APURAtelier Parisien d'Urbanisme (French: Parisian Urban Workshop; Paris, France)
APURAsociatia Profesionala a Urbanistilor (Romanian: Urban Professional Association)
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References in periodicals archive ?
Apur Lathiya: It varies depending on application, but in general we are seeing more requests for tri-layer tubing and multilumen tubing with more than seven lumens.
Mountain apur E of Quebrada de la Damajuana, Skottsberg & Skottsberg 74 (US 2751260).
Interestingly, Ganguly studies not so much Ray's films that explicitly deal with the modern but those films set at the cusp of the emergence of the Indian modern from the feudal bourgeois-colonial (Devi, Charulata, Jalsaghar, Mahanagar and Ghare Baire), ending her study with a consideration of Apur Sansar, the point at which the modern emerges from the past most explicitly.
Between 1956 and 1959, he made Pather Panchali (Song of the Road), Aparjito (The Unvanquished), Apur Sansar (The World of Apu) and Jalshagar (The Music Room).
When the women first arrive in the forest, for example, and Krsna refuses to indulge them, the dejected gopis "experience insuperable anxiety" (cintam apur duratyayam, 10.29.28).
Tillie, the narrator, expresses a sincere bid to understand the bizarre culture of India; instead, however, of breaking free from the dominant modes of the Western gaze upon India, Tillie invariably focuses on all the fascinating attributes of ethnic exotica: from persistent beggars, gems, and old finely crafted jewellery, to myths, religious tales about Durga, Kali, Krishna, occasional Bangla words like Sandesh, chotopishe, Takuma, the kinship nomenclatures of the extended family such as 'middle aunt', a matter of awe to most Westerners; the cloying Asian hospitality, along with references to Satyajit Ray's films The Goddess (Devi) and The World of Apu (Apur Sansar).
Incidentally, Ray went on to make two more films out of the remaining part of Pather Panchali and its sequel, Aparajito, and named them Aparajito (1956) and Apur Sansar (1959).
of Colorado) examines Ray's negotiations with history and modernity in the six major films he made between 1955 and 1970: Pather Panchali, Aparajito, Apur Sansar, Charulata, Aranyer Din Ratri, and Pratidwandi.
In order to understand how feeling becomes a formal element in Indian aesthetics, I would like to consider the "Apu Trilogy" (Pather Panchali, Song Of The Little Road; Aparajito, The Unvanquished; and Apur Sansar, The World of Apu) by Satyajit Ray, focusing especially on Aparjito, with the help of insights into rasa theory provided by V.K.
His Pather Panchali (1955) and the subsequent films in the Apu Trilogy (Aparajito, 1957, Apur Sansar, 1959) with their focus on the poor, dispossessed, tragically powerless and put-upon, and the location shooting, obviously put him on common ground with Neo-realism, while the episodic structure and the downbeat, ambiguous, open-ended nature of the films made him the very model of the Art film director along with fellow cineastes Federico Fellini and Ingmar Bergman also emerging into global cinema at this time.