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Dilip Kumar has been praised for his sublime dialog delivery, for his restrained gestures, and for his measured and controlled underplay of emotions in tragic stories as well as in light-hearted comedies. His debut in 1944 with Jwar Bhata (Ebb and Tide) met with less-than-flattering reviews. So did the next three films until his 1948 film, Jugnu (Firefly), which brought him recognition and success. Unlike his contemporaries such as Raj Kapoor and Dev Anand, who propelled their careers by launching their own production companies, Dilip Kumar relied on his talent, his unique approach to characterization, and his immersion in the projects he undertook. In the course of his career that spanned six decades, Kumar made only 62 films. However, his work is a textbook for other actors that followed. Not only did he bring respectability to a profession that had been shunned by the upper classes in India as a profession for "pimps and prostitutes," but he also elevated film-acting and filmmaking to an academic discipline, making him worthy of the title 'Professor Emeritus of Acting'. Rooted in the theoretical framework of Howard S. Becker's work on the "production of culture" and "doing things together," this paper discusses Kumar's approach to acting, character development, and the level of his involvement and commitment to each of his projects. The author of this article argues that more than the creative control as a producer or a director, it is the artistic involvement and commitment of the main actors that shape great works of art in cinema. Dilip Kumar demonstrated it repeatedly.

The Walt Disney Company is one of the most powerful, innovative and influential companies in the whole world. A pioneer in many respects, the Walt Disney Company has led the way in the entertainment industry for decades. This paper begins by analyzing the origins of the Walt Disney Company, with a particular focus in Walt Disney's creative vision that led to incredibly innovative developments in the entertainment industry. It also explores the gradual decline of creative risks taken by the company after Walt Disney's death, which may have helped the company navigate through tough financial times but also made it lose its revolutionary role and influence as a creative pioneer. Leading into the present, the paper explores CEO Bob Iger's techniques and leadership trajectory including international park expansion and numerous company acquisitions that have helped Disney regain its financial, influential and dominant footing in the entertainment space. Its primary hypothesis centres on the crossroads that the Walt Disney Company has currently reached between its present and future role. It also demonstrates another hypothesis that the company now has the influence and financial capacity to revive its role as a creative visionary in entertainment, and establish its role in global governance by focusing its new position in corporate climate action. The paper follows these goals and hypotheses and draws conclusions that follow this trajectory from extensive research. What is most interesting about this piece is that it explores the climate crisis and the ramifications of planetary politics in global governance through the lens of one company.

This essay examines the image of darkness present in Kipling's short story 'On the City Wall' and links it to various underlying themes in the story. One of the themes is the courtesan culture of Lahore. Lalun is a courtesan and is as much full of beauty, mystery and enigma as the city of Lahore where she dwells, or the quaint location of her house which is paradoxically situated on the city's wall. The essay also explores the role of the semi-informed narrator in the story, who can be Kipling himself or someone who is narrating the story to the readers. This narrator-character is tricked by Lalun to help an escaped prisoner get out from the city under the very noses of the policemen who are trying the control the riots on the streets. The narrator's gullibility and his lack of complete knowledge of his actions can also stand for the entire process of writing, where the narrated event remains partially shrouded in the haze of semi-visibility. Just as Lalun's real motives remain unknown to the narrator and the readers till the end of the story, similarly the narrator's use of authorial perspective entails a semi-reliability of the subjective point of view. Finally, the essay takes up the image of darkness and traces its presence in Kipling's life and writings. The world of the night is an integral part of Kipling's vision of an Indian self, and is further accentuated in the unfathomable person of the courtesan.

This article explores plants, seeds, soils, and other nonhuman actors as archival and architectural agents within the history of Lahore's urban landscape, as seen from the ground. It traces the halting efforts of the Agri-Horticultural Society of Punjab to enact regional improvement through the development of agricultural and botanical expertise at the advent of British colonial rule in the province, focusing on the materialization of this work in the society's gardens in Lahore. Foregrounding the contingencies of everyday garden making and maintenance, the article posits nonhuman ecologies as a materially diverse and ephemeral architecture and archive of landscape. It argues that, in helping assemble and modulate the society's efforts to model improvement, conduct plant testing, and develop an ornamental garden, plants, seeds, and soils become unlikely and sometimes unruly aesthetic and historical actors, furthering but also unsettling improvement discourse while relocating its historical effects from the region to the city, and providing new readings of the colonial urban landscape.

Despite what the furore over Uniform Civil Code and more recently Triple Talaq might suggest, Muslim women have very little discursive space to voice their concerns in Indian political arena. Dominant discourses on Islam and gender, including those propagated by Muslim male organisations pose Islam as a monolithic entity completely alien to the modern gender-egalitarian ideals. Feminist movements, on the other hand, hold Islam to be irrelevant at best and an obstacle at worst in promotion of gender-egalitarian norms within the community. There are concerns about the extent to which Islamic feminism can go in its demands for egalitarianism while staying within an Islamic paradigm. This paper contests those assumptions about Islam and women that foreclose any dialogue for change by exploring the role of human interpretative choices in formation and development of the Islamic religious tradition. As demonstrated by feminist exegetes, how religious texts are read is shaped deeply by human contingencies and choices. In Indian scenario, such changes are visible in formation of Muslim personal law as well. Post-independence, political contingencies within the subcontinent made it difficult to revisit the laws resulting in the loss of fluidity in the tradition. As formative scholars' choices became enshrined in the tradition as authentic and canonical, the human element in the canonical became forgotten. The inertia to review the moral choices made by earlier authors became the hallmark of authenticity and therefore authority within the tradition. This paper argues that appreciating the role of human choices and hermeneutical flexibility involved in the formation of gender norms in Muslim societies throughout the history of Islamic legal tradition might prove effective in resolving moral dilemmas faced by modern Muslims while maintaining continuity with the tradition.

With its 5.8 million inhabitants, retaining its unique version of democracy, and remaining a traditional yet progressive city, Singapore stands as a model economy for other Asian and middle eastern economies. From 1819 to 1963, Malaysia and Singapore – as one country – were a British colony. In 1963, when British rule ended and Malaysia gained her independence, Singapore remained a part of Malaysia. However, the racial tension between Malay, the ethnic Chinese, and other non-Malay groups escalated and turned violent. In 1965, Singapore cut her ties with Malaysia and became a sovereign, independent state. While retaining its collectivistic culture, Singapore has gained a competitive edge as a high-end shopping centre in the region. During the past 60 years, the Singaporean economy and businesses have shifted their focus from the manufacturing of electronic components, computer hard drives, small appliances, and garments to financial services, banking, insurance services, and asset management. Relying on data collected through interviews, observations, and a brief questionnaire, this case study of Singaporean businesses presents a description of the management styles and communication strategies of 78 business managers in Singapore, representing the service, retail, and manufacturing sectors. The data reveal that Human Resources Approach to management is the most common style of management. Analysis of communication content, style, and flow demonstrates that cultural customs such as respect for the elderly, caring for and mentoring the younger generation, loyalty to one's family, and conformity to family traditions are the driving forces of the businesses in Singapore. The analysis suggests that it is the dominant culture of a society that shapes the business practices and business values in any given society. ; W roku 2020 Singapur z 5,8 mln mieszkańców, szczególną wersją jednopartyjnej demokracji i hołdującym tradycji, choć jednocześnie postępowym społeczeństwem stał się modelową gospodarką dla innych krajów azjatyckich. Od 1819 do 1963 r. obszar Malezji i Singapuru stanowił kolonię brytyjską. W roku 1963, gdy panowanie Brytyjczyków dobiegło końca, Malezja odzyskała niepodległość, a Singapur stał się jej częścią. Taki stan nie trwał jednak długo – w efekcie narastających napięć rasowych pomiędzy Malajami, etnicznymi Chińczykami i innymi grupami w 1965 r. Singapur odciął się od Malezji i utworzył niezależne państwo. Pozostawiając swą kolektywistyczną kulturę, Singapur zyskał przewagę konkurencyjną jako ekskluzywne centrum handlowe w regionie. Przez ostatnie 60 lat singapurscy przedsiębiorcy przesunęli swoje zainteresowanie z wytwarzania komponentów sprzętu elektronicznego, twardych dysków komputerów, niewielkich urządzeń czy odzieży w kierunku usług finansowych, bankowych, ubezpieczeniowych i zarządzania aktywami. Bazujące na wywiadach, obserwacjach i krótkim kwestionariuszu niniejsze stadium przypadku singapurskiego biznesu dostarcza opisu stylów zarządzania i strategii komunikacyjnych 78 menedżerów reprezentujących usługi, handel detaliczny oraz przemysł. Dane ukazują, że najpowszechniejszym stylem zarządzania jest podejście oparte na zasobach ludzkich. Analiza treści, stylu i przepływu komunikacji świadczy z kolei o tym, że w Singapurze zwyczaje kulturowe, takie jak szacunek dla starszych, wychowywanie i dbanie o młodsze pokolenia, lojalność wobec rodziny i życie zgodnie z tradycjami rodzinnymi są siłami napędowymi przedsiębiorstw. Z analizy jasno wynika, że to dominująca w społeczeństwie kultura kształtuje praktyki i wartości, którym hołduje się w biznesie.

This paper discusses veils and walls in Mohsin Hamid's novel Moth Smoke (2000) and shows how the woman in the novel, named Mumtaz, responds to her role as a wife and a mother. This essay has three parts: the first part compares the figure of Mumtaz with the seventeenth-century Mughal empress upon whom the character in the novel is based. The second part shows how Mumtaz tries to free herself from the walls of socially assigned roles and resists predetermined gender roles. The third part then analyses how names and titles function as veils to hide the individual behind a constricting network of nomenclature. Acquiring a male pseudonym, Mumtaz, defies the walls of a gender-specific identity.

This paper discusses veils and walls in Mohsin Hamid's novel Moth Smoke (2000) and shows how the woman in the novel, named Mumtaz, responds to her role as a wife and a mother. This essay has three parts: the first part compares the figure of Mumtaz with the seventeenth-century Mughal empress upon whom the character in the novel is based. The second part shows how Mumtaz tries to free herself from the walls of socially assigned roles and resists predetermined gender roles. The third part then analyses how names and titles function as veils to hide the individual behind a constricting network of nomenclature. Acquiring a male pseudonym, Mumtaz, defies the walls of a gender-specific identity.

Purpose
The paper answers three research questions: How does the extant literature explain fairness and whiteness? What Indian standards of beauty were historically, and how are they currently? What is the applicability of the theory of self-concept in understanding the fairness paradigm?


Design/methodology/approach
A rigorous review of extant literature on fairness followed by consolidation of the literature under relevant self-concept theory for understanding the historical perspective of fairness in India as compared to global standards.


Findings
Clear defined themes on actual, ideal and social self-concept emerged from the study. The study also revealed: how Indian corporates are using effective marketing strategies to cover up the potential health hazards of fairness creams.


Practical implications
Marketers can use the study to understand how fairness products influence individual's self-concept. Media houses and Government agencies can also get insight on how beauty has been valorized in the Indian mindset.


Social implications
This paper identifies the deceptive and misrepresentation of attainable beauty standards claimed by the fairness and whiteness products.


Originality/value
This is the first study done to integrate the findings of fairness studies with self-concept theory and derive useful insights from it.