1,737,552 research outputs found
Book interview: Living Apart Together Transnationally (LATT) Couples by Rashmi Singla
No full textBook interview: Living Apart Together Transnationally (LATT) Couples by Rashmi SinglaBook interview: Living Apart Together Transnationally (LATT) Couples by Rashmi Singl
Elotespora mumbaiensis Rashmi Dubey 2021, sp. nov.
No full textElotespora mumbaiensis Rashmi Dubey sp. nov. (Fig.1) MycoBank MB 840079 Mycelium mostly immersed. Conidiomata eustromatic, cyathiform, scattered, almost superficial somewhat immersed on the substratum, dark brown to black, layers of cell forming textura angularis, unilocular, 22–30 μm diam., 11–14 μm deep. Conidiophores not observed, Conidiogenous cells not observed. Conidogenesis not observed, but Conidiomatal ‘cup’ like structure is visible both under the compound microscope and Scanning Electron Microscope, Conidial secession is not observed, but some part of the conidiomatal ‘cup’ is still attached on the base of seceded conidial chain indicating that conidia are produced directly from the conidiomatal ‘cup’. Conidia are produced directly from the conidiomata and forms acropetal chains having 2–5 conidia per chain, and the chains are sometimes branched. Conidia dry, muriform, initially brown, on maturity turn blackish brown at the apical and basal end, elongated to ellipsoidal, sometimes twisted, 42–80 × 15–24 μm (60.27 × 21.23, n=15) widely obtuse/rounded at the apex, truncate at the base, basal conidia straight and wider than other apical conidia, sometimes conidia initials are also visible on the lateral sides of conidia indicating the branching pattern of the conidial chain. Additional Material/cultures examined: Culture was obtained on Potato Dextrose Agar (PDA) medium and malt extract agar medium (MEA) with different light and dark conditions. Vegetative hyphae grew on medium on seven days but did not sporulate, and culture died. Gene sequence ex-holotype: Not known. Teleomorh: not observed Habitat and distribution: Terrestrial, Maharashtra, India Holotype: IND356, Maharashtra, Mumbai, Sanjay Gandhi National Park, Yeoor range (19° 14’ 01.97” N 72° 57’ 06.90” E) 16 th October 2018, Rashmi Dubey, on Dead twig litter, holotype deposited in Botanical Survey of India, Western Regional Centre, Pune, 209219 BSI (WC), Mycobank MB 840079 Etymology: species named after the place (city) of collection (Mumbai)Published as part of Dubey, Rashmi, 2021, Elotespora mumbaiensis sp. nov.: A novel species of Anamorphic Ascomycota reported from Peninsular India, pp. 177-180 in Phytotaxa 529 (1) on pages 178-179, DOI: 10.11646/phytotaxa.529.1.15, http://zenodo.org/record/581424
#6 [QUB] In Conversation with ... Prof Richard English speaks to Dr Rashmi Singh
No full textQueen's University Belfast in Conversation with Podcast seriesEpisode 6Professor Richard English in conversation with Dr Rashmi Singh – associate professor of international relations at PUC Minas in Brazil - to discuss her 2011 book, "Hamas and Suicide Terrorism.
Heteroconium tulsiense Rashmi Dubey 2022, sp. nov.
No full text<i>Heteroconium tulsiense</i> Rashmi Dubey <i>sp. nov.</i> (Figs 1, 2) <p> <i>Mycobank</i> MB-839843</p> <p> <b>Etymology</b>:—Named after place of collection, Tulsi Range of Sanjay Gandhi National Park, Maharashtra, India.</p> <p> <b>Holotype</b>:— INDIA. Maharashtra: Mumbai, Sanjay Gandhi National Park, Tulsi Range, Tiger Reserve areas, on dry twig litter, 22 January 2017, Rashmi Dubey, BSI (WC) 209274, deposited in herbarium of Botanical Survey of India, Western Regional Centre, Pune, Maharashtra, India.</p> <p> <b>Description:—</b> Colonies on natural substrate, effuse, hairy. Mycelium superficial and immersed, composed of septate, smooth-walled, dark brown or brown hyphae, 1–2 μm diam. Conidiophores macronematous, mononematous, simple, erect, mostly unbranched but aggregated near the base, straight or slightly flexuous, cylindrical, smooth, thickwalled, 3–9-septate, brown to dark brown, 33–62 × 7–9 μm. Conidiogenous cells monoblastic, terminal, cylindrical, integrated, determinate or percurrent, brown, smooth, truncate at the apex, 5–9 × 5.75–7.0 μm. Conidial secession schizolytic. Conidia holoblastic, acrogenous, blastocatenate in chains of up to four, smooth, obclavate, brown, unevenly pigmented, pale brown ends, rounded at apex, truncate at base, thick-walled, 31–45 × 7.5–8.7 μm, 4–7-septate, slightly constricted at the septa.</p> <p> <b>Known distribution:—</b> Only known from type locality in the Sanjay Gandhi National Park, Maharashtra, India.</p>Published as part of <i>Dubey, Rashmi & Pandey, Amit D., 2022, Heteroconium tulsiense (Antennulariellaceae): a novel microfungus from Sanjay Gandhi National Park, Maharashtra, India, pp. 190-196 in Phytotaxa 536 (2)</i> on page 192, DOI: 10.11646/phytotaxa.536.2.8, <a href="http://zenodo.org/record/6257685">http://zenodo.org/record/6257685</a>
#6 [QUB] In Conversation with ... Prof Richard English speaks to Dr Rashmi Singh
No full textQueen's University Belfast in Conversation with Podcast seriesEpisode 6Professor Richard English in conversation with Dr Rashmi Singh – associate professor of international relations at PUC Minas in Brazil - to discuss her 2011 book, "Hamas and Suicide Terrorism.
ANALISIS WACANA NOVEL CITRA RASHMI
Full text linkThis research is aimed to describe the construction of woman rebellion done by the crown princess, Citra Rashmi in the novel Citra Rashmi: Konspirasi Putri Mahkota by Tasaro GK and to describe the position of patriarchal ideology behind the woman rebellion done by the crown princess, Citra Rashmi in the novel Citra Rashmi: Konspirasi Putri Mahkota by Tasaro GK. Method used in this research was method of critical discourse analysis stated by Teun Van Dijk. The component of research included text, social cognition and social context. The result of research shows that Citra Rashmi is described as a woman with competency in martial arts. Citra Rashmi is also a crown princess of Pasundan Kingdom. The martial competency arts which had by a woman is depicted the deconstruction of physical appearance of a woman, and the breaking out of stereotype of a princess as well. In short way, the writer wants to describe the characteristic of main character that break the patriarchal ideology
Artists’ Moving Image: South Asian Trajectories
No full textA special South Asia-focused journal edition of the journal, 'Moving Image Review and Art Journal'. The edition includes eight articles, features, reviews and interviews as well as a contextual preface by the editors, Lucia King and Rashmi Sawhney. Trajectories of film history and the practices of 'artists' moving image' makers from South Asia are traced and critiqued, including the significant impact of documentary film experimentation from the 1960s to the present. Author contributors are: Nancy Adajania, Avijit Mukul Kishore, Adnan Madani, Shai Heredia, Nicole Wolf, Kaushik Bhamik, Lucia King and Rashmi Sawhney
The Blue Jackal
No full textHow surprising that I lived in Berkeley for four years and never ran across this book or this publisher while I was there! A Google search shows that Vidya Books still exists in Berkeley, though apparently with a post office box number, not a street address. This twenty-two page large-format children's book often combines text and colored illustrations on its paired pages. Sharma narrates the traditional story as an expanded fable, with pleasing development of the situation (drought and heat), scene (a small village near the jungle), and time of day (siesta). About the middle of the story, a "has" needs to be a "had" in the phrase "He has finished dyeing a load of muslin blue that morning." Perhaps the strongest illustration in the book is that of the blue jackal after he emerges from the tub. This same illustration is used on the book's dust-jacket and cover. In this telling, the jackal goes too far when he tells the other animals "Lord Krishna has made me blue in his image. He has also given me some of his special powers." This version then nicely brings the story to its climax with the long-awaited monsoon rains, which of course wash off the jackal's blue dye. "The free ride was over." When the other animals pursue the fleeing jackal, he lets out the "yowl" that is the usual give-away as to his true identity. There is an afterword on Punchtuntra stories. To my surprise, Sharma dates Dabshalim to the fourth century BCE; she says that Dabshalim "defeated the Greek Governor left behind by Alexander." There is also this statement to consider: "Some scholars connect these tales to the African Aesop…." She comments pointedly on the meaning of this story: "The story of The Blue Jackal is told in India to instill the idea of a color-blind society, as opposed to superiority of one race based on skin color." I had previously found a discontinued library copy of this book. This copy is in pristine condition and stays in the collection, while the other joins the "extras" collection.How surprising that I lived in Berkeley for four years and never ran across this book or this publisher while I was there! A Google search shows that Vidya Books still exists in Berkeley, though apparently with a post office box number, not a street address. This twenty-two page large-format children's book often combines text and colored illustrations on its paired pages. Sharma narrates the traditional story as an expanded fable, with pleasing development of the situation (drought and heat), scene (a small village near the jungle), and time of day (siesta). About the middle of the story, a "has" needs to be a "had" in the phrase "He has finished dyeing a load of muslin blue that morning." Perhaps the strongest illustration in the book is that of the blue jackal after he emerges from the tub. This same illustration is used on the book's dust-jacket and cover. In this telling, the jackal goes too far when he tells the other animals "Lord Krishna has made me blue in his image. He has also given me some of his special powers." This version then nicely brings the story to its climax with the long-awaited monsoon rains, which of course wash off the jackal's blue dye. "The free ride was over." When the other animals pursue the fleeing jackal, he lets out the "yowl" that is the usual give-away as to his true identity. There is an afterword on Punchtuntra stories. To my surprise, Sharma dates Dabshalim to the fourth century BCE; she says that Dabshalim "defeated the Greek Governor left behind by Alexander." There is also this statement to consider: "Some scholars connect these tales to the African Aesop…." She comments pointedly on the meaning of this story: "The story of The Blue Jackal is told in India to instill the idea of a color-blind society, as opposed to superiority of one race based on skin color." I had previously found a discontinued library copy of this book. This copy is in pristine condition and stays in the collection, while the other joins the "extras" collection.This is a hardbound book (hard cover)This book has a dust jacket (book cover)Written and illustrated by Rashmi SharmaWritten and illustrated by Rashmi Sharm
Desai Rashmi — Indian Immigrants in Britain
No full textH. J. Desai Rashmi — Indian Immigrants in Britain. In: Population, 21ᵉ année, n°2, 1966. p. 415
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