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ck to the present, Surya comes across Islamic priest Kadar Usmani, later revealed to be a terrorist, and finds Bilal Ahmed, whose residence houses the wanted 600 kilograms of RDX. Usmani and Bilal remove RDX from the ground and prepare for their next bombings until when Bilal leaves for Mumbai, where taxi driver John Mascarenhas takes him to Bangkok in exchange of ?5 crore. Surya catches Bilal who shoots himself to death, and later after asking John in Bangkok post a long chase, he learns the bombs were being made by Mukhtar Ansari, another member of the sleeper cell. Usmani and John are arrested; Surya plans to pretend to torture Usmani's daughters to make him confess. Usmani finally informs Rafique will meet him. Later, it turns out that a bomb was planted which kills Rafique, Usmani, and one of the cops accompanying him. His daughter helps Surya to identify Ansari, who is hiding in Shivgarh. Surya asks Sangram "Simmba" Bhalerao, now an Inspector in charge of Shivgadh, to catch Ansari. Simmba finds out 7 bombs are to be planted at 7 locations in Mumbai. Riyaz escapes, and it's revealed that the Anti-Terrorism Squad's headquarters would also be bombed. Surya and his team enlist National Security Guard's help to safely extradite the bombs via helicopters and the bombings fail. However, Riyaaz and his team use Ria as a suicide bomber to attack the ATS Headquarters keeping Surya, Simmba, and other cops as hostages. Surya's friend DCP Bajirao Singham enters, and they defuse the bomb wrapped around Ria while finishing the terrorist attackers. Singham warns Omar that he will chase him soon. Mukhtar and Riyaz subsequently fight with them. Singham captures both and they taunt they've been in India as sleeper cells for many years, carrying several attacks in Mumbai and the cops cannot harm them. Singham, Simmba, and Surya in anger shoot them to dea

 

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ingham Returns From Wikipedia, the free encyclopedia Jump to navigationJump to search Singham Returns Singham Returns Poster.jpg Theatrical release poster Directed by Rohit Shetty Written by Screenplay: Yunus Sajawal Dialogues: Sajid-Farhad Story by Rohit Shetty Based on Ekalavyan by Shaji Kailas Produced by Reliance Entertainment Ajay Devgn Rohit Shetty Starring Ajay Devgn Kareena Kapoor Cinematography Dudley Edited by Steven Bernard Music by Score: Amar Mohile Songs: Jeet Gannguli Ankit Tiwari Meet Bros Anjjan Yo Yo Honey Singh Production companies Reliance Entertainment Ajay Devgn FFilms Rohit Shetty Picturez Distributed by Eros International (overseas) Release date 15 August 2014 Running time 145 minutes Country India Language Hindi Budget ?70 crore[better source needed] Box office est. ?219 crore Singham Returns is a 2014 Indian Hindi-language action film directed by Rohit Shetty as the second installment of his Cop Universe. Produced jointly by Reliance Entertainment, Rohit Shetty Picturez and Ajay Devgn FFilms on a total budget of ?700 million, it is inspired by the Malayalam film Ekalavyan (1993) and stars Ajay Devgn reprising his role as DCP Bajirao Singham, while Kareena Kapoor portrays the female lead replacing Kajal Aggarwal. It is written by Yunus Sajawal and Sajid-Farhad. Released worldwide on Indian Independence Day 2014, Singham Returns broke various opening day records and was a widespread success with domestic collection of ?1.4 billion and worldwide earnings of more than ?2.19 billion. Devgn reprised his role through a cameo appearance in the next films of Shetty's Cop Universe: Ranveer Singh's Simmba (2018) and Akshay Kumar's Sooryavanshi (2021). Contents 1 Plot 2 Cast 3 Production 4 Soundtrack 4.1 Track listing 5 Reception 6 Box office 7 Game 8 Spin-offs 8.1 Simmba 8.2 Sooryavanshi 9 References 10 External links Plot Bajirao Singham (Ajay Devgn) who is now a Deputy Commissioner of Police, gets transferred to Mumbai and discovers that one of his team members, Mahesh Jadhav (Ganesh Yadav), is found dead inside an ambulance with massive bags of money. Singham decides to unearth the truth behind it and in this process, he collides with a powerful and fraudulent religious leader, Satyaraj Chandar a.k.a. Babaji (Amole Gupte), who has high-profile connections with corrupt politicians, including the ruling party's leader Gurukant "Guruji" Acharya (Anupam Kher) secretary minister Prakash Rao (Zakir Huss




 

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eling defeated and mentally tortured by Jaikant to no limits, a worried Singham first contemplates returning home, but is stopped by Kavya, who encourages him to fight against the evil and not run away like a coward. At that point, some of Jaikant's men attack him, and he, realizing the futility of returning to Shivgarh, brutally beats the goons black and blue, locking them up. Singham then arrests Shiva in a fake case of illegally smuggling alcohol after setting him up to tear the FIR against the goons, who he had come to free, and recalling to the officers that Shiva, under Jaikant's orders, had planted bundles of cash in Kadam's jeep. Later, he thwarts off Patkar in full view of the public when Patkar, bounded by his duties to Jaikant, tries to bail Shiva out. Jaikant kidnaps Kavya's younger sister Anjali for ransom on Kavya's birthday. Rescuing her, Singham successfully traces the origins of the kidnapping racket to Jaikant, confronting Narvekar with his team in anger, but is unable to arrest him as he wins the election and is set to become a minister of the Goa Government. Jaikant hands over transfer orders to Singham to go back to Shivgarh within 24 hours. That night, at a police function organized for the officers with their family, Singham confronts the officers, particularly Pawar and Patkar, for not abiding by their duties and being dishonest and unfaithful to their profession by protecting Jaikant. At first, Patkar berates Singham, but filled with guilt, Phadnis, Abbas and Savalkar decide to help Singham fight Jaikant. Soon, he is joined by the entire Goa Police Force, with Pawar also extending support, and all of them invade Jaikant's home to kill him, with Patkar revealing himself to be in support of Singham in a twist. Jaikant eventually escapes but after running through the city, he is arrested by the police the next morning. They bring him to the police station and shoot him dead on Kadam's chair, threatening Shiva moments after the showdown to change his statement. At a media conference, while proving Jaikant and Narvekar guilty, Pawar and Singham clear the late Kadam of all corruption charges. The film ends with Singham and the other police officers saluting Megha. Cast Ajay Devgn as Inspector Bajirao Singham, a police officer with unparalleled strength and wit of mind, one would say, close to godliness; his sheer existence is enough to cripple entire criminal empires and strike fear into the minds of those who opp

 

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mainham Brooch is usually dated to the late 8th or early 9th centuries as it is seen as transitional in both style and material. Its annular form and use of filigree place it in the 8th century Irish tradition, while its use of silver, as opposed to gilding, indicates at earliest an early 9th century origin, that is in the period after the 795 AD Viking invasion of Ireland , when silver became more available to native metalworkers. Provenance The Tara Brooch, 650-750 AD It was found in the mid-18th century at a late 9th and early 10th century Viking burial site at Kilmainham, County Dublin, Ireland, alongside swords and other artifacts of Scandinavian origin or influence. After further excavations in the 21st century, the area of Kilmainham-Islandbridge was described by historian Stephen Harrison as "demonstrably the largest burial complex of its type in western Europe, Scandinavia excluded". The find spot was near the ruins of a late medieval hospice run by the Saint John of Jerusalem Order of Templars. Its earliest recorded ownership dates to the late 18th century, when it was in the collection of Ralph Ouseley of County Sligo. Today it is held by the archeology branch of the National Museum of Ireland on Kildare Street, Dublin, having been acquired by the Royal Irish Academy befo

 

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ooch is classed as "penannular" as its ring is incomplete (does not fully close). It is made from gold, silver and (mostly red) glass and enamel, and is similar in form and material to the better known Tara and Hunterston Broochs. The frame is of cast-sliver and contains cells that once held gold spiral filigree and glass inserts, although some of these are now lost. The ring is outlined by double ridges in high relief, with flat areas reserved for decorative elements. Its top contains a wide oval compartment or cell bearing traces of red enamel, while the sides are formed from gold plates bounded by twisted wires and interlace decorations. The ring ends on two quadrilobate terminals (ie consisting of four lobes each), which are formed from a central square surrounded by semi-circular or crescent lobes, three of which are free, while the fourth is shaped and attached to arm of the ring itself. The format of the terminals has been compared to the opening folio for the Gospel of Luke in the c. 800 AD Book of Kells. The overall head is strap-like when viewed in cross-section. The tracery on the curves of the ring is made up of interlaced bodies and legs of zoomorphic animals, including an Irish elk. Most of the origional pin head is lost with only its base remaining intact, and also has traces of red enamel. The reverse is mostly flat, but repeats shape of the oval compartment on the front. It has some interlace designs, including two interlocking dogs. The brooch's style has been described as of "Ecclesia-Gothio character" with "fine workmanship", and compared to the Tara example although "not so fine". Although described in 1989 as "proba

 

 

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ne day, a factory worker is punished for leering at Nandini. He plots to kill Nandini at the inauguration of the new factory owned by her brothers. Rama overhears the plot, and in a desperate attempt to save Nandini, lunges on her and inadvertently touches her in public. Nandini doesn't mind and defends Rama by arguing that Rama wouldn't do something like that in public. But her brothers are enraged. They beat him to the point of almost killing him. Nandini stops them and gives him a chance to explain. When Rama explains the situation they hang their heads in shame. Rama quits his job on the spot, despite Nandini's silent apology. That night Nandini decides to meet Rama and apologize and perhaps convince him to come back to the job. Rama refuses to come back as he doesn't want to put up with the violent nature of her brothers. She thinks if Rama marries her, they won't be able to manhandle Rama. She convinces Rama to tie a wedding chain (Mangalsutra) around her neck which will protect him from her brothers. Rama, without realizing the sanctity of the act, does as told and doesn't realize he is now married to her. Rama comes back to work and is given a higher level of respect by the brothers for saving Nandini's life. Nandini too, starts emulating her sisters-in-law in taking care of her husband. This makes Rama nervous, but he still remains clueless. The change in her behavior is noticed by her sister-in-law who urges the brothers to get Nandini married off before the situation gets any worse. Nandini realizing that they are trying to get her married off, tries to make Rama understand that they are already married. Rama refuses to understand and runs away to his mother, who upon realizing what has happened, pulls him out of denial. She sends him away in an attempt to protect him. The brothers come to know what has happened and try to humiliate Rama's mother to get her to reveal where her son is hiding. She is saved in time by her son who almost kills the brothers. The wives of the brothers stop him from killing them and ask him to save Nandini, who has upon hearing the torturous acts of her brothers, resorted to self-destruction, with them embracing. Rama rushes back to save his wife in which he succeeds. The movie ends with Nandini's recove




 

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ttwell adopts the time periods found in Teuffel's work, but he presents a detailed analysis of style, whereas Teuffel was more concerned with history. Like Teuffel, Cruttwell encountered issues while attempting to condense the voluminous details of time periods in an effort to capture the meaning of phases found in their various writing styles. Like Teuffel, he has trouble finding a name for the first of the three periods (the current Old Latin phase), calling it "from Livius to Sulla." He says the language "is marked by immaturity of art and language, by a vigorous but ill-disciplined imitation of Greek poetical models, and in prose by a dry sententiousness of style, gradually giving way to a clear and fluent strength..." These abstracts have little meaning to those not well-versed in Latin literature. In fact, Cruttwell admits "The ancients, indeed, saw a difference between Ennius, Pacuvius, and Accius, but it may be questioned whether the advance would be perceptible by us." In time, some of Cruttwell's ideas become established in Latin philology. While praising the application of rules to classical Latin (most intensely in the Golden Age, he says "In gaining accuracy, however, classical Latin suffered a grievous loss. It became cultivated as distinct from a natural language... Spontaneity, therefore, became impossible and soon invention also ceased... In a certain sense, therefore, Latin was studied as a dead language, while it was still a living." Also problematic in Teuffel's scheme is its appropriateness to the concept of classical Latin. Cruttwell addresses the issue by altering the concept of the classical. The "best" Latin is defined as "golden" Latin, the second of the three periods. The other two periods (considered "classical") are left hanging. By assigning the term "pre-classical" to Old Latin and implicating it to post-classical (or post-Augustan) and silver Latin, Cruttwell realized that his construct was not accordance with ancient usage and assertions: "he epithet classical is by many restricted to the authors who wrote in it [golden Latin]. It is best, however, not to narrow unnecessarily the sphere of classicity; to exclude Terence on the one hand or Tacitus and Pliny on the other, would savour of artificial restriction rather than that of a natural classification." The contradiction remains—Terence is, and is not a classical author, depending on the context. Authors of the Golden Age At Maecenas' Reception, oil, Stefan Baka?owicz, 1890. An artist's view of the classical. Maecenas knew and entertained everyone literary in the Golden Age, especially Augustus. Teuffel's definition of the "First Period" of Latin was based on inscriptions, fragments, and the literary works of the earliest know
























 

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lassical Latin From Wikipedia, the free encyclopedia Jump to navigationJump to search This article is about written Classical Latin. For the spoken language, see Latin. Classical Latin LINGVA LATINA, lingua lat?na Rome Colosseum inscription 2.jpg Latin inscription in the Colosseum Pronunciation Native to Roman Republic, Roman Empire Region Roman-ruled lands Era 75 BC to AD 3rd century, when it developed into Late Latin Language family Indo-European Italic Latino-Faliscan Latin Classical Latin Early form Old Latin Writing system Classical Latin alphabet Official status Official language in Roman Republic, Roman Empire Regulated by Schools of grammar and rhetoric Language codes ISO 639-3 – Linguist List lat-cla Glottolog None Linguasphere 51-AAB-aaa Europa60AD.svg The range of Latin, AD 60 Classical Latin is the form of Latin language recognized as a literary standard by writers of the late Roman Republic and early Roman Empire. It was used from 75 BC to the 3rd century AD, when it developed into Late Latin. In some later periods, it was regarded as good or proper Latin, with following versions viewed as debased, degenerate, vulgar, or corrupted. The word Latin is now understood by default to mean "Classical Latin"; for example, modern Latin textbooks almost exclusively teach Classical Latin. Cicero and his contemporaries of the late republic referred to the Latin language, in contrast to other languages such as Greek, as lingua latina or sermo latinus. They distinguished the common vernacular, however, as Vulgar Latin (sermo vulgaris and sermo vulgi), in contrast to the higher register that they called latinitas, sometimes translated as "Latinity".[note 1] Latinitas was also called sermo familiaris ("speech of the good families"), sermo urbanus ("speech of the city"), and in rare cases sermo nobilis ("noble speech"). Besides Latinitas, it was mainly called latine (adverb for "in good Latin"), or latinius (comparative adverb for "in better Latin"). Latinitas was spoken and written. It was the language taught in schools. Prescriptive rules therefore applied to it, and when special subjects like poetry or rhetoric were taken into consideration, additional rules applied. Since spoken Latinitas has become extinct (in favor of subsequent registers), the rules of politus (polished) texts may give the appearance of an artificial language. However, Latinitas was a form of sermo (spoken language), and as such, retains spontaneity. No texts by Classical Latin authors are noted for the type of rigidity evidenced by stylized art, with the exception of repetitious abbreviations and stock phrases found on inscriptio

 

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CNN: The End of Alzheimer's disease CNN Health publishes trial results of a "memory serum" that has now showed to work miraclously in humans. I rememeber everything. - Mark said (Stage 3 Severe/Late) Patient     MORE AT CNN HEALTH NEWS     he film takes place in the impoverished village of Laholi where, following droughts, most of the villagers' possessions are mortgaged to the local Thakurani Karamkali (Sudha Chandran). One of the few entertainments the villagers can afford is the lottery, Malaamal Weekly (malamal is Hindi for 'rich'). Lilaram (Paresh Rawal) is the only educated man in the village. He has the job of intermediary between the lottery organization and the village, for which he receives a commission whenever a villager wins; thus, he has a relatively good but volatile income. One day he reads the winning lottery numbers and realizes that one of the tickets has won the top prize of one crore (10 million Indian currency or about $160,000, a relative fortune in rural India). He devises a plan to obtain the winning ticket and present it to the commission as his own. He hosts a dinner (mortgaging his wife's beloved pet goat Gattu who is like a child to her, to the Thakurani to pay for it) and invites all the villagers who play the lottery, but the man he is looking for does not turn up. By elimination, he deduces that the winner is Anthony (Innocent), the town drunk, and reasons that he didn't turn up because he knew that he had won the top prize. Hoping to at least extract his commission, he goes to Anthony's house, and finds him dead, the winning ticket clutched in his hand and a happy expression on his face. Lilaram attempts to pry the ticket from Anthony's fingers but is thwarted by Anthony's body in rigor mortis. Lilaram eventually succeeds in freeing it with a knife; at this point Ballu (Om Puri), the local dairy farmer, enters the house and discovers him standing over Anthony's corpse with what appears to be the murder weapon in his hand. Ballu's unfortunate assistant Kanhaiya (Riteish) has a hard time of following Ballu's orders and makes a lot of mistakes. He has emotional involvement with Ballu's daughter Sukhmani (Reema Sen) also joined with them. Lilaram tells Ballu the truth and convinces him to remain silent in exchange for sharing the lottery winnings betw

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er of the rebels and us severely wounded before being approached by a real battalion of soldiers who give him the password. Mike Alpha salutes them and then dies of his severe wounds. Chauhan vows revenge. He arms himself to the teeth and stalks the rebels to their base. He wires the place with explosives. The rebel leader discovers one of the explosive attachments and tries to stop one of his men. Unfortunately he opens the door and the explosives go off, killing the rest of the rebels. Chauhan then goes into the rebel leader's place and shoots him dead before being wounded. He collapses into the snow. He's rescued by the helicopter pilots featured earlier in the film who take him to a village doctor who treats him off his wounds. Later the pilots are rewarded for their actions in finding Tango Charlie. His dead friend and mentor Havaldar Ali gets rewarded with the Ashok Chakra for his braveruhan gets a letter saying that Lachchi Narayan is marrying someone else. He dashes home and realises that it was a trap set by her to see how much he loved her. The next day she steals his diary and reads it. She is shocked by the events Chauhan had witnessed. She apologises and they are soon married. In Kashmir The Kargil conflict between India and Pakistan begins again. Mike Alpha's platoon and the battalion move out to Kashmir where they are assigned to defend a bridge. Mike Alpha gives Chauhan a strict order: Shoot anyone who doesn't say a password after three tries. The platoon also undergoes a drill for this situation daily. One day a high-ranking military officer comes to the bridge; he doesn't know the password ( the password is "Rainfall"). Chauhan shoots one of the guards which enrages the officer who threatens him with a court martial. The officer tries to kill him, and Mike Alpha intervenes. The officer is a disguised rebel helping Pakistani forces get off with ease. Chauhan takes cover while the rebels kill off most of the platoon. Mike Alpha kills a large numb