the youth, reasons for watching biopic films and their overall perception about the same, etc. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biopics" title="biopics">biopics</a>, <a href="https://publications.waset.org/abstracts/search?q=Delhi" title=" Delhi"> Delhi</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20cinema" title=" Hindi cinema"> Hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=youth" title=" youth"> youth</a> </p> <a href="https://publications.waset.org/abstracts/127037/biopics-in-hindi-film-industry-and-the-youth-perception" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127037.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">45</span> Combining Corpus Linguistics and Critical Discourse Analysis to Study Power Relations in Hindi Newspapers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vandana%20Mishra">Vandana Mishra</a>, <a href="https://publications.waset.org/abstracts/search?q=Niladri%20Sekhar%20Dash"> Niladri Sekhar Dash</a>, <a href="https://publications.waset.org/abstracts/search?q=Jayshree%20Charkraborty"> Jayshree Charkraborty</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This present paper focuses on the application of corpus linguistics techniques for critical discourse analysis (CDA) of Hindi newspapers. While Corpus linguistics is the study of language as expressed in corpora (samples) of 'real world' text, CDA is an interdisciplinary approach to the study of discourse that views language as a form of social practice. CDA has mainly been studied from a qualitative perspective. However, we can say that recent studies have begun combining corpus linguistics with CDA in analyzing large volumes of text for the study of existing power relations in society. The corpus under our study is also of a sizable amount (1 million words of Hindi newspaper texts) and its analysis requires an alternative analytical procedure. So, we have combined both the quantitative approach i.e. the use of corpus techniques with CDA’s traditional qualitative analysis. In this context, we have focused on the Keyword Analysis Sorting Concordance Lines of the selected Keywords and calculating collocates of the keywords. We have made use of the Wordsmith Tool for all these analysis. The analysis starts with identifying the keywords in the political news corpus when compared with the main news corpus. The keywords are extracted from the corpus based on their keyness calculated through statistical tests like chi-squared test and log-likelihood test on the frequent words of the corpus. Some of the top occurring keywords are मोदी (Modi), भाजपा (BJP), कांग्रेस (Congress), सरकार (Government) and पार्टी (Political party). This is followed by the concordance analysis of these keywords which generates thousands of lines but we have to select few lines and examine them based on our objective. We have also calculated the collocates of the keywords based on their Mutual Information (MI) score. Both concordance and collocation help to identify lexical patterns in the political texts. Finally, all these quantitative results derived from the corpus techniques will be subjectively interpreted in accordance to the CDA’s theory to examine the ways in which political news discourse produces social and political inequality, power abuse or domination. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=critical%20discourse%20analysis" title="critical discourse analysis">critical discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=corpus%20linguistics" title=" corpus linguistics"> corpus linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20newspapers" title=" Hindi newspapers"> Hindi newspapers</a>, <a href="https://publications.waset.org/abstracts/search?q=power%20relations" title=" power relations"> power relations</a> </p> <a href="https://publications.waset.org/abstracts/88699/combining-corpus-linguistics-and-critical-discourse-analysis-to-study-power-relations-in-hindi-newspapers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88699.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">224</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">44</span> Dynamics of Hybrid Language in Urban and Rural Uttar Pradesh India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Divya%20Pande">Divya Pande</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The dynamics of culture expresses itself in language. Even after India got independence in 1947 English subtly crept in the language of the masses with a silent and powerful flow towards the vernacular. The culture contact resulted in learning and emergence of a new language across the Hindi speaking belt of Northern and Central India. The hybrid words thus formed displaced the original word and got contextualized and absorbed in the language of the common masses. The research paper explores the interesting new vocabulary used extensively in the urban and rural districts of the state of Uttar- Pradesh which is the most populous state of India. The paper adopts a two way classification- formal and contextual for the analysis of the hybrid vocabulary of the linguistic items where one element is necessarily from the English language and the other from the Hindi. The new vocabulary represents languages of the wider world cutting across the geographical and the cultural barriers. The paper also broadly points out to the Hinglish commonly used in the state. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=assimilation" title="assimilation">assimilation</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20contact" title=" culture contact"> culture contact</a>, <a href="https://publications.waset.org/abstracts/search?q=Hinglish" title=" Hinglish"> Hinglish</a>, <a href="https://publications.waset.org/abstracts/search?q=hybrid%20words" title=" hybrid words"> hybrid words</a> </p> <a href="https://publications.waset.org/abstracts/59990/dynamics-of-hybrid-language-in-urban-and-rural-uttar-pradesh-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59990.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">401</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">43</span> The Language of Science in Higher Education: Related Topics and Discussions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gurjeet%20Singh">Gurjeet Singh</a>, <a href="https://publications.waset.org/abstracts/search?q=Harinder%20Singh"> Harinder Singh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we present "The Language of Science in Higher Education: Related Questions and Discussions". Linguists have written and researched in depth the role of language in science. On this basis, it is clear that language is not just a medium or vehicle for communicating knowledge and ideas. Nor are there mere signs of language knowledge and conversion of ideas into code. In the process of reading and writing, everyone thinks deeply and struggles to understand concepts and make sense. Linguistics play an important role in achieving concepts. In the context of such linguistic diversity, there is no straightforward and simple answer to the question of which language should be the language of advanced science and technology. Many important topics related to this issue are as follows: Involvement in practical or Deep theoretical issues. Languages for the study of science and other subjects. Language issues of science to be considered separate from the development of science, capitalism, colonial history, the worldview of the common man. The democratization of science and technology education in India is possible only by providing maximum reading/resource material in regional languages. The scientific research should be increase to chances of understanding the subject. Multilingual instead or monolingual. As far as deepening the understanding of the subject is concerned, we can shed light on it based on two or three experiences. An attempt was made to make the famous sociological journal Economic and Political Weekly Hindi almost three decades ago. There were many obstacles in this work. The original articles written in Hindi were not found, and the papers and articles of the English Journal were translated into Hindi, and a journal called Sancha was taken out. Equally important is the democratization of knowledge and the deepening of understanding of the subject. However, the question is that if higher education in science is in Hindi or other languages, then it would be a problem to get job. In fact, since independence, English has been dominant in almost every field except literature. There are historical reasons for this, which cannot be reversed. As mentioned above, due to colonial rule, even before independence, English was established as a language of communication, the language of power/status, the language of higher education, the language of administration, and the language of scholarly discourse. After independence, attempts to make Hindi or Hindustani the national language in India were unsuccessful. Given this history and current reality, higher education should be multilingual or at least bilingual. Translation limits should also be increased for those who choose the material for translation. Writing in regional languages on science, making knowledge of various international languages available in Indian languages, etc., is equally important for all to have opportunities to learn English. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=language" title="language">language</a>, <a href="https://publications.waset.org/abstracts/search?q=linguistics" title=" linguistics"> linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnography" title=" ethnography"> ethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=punjabi" title=" punjabi"> punjabi</a>, <a href="https://publications.waset.org/abstracts/search?q=gurmukhi" title=" gurmukhi"> gurmukhi</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a> </p> <a href="https://publications.waset.org/abstracts/150547/the-language-of-science-in-higher-education-related-topics-and-discussions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/150547.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">42</span> Morpho-Syntactic Pattern in Maithili Urdu</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Jahangeer%20Warsi">Mohammad Jahangeer Warsi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This is, perhaps, the first linguistic study of Maithili Urdu, a dialect of Urdu language of Indo-Aryan family, spoken by around four million speakers in Darbhanga, Samastipur, Begusarai, Madhubani, and Muzafarpur districts of Bihar. It has the subject–verb–object (SOV) word order and it lacks script and literature. Needless to say, this work is an attempt to document this dialect so that it should contribute to the field of descriptive linguistics. Besides, it is also spoken by majority of Maithili diaspora community. Maithili Urdu does not have its own script or literature, yet it has maintained an oral history of over many centuries. It has contributed to enriching the Maithili, Hindi and Urdu languages and literature very profoundly. Dialects are the contact languages of particular regions, and they have a deep impact on their cultural heritage. Slowly with time, these dialects begin to take shape of languages. The convergence of a dialect into a language is a symbol and pride of the people who speak it. Although, confined to the five districts of northern Bihar, yet highly popular among the natives, it is the primary mode of communication of the local Muslims. The paper will focus on the structure of expressions about Maithili Urdu that include the structure of words, phrases, clauses, and sentences. There are clear differences in linguistic features of Maithili Urdu vis-à-vis Urdu, Maithili and Hindi. Though being a dialect of Urdu, interestingly, there is only one second person pronoun tu and lack of agentive marker –ne. Although being spoken in the vicinity of Hindi, Urdu and Maithili, it undoubtedly has its own linguistic features, of them, verb conjugation is remarkably unique. Because of the oral tradition of this link language, intonation has become significantly prominent. This paper will discuss the morpho-syntactic pattern of Maithili Urdu and will go through a sample text to authenticate the findings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title="cultural heritage">cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=morpho-syntactic%20pattern" title=" morpho-syntactic pattern"> morpho-syntactic pattern</a>, <a href="https://publications.waset.org/abstracts/search?q=Maithili%20Urdu" title=" Maithili Urdu"> Maithili Urdu</a>, <a href="https://publications.waset.org/abstracts/search?q=verb%20conjugation" title=" verb conjugation"> verb conjugation</a> </p> <a href="https://publications.waset.org/abstracts/137834/morpho-syntactic-pattern-in-maithili-urdu" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137834.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">214</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">41</span> Costume Portrayal In K. Asif’s Mughal E Azam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anketa%20Kumar">Anketa Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajantheran%20Al%20Muniandy"> Rajantheran Al Muniandy</a>, <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Kumar"> Rishabh Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20portrayal" title="character portrayal">character portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20significance" title=" visual significance"> visual significance</a> </p> <a href="https://publications.waset.org/abstracts/142687/costume-portrayal-in-k-asifs-mughal-e-azam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142687.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">186</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">40</span> Hindi Cinema in a Post-Colonial India: A Study on Guru Dutt's Self-Expression in 'Pyasa'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mrunmayee%20Das">Mrunmayee Das</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to explore the film 'Pyasa' directed by actor-director Guru Dutt, filmed during the 1950’s golden age of Hindi cinema. 'Pyasa' was filmed after a decade of India being a new nation and narrates the world-view of a poet dressed in western ideals, tasting modernity, uprooted from his familial and social moorings causing friction of being between survival and self- expression. The research is based on literature review to study the attitudes, particularly the post-colonial, informing the film. In terms of the structure, the relational study of the film and the historical background of that time came first. Further explorations deal with the use of image making, dialogue, and poetry in the form of songs facilitating the central theme of the human plight of poverty, not of material but of thought. The literature review establishes Dutt’s style of expressing melodic melodrama through a dance between light and shadow majorly in the form of song sequences signifying the greys of the society. It was found in this research that melodrama is created by the changing contrasts and use of close-ups. The song sequences convey the tensions of being a contemporary liberal educated youth and having to deal with the societal-ills of this world, which highlights the theme of compulsion towards self-destruction. It is concluded that Dutt’s 'Pyasa' is a autobiographical commentary on the state of a nation doing away with a borrowed identity and refashioning its own. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Guru%20Dutt" title=" Guru Dutt"> Guru Dutt</a>, <a href="https://publications.waset.org/abstracts/search?q=post-colonial%20India" title=" post-colonial India"> post-colonial India</a>, <a href="https://publications.waset.org/abstracts/search?q=self-expression" title=" self-expression"> self-expression</a> </p> <a href="https://publications.waset.org/abstracts/111418/hindi-cinema-in-a-post-colonial-india-a-study-on-guru-dutts-self-expression-in-pyasa" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/111418.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">115</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">39</span> Efficiency of a Semantic Approach in Teaching Foreign Languages</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Genady%20Shlomper">Genady Shlomper</a> </p> <p class="card-text"><strong>Abstract:</strong></p> During the process of language teaching, each teacher faces some general and some specific problems. Some of these problems are mutual to all languages because they yield to the rules of cognition, conscience, perception, understanding and memory; to the physiological and psychological principles pertaining to the human race irrespective of origin and nationality. Still, every language is a distinctive system, possessing individual properties and an obvious identity, as a result of a development in specific natural, geographical, cultural and historical conditions. The individual properties emerge in the script, in the phonetics, morphology and syntax. All these problems can and should be a subject of a detailed research and scientific analysis, mainly from practical considerations and language teaching requirements. There are some formidable obstacles in the language acquisition process. Among the first to be mentioned is the existence of concepts and entire categories in foreign languages, which are absent in the language of the students. Such phenomena reflect specific ways of thinking and the world-outlook, which were shaped during the evolution. Hindi is the national language of India, which belongs to the group of Indo-Iranian languages from the Indo-European family of languages. The lecturer has gained experience in teaching Hindi language to native speakers of Uzbek, Russian and Hebrew languages. He will show the difficulties in the field of phonetics, morphology and syntax, which the students have to deal with during the acquisition of the language. In the proposed lecture the lecturer will share his experience in making the process of language teaching more efficient by using non-formal semantic approach. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=applied%20linguistics" title="applied linguistics">applied linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=foreign%20language%20teaching" title=" foreign language teaching"> foreign language teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20teaching%20methodology" title=" language teaching methodology"> language teaching methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=semantics" title=" semantics"> semantics</a> </p> <a href="https://publications.waset.org/abstracts/72397/efficiency-of-a-semantic-approach-in-teaching-foreign-languages" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72397.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">356</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">38</span> Hindi Speech Synthesis by Concatenation of Recognized Hand Written Devnagri Script Using Support Vector Machines Classifier</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saurabh%20Farkya">Saurabh Farkya</a>, <a href="https://publications.waset.org/abstracts/search?q=Govinda%20Surampudi"> Govinda Surampudi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Optical Character Recognition is one of the current major research areas. This paper is focussed on recognition of Devanagari script and its sound generation. This Paper consists of two parts. First, Optical Character Recognition of Devnagari handwritten Script. Second, speech synthesis of the recognized text. This paper shows an implementation of support vector machines for the purpose of Devnagari Script recognition. The Support Vector Machines was trained with Multi Domain features; Transform Domain and Spatial Domain or Structural Domain feature. Transform Domain includes the wavelet feature of the character. Structural Domain consists of Distance Profile feature and Gradient feature. The Segmentation of the text document has been done in 3 levels-Line Segmentation, Word Segmentation, and Character Segmentation. The pre-processing of the characters has been done with the help of various Morphological operations-Otsu's Algorithm, Erosion, Dilation, Filtration and Thinning techniques. The Algorithm was tested on the self-prepared database, a collection of various handwriting. Further, Unicode was used to convert recognized Devnagari text into understandable computer document. The document so obtained is an array of codes which was used to generate digitized text and to synthesize Hindi speech. Phonemes from the self-prepared database were used to generate the speech of the scanned document using concatenation technique. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Character%20Recognition%20%28OCR%29" title="Character Recognition (OCR)">Character Recognition (OCR)</a>, <a href="https://publications.waset.org/abstracts/search?q=Text%20to%20Speech%20%28TTS%29" title=" Text to Speech (TTS)"> Text to Speech (TTS)</a>, <a href="https://publications.waset.org/abstracts/search?q=Support%20Vector%20Machines%20%28SVM%29" title=" Support Vector Machines (SVM)"> Support Vector Machines (SVM)</a>, <a href="https://publications.waset.org/abstracts/search?q=Library%20of%20Support%20Vector%20Machines%20%28LIBSVM%29" title=" Library of Support Vector Machines (LIBSVM)"> Library of Support Vector Machines (LIBSVM)</a> </p> <a href="https://publications.waset.org/abstracts/19232/hindi-speech-synthesis-by-concatenation-of-recognized-hand-written-devnagri-script-using-support-vector-machines-classifier" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19232.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">499</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">37</span> Gendered Experiences of the Urban Space in India as Portrayed by Hindi Cinema: A Quantitative Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hugo%20Ribadeau%20Dumas">Hugo Ribadeau Dumas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In India, cities represent intense battlefields where patriarchal norms are simultaneously defied and reinforced. While Indian metropolises have witnessed numerous initiatives where women boldly claimed their right to the city, urban spaces still remain disproportionately unfriendly to female city-dwellers. As a result, the presence of strees (women, in Hindi) in the streets remains a socially and politically potent phenomenon. This paper explores how, in India, women engage with the city as compared to men. Borrowing analytical tools from urban geography, it uses Hindi cinema as a medium to map the extent to which activities, attitudes and experiences in urban spaces are highly gendered. The sample consists of 30 movies, both mainstream and independent, which were released between 2010 and 2020, were set in an urban environment and comprised at least one pivotal female character. The paper adopts a quantitative approach, consisting of the scrutiny of close to 3,000 minutes of footage, the labeling and time count of every scene, and the computation of regressions to identify statistical relationships between characters and the way they navigate the city. According to the analysis, female characters spend half less time in the public space than their male counterparts. When they do step out, women do it mostly for utilitarian reasons; inversely, in private spaces or in pseudo-public commercial places – like malls – they indulge in fun activities. For male characters, the pattern is the exact opposite: fun takes place in public and serious work in private. The characters’ attitudes in the streets are also greatly gendered: men spend a significant amount of time immobile, loitering, while women are usually on the move, displaying some sense of purpose. Likewise, body language and emotional expressiveness betray differentiated gender scripts: while women wander in the streets either smiling – in a charming role – or with a hostile face – in a defensive mode – men are more likely to adopt neutral facial expressions. These trends were observed across all movies, although some nuances were identified depending on the character's age group, social background, and city, highlighting that the urban experience is not the same for all women. The empirical pieces of evidence presented in this study are helpful to reflect on the meaning of public space in the context of contemporary Indian cities. The paper ends with a discussion on the link between universal access to public spaces and women's empowerment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cities" title=" Indian cities"> Indian cities</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20space" title=" public space"> public space</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20empowerment" title=" women empowerment"> women empowerment</a> </p> <a href="https://publications.waset.org/abstracts/136701/gendered-experiences-of-the-urban-space-in-india-as-portrayed-by-hindi-cinema-a-quantitative-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136701.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">36</span> Film Review of 'Heroic Saviours and Survivors': The Representation of Sex Trafficking in Popular Films in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nisha%20James">Nisha James</a>, <a href="https://publications.waset.org/abstracts/search?q=Shubha%20Ranganathan"> Shubha Ranganathan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the most poignant forms of organized crime against women, which has rarely made it to the world of Indian cinema, is that of sex trafficking, i.e. the forcible involvement of women in the sex trade through fraud or coercion (Hughes, 2005). In the space of Indian cinema, much of the spotlight has been on the sensational drug trafficking and gang mafia of Bombay. During our research on sex trafficking, the rehabilitated women interviewed often expressed strong criticism about mass media’s naive portrayal of prostitutes as money-minting, happy and sexually driven women. They argued that this unrealistic portrayal ignored the fact that this was not a reality for the majority of trafficked women. Given the gravity of sex trafficking as a human rights issue, it is, therefore, refreshing to see three recent films on sex trafficking in Indian Languages – Naa Bangaaru Talli (2014, Telugu), Mardaani (2014, Hindi) and Lakshmi (2014, Hindi). This paper reviews these three films to explore the portrayal of the everyday reality of trafficking for women. Film analysis was used to understand the representation of psychological issues in the media. The strength of these movies starts with their inspirations which are of true stories and that they are all aimed at bringing awareness about the issue of sex trafficking, which is a rising social evil in Indian society though none of the three films move to portray the next phase of rehabilitation and reintegration of victims, which is a very complex and important process in the life of a survivor. According to findings, survivors of sex trafficking find the rehabilitation and reintegration into society to be a slow and tough part of their life as they continuously face stigma and social exclusion and have to strive to live against all odds of non-acceptance starting from their family. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20review" title="film review">film review</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20films" title=" Indian films"> Indian films</a>, <a href="https://publications.waset.org/abstracts/search?q=sex%20trafficking" title=" sex trafficking"> sex trafficking</a>, <a href="https://publications.waset.org/abstracts/search?q=survivors" title=" survivors"> survivors</a> </p> <a href="https://publications.waset.org/abstracts/22383/film-review-of-heroic-saviours-and-survivors-the-representation-of-sex-trafficking-in-popular-films-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22383.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">440</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">35</span> Online Multilingual Dictionary Using Hamburg Notation for Avatar-Based Indian Sign Language Generation System </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sugandhi">Sugandhi</a>, <a href="https://publications.waset.org/abstracts/search?q=Parteek%20Kumar"> Parteek Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Sanmeet%20Kaur"> Sanmeet Kaur</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Sign Language (SL) is used by deaf and other people who cannot speak but can hear or have a problem with spoken languages due to some disability. It is a visual gesture language that makes use of either one hand or both hands, arms, face, body to convey meanings and thoughts. SL automation system is an effective way which provides an interface to communicate with normal people using a computer. In this paper, an avatar based dictionary has been proposed for text to Indian Sign Language (ISL) generation system. This research work will also depict a literature review on SL corpus available for various SL s over the years. For ISL generation system, a written form of SL is required and there are certain techniques available for writing the SL. The system uses Hamburg sign language Notation System (HamNoSys) and Signing Gesture Mark-up Language (SiGML) for ISL generation. It is developed in PHP using Web Graphics Library (WebGL) technology for 3D avatar animation. A multilingual ISL dictionary is developed using HamNoSys for both English and Hindi Language. This dictionary will be used as a database to associate signs with words or phrases of a spoken language. It provides an interface for admin panel to manage the dictionary, i.e., modification, addition, or deletion of a word. Through this interface, HamNoSys can be developed and stored in a database and these notations can be converted into its corresponding SiGML file manually. The system takes natural language input sentence in English and Hindi language and generate 3D sign animation using an avatar. SL generation systems have potential applications in many domains such as healthcare sector, media, educational institutes, commercial sectors, transportation services etc. This research work will help the researchers to understand various techniques used for writing SL and generation of Sign Language systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=avatar" title="avatar">avatar</a>, <a href="https://publications.waset.org/abstracts/search?q=dictionary" title=" dictionary"> dictionary</a>, <a href="https://publications.waset.org/abstracts/search?q=HamNoSys" title=" HamNoSys"> HamNoSys</a>, <a href="https://publications.waset.org/abstracts/search?q=hearing%20impaired" title=" hearing impaired"> hearing impaired</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20sign%20language%20%28ISL%29" title=" Indian sign language (ISL)"> Indian sign language (ISL)</a>, <a href="https://publications.waset.org/abstracts/search?q=sign%20language" title=" sign language"> sign language</a> </p> <a href="https://publications.waset.org/abstracts/88342/online-multilingual-dictionary-using-hamburg-notation-for-avatar-based-indian-sign-language-generation-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88342.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">230</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">34</span> Acceptability and Challenges Experienced by Homosexual Indigenous Peoples in Southern Palawan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Crisanto%20H.%20Ecaldre">Crisanto H. Ecaldre</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gender perception represents how an individual perceives the gender identity of a person. Since this is a subjective assessment, it paves the way to various social reactions, either in the form of acceptance or discrimination. Reports across the world show that lesbian, gay, bisexual, or transgender (LGBT) people often face discrimination, stigmatization, and targeted violence because of their sexual orientation or gender identity. However, the challenges faced by those who belong to both a sexual minority and a marginalized ethnic, religious, linguistic, or indigenous community are even more complex. Specifically, in Palaw’an community, members own those who identify themselves as gays or lesbians and use “bantut” to identify them. There was also the introduction of various scholarly works to facilitate dialogues that promote visibility and inclusivity across sectors in terms of gender preferences; however, there are still gaps that need to be addressed in terms of recognition and visibility. Though local research initiatives are slowly increasing in terms of numbers, culturally situating gender studies appropriately within the context of indigenous cultural communities is still lacking. Indigenous community-based discourses on gender or indigenizing gender discourses remain a challenge; hence, this study aimed to contribute to addressing these identified gaps. These research objectives were realized through a qualitative approach following an exploratory design. Findings revealed that the Palaw’an indigenous cultural community has an existing concept of homosexuality, which they termed “bantut.” This notion was culturally defined by the participants as (a) kaloob ng diwata; (b) a manifestation of physical inferiority; (c) hindi nakapag-asawa or hindi nagka-anak; and (d) based on the ascribed roles by the community. These were recognized and valued by the community. However, despite the recognition and visibility within the community, the outside people view them otherwise. The challenges experienced by the Palaw’an homosexuals are imposed by the people outside their community, and these include prejudice, discrimination, and double marginalization. Because of these struggles, they are forced to cope. They deal with these imposed limitations, biases, and burdens by non-Palaw’an through self-acceptance, strong self-perception, and the option to leave the community to seek a more open and progressive environment for LGBTs. While these are indications of their ‘resilience’ amidst difficult situations, this reality poses an important concern -how the recognition and visibility of indigenous homosexuals from the mainstream perspective can be attained. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender%20preference" title="gender preference">gender preference</a>, <a href="https://publications.waset.org/abstracts/search?q=acceptability" title=" acceptability"> acceptability</a>, <a href="https://publications.waset.org/abstracts/search?q=challenge" title=" challenge"> challenge</a>, <a href="https://publications.waset.org/abstracts/search?q=recognition" title=" recognition"> recognition</a>, <a href="https://publications.waset.org/abstracts/search?q=visibility" title=" visibility"> visibility</a>, <a href="https://publications.waset.org/abstracts/search?q=coping" title=" coping"> coping</a> </p> <a href="https://publications.waset.org/abstracts/175915/acceptability-and-challenges-experienced-by-homosexual-indigenous-peoples-in-southern-palawan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175915.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">56</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">33</span> Children Overcome Learning Disadvantages through Mother-Tongue Based Multi-Lingual Education Programme</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Binay%20Pattanayak">Binay Pattanayak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> More than 9 out of every 10 children in Jharkhand struggle to understand the texts and teachers in public schools. The medium of learning in the schools is Hindi, which is very different in structure and vocabulary than those in children’s home languages. Hence around 3 out of 10 children enrolled in early grades drop out in these schools. The state realized the cause of children’s high dropout in 2013-14 when the M-TALL, the language research shared the findings of a state-wide socio-linguistic study. The study findings suggested that there was a great need for initiating a mother-tongue based multilingual education (MTB-MLE) programme for the state in early grades starting from pre-school level. Accordingly, M-TALL in partnership with department of education designed two learning packages: Bhasha Puliya pre-school education programme for 3-6-year-old children for their school readiness with bilingual picture dictionaries in 9 tribal and regional languages. This was followed by a plan for MTB-MLE programme for early primary grades. For this textbooks in five tribal and two regional languages were developed under the guidance of the author. These books were printed and circulated in the 1000 schools of the state for each child. Teachers and community members were trained for facilitating culturally sensitive mother-tongue based learning activities in and around the schools. The mother-tongue based approach of learning has worked very effectively in enabling them to acquire the basic literacy and numeracy skills in own mother-tongues. Using this basic early grade reading skills, these children are able to learn Hindi and English systematically. Community resource groups were constituted in each school for promoting storytelling, singing, painting, dancing, acting, riddles, humor, sanitation, health, nutrition, protection, etc. and were trained. School academic calendar was designed in each school to enable the community resource persons to visit the school as per the learning plan to assist children and teacher in facilitating rich cultural activities in mother-tongue. This enables children to take part in plethora of learning activities and acquire desired knowledge, skills and interest in mother-tongues. Also in this process, it is attempted to promote 21st Century learning skills by enabling children to apply their new knowledge and skills to look at their local issues and address those in a collective manner through team work, innovations and leadership. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community%20resource%20groups" title="community resource groups">community resource groups</a>, <a href="https://publications.waset.org/abstracts/search?q=learning" title=" learning"> learning</a>, <a href="https://publications.waset.org/abstracts/search?q=MTB-MLE" title=" MTB-MLE"> MTB-MLE</a>, <a href="https://publications.waset.org/abstracts/search?q=multilingual" title=" multilingual"> multilingual</a>, <a href="https://publications.waset.org/abstracts/search?q=socio-linguistic%20survey" title=" socio-linguistic survey"> socio-linguistic survey</a> </p> <a href="https://publications.waset.org/abstracts/77693/children-overcome-learning-disadvantages-through-mother-tongue-based-multi-lingual-education-programme" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77693.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">236</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=hindi&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=hindi&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=hindi&page=2" 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