Coming home one night, Riya was not expecting to find the man who broke her heart sleeping on her floor! He's a guest at her roommate's wedding, so she's stuck with him 24/7—and the sparks are already flying! Six years ago Riya fell for Dhruv, whereas he didn't believe in love. Not then, not now—the other reason he's in India is to consider an arranged marriage! But as the monsoons start, Riya and Dhruv are forced to confront what drove them apart. Could this wedding fever be…contagious?

The Postcolonial Cultural Industry makes a timely intervention into the field of postcolonial studies by unpacking its relation to the cultural industry. It unearths the role of literary prizes, the adaptation industry and the marketing of ethnic bestsellers as new globalization strategies that connect postcolonial artworks to the market place.

This anthology explores and validate the nuances of Indian popular fiction which has hitherto been hounded by its ubiquitous 'commerical' success. It uncoverspopular in its socio-political and cultural contexts. Furthermore, it investigates the vitality embedded in theory and praxis of popular forms and their insurrections in mutants and new age oeuvres and looks to examine the symbiotic bonds between the reader and the author, as the latter articulates and perpetuates the needs of the former whose demands need continual fulfilment. This constant metamorphosis of the popular fueled by neoliberalism and postmodernity along with the shifts in the publishing industry to more democratic 'reader' driven genres is taken up here along with the millenial's fetish for romance, humanized mythical retellings and the evergreen whodunnits. As its natural soulmates, the anthology delves into the interstices of Indian Popular with desi (local) traditions, folk lore, community consciousness and nation building. Please note: This title is co-published with Aakar Books, New Delhi. Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.

Organized by subspecialty, this case-based review covers all the information students are expected to learn during their internal medicine clerkship. Each topic begins with a brief patient history and a question about the most likely diagnosis or next step in management followed by a discussion of alternative diagnoses and management strategies. The user-friendly approach includes numerous algorithms, images, mnemonics, and tables. A companion Website will offer the fully searchable text.

Companion volume to Cinemeducation Volume 1 Cinemeducation, Volume 2 outlines a comprehensive approach to using film in graduate and medical education. It provides readers with a wide array of film excerpts ready for immediate application in the classroom. Each excerpt includes the counter time, year of release, names of actors, a short description of the movie and the scene being highlighted as well as discussion questions. Entire chapters are dedicated to reality television, mainstream television, music videos, documentaries and YouTube. Clearly structured, this second volume dives deep into human experiences. Authors from five continents have composed 49 chapters devoted to a wide assortment of new topics relevant to medical and postgraduate healthcare education. Some of the specific issues covered include substance abuse, gambling, dealing with tragedy, diabetes, heart disease, chronic illness and obstetrics as well as mental health problems. Some films portray health care professionals both positively and negatively and these are presented with rich detail. A wide variety of specialties and different health careers are covered. All of these areas converge on the common ground of compassion in the medical experience. This book is ideal for the undergraduate or postgraduate classroom. All healthcare educators will appreciate its comprehensive scope and innovative approach, including those in psychology, social services, dentistry and veterinary science.

Historically, Indian cinema has positioned women at the intersection of tradition and a more evolving culture, portraying contradictory attitudes which affect women’s roles in public and private spheres. Examining the work of three directors from West Bengal, this book addresses the juxtaposition of tradition and culture regarding women in Bengali cinema. It argues the antithesis of women’s roles, particularly in terms of ideas of resistance, revolution, change, and autonomy, by suggesting they convey resistance to hegemonic structures, encouraging a re-envisioning of women’s positions within the familial-social matrix. Along with presenting a perception of culture as dynamic and evolving, the book discusses how some directors show that with this rupturing of the traditionally prohibitive, and a notion of unmaking and making in women, a traditional inclination is exposed to align women with ideas of absence, substitution, and disposability. The author goes on to show how selected auteurs in contemporary Bengali cinema break with certain traditional representations of women, gesturing towards a culture that is more liberating for women. Presenting the first full-length study of women’s changing roles over the last twenty years of Bengali cinema, this book will be a useful contribution for students and scholars of South Asian Culture, Film Studies and Gender Studies.

To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance.

The Burning Shore, another gripping installment in Wilbur Smith's Courtney Family Adventure series Centaine de Thiry grew up with privilege, wealth, and freedom on a sprawling French estate. Then war came crashing down around her, and a daring young South African aviator named Michael Courtney stole her heart amidst the destruction. But the tides of fate and battle sent the young woman on a journey across a dangerous sea to the coast of Africa. When Centaine's ship is torpedoed and sunk, she is plunged into a shark-filled sea miles from the unseen shore. And when she reaches land, Centaine puts foot not in the lush world that Michael Courtney described to her, but on the edge of a burning desert--alone and fighting for her life. In a strange world, under a great rushing sky, Centaine sets forth in the company of wandering Bushmen--and then into the arms of a renegade white soldier who may be her savior or destruction. As Michael Courtney's family searches for Centaine, she comes near her promised land--and the untold tragedy and riches that it holds...

Sampath Chawla, a young postal worker who never feels as though he fits into the small Indian town into which he is born, one day climbs up a tree, only to become a famous holy man

One hundred and sixty years ago a young Englishman founded a private raj on the coast of Borneo. The world he created eventually took in a territory the size of England, its expansion campaigns paid for in human heads. Here, polite Victorian conventions coexisted tenuously with one of the most violent cultures on earth, often with startling results: pockets of tenderness and extreme brutality appearing where least expected. Into this world flowed a small tribe of adventurers, fugitives, criminals, and saints-- the madly talented and simply mad. And the women followed: wives and would-be wives, spinster nursemaids and heartless schemers, the rigidly virtuous and the virtually desperate. And always, the children, innocents too often the victims of an elemental nature both lush and deadly. Kalimantaan is the story of this world, these people. But the deeper story resides in the realm of the heart. It is about love in absurd conditions, the tenacity of it as well as our ability to miss it repeatedly and with perverse genius.