Freedom at Midnight

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Hazaaron Khwaishein Aisi, a Hindi film by Sudhir Mishra that portrayed the political and social turbulence of the late 1960s and the '70s in India contains a clip of the speech and the narrative voice speaks of the souring of Nehru's dream within two decades of Independence. [4] a b Gordon, Leonard A. (August 1976). "Book review: Freedom at Midnight". The Journal of Asian Studies. University of Cambridge Press. 35 (4). doi: 10.2307/2053703. JSTOR 2053703. Brasted, H. V.; Bridge, Carl (1994). "The transfer of power in South Asia: An historiographical review". South Asia: Journal of South Asian Studies. 17 (1): 93–114. doi: 10.1080/00856409408723200. A group of eight close terminally ill young adults resides in the Brightcliffe Home hospice outside of Seattle run by an enigmatic doctor. They meet at midnight every night to tell each other scary stories. They have a pact that the first one to succumb to their disease is responsible for communicating with the others from beyond the grave. [8] Cast [ edit ] Main [ edit ] The book draws to a close after Hindu extremists murder Mahatma Gandhi. Rather than celebrating Gandhi's pious nature, the murderous zealots despised Gandhi as the purveyor of "a coward's philosophy that had vitiated the force and character of the Hindu people." But in the violent season that surrounded Indian independence, it took no courage for the strong to slaughter the weak and helpless. "India was ever a land of extravagant dimensions, and the horror of the Punjab's killings, the abundance of human anguish and suffering that they would produce would not fail that ancient tradition."

The appointed day has come—the day appointed by destiny—and India stands forth again, after long slumber and struggle, awake, vital, free and independent. All upcoming public events are going ahead as planned and you can find more information on our events blog The quartet of Jinnah, Gandhi, Jawaharlal Nehru and Sardar Patel ( Iron man of India), along with Lord Mountbatten were the decision-makers for India's fate, which, to the chagrin of all Hindu leaders, was a 'Partition'. Later, Mountbatten described this partition as "sheer madness". The main weakness is that the authors did not spend enough time on the details of Divide and Rule policies by the Conservative Government in the 1930s and during WWII. For this I suggest as a source Shashi Tharoor who is now a member of the Congress Party. He wrote a sharp critique of the British empire's effect on India. It is called Inglorious Empire. According to Tharoor in the middle to late 1930s the Congress Party (with the help of Gandhi) had made huge progress in integrating the Moslems and the Hindus. Through their protest marches, etc. they had pressured the British to hold an election for an Indian advisory body. In this election the Moslem League results were marginal, insignificant. Gandhi and Nehru were clearly on a good road to unity of Moslems and Hindus. What changed the situation was the British entry int World War II. Nehru offered the British support against fascism in exchange for a promise of independence. For Churchill this was out of the question. Nehru and other Congress leaders were thrown in jail and the British financially encouraged and supported the Moslem League. Nehru was isolated; for example, he was not allowed to send or receive letters. When he was released in 1945 he was not informed enough of the situation to understand what had happened in the meantime. One thing was clear: the Moslem League had become very strong. The following Labor Government and Mountbatten had no influence over these processes.

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Besides weaving together various themes, the play is also intriguing as a spectacle of dance, music, and costume. Numerous critics have noted the important role of dance in this drama, suggesting that the rhythm of the play's poetry and the movement of the characters in and out of scenes have an underlying dance rhythm. There is no single passage in this profoundly researched book that one could actually fault. Having been there most of the time in question and having assisted at most of the encounters, I can vouch for the accuracy of its general mood. It is a work of scholarship, of investigation, research and of significance.”

The first episode of the series broke the Guinness World Record for the most scripted jump-scares in a single episode of television at 21 jump-scares. [23] The series stars Iman Benson, Adia, Igby Rigney, Ruth Codd, Aya Furukawa, Annarah Shephard, William Chris Sumpter, and Sauriyan Sapkota as the eight Midnight Club members, alongside Heather Langenkamp, Zach Gilford, Matt Biedel, and Samantha Sloyan as older adults working at or living near the hospice; [3] [4] [5] in addition to their main characters, cast members also portray the ones featured in the "Midnight Club" tales.Child agency is portrayed both through Tom, the protagonist of the novel, and Hatty, the young orphaned girl from an earlier time who becomes his good friend. Anupama feels even strong women who have made the choices in their life might have had to put up with difficult situations because of their love and respect for certain people. To celebrate the 70th anniversary of Independence, Cambridge’s Centre of South Asian Studies is staging a unique exhibition over four floors of the Alison Richard Building – drawing on the Centre’s unparalleled collection of more than 100,000 photographs, 600 written collections, 900 maps and thousands of hours of film footage. Cyborgs stand in the way of humanity in this episode (William Chris Sumpter), whose Midnight Club tale is about Rel and his boyfriend Christopher finding a VCR that records the future. At first the boys think they’ve made a fortunate discovery, but like all Pike plots, the VCR is not what it seems, and a sinister truth is brimming underneath its surface.