The Bombay Shops & Establishment Act, - Download as Powerpoint Presentation .ppt), PDF File .pdf), Text File .txt) or view presentation slides online. Short title extent and operation. This Act be called the Bombay. Shops and Establishments Act, [(2) It extends to the whole of the State of Maharashtra. (1) This Act be called the Bombay Shops and Establishments Act Central Provinces and Berar Shops and Establishments Act,, C.P and Berar .
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Hello, Does any one have a soft copy of the Bombay Shop Act Thank you 11th From Mah Shop & Est (RECS) Rules pdf. File Type: doc Schedules to Bombay Shops & Establishments Act doc ( MB, views) Mah Shop & Est (RECS) Rules pdf. Establishment of the N.C. Corporation Pvt. Ltd. Bombay and the offices of . 'L" prescribed under Maharashtra Shops and Establishments Rules, Items to are in Devanagari Script and can be accessed in a PDF file from the.
Plague inspections 3. Marine Drive in the early s 3. Rain-drenched romance on Marine Drive in Kala Bazaar 3.
Davidge's plan 3. Ideal Home Exhibition 3. Art Deco apartments on Marine Drive 3. Eros Cinema 3. Fearless Nadia 4.
Doga and Suraj 2. Planning violence 3. Doga's pathology 4. The opening page of Khaki Aur Khaddar 5. Monica forced to watch atrocities 6. The comic-book panels scrambled by the chaos of violence 7.
Doga fights the rioters in vain 8. The superhero is assailed by self-doubt 9. The superhero despairs at the loss of humanism Steel and Art Deco Luxurious 1, BHK Flats Taxi stickers Objects in the Mirror Are Closer than? Altamount Road Free enterprise in Dharavi Collectors of discarded history in Chor Bazaar Atul Dodiya, Bombay Buccaneer For plate 1 referred to in chapter 3, please see plate For plates 0 referred to in chapter 8, please see plates A tiny speck appears in a cloudless Poona sky, moving steadily toward the Tower of Silence, the funerary place where the Zoroastrians expose their dead to be consumed by birds of prey.
It is not an eagle; nor is it a crow, for it could never fly that high. As the speck approaches the tower, its outline grows larger. It is a small aircraft, its silver body gleaming in the bright sun. After flying high above the Parsi place of the dead, the plane disappears into the horizon only to double back.
This time, it heads determinedly to the tower, hovers low over it, and then suddenly swoops down recklessly. Just when it seems sure to plunge into the ground, the plane rights itself and flies upside down in large circles. A bright object drops from the aircraft into the well of the tower, illuminating the structure containing a heap of skeletons and dead bodies.
As the light from the bright flare reveals this gruesome sight, the plane suddenly rights itself and hovers directly overhead. The clock strikes two. A camera shutter clicks. The click of the camera shakes the Zoroastrian world.
The Parsi head priest of the Deccan region, taking an afternoon nap, immediately senses that foreign eyes have violated the sacred universe of his religion. Parsi priests, who are performing a ritual at their Fire Temple, feel their throats dry up abruptly and are unable to continue their chants. As the muslin-covered body of a dead Parsi is being prepared for its final journey to the tower, the deceased's mother suddenly lets out a piercing shriek.
When the sacred fire burning at a Zoroastrian temple bursts into sparks, the assembled priests agree that a vital energy has escaped the holy ball of fire. On the street outside the office of the journal The Graphic is a large touring Rolls-Royce, richly upholstered and fitted with silver fixtures. In it sits a tanned young man in a finely tailored suit, with a monocle in his left eye. He is Beram, a Parsi who blends "the knowledge of the shrewd East" with that of the West and is a master practitioner of hypnotism and the occult.
He is in London to hunt down and kill those who have defiled his religion-the pilot who flew the plane over the tower, the photographer who clicked the snapshot, and the editor who published it in The Graphic. This locks him in a battle of wits with Sexton Blake, the famous s fictional British detective, and his assistant Tinker, who are employed by the magazine.
As Beram goes about systematically ferreting out his intended victims, with Blake and Tinker in pursuit, the novel traverses London, Manchester, Liverpool, Burma, Rawalpindi, and Bombay. It concludes with Parsi honor restored. In Chaiwala's thrilling fable of Parsi revenge, the protagonists slip in and out of disguises and secret cellars.
They follow tantalizing clues and leave deliberately misleading traces, practicing occult tricks and hypnotism to gain an advantage in their quest. Magic and BombaylMumbai: Unless I a m referring to the period after , when Bombay was officially renamed as Mumbai, I use the name Bombay, as the city was called, for most of the period covered by the book. Industrial modernity, in the form of planes, trains, and automobiles, figure prominently.
The high-altitude camera and the illustrated magazine reflect a world of image production and circulation. The novel travels easily between Britain and India and comfortably inhabits British popular culture. Imperial geography underwrites this space. Colonialism conjoins Britain, India, and Burma and produces the cosmopolitan cultural milieu that the novelist presents as entirely natural. Beram dwells in this environment while proudly asserting his religious identity.
He is no rootless cosmopolitan but a modern subject, deeply attached to his community. His quarrel with the pilot, the photographer, and the editor is not anticolonial. Chaiwala mentions the Gandhian movement against British rule, but Beram expresses no nationalist sentiments; his sole motivation is to right the wrong done to his faith by modernity's excesses, by its insatiable appetite to erase all differences and violate all taboos.
He represents a form of cosmopolitanism that is based on an acknowledgment of cultural differences. The novel bears the marks of its time, but it also presents a picture of Bombay that persists.
This is evident as much in the depiction of the city, where Beram and Sexton Blake play their cat-and-mouse game, as in the whole imaginative texture of the novel. A Bombay man himself, Chaiwala celebrates the city's mythic image when he describes it as "gay and cosmopolitan," a heady mix of diverse cultures and a fast life. Its existence as a modern city, as a spatial and social labyrinth, can be read in the detective novel form.
The sensibilities and portraits associated with Bombay are inherent in the novel's geographic space, in its characters and their actions.
When I came upon Chaiwala's typescript in the British Library, I found its fictions and myths resonate with my childhood image of Bombay. Cities live in our imagination.
Bombay is not my hometown. I was born more than a thousand miles away in a small town named Hazaribagh. Mine is not an immigrant's nostalgia for the hometown left behind, but I have hungered for the city since my childhood. Its physical remoteness served only to heighten its lure as a mythic place of discovery, to sustain the fantasy of exploring what was beyond my reach, what was "out there.
Nearly everyone I knew in Patna loved Hindi films. Young women wore clothes and styled their hair according to their favorite heroines. The neighborhood toughs copied the flashy clothes of film villains, even memorizing and mouthing their dialogues, such as a line attributed to the actor Ajit instructing his sideluck: "Robert, Usko Hamlet wala poison de do; to be se not to be ho jayega" Robert, give him Hamlet's poison: from "to be" he will become "not to be".
No one knew which film this was from, or indeed if it was from a film at all. Ajit's villainous characters were so ridiculously overdrawn that he attracted a campy following that would often invent dialogues. Then there were Patna's own Dev Anand brothers, all three of whom styled their hair with a puff, in the manner of their film-star idol.
Emulating their hero, they wore their shirt collars raised rakishly and walked in the actor's signature zigzag fashion-trouser legs flapping, upper body swaying, and arms swinging across the body.
Hindi cinema stood for Bombay, even if the city appeared only fleetingly on-screen, and then too as a corrupt and soulless opposite of the simplicity and warmth of the village. I understand now that underlying our fascination with Bombay was the desire for modern 4 Chapter 1 life.
Of course, the word modernity was not in our vocabulary then; we spoke of Bombay's charms with signs and gestures, with wistful looks and sighs, expressing desires for self-fashioning and deprived pleasures. We knew of New York, Paris, and London, but they were foreign places, holding no emotional resonance. To us, the most familiar large city was Calcutta, in the neighboring province of West Bengal.
Many, particularly the poor, from my province of Bihar went there to work. But the proverbial Bengali cultural arrogance was a hurdle in developing any lasting love or longing for their city.
New Delhi was just a dull seat of government, heavily laden with a bureaucratic ethos, and Madras was too culturally and linguistically remote.
Although far away, it was Bombay that held the promise of exciting newness and unlimited possibilities. It reached out across the physical and cultural distance to stir desires and site imaginations.
Even my father was not immune to Bombay's magnetism.
When he built the family house in Hazaribagh, the facade was modeled on the Marine Drive Art Deco apartment buildings that he had seen in photographs. The Bombay tabloid Blitz epitomized the city's mischievously modern spirit.
The only one of its kind in India at the time, this provocative weekly unabashedly presented itself as the voice of the citizenry, excoriating officialdom with over-the-top reports and articles. Adopting the loud and brash character of its larger-than-life Parsi editor, Russi Karanjia, the tabloid was identified with the city.
So was Behram Contractor, known by his pen name Busybee, who wrote his popular and characteristically witty "Round and About" columns, first in the Evening News of India and subsequently in Mid-Day, before eventually settling on Afternoon Courier and Despatch, a tabloid he founded and edited. Poking gentle fun at everyone while offending no one, Busybee became known and loved as a classic Bombay figure-at home in its metropolitan chaos while remaining alive to the absurdities of its everyday life.
Similarly playfully critical was Gangadhar Gadgil. Trained as an economist, he wrote The Mythic City 5 b 1. Marlo's Bombay. He gave us memorable city figures-Miss Fonseca, the buxom Anglo-Indian secretary; the office clerk Godbole; the corrupt and rotund politician Bundaldass; the seductive actress Miss Rajni Nimbupani; and the Catholic girl Petrification Pereira. Using the cartoon form, Mario's pictorial illustrations were works of art that depicted Bombay's mongrel and chaotic world with humor and acute observations.
The Illustrated Weekly, which featured Mario's art, and Femina, both owned by the Times group, were two widely circulated magazines that also disseminated the city's metropolitan image. The 6 Chapter 1 Weekly lived up to its promise, featuring stories with photographs that showcased modern life.
Whether they were accounts of dance bands, cabaret acts, architecture, cinema, and art or famous murder cases, exposes of brothels, illegal gambling, or the manufacture of illicit liquor in the Prohibition era, the magazine covered them all with lavish illustrations.
Shops and establishment act india pdf
The popular glossy women's magazine Femina, which started publication in , featured mainly articles on style, health and beauty, relationships, and celebrities. Its vibrant pages flaunted the latest trends in clothes, cosmetics, and home furnishings. Its splashy coverage and proud sponsorship of the annual Miss India contest paraded Bombay's trendy fashion sense. Addressed as it was to the English-reading public, there was no doubt about Femina's elitism.
But this only added verve to Bombay's image as a place of high style. But he stayed for two years, working for a literary journal. Unaware that the journal was funded by the CIA-a fact he discovered only years later-Knightley ended up playing an unwitting role in a Cold War cloak-and-dagger drama when the KGB also tried to recruit him. In retrospect, he saw the international espionage angle as part of Bombay's dynamic milieu. Harry Roskolenko, an American writer who also made his way to the Island City in the sixties, thought that Bombay was the world's most open city after Tokyo.
What he meant by "open" is manifest in the title of his book. Bombay after Dark is a racy travel account that he published under the pen name Allen V. The book describes his sexual romp through Bombay, including the experience of a young college student "pressing her rubbery young body against mine" in a temple during a religious celebration and of his "water The Mythic City 7 circus" with an Anglo-Indian woman in the Arabian Sea.
Colaabavala, adopts a shocked tone, but it too offers a titillating, voyeuristic account of Bombay as a haven for erotic pleasure. While purporting to expose vice, the book invites you to do a little "undercover research in "Bombay after Dark," promising that no matter what your desire, taste, or mood, you will find what you want in India's commercial capital, "where the history of commerce is often written on the bedsprings.
A photograph published in newspapers and magazines in served only to reconfirm the city's freewheeling spirit. It showed a woman strealung on a busy Bombay street in broad daylight. The nude photograph attracted much attention because the woman was Protima Bedi, a glamorous model and the wife of the handsome model and rising film star Kabir Bedi.
The fashionable couple was frequently in the news. In her posthumously published memoir, Bedi acknowledged that the nude photograph was genuine, but she alleged that it had been taken while she was walking naked on a beach in Goa and was then superimposed on a Bombay street to produce the sensational copy. The shocking picture also contributed to Bombay's mythology as a city with an uninhibited and audacious ethos, a place where the "iron cage" of the dull routines-the familiar and regular-of modern life was shaken loose with the energy and excitement of transgression.
If films, newspapers, and magazines broadcast Bombay in glamorous, sunny hues, they also narrated tales of its dark side. These 8 Chapter 1 impressions were powerfully amplified by the lyrics of several film songs penned by progressive poets that inveighed against the unjust social order. So, while Johnny Walker romps on the breathtaking Marine Drive in the film CID, sweet-talking his girlfriend in the voice of playback singer Mohammed Rafi, the song warns of the perils that await the unwary in Bombay and offers a biting critique of the industrial city's soullessness: "Kahin building, Kahin tramen, Kahin motor, Kahin mill, milta hai yahan sub kuch, ek milta nahin dil, insaan ka hai nahin namo-nishan" In this city of buildings and trams, motorcars and mills, everything is available except a heart and humanity.
Though the song speaks of a callous city habitat in vivid and richly textured lyrics, it also offers hope. Johnny Walker's girlfriend responds to his evocation of Bombay's capriciousness and contradictions by rewording the song's idiomatic refrain. In place of "Ai dil hai mushlul jeena yahan" It is hard to survive here , she sings 'Xi dil hai aasaan jeena yahan, sun0 Mister, sun0 Bandhu, Yeh hai Bombay meri jaan" 0 gentlemen, 0 my friends, living here is easy, it's Bombay, darling.
She does not deny his sentiments about hypocrisy and injustice in the city but counters them with an optimistic one of her own. There is a sense of confidence and optimism, even appreciation for the city, despite its conflicts and contradictions. References to the Hindi-speaking "Bandhu" friend and the English-speaking "Mister" suggest a feeling of belonging in Bombay's socially and linguistically mongrel world.
Ironically, even as the song celebrated Bombay's mongrel world, a political movement for the creation of the linguistic province of Maharashtra, including the fabled city, was heating up.
This was followed by the rise of the Bal Thackeray-led Shiv Sena, a nativist party named after Shivaji, the seventeenth-century Maratha warrior. The Sends growing influence signaled the eclipse of the radical aspirations that socialist lyricists expressed. The challenge came not just from the Sena's right-wing populism but also from political stirrings among the formerly "untouchable" castes. The strong protests against centuries-old caste discrimination included the rejection of The Mythic City 9 the name "untouchable" because it carried the stigma of the Brahmanic caste hierarchy.
Demanding equality, justice, and dignity, the leaders of the discriminated castes called their group Dalit the Oppressed. Like the African Americans' proud embrace of the term "Black" during the s, the adoption of a new name signified an insurgent consciousness. The parallel with African American militancy and its influence went even further when the poet Namdeo Dhasal formed the Dalit Panthers in , a powerful group of writers. The Panthers penned insurgent poetry and prose that challenged the centuries of discrimination and exploitation the oppressed castes had suffered.
The Dalit Panthers added to the sense of crisis that gripped the city in the s as sharp challenges from below tested the governing political and social order. The populist mobilization against elected governments, led by the Gandhian socialist Jai Prakash Narayan, and the National Emergency that Indira Gandhi declared in pointed to the erosion of liberal democracy and constitutional politics.
National events and political crises bore down on Bombay, taking the shine off its image.
But what gave the city's portrait a decidedly dark turn were the Hindu-Muslim riots of The riots were followed by a series of bomb blasts-ten in all-on March 12, The communal violence and the explosions left many wondering if Bombay's cosmopolitanism had been just a facade, now as charred as the buildings damaged by the explosions. After all, Mumbai is no ordinary city.
An island city of nearly twelve million, according to the census, it is the ur-modern metropolis in India. Kolkata Calcutta , Chennai Madras , and Delhi are also major Indian cities, but unlike them Mumbai flaunts its image as a cosmopolitan metropolis by transcending its regional geography.
The map locates it in Maharashtra-the cartographic fact is the product of political agitation in the s-and Marathi-speaking Hindus constitute the largest group. However, the city's population remains dazzlingly diverse. Historically, immigrants from villages and small towns have managed their assimilation into the modern metropolis by maintaining their native tongues and cultures in their homes and neighborhoods. Mumbai's map is a jigsaw puzzle of distinct neighborhoods marked by community, language, religion, dress, and cuisine.
As a means of communicating across differences, the city has even concocted a hybrid but wonderfully expressive vernacular for everyday communication-Bambaiya. For a metropolis that prided itself on its cultural diversity and that staked its claim on being a modern capitalist city where the worship of Mammon trumped the worship of all other gods, the communal riots and bomb blasts appeared atavistic.
Bombay Shops And Establishments Act 1948
When the Shiv Senaled government officially renamed Bombay Mumbai in , the rechristening seemed to formalize the transformation that had already occurred. The breakdown of the cosmopolitan ideal occurred against the background of a runaway growth in population and the closure of textile mills and deindustrialization, which together dismantled the image of the old Bombay.
Where once the city had hummed to the rhythm of its cotton mills and docks, now there was the cacophony of the postindustrial megalopolis.
Working-class politics that had once formed a vital part of city life now barely breathed, leaving the toilers unorganized and defenseless. State policies and urban government had done little to relieve, let alone improve, the condition of those who struggled to survive. Armies of poor migrants, slum dwellers, hawkers, and petty entrepreneurs occupied the city's streets, pavements, and open spaces. Mumbai appeared under siege, imperiled by spatial mutations and occupation by the uncivil masses, The Mythic City 11 a wasteland of broken modernist dreams.
Currently it enjoys the dubious distinction of being home to Asia's largest slum, Dharavi. Sudhir Patwardhan, a leading Bombay painter, poignantly registers the anxiety caused by urban change.
Patwardhan, a politically conscious artist, had made a name for himself as a social realist painter of the city during the s and the s. A radiologist by profession, he had used his penetrating vision to focus on figures set against Bombay's social and spatial contexts. The destruction of working-class politics, followed by the communal riots and the ruination of liberal ideals, introduced a discerible change in his art.
In Riot , we see communal vitriol at its rawest. The image of society as a collective recedes. If Patwardhan paints a violence-ridden, splintered city, writers depict Mumbai as a place stalked by corrupt politicians, shady real estate tycoons, bribed policemen, brutal underworld bosses, and compromised film stars.
Suketu Mehtds "maximum city" is a place bursting with not just urban desires but also urban problems. In Outlook, a popular newsmagazine, published an issue on the city that stated, "Yes, Mumbai exists, but India's most liberal, economically vibrant, multicultural metropolis is no more. The population, already a "scary 11 million," was estimated to reach Salman Rushdie's Midnight's Children portrays the Bombay of his childhood as an island of raucous and colorful coexistence of different communities.
The chaotic but robust coexistence of different communities and cultures now appears as a remote figment of the city's imagination. Kapur desperately seeks to recapture the spirit of the shining city on the sea, "a tropical Camelot, a golden place where races and religions lived in peace and amity.
Let us sit upon these chairs and tell sad stories of the death of cities. On July 26, , the rain gods attacked Mumbai with relentless intensity. Over thirty-nine inches of monsoon rain lashed the city within a twenty-four-hour period, submerging some areas under fifteen feet of water. Transportation came to a standstill, flights were canceled, the stock exchange was closed, and schools and colleges were shut down.
People in the streets tried to wade or swim to safety. Over four hundred people drowned or were killed in stampedes while trying to escape the onrushing water. When I arrived in the city on July 29, the affected neighborhoods were still slushy. Cars and motorcycles stood forlornly, covered in mud.
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Download free ebooks online: share any PDF In retrospect, he saw the international espionage angle as part of Bombay's dynamic milieu. Bombay is not my hometown. Coffeehouses filled with young cappuccino sippers dressed in generic global styles and fast-food chains crowded with families have become familiar sights, displacing the Irani cafks that have served the city's working and lower middle classes since the early twentieth century.