Staying in a village is a blessing in disguise to the one who loves cultural celebrations. ‘Bikareanchem jevonn’, a lunch for the beggars or poor of the village! Such meals were given few days before a wedding in the family or on the death anniversary of a family member. Prayers were also offered to the souls of the deceased members. Now even friends, relatives and neighbours join in for this ‘Jevonn’ Traditional dishes such as the ‘samarachi koddi, onn, soji, vodde, melghor, etc.’ are toothsome. Another strong memory that I cherish is my aunt’s wedding, accompanied by a flock of traditional customs. The bridal preparation started with the solemn bangle wearing ceremony, ‘Chuddo’. This is usually held at the maternal uncle’s house. Following this is the ceremony of ‘Ros’, literally meaning juice which includes anointing the bride/groom with coconut juice and oil. This symbolizes the purity of the bride/groom and last day as a bachelor/spinster. The Ros is the most fun-filled ceremony of all. I would also call it an egg-breaking ceremony with the crazy experiences I’ve witnessed for the Ros ceremonies. My family gifted my aunt her trousseau. As a custom, the relatives, neighbours and friends could view the trousseau. First at the bride’s place and then at the groom’s place. The tradition also included the gifting of Menino Jesus (Infant Jesus). It was a small size statue made of ivory or wood. The Menino Jesus would occupy the central position on the display table. Next in line was the saddo. Our lady’s image would be kept on a table while relatives and friends present blessed the dress (a red dress worn by the bride at the groom’s place) and kept money on the dress. This money was handed over to the tailor. I enjoy weddings more because it is one celebration that encompasses an array of traditions. A Goan wedding is something that anyone and everyone would want to be a part of. However in recent times a lot of these traditions are losing their value and purpose. “Your identity is your most valuable possession, protect it.” – Elastigirl, The Incredibles. As Goa gushes in the 21st century with modern ideas, there is quite a decline in these customs and traditions. Youngsters are embracing modern customs and traditions devoid of their roots. They survive with just a tag of being Goans with nothing really Goan about them. I had a chance to experience the true rendezvous with the actual Goa. I hope and wish that every Goan who’s having the same experience shall work towards preserving the essence ‘Goan-ness’. BENJAMIN MONSERRATE XII ARTS MY RENDEVOUS WITH GOAN TRADITIONS Contd.
Most teenagers grow up believing that only arguments and misunderstandings can create a division amongst them. However, the biggest discriminative factor today is not disagreement, but surprisingly material things. This type of discrimination is fast growing among teens, especially undergraduates. At this age, the youth are seen falling out of friendship and relationships because they feel excluded when they cannot spend like their peers or afford high-end clothes or gadgets. Snubbed and hurt by their inability to match up with their friends, these teens fight their anxiety of exclusion from the popular groups by turning on their parents and forcing them to go beyond their means to sponsor the highly materialistic lifestyle. They feel that without iPhones, designer label apparel, club memberships, latest bikes, etc. they are not worth the friendship and love of their peers. Strange? Not so much! There is a glaring difference and differentiation between the haves and have-nots among adults. These children observe how their parents are fighting to “keep up with the Joneses” and the fad spills over in their lives. This is the result of the sudden and huge rise in consumerism that has swept over globe in the past decade. When in their teens, children are in one of the most vulnerable states of their lives and such discrimination can cause havoc in the lives of those who are discriminated against. You often hear about children taking their lives or becoming anti-socials owing to their inability to feel they belong to their age-group children. It is important to guide them in the right direction so that, tomorrow, they become responsible citizens who value human values above money and material matters. The good news is that this discrimination among teenagers can be prevented, much as it should be prevented. Research has shown that the most Effective influence and the best socialization agents are the parents. It is first of all the parents’ duty to guide the teenagers to have the right attitude, goals and motives and look beyond money to the actual value of a human being, which is character. It is also important to provide adequate emotional support when teenagers face such discrimination, instead of bowing to their demands. By helping them increase and sustain their self-esteem the teens cannot only survive such discrimination, but also fight against it for others. The second social agents are teachers. Teens spend most of their time in schools and colleges. It is imperative that teachers emphasize the importance of human values in educational institutions above money. Many times teachers treat “rich” kids better hence, perpetuating this discrimination unwittingly. Teachers should ensure that all students are treated as equals without any regard to their financial background. Discrimination at any level and of any type needs to be eliminated and fought against. Awareness about this evil and education emphasizing the importance of human values first is the need of the day. Parents and teachers together can help resist the rise of this type of discrimination and with the right guidance, eliminate it altogether in the near future. CATHERINE HARRISON XI ARTS MATERIALISM – A DANGEROUS TREND RISING
Margaret Bosco Bal Sadan (MBBS) is a shelter for those in need. It is a home dedicated in realizing the Don Bosco’s dream for the young. This house in named as Margaret Bosco Bal Sadan after Don Bosco’s mother. Mama Margaret also worked in fulfilling Don Bosco’s mission for the young and the underprivileged. MBBS provides roots and wings to young boys in the age group of 7-18 years. Irrespective of caste, community or religion, the house has been offering shelter and opportunities to those facing abandonment and poverty. All those Young At Risk (YAR) and helpless can find a refuge and affection at MBBS. MBBS became a reality in June 2007 when Mrs. Muriel Pinto and her children decided to gift their modest Goan house to the Salesian society. This house was later converted into a ‘home away from home’ for the boys of marginalized sections of the society. This house situated in the village of Paliem-Ucassaim is an opportunity or ‘ek mauka’ to shape the lives of the young at risk. I am proud to say that I got this ‘ek mauka’ in the year 2014. ‘No family is perfect’ and so I had my share. When my family was in crises situation I had another home to support me. I was a stranger to the others but I was quick at making friends. It was MBBS that helped me in finding myself. I was surprised and happy to see boys of different religions and backgrounds living together under the able guidance of Salesian priests. Very soon I came to know about Don Bosco, his mission and the salesian congregation. I was very much inspired by the words of Don Bosco- ‘Run, Jump, Play but do not sin’. At MBBS we have a lot of activities and events. So I run, jump, play and pray. Football is the game that is close to my heart. Our home is also supported by the goodwill of benefactors, teachers and counselors. Every home needs a father figure. So we have the Rector and the Administrator, who work relentlessly in bringing out the best in each one of us. Personal well-being, moral education along with skillbased information and education, imparted at MBBS help us in realizing our potentials. This year MBBS has completed 10 years of its valuable service to the society. On this occasion, we organized a gratitude programme for the benefactors. I was very happy to be a part of this programme. I am personally very much grateful for the opportunities provided at MBBS. I have learnt a lot in these few years. This ‘ek mauka’ gave me an opportunity to be a good planner, responsible individual and a positive person in the society. MBBS has been a home away from home and a journey of self-discovery. HRITIK MANZI XI ARTS THE HOUSE IN WHICH I STAY
Have you ever been to a clothing shop where the sellers appealed you to buy beautiful garments with a rate much less than the original price, though the original price of the garment is much less than what it was estimated. Well if you did, then you’ve been a victim of the concept of behavioral economics and the nudge theory that won Richard Thaler 2017 s Nobel Prize in the field of economics. He was a key proponent of the idea that humans do not act entirely rationally. Humans, being not-so-rational, often need encouragement — a nudge — to get going and do what’s best for the country or society at large. The ‘Nudge Theory’ recognizes this behavioural trait. It says that people, rather than being forced, can be encouraged and influenced to carry out certain actionsthrough nudges. For example, Insurers use the ‘nudge’ of lower premiums on life covers to encourage customers to keep away from smoking. Nudge theory has been adopted by governments to try and ensure their citizens are better prepared for the future. For example, by automatically enrolling people into pension schemes, making them opt-out instead of opt-in, has massively increased the number of people with plans, compared to if they had to actively elect into one. Another contribution of Thaler was the concept of mental accounting: people don’t think about their total lifetime welfare when making financial decisions. Instead they focus on the individual decisions and are less concerned with making savings if they are a small percentage of what’s being spent. This idea led to the development of the field of behavioural finance, which addresses the implications of limited rationality. For instance, if you could save Rs. 30 on a burger by going elsewhere, you’d probably go for it. But if you could save the same amount of Rs. 30 on exchanging your currency for a holiday, you will not – even if the time you lose to go to another currency exchange is the same as the time you would lose to go to another burger joint. By offering insights into how humans think and act, the Nudge Theory can be used to drive favourable behaviour and avoid unfavourable ones, without jumping on to drastic interventions such as penal action or outright bans. For instance, the not-so-effective SC ban on sale of firecrackers this Diwali season in Delhi could have been avoided had people been ‘nudged’ well in advance into realizing the adverse effect on air quality and public health due to widespread firecracker usage. The Government’s Swachh Bharat drive could also benefit from nudging people into understanding the ill-effects of unclean surroundings Often, lack of knowledge, or poor incentives lead us to select sub-optimal choices. If a nudge helps us choose an option that is also socially desirable, it could mean better public healthcare, civic sense and social harmony. • www.bloomberg.com/news/articles/201 7-10-09/richard-h-thaler-wins-2017- nobel-economics-prize • http://www.independent.co.uk/news/bu siness/analysis-and-features/nudgetheory-richard-thaler-meaningexplanation-what-is-it-nobel-economicsprize-winner-2017-a7990461.html • http://www.asianage.com/business/econ omy/101017/how-modi-govt-practicesnobel-prize-winner-richard-thalersnudge-economics.html • https://www.vox.com/the-bigidea/2017/10/16/16481836/nudgesthaler-nobel-economics-prizeundemocratic-tool SHAMEEK D’SILVA XII COMMERCE B THE NUDGE
“What is common to the greatest gets the least amount of care”- Aristotle The tragedy of the commons is defined as an economic problem in which every individual tries to reap the greatest benefit from a given resource. As the demand for the resource exceeds the supply, every individual who consumes an additional unit directly harms others who can no longer enjoy the benefits. For example, even if no one wants to pollute water because they know that it makes it unhealthy, it can still end up polluted because so many want to use the water for their own reasons, like washing and disposing garbage. Each person thinks that their input is too small, but because there are a lot of people the total effect end up making the water too polluted for almost anybody to use for drinking or even washing. This may occur in overcrowded places like slums. .Most major problems in the world today, such as poverty, corruption, global warming can be attributed to the tragedy of the commons. It has also been used in analyzing behaviour in the fields of ecology, evolutionary psychology, anthropology, game theory, politics, taxation and sociology. The phenomenon was first coined by economist William Forster Lloyd in 1833. The term tragedy of the commons referred to overcrowding in a communal pasture. Gregory Hardin is most famous for reviving the concept and describing what happens when many individuals share a limited resource. The key feature of a tragedy of the commons is that the person has the opportunity to gratify his own needs at the cost of the larger population. The want of instant gratification competes with the common good and ends up badly for everyone It plays out in more complex systems in real life, too. Examples include Littering, water shortages, deforestation, traffic jams, even the purchase of bottled water. But human civilization has shown that it's capable of doing something remarkable. We form social contracts, we make collective agreements, we elect governments, and we pass laws. We do this is in the hope we can avoid the consequences of people in power making decisions for themselves at the cost of others. The tragedy of the commons gives importance to resource management with a sense of responsibility towards the environment and towards other people. Therefore decades after its original publication it is still very relevant. Source: Ted-Ed Digital Journal LISA PINTO XII ARTS
A world without motors is unimaginable but a road without vehicles (cars) for a day… possible. An initiative to organize a one day No Mo Zo on the streets of Panjim and Porvorim was welcomed by all and sundry. Sundays are the best days. This initiative inculcates the value to respect the other. It is the need of the hour in a fast paced world wherein cars, buses, trucks and lorries zoom past and create a network of utter mess – when no rules are respected. SUHANA KAMAT XI SCIENCE A India is a country, developing, inventing tons of gadgets. We have absolutely brilliant men taking India to a new level. Indians shine. Alas! We have failed to keep our country clean and observe traffic rules. The outcome – a mess and just chaos! There is no order. There is no discipline. The concept of No Mo Zo is a brilliant start. As a child I have always seen Panjim congested. It has not improved, it has worsened. We need to cycle or walk – we have forgotten the two. NATHAN ALVARES XI SCIENCE A No Mo Zo i.e. no motor zone was last held in Porvorim. It was organized on the service road and it was held for three hours. It was indeed a pleasant time for grown-ups and children. A variety of activities were organized. There were stall to attract all alike. I feel such events should take place more often – not once in a way. It has encouraged people to cycle and walk – both healthy options. NIMISHA DHUME XI SCIENCE A OPINION POLL ON NO MO ZO – A NEW INITIATIVE
TEACHING AND EVALUATION OF LANGUAGES IN SCHOOLS OF GOA I would like to state at the outset that my article does not intrude in the MOI controversy. Mine is purely an academic approach since I have been teaching languages for over 3 decades. It has always been a bone of contention: teaching and evaluation techniques of languages taught in schools of Goa. The students in schools under GBSHSE (Goa Board of Secondary and Higher Secondary Education), have, as you all aware, English as the MOI from V to XII standard, Hindi being the second language(L2) and Konkani/ Marathi being the third languages till Std. VII. From standard VIII till X there is a wide choice of third languages (L3): Konkani, Marathi, Urdu, Sanskrit, Portuguese, French, German. Then, in XI and XII standards, students can choose any of the above mentioned third languages or Hindi, which at this level forms the group of second language (L2). Can any one learn a language at any time of his life? Noam Chomsky, an American linguist, philosopher, historian and world renowned activist says: “ man is specially equipped to learn languages .It is biologically founded in him and the learner can learn a language at any time of his life as long as a learner understands why he is learning a language and in what meaningful situations in life he is going to use it”. From this premise it follows that we need to pay great attention when drawing the syllabus in L1, L2 and L3. Questions like “ who is going to refer to the syllabus” “What factors need to be specified: cultural, regional, national?” “What usefulness will this learning bring to the learner?” Learning L1 is a normal, unconscious development of every individual. All of us acquire L1 as part of the society we are born and grow into. It is a natural and essential process of our lives. L2 and L3 are not acquired unconsciously unless a child belongs to a social bilingual group. There is always a certain amount of initial resistance in learning L2 and L3 and this is probably because the learner of L2 and L3 finds that acquiring skills in these languages are not essential life–skills. I have observed that many intelligent students, who do extremely well in other subjects, cannot achieve competence in L2 or L3. Perhaps learning L2 or L3 is simply another subject in the already overloaded curriculum and heavy workloads. The theories of teaching a language have been debated for over a century. Some have had their prime days and fallen into dimness. Others, are widely used as a single method or in combination: Grammar - Translation Method, Direct Method, the Reading Method, the Audio lingual and the Audio Visual and the most recent one the Communicative Language Theory. (CLT.) It is a popular theory, especially in Europe and is widely used after the formation of the European Union and the Common Market. Its basic teaching stresses interaction as the final objective.
To achieve interaction, the learning of four language skills is the groundwork of CLT: Listening, Speaking, Reading and Writing. Do we, in schools of Goa make a conscious effort to achieve these objectives? Do we have textual material sensitized to the learner’s culture, age, cognitive development? Have a look at our “fossilized” texts!! As the teaching methodology has evolved over the century, so have the evaluation techniques. In schools of Goa, the language evaluation techniques are heavily based on memorizing the textual material. A student learns by heart the content of the language text book and answers an examination of 2/ 3 hours. The question paper tests the content of the text book in around 35% to 40 %, so, how much weight age is given to the 4 language skills, mentioned above? Learners, who have excellent memory, can sail through the exams without ever learning the 4 skills. Therefore, we have today students passing the X and XII unable to write a formal letter or an application for a vacancy or not being able to understand simple instructions or to answer an interview for employment. If we don’t change this structure, the student is the loser. There is a distinction to be made between evaluation of contentbased subjects and languages. History , Geography, Sciences are content based subjects where by knowledge of the content of the textbook is a necessity as what is evaluated is knowledge and application of knowledge. In learning languages, the development of four skills: Listening, Speaking, Reading and Writing are the base so the evaluation techniques should be based on assessing the above skills and the socially based skills such as describing, narrating etc. which have been included recently in CLT. This brings us to the next question. What is the function of a language textbook? The textbook is a helper, and aid, an assistant to learn the above skills. “It is there not just to be read but to generate language use by the class, and to lead to further study”. Its textual content should in no way be tested. In the western world, the content of a language textbook is never used when evaluation is required. We do not need to go abroad to bring this change in the learning and evaluation of a language. The schools under the Delhi Board, the GRE, and the TOEFEL exams follow this modern pattern. In short, what is tested is not the content of the textbook but the content of the syllabus and the goals of teaching a language, which should be cautiously drawn. The oral component is of vital importance at all levels. We have language textbooks in our State that are being used for more than a decade! The teaching of European languages in Goa has not yet achieved the realities of the Council of Europe. After the formation of European Common Market, Communicative Competence in languages was the need of the hour. TEACHING AND EVALUATION OF LANGUAGES IN SCHOOLS OF GOA Cont.
To achieve this goal, a syllabus was drawn whereby the European adults were placed in situations that they would use for various purposes : business, travel, shopping, notions of time, personal identification, tourism, international relations, media, sciences etc. etc. Grammatical structures and vocabulary needed. to learn the above situations was built-in. The greatest problem in teaching foreign languages in schools of Goa, is that we cannot blend the two realities: the one that takes place in communicating outside the classroom with the speakers of that language and the reality that exists inside the classrooms. We require skilled, motivated European language teachers, which in today’s scenario is a rare commodity. Let’s define our goals: Why do we teach these languages? And what should be the methodology to achieve this goal? In schools of Goa we have 2 groups of languages: the Regional and the National languages which are derived from Sanskrit and the foreign languages, Portuguese and French, which are derived from Latin The students start learning the former group from Std. First and Fifth and the latter from Std. Eight. That the teaching and evaluation of the languages of these two groups should have uniformity is not an acceptable view. Above and beyond, the student’s exposure to the languages of the two groups is not similar. Many a times I have questioned students of Std XI and XII “why do you learn languages at this level”? And the answer is always the same, whether he belongs to Science or Commerce stream “The out-of-date system has forced this study on us”. Why not change? Let them choose subjects, which are more interesting and leave the learning of languages for those who want to be proficient in languages or to those who want to pursue a career in linguistics. MS. CELINA DE VIEIRA VELHO E ALMEIDA - PORTUGUESE TEACHER TEACHING AND EVALUATION OF LANGUAGES IN SCHOOLS OF GOA Cont.
NATURE Drop by drop it falls on the land Giving life a helping hand. How astounding is the rain’s beauty With it, nature has signed its life’s treaty. They are so sturdy and strong Their examples are given from ages long The sign of support and strong hold The mountain’s beauty is like glittering gold. How graceful is the sky above The glorious abode of The One we love Its beauty is adorned by the birds in the air Nurturing them with utmost care. How lovely are the trees around The aromatic flowers stuck to the ground How majestic and mighty are the trees Transforming the contaminated air into pure and clean breeze How mighty is the one who made it all For help and protection, His name they call Our greed fading its enthralling beauty To be preserved is our clarion call and duty. JOY D. LONDHE XI SCIENCE A A WHITE WORLD Imagine a world where we bleed white Where the wrongs are somehow made right A world of peace, a world of serenity A world, where of violence we have cut the kite. Imagine a world where we see white Where the red sh’ant decide our plight Where the rivers of righteousness run from a height Where Hades’ realm, remains quiet A world, where every promise weighs threefold A world, where against a dark canvas, colours shine bright. Alas! a world like that, was not meant to be But were it meant, we weren’t meant to see Even this idea now, Of our ‘white world’ wishes to flee The citizens of a white world we weren’t meant to be. So, we tell and tell ourselves to remain sated Tell ourselves for an easy difficulty we weren’t fated To imagine a world where we bleed white Trapped in a box, out of every monstrosity’s sight A world of oblivion, a world of deep flowing emotions We push it down, deep into the conscience with all our might SHONI SINAI SURLACAR XI SCIENCE A
I woke up to the sound of crackling embers. I adjusted my pupils to the dim surroundings. I was panting, sweating and scared. I didn’t know what was happening I then saw a mirror close by. I looked into it and it cracked Surprisingly, my skin did too My skin began to peel off before my eyes and I shouted, “ Dear God! What’s happening to me?” I believed that if I shut my eyes, the pain would ease. Instead I woke up to darkness. My face was cradled in my palms, completely intact. I opened my eyes and looked around. Phew! I was in a theatre, I had woken up. I was bound to get these strange nightmares. I had watched ‘The Shining’. I got up, and suddenly saw the theatre was filled With wooden figures not people. I ran out and knocked one down and saw a mixture of hair, bugs and nails. I ran for the Exit sign and I fell into an infinite abyss. I woke up in a stairway. I saw a young girl there “Where… am I? I asked nervously She just looked at me holding her teddy bear. “Where… am I? I asked again. She looked at me and said, “Look what you did to me?” She dropped her teddy bear to the ground Revealing a huge gunshot wound in her side. I ran back down and ran into a wall. I ran into another wall and Then I realized I was stuck. The walls that were grey Began to bleed a light blue. My hands were jerked to my back And my clothes choked my torso. I showed and then saw everything fall into place. The doctor injected me and I slowly calmed down. My body realized that I was awake. My eyes darted to the table in the cell And saw a newspaper headline “MAN MURDERS DAUGHTER BURNS HOUSE.” I was never dreaming. I was asleep ‘Let guilt be the final punishment to those who hurt me”. RYLE FAUSTINO SOUTO XI ARTS BAD DREAMS
BITTER WOES Flap, flap and there I was flapping Nostalgically without sight, Letting the air brush through my wings For what was my first I felt beauty, joy and wonder Not many of you could have known I flew and flew, up… up and above The world seemed such a miniature Over the horizon and into the blue, Down in the city struggling in the lanes. Mother once told me, It was humans who lived there Some bitter, some sweet I admired all Picture by picture ‘A tree my home’ The urban sun was setting I was hungry And from a distance I saw crumbs And pick-by-pick I devoured for what was my last An enormously loaded machine Slammed through me I cried in pain That very moment I felt Misery, ignorance and woe Humans passing, machines moving No one cared to notice For I, was a bird. CYROSE FERNANDES XI ARTS DEEP INSIDE MY HEAD Would I find myself on top of the world Hoping not to be seen too much But now all I want is to curl up And burn away Memories in our mind That give us a few smiles Don’t ever give us away But here we are, all falling off the wall Hoping not to fail, but still stand tall It’s worth a shot, you may cry You think that it’s hard but give it a try As nothing comes for free To see the satisfaction that we dream But now you have kept yourself low Away from the crowd and away from the sorrow I see now, it wasn’t all that hard There are always people to degrade it Things will always be falling apart Eventually it is you who need to beat it Where do you find your smile What gives you peace inside Nothing will change unless you believe In yourself and that you can do it KENISHA BARRETTO XI SCIENCE B
BEHIND THE SCENES: BLOOD, SWEAT AND TEARS Have you seen a show so great? Then even in time stood their test of fate. Have you ever wondered whose blood, sweat and tears seeped through the earth just for that show? As much as we care to think there’s something that the limelight keeps away from us. First comes the idea as bright as the sun. The best idea in the world. The only idea that would serve the purpose. Let’s divide this idea to divide the burden for many. Let’s prepare it artistic, beautiful and at the least pleasing. Through sun and moon the idea develops to something that no one saw it to be. And like a mother to her child we nurture it to greatness. Strength like a tree in the city depleting, as they train and continue with every hardship. But bearing fruit here it comes. The day arrives when all struggles meet its final stage and they perform and oh how they perform. Performing like Beethoven and Mozart would come back from the dead. Like the soul of Michael Jackson has been with him. Like her feet have a mind of their own. Cheers and applause fill the air as the cast and crew take one final bow. Ignoring everything they’ve lost in the process. But here comes the review like a wave of reality. Words cut sharper than a knife and their passionate fire fizzed with one bad review. They’ve got nothing left and plain passion wouldn’t feed stomachs. Cheers alone wouldn’t save them. So have you ever wondered what happens behind the scenes through all the glitz and glamour? Have you seen their blood, sweat and tears? RYLE FAUSTINO SOUTO XI ARTS
OOTY – MY ECHOING DESTINATION I listened to the rain in Ooty with delight. Birds sang silent melody and trees swayed with happiness, The hills are covered with a blanket of snowy mist, The street full of dreamy lights I walked through the heavenly path Reciting the poetry of Walt Whitman And soul overflowing with joy. Then I come to a lake of poetic wonder flowing freely from a magical hill, The fishes in it smiling ever so sweetly. Nature opened her palms slightly and let the dust of love, happiness and kindness fly over the hills. But today, My soul begs to soak in the rains of Ooty, My mind desires my soul to explore Ooty all over, My ear craves the sound of misty hills and the well-tuned tales of the tiny birds. RAFIYA SHANI XI COMMERCE B SCIENCE Science is a little thing Which makes you want to think, From something as small as an atom, To a place as large as Manhattan. We talk about the forms of life, While finding answers which would suffice However everything seems irrelevant If we cannot seem to think. Hence, we think of the forms of bonding And all the laws of motion Which give our lives more meaning While fulfilling each and every nation It makes you ask good questions, How, what and why And mostly you get answers But if not, you need not sigh. However, you simply increase you curiosity And ask: Why, Oh why, Oh why. VERA GRETA FONSECA XI SCIENCE B
THROUGH THE MIRROR I looked through the mirror after so many years Neither to check my parting Nor the first white hair Nor to look at the charming smile or Depressing frown which was always there. I searched in the fake smile spread across my face I searched for hints in the make-up out of place All I could see were wrinkles but no trace Of my youth and golden years and days of majestic grace The mirror holds no answers and Yet I stood there asking for some I have changed so much then why? Why do I not look similar to the old me? Then! My eyes caught sight of the culprit Hiding behind this facade and pretense Watchful, scared of being discovered Was a confused me, palpating and distressed I let out a laugh, what a silly fault Giving away my feelings, and deepest thought The traitor was sitting there, right in front of me My eyes had sold me out, it was very clear to see. ANMOL SINGH XII SCIENCE A WHERE ARE YOU NOW? Sweet as honey were your words Soft as a cloud were those hands It felt like thorns pricking me as I rubbed my cheeks up and down yours Annoying but funny was your sense of humour Excruciating pain was your loss Every day is a reminder of loneliness at home Your laugh is terribly missed And so is your soft loving kiss The touch of care you gave to us The sense of warm belongingness And now tears shed Laughter all gone Your presence feels like a dream And ever since you’ve left Our home isn’t the same again. LISA JOSH XI ARTS
A BETTER PLACE What a mess Around us we see And that is what we’ll always be Unless Another world we seize A world with No heartless people, no love or concern for the other Sharing a life At its best together A simple good deed To the one in need One step ahead To end the evil we will tread To find the better place With no worries on the face. CHELSEA AZAVEDO XI ARTS SIGN OF PEACE Christmas, a celebration The feast of our Lord, Christ the king The gifts of Joy and Peace We receive from him. Bells that ring, people who sing Welcome to the new born king God from heaven Man on earth Christ the messiah, king of kings. Peace be with you Peace be with me In all his glory Angels sing Christ the King, Our Lord A sign of Peace. STEVE CRUZ XI ARTS DON BOSCO We were scattered everywhere wild and free When the evil deeds surrounded us We had no one to save us from the darkness But you came to our help as our own best friend. Don Bosco you made us a garment A beautiful garment of God You spent your time with the young and needy As you chose to make a special choice And you had a deep trust in the Lord His Divine Providence guided you for all. You didn’t want any powers nor any wealth But only souls to be saved for thee You gave us love and all that you had Don Bosco our teacher and our friend ANTHONY FERNANDES XI ARTS
ILLUSION Today’s the day we live a life Full of fun and devoid of strife Today’s the day we can see A bright future as clear as can be Today’s the day we say our name With pride and honesty and not with shame Today’s the day we shout out loud Against injustice and corruption In the midst of the crowd. All this is a dream of an ideal world A world that we wish for A world that we desire Can we make it happen? Can we make it exist? All we need is a pair of hands To lead us out of this mist. MS. JOSEFA PINTO TEACHER AWAY FROM HIM The day he left For another country I knew it wouldn’t be the same. No longer the strong shoulder No more the trusted hand Now I had to be strong And not be afraid To be alone To stand tall Your love Respect Understanding That my heart missed A lot Your warm embrace The cheerful laugh Those silly fights Crazy fun-times I remember When I miss My super-hero My brother! ONEIDA D’SILVA XI ARTS
Look within! Use your capabilities to the maximum because when you do, you will know that there is much more to the picture than just the bark of the mango tree. Observe carefully don't just look. Be patient, breathe supply oxygen to those eyes, and eat carrots! Keep alert and you will be able to experience nature in a totally different manner! You will be amazed at how much you never saw and how much there is to see! A walk backwards in time to the soggy but refreshing monsoon season! When the air was musty and damp, petrich or fluttered amongst the raindrops. Children got wet and danced like there is no tomorrow. They stomped around in puddles, brought home stray puppies to look after, they sailed paper boats, and eventually got cold and fever! While some found an excuse to stay at home from school and cuddle and snuggle for a few extra hours in bed, some were reading books at the window side patiently watching the drops fall while some comforted themselves with a bowl of warm Maggie noodles or a cup of soup! Children come in all types, I was the crazy one who still loves to sit on the roof and watch the thunder and lightning! The joy of the rain is never dampened my spirits rather it’s full of wonderful experiences and excitement! After all I was born on a rainy day (I think i was struck by lightning) What is friendship? It is a bond between two or more living beings that is not only about going out together or posting pictures with them and hash tag them as #Bro/ # best i.e. but it is being there for one another when they are in their hard times, and caring for one another, giving them support all the time. It's a bond that is very fragile and can be shattered very easily even if it has been forged for year’s together all due to miss understanding. In life there are many types of friends but the ones that stand by you and support you till the end is true friendship. It is a relationship with mixed and "n" number of emotions, endless drama and total madness. CHAYNE LOBO XI ARTS
SKETCH DE TIATRISTS 1 2 3 4 5 6 7 Sketched by : 1. Praveen D. Zambaulikar 2. Ryle Faustino Souto 3. Sujata Kambli 4. Rachel De Souza 5. Siddhi Ghadi 6. Srushti Haldankar 7. Chayne Lobo 8. Liza Pinto 8
SKETCH DE TIATRISTS 9 10 11 12 13 14 15 Sketched by : 9. Nathan Lopes 10. Aaron Fernandes 11. Rachel Fernandes 12. Raysancia D’Cunha 13. M. Poornima 14. Meenusha Solanki 15. Revelin Saldanha 15
Historia da doçaria portuguesa A alimentação portuguesa, ainda que esteja restrita a um espaço geográfico relativamente pequeno, mostra influências atlânticas e também mediterrânicas. A doçaria portuguesa tem grande parte da sua origem nos conventos e mosteiros portugueses no século XVI. A partir de meados do século XVIII, quando foi decretada a extinção das Ordens Religiosas em Portugal, as freiras e os monges foram confrontados com a necessidade de angariar dinheiro para seu sustento. A venda de Doces Conventuais foi uma das formas encontradas para minimizar a sua situação financeira. Por isso, transmitiam, já fora dos conventos receitas as mulheres que as acolhiam. Passando de geração em geração as deliciosas receitas de doces conventuais portugueses permanecem vivas até os dias atuais. Leiria Leiria é uma cidade portuguesa, capital do distrito de Leiria, situada na região Centro e sub-região do Pinhal Litoral, A gastronomia regional e tradicional ganha, a cada dia, mais importância como fator turístico, ou não tenha ele sido eleita Património Cultural de Portugal. A gastronomia tradicional do concelho de Leiria, tal como no resto do país, é marcada pela utilização dos produtos locais que, em subtis conjugações resultantes da criatividade popular, lhe conferem grande autenticidade e refinado sabor. Uns doces regionais Sao Brisas do Lis; Lampreia de Ovos; Ovos Folhados; Bolinhos de Pinhão; Castanhas queimadas;; Doce de amêndoa; Filhós de abóbora e Canudos de Leiria Canudos de Leiria - Ingredientes 200 gramas de farinha de trigo fina 1 colher de sopa de manteiga meia colher de banha 9 gemas de ovo 300 gramas de açúcar 1 dl. de água 2 fatias de pão de trigo Massa: Coloque a farinha num alguidar, faça um buraco no meio e deite as gorduras. Mexa até ficar tudo absorvido. Deite a água quente sem ferver e amasse bem. Estenda a massa na mesa até ficar fina. Faça uma bola e ponha,a numa tábua, tapando-a com um guardanapo e um pano molhado bem espremido, para a massa não adquirir côdeas. Deixe-a descansar uma hora. Estenda a massa com um rolo, corte-a em pedaços e enrole-a em tubos de cana meio seca, do tamanho de um dedo, fechando os canudos da massa numa das extremidades. 4) Frite estes canudos em óleo fervente, secando-a por fim, em papel absorvente. Recheio: Bata bem 8 gemas e passe-as por uma peneira. Ponha 200 gramas de açúcar com um pouco de água ao lume até chegar ao ponto de espadana. Retire o açúcar e deixe-o correr em fio fino e sem interromper sobre as gemas, mexendo com uma colher de pau. Leve novamente ao lume durante 3 minutos, mexendo sempre. Leve mais 100 gramas de açúcar ao lume, até fazer ponto de pérola. Retire-o do lume e acrescente-lhe duas fatias de pão de trigo esmagado. Mexa até ficar tudo bem embebido. Misture nos ovos moles sem deixar de mexer. Encha os Canudos com este recheio e ficam prontos a servir. LISA PINTO XII ARTS CANUDOS DE LEIRIA
Esta deliciosa sobremesa, como o próprio nome indica ,faz parte da doçaria conventual. Uma receita criada por freiras dos conventos portugueses do século XVII, sendo uma das mais pequenas de Portugal. É um instituição quase obrigatória na mesa de Natal de muitas familias. Preparação • Primeiro misturar açucar e água • Misture a gema de ovos com o xarope de açucar e aqueça –o • Deixe a mistura engrossar • Faça obreia e coloque a mistura sobre ela • Feche as obreia e polvilhe o açucar em pó sobre ela Historia do doce A doçaria conventual portuguesa e riquissima e o nome desta categoria de receitas deve-se ao facto de serem doces criados por freiras que vivam em conventos. Aos poucos,as técnicas e segredos da confeção dos doces conventuais foram passados das freiras para as mulheres com quem tinham um contacto próximo As freiras e monges viram-se confrontados com a necessidada de angariarem dinheiro para o seu sustento . A venda de doces conventuais foi uma das formas encontradas para minimizar a sua situação financeira. Por isso os conventos transmitiam as receitas às mulheres que as acolhiam . Desta forma as receitas foram passadas de geração em geração A barriga de freira é um doce tradiconal português, muito célèbre do norte ao sul do pais e proveniente da doçaria conventual,que em muito influenciou os doces regionais do Alentejo. Muitos dos doces tipicos do Alentejo são confecionados à base de ovos e açucar. SUNNAINA RODRIGUES XII SCIENCE B A BARRIGA DE FREIRA
Toucinho do céu é uma sobremesa típica portuguesa conventual. É um doce típico da região Alto Alentejo. Não há tempo especial para fazer as doces mas toucinho do céu é feito muito para natal ou ano novo, para festas e para celebrações. Ingredientes 250g de água 50g de manteiga derretida 500g de açúcar 3 claras 250g de miolo de amêndoa pelada e moída 60g de farinha de trigo 9 gemas Açúcar em pó para polvilhar Método • Misture o açúcar com a água e leve ao lume sem mexer, até atingir o ponto de pérola • Misture a amêndoa e deixe ferver um pouco • Arrefecendo um pouco junto ao preparados as gemas bem batidas a manteiga e a farinha • Leve de novo ao lume mexendo sempre até fazer ponto de estada • Depois de fria deite mistura numa forma redonda untada com manteiga e forrada com papel vegetal também ele untado • Peneire uma camada de farinha sobre a massa e leve a cozer em forno moderado (170℃) por 45 minutos • Desenforme o toucinho do céu quando estiver morno • Retire o excesso de farinha e por cima peneire uma generosa camada de açúcar em pó alisando-o depois com uma spatula EZILDES SOUZA XII SCIENCE A DOÇARIA REGIONAL PORTUGUESA TOUCINHO DO CÉU DE ODIVELAS
O clima em Portugal geralmente não é muito quente nem muito frio. Tem um clima diversificado do norte ao sul e o clima varia consideravelmente de uma região para outra; mas em geral, Portugal oferece verões quentes e ensolarados, invernos suaves, o outono e primavera são normalmente quentes; no entanto com algum vento e chuva. De acordo com o clima, as pessoas de Portugal têm diferentes roupas tradicionais. Por exemplo: No norte, os verões são ensolarados e agradavelmente quentes sem serem muito quentes. As regiões centrais têm invernos suaves e quentes e secos veroes. As regiões do sul de Portugal e o Algarve têm um clima muito seco e estável. Terra de Miranda esta localizada no fronteira nordeste de Portugal. Embora a etimologia da palavra ‘Miranda’ ainda seja debatida, acredita-se que significa “fronteira”. Entre as caraterísticas culturais mais conhecidas particulares desta área é a lingua mirandense, os pauliteiros, os rituais pagãos praticadas de Natal a Páscoa que é a farândula e a música da gaita. Os Pauliteiros de Miranda é o nome dado aos grupos de homens que dançam ritmos tradicionais da terra de Miranda, no nordeste de Portugal em Tras-os-montes; que é uma província de Portugal. Pauliteiros são os praticantes da dança guerreira da terra de Miranda, chamada a dança dos paus. É representativa dos momentos históricos locais acompanhada com os sons da gaita-de-flores, caixa e bomba. É dancada por oito homens e recentemente tambem por mulheres. Os pauliteiros usam uma saia bordada e uma camisa de linho, um colete castanho, botas de couro, meias de lã e um chapeu que pode ser adornado com flores. Aquele é o seu traje tradicional e é usado porque o clima é frio. Cada dançarina carrega dois palos para fazer uma série de passos e movimentos coordenados. O repertório musical da dança dos palos é chamado Ilhacos, e é construido por música, texto e coreografia. RUXANDRO DE SOUZA XII COMMERCE B TRADICIONAIS PORTUGUESES TRAJES REGIONAIS OS PAULITEIROS DE MIRANDA
O traje de noiva é, sem dúvida, um dos mais emblemáticos do trajar no Minho. A escola do tecido preto confere a todo o traje a solenidade exigida ao próprio ritual do casamento ou às poucas ocasiões, excepcionais, em que ele usado. Como noivas no Minho usavam o negro porque com o fato que se casavam seriam enterradas, um símbolo de fidelidade ao compromisso. Para assinalar estes momentos, uma rapariga colocava ao peito todo o ouro que possuia, mostrando, assim, seu poder econômico. Composto por casaca de tecido de seda preta lavrada, ajustada ao corpo, formando uma pequena abelha na cintura e contando comdecoração em bordados aplicados de vidrilhos, galão e fita de cetim prévia, tudo em preto, saia de tecido preto de lã, com barra em veludo ricamente bordado em vidrilhos, decorada na orla com aplicação de fita e tira de cetim pregueda, avental de veludo preto, decorado com bordados em vidrilhos, formando a coroa real no centro, enquadrada por motivos vegetalistas, algibeira entre o avental e a saia, em forma de coração estilizado, bordado com vidrilhos, lenço branco de tule bordado com fio de seda, meias rendadas brancas e chinelas pretas bordadas em branco. No peito, sobre o fundo negro da casaca, sobressaem os ouros tradicionais, e nas orelhas, usa-se os brincos à rainha. A rapariga leva, ainda, em mãos, com delicado bordado a ponto de cruz com motivos de simbologia amorosa, a segurar o ramo de noiva, um lenço de amor. NICOLE FERNANDES XII COMMERCE B TRAJES REGIONAIS A NOIVA DO MINHO
Nazaré é uma zona pesqueira no litoral de Portugal. Tem praias extensas e um povo vivendo entre o mar e as tradições. Os trajes da mulher de Nazaré variam conforme a ocasião. No dia a dia elas usam tamancos de pele preta com sola de madeira ou chinelos de trança Nas festas, os chinelos de trança são substituídos por chinelos de verniz preto com saltos de sola No tempo de frio usam umas polainas de malha de lã branca que atm com fita por debaixo de joelhos. As saias também variam conforme a ocasião a que se destinam. Para o trabalho vestem sais de tecido escocês grosseiro. Aos domingos, e nos dias de festa vestem saias de tecido escocês, mas de lã fina , ou cachemira ou chita. As saias são talhadas em panos presos à cintura por meio de pregas estreitas. Têm uma borda de veludo preto que dão às saias um ar atraente .As saias de trabalho são armadas no cós. Por entre a abertura deixada entre os dois panos a mulher tinha acesso à bolsa que as nazarinas guardavam sob a saia. As mulheres mais velhas vestem sete saias de tamanhos e de padrões diferentes. As blusas são geralmente de chita pintadas de ramagens ou flores de várias cores. As blusas são bem ajustadas de modo a desenharem os bustos e isso dá –lhes um aspecto de muita elegância . Aos domingos e nos dias de festa a blusa não tem um decote mas sim uma pequena gola enfeitada com um folho estreito. As mangas curtas recentemente passaram a ser feitas com muita renda que cobre os cotovelos. O avental também difere conforme a ocasião . É de popeline para os dias de festa e riscado para os dias de trabalho. .Em ambos os casos , é bastante grande quase do comprimento da saia . Eram confecionados de várias formas e feitios com rendas e bordados a matiz ,, raminhos com flores e folhas . Hoje os aventais de festas são geralmente de seda ou cetim , muito vistosos e prufusamante bordados. O lenço ou o cachecol é geralmente de cores escuras e usados de mais variadas maneiras. As mulheres usam um chapéu de feltro preto com uma ligeira aba, mas só nos dias de festa . SHANIA MACIEL XII COMMERCE TRAJE TRADICIONAL DA MULHER DE NAZARÉ
Ánw"k.k dh leL;k vkt ekuo lekt ds lkeus [kMh lcls xaÒhj leL;kvksa esa ls ,d gSA fiNys dqN lkyks esa Ánw"k.k ftl rsth ls c<k gS mlus Òfo"; es thou ds vfLrRo ij Á'u yxk fn;k gSA Ánw"k.k dk vFkZ gS& Ákd`frd larqyu e sa nks"k iSnk gkSukA u 'kq) ok;q feyuk] u 'kq) ty feyuk] u 'kq) okrkoj.k feyukA Ánw"k.k dà Ádkj ds gksrs gSA eq[; Ánw"k.k gS&ok;q Ánw"k.k] ty Ánw"k.k vkSj /ofu&Ánw"k.kA ok;q Ánw"k.k%&bl ;qx es cMs 'kgjks es cMs&cMs dkj[kkus yx x, gS ftles ls pkSchlks ÄaVs gkfudkjd /kqvk fudyrk gS vkSj xkfM;ks l s Òh gkfudkjd /kqvk fudyrk gSA dqN Ákd`frd Ánw"k.k Òh tSls /kwy] feêh ds d.k] Ákd`frd xSlsa vkfn ok;q Ánw"k.k ds L=ksr gSA ty Ánw"k.k& ukyks dh xanxh] IykfLVd] lMs&xys inkFkZ] dhVk.kquk'kd vkfn ikuh es feyus ls ty Ánwf"kr gks jgk gSA xans ty es gkfudkjd dhVk.kq gksrs gS tks gekjs LokLF; dks {kfr igaqpkrs gaSA /ofu Ánw"k.k%& vR;f/kd 'kksj LokLF; ds fy, gkfudkjd gksrk gS vkSj ekuo ;k i'kq thou ds fy, vlr qyc dk dkj.k gSA ;g /khjs&/khjs lquus dh {kerk dks de djrk gSA Ánw"k.k dks c<+kus esa dkj[kkus oSKkfud lk/kuks dk vf/kd mi;ksx] fÝt] dwyj vkfn nks"kh gSA Ákd`frd larqyu dk fcxM+uk Òh eq[; dkj.k gSA T;knkrj dkj[kkus T;knk vkcknh okys {ks=ks e s fuekZ.k fd;s x, gS ftlds dkj.k Vh-ch] vLFkek] vkSj gn; ls tqMh chekfj;ksa ls yksxksa dks Òqxruk i< jgk gSA Ánw"k.k ls cgjkiu] mPp jDrpki gksuk lkekU; ckr gSA vr% ges Ánw"k.k dh leL;k dh vkSj /;ku nsuk pkfg, rFkk bldk lek/kku djuk pkfg,A jklk;fud inkFkkS dk bLrseky de&ls&de djuk pkfg,A eksVj xkfM+;ksa rFkk vU; okguksa es /kq,sa dks de djus ds fy, le;≤ ij batu dh lQkà gksuh pkfg,A ;krk;kr foÒkx dks vf/kd ek=k esa /kqvk¡ NksMus okys okguksa ij can yxkuk pkfg,A ;fn ge bl leL;k dks xaÒhjrkiwoZd nwj djus dk Á;kl djsxs rks vo'; gh ;g leL;k [kRe gks ldrh gS frFkkZ +i + vkeksudj X;kjoha foKku ¼c½ Án w"k.k ENVIRONMENT HINDI
HINDI ‹ uoacj „‚ƒˆ rdjhcu jkr ds Š%ƒ‡ cts iarÁ/kku ujsanz eksnhth us uksVcanh dh Äks"k.kk dh FkhA ml jkr ns'k dk gj ,d fuoklh bl Äks"k.kk dks lquds pkSd x;kA uksVcanh! gekjs ljdkj dk ,slk dne ftlds dqN fnuksa ckn esjk tUe gqvkA tc lkjs iqjkus ikp&lkS vkSj ,d gtkj ds uksV can djok fn, x, rc eaS vkSj u;h Òsl esa vk;h iqjkuh lgsyh ¼ikp&lkS fd uksV½ ge nksuksa fg vke vkneh dk lgkjk FksaA D;k vÒh Òh vkius eq>s igpkuk ugh\ eaS nks gtkj fd uksV cksy jgh gw¡A dÒh lkspk ugha Fkk fd esjk tUe Òkjr esa gks ldrk gaS esjk eqY; c< ldrk gaSA uksVcanh ds igys eaS dSlh fn[krh g w¡ ;g rk s irk fg gksxkA esjk jax xqykch gSA vk'p;Z fd ckr esjh uksV ij xka/khth dk Òh jax xqykch gSa vkSj vc og chp esa gSaA tc eSa igys fnu Nidj vk;h yksxksa us eq>s cgqr rkus lquk;sA dgus yxs] ß;g u;h uksV gS fd dkxt dk VqdMk\ vkSj ljdkj dks brus lkjs jaxks esa ls dsoy xqykch fg feykÞ\ eq>s cgqr cqjk yxkA ysfdu [kq'kh ml ckr fd Fkh fd Òys yksx esjs jax&:i ds ckjs esa fdrus Òh rkus lquk, vk[khj esa rks eSa fg muds dke vkusokyh FkhA pquko ds oDr ljdkj us tksj&tksj ls dgk] ßvPNs fnu vk;saxsÞA ysfdu D;k lp esa vPNs fnu vk,\ gjjkst fdrus lkjs yksx cWd ds cgkj] drkj esa [kMs jgdj iqjku s uksV cnydj eq>s viukus ds fy, [kMs FksA fdrus lkjs txgksa ij >xMs gq, ekj&ihB gqÃA fcpkjs fdrus lkjs yksxks dks dMh /kwi esa u tku fdrus ÄaVs [kMk jguk iMkA c¡d deZpkjh;ksa ij fdruk lkjk ncko FkkA vlyh ncok rks Òkjrh; fjtoZ c¡d ij Fkk ftl dkj.k mUgksaus vU; c¡d dks e;kZfnr uksVksa fd vkifrZ fd;hA bl dkj.k ns'ks ds gj fuoklh dks cgqr dfBu nkSj ls xqtjuk iMkA vkf[kj esa …‚ fnlacj „‚ƒˆ dks ;g uksV cnyus dh ÁfØ;k lekIr gqÃA ;g iqjk nkSjku [kRe gksus ds ckn Òh yksxks FkksMh&cgr dfBukà gqÃA ysfdu vc lc dqN fBd py jgk gSaA ij eSa dg¡k ges'kk&ges'kk ds fy, Òkjr ds yksxksa ds lkFk jgusokyh gw¡A th g¡k lgh lquk vkiusA vkt&dy lquus esa vk jgk fd tYn gh nks gtkj ds uksV Òh j– gksusokys gaSA nq%[k rks bl ckr dk t:j gSa fd eaS vc dqN fnuksa ds ckn yksxks ds tscksa esa ugh fn[k¡xhA [kq'kh bl ckr fd gS fd esjh lgsyh ¼ikp&lkS fd uksV½ ges'kk ds fy, lcds lkFk jgsxhA vc tc rd eSa gw¡] gks lds rks FkksMs ets djksA irk ugha dc D;k gks tk,! iz.kkyh ea=h ckjkoha dyk ßeS a u;h uo syh nk s gtkj fd uk sV ck sy jgh g¡ÞA AUTOBIOGRAPHY
gekjk ns'k ^Òkjr* viuh i ajijk] laLd`fr ls tkuk tkrk gSA gekjh laLd`fr ds vuqlkj efgykvksa dks lcls mpk njtk fn;k tkrk gSA efgyk,¡ Òkjrh; lekt dk lcl s ewY;oku fgLlk gSA mudk vkRe&lEeku vkSj fo'kokl muds fy, xoZ dh <ky gSA vxj ge bDdhloh lnh es ns[ks rks lkslk;Vh us efgykvksa ds Áfr lEeku nsuk Òwy fy;k gS vkSj os dà Ádkj ds ÒsnÒko ls ihfM+r gS vkSj dà Ò;kud vijk/kksa ds f'kdkj gS tSls eknk fQVhVkbbl] cykRdkj] ekuo&rLdjh vkfnA rc Òh Òkjrh; efgykvksa us ukjhRo dh ,d uà Nfo cukus es lQy jgh gS tks ,d u,A etcwr] 'kfDr'kkyh] Lora=] l'kDr vf/kdkj n'kkZrk gSA efgyk, bruh fodfer gqà gS dh vkt ds le; es o s fdlh ij Òh fuÒZj ugh gS vkSj viuh t:jrs iwjh dj ldrh gSA bl l'kfRddj.k dk eqjO; dkj.k f'k{kk gSA lk{kj gksus ds ukrs gj O;fDr ds fy, cgqr egRoiw.kZ gS D;ksfd ;g gekjs ekSfyd vf/kdkjks es ls ,d gS tks gS ^f'k{kk dk vf/kdkj* bl Áxfr ls efgykvksa ij gksus okys vR;kpkjksa vkSj ÒsnÒko iru gq, gSA ij vÒh rd ges iwjh Áxfr ÁkIr ugh gqà gSA dà xk¡oks ;k tutkfr;ks es efgykvksa dk s muds vf/kdkjks dh tkudkjh ugh gS blfy, T;knk ls T;knk tkudkjh Qsykuh gksxh rkfd ge lÒh efgykvksa dks ,d lqugjk thou ftrs ns[skA frftdk Äqfy;k X;kjoha foKku ¼c½ ßefgykvksa dh ÁxfrÞ VIEW POINT HINDI
HINDI POETRY fulZx fVi fVi cqan cjlrsA ftou ds laxhr dks lqj fnykrsA fatanxh dk vkèkkj gS lkou] djrh gS ân; dks eu Òkou igkM+ gS rkdn dh igpku] mlds Lrwfr esa yksx djrs xq.k xkuA Áy; dk lkeuk djus dk ikB i<krs gSA ftou dks laÒkyus dk laÄ"kZ curs gSA iou gS] ftanxh dk nqljk uke] ouksa vkSj cxhpksa esa Äqerk ;gh mldk dke ftanxh dks vkuan fnykrh gS gok] ftaou dh ges'kk djrh gS lsokA bruh laqnj /kjrh dks cukus okyks dks esjk lyke] ysdhu bl laqnjrk dks dk;e j[kuk gS gekjk dkeA bl lqanjrk dks cpkvks] ojuk viuk gh fouk'k ikvksA tkW; yksans X;kjoha foKku ¼v½ xq: xq: gSa Kku ds ÒaMkj] budk dÒh u djks viekuA fy[krs gS oks euq"; ds ÒkX;] budk lnSo dhft, lEekuA u dÒh Òwyuk bUgas] thou esa budk lcls cMk gS ;ksxnkuA ekrk&firk ds i'pkr~ gj cPps ds eq[k ij gksrk gS xq: dk ukeA f'k{kk Ánku djRks gS oks] O;FkZ gS buds fcuk lalkjA xq: gS Kku ds ÒaMkj] budk dÒh u djks viekuA 'kj/kh ÒV ckjkoha okf.kT; ¼v½
vkt 'kkGsr ÒqjX;kd eksck;y okijikp sj canh vklk f'kd;ruk Òqjxh eksck;y okijrkr vkuh rs [kkrhj rakp s y{k uklrk v'kh f'k{kdakph dkxkG vklkeksck;y gh xjtsph oLr vkuh vkedak vkepha Òqjxh [ka; vklkr gs Qksu dsY;kj dGVk Eg.k vkeh rakdak eksck;y fnrkr v'ks ikydakp s lkx.ksa eksck;y gk s vk;P;k ;qxakr [kjasp ojnku eksck;yk [kkrhj tx ysxhr ykxh vk;yka- rqdk tj ve sfjdsar vkf'kYY;k lks;R;ka dMsu myksoikd tk;k tkY;kj R;kp&R;kp o sGkj rw vklk Fka;P;ku rqdk myksoikd e sGVkokMfnlkphp xtky ?kslkr gWky] tso.k] Fka; fiou vk;LØhe] ch gkph o soLFkk djikd tk;] lks;.;akd b'Vkad vkiksoikd tk;- tso.kkph o soLFkk djikd xsyk Fk;P;ku eksck;yk o;Y;ku fdryh'khap dkek a rqUeku d:a ;srkr- eksck;y okijkr vkuh dkeak tkyhap v'ksa letkr- izokl djruk cktkjkargkWfLiVyakr ok gsj l qokrakrhtk; Fka; rqedk eksck;y okijikd e sGVk rs Òk;j eksck;ykpks vkdkj Ygku vkf'kYY;ku ilhZr ok cksYlkar ysxhr nojikd e sGVkeksck;y o;Y;ku rqeh fujksi ysxhr /kkMa ;srkeksck;ykp sj myksoikd o sG uk tkY;kj vkf;yks fujksi rqeP;kauh FkksMpk o sGkr ysxhr okp wa ;srkdlysa; dke rqedka ved;k ojkapsj djikd tk; iw.k dsUuk dsUuk vkeh foljrkr- fjek;.Mj yk;Y;kj eksck;y vkedak R;k dkekph ;kn djrk [ksajp] rks vYYkkmn~nhukpks tknokpks fnoks dlks- nksrksjkd eksck;y gks lkedks ojnkr Fkkjyk- tk; rsUuk vklk Ò;P;ku rkdk vkiY;k nq;sarhapha [kcj ?ksoikd e sGVknq;sfrdw; xjt iMY;kj l aiQZ djikd e sGVkvi?kkrk o sGkj ok- xjts o sGkj vkeh eksck;yk o;Y;ku rh O;Drh vklk Fka; frp s dMsu ;aidZ lknikd 'kdrkr- vkedka vkep s vkoMhp s l aehr ok fxrka+ eksck;yk o;Y;ku vk;dwad e sGVkr- ?kjakr dks.kwp uk] rqdk okt ;srk] yk; l axhr vkuh rqtsa dke dj] dke uk tkY;kj eksck;ykp sj xse [ksGeksck;ykp sj QksVks ysxhr dkMikd e sGVkr- ;nsa'k s [ksG.ksa iw.k vkeP;ks fdrY;ks';ksp xjtks rks Òkx;rkeksck;y gks [ksG.ks Egw.k okifjuklrrk vkedak vMh vMp.kh o sGkj] dBh.k izlaxk o sGkj iko.kh b'V Egw.k okijY;kj euhltkrhd esfGYys rsa ojnkuwp- rkpks okij vkeh ;ksX; rjsu dsyks uk tkY;kj rks euhltkrhd e sfGYys rsa ojnkuwp- rkpks okij vkeh ;ksX; rjus dsyks uk tkY;kj rks euhltkrhj e sfGYyks 'kki Fkjryks- euhlth.k dkckj djikp sa dkj.k Fkkjryks- eksck;y cjnku gsa okijrY;kp sj fuacwr vklkfdyuVu fLdo sjk vdjkoha okf.kT; ¼c½ eksck;y ,d ojnku
i;kZoj.k vkuh iznq'k.k áks nksuw; xtkyh ,dke sdk dMsu fuxMhr v';ks vklkr- i;kZoj.k cjsa vklr tkY;kj iznq'kk.k tkop sa uk vkuh euhl Ò;k foj;r th.k txikd 'kdryks- ekxwu vk;yk frryh rjh rks th.k txikd 'kdryks- tj i;kZoj.k furG nojysa uk tkY;kj iznq'k.k okMVysa vkuh gkpks ifj.kke ?kj rjs opY;kj nj ,dk ftokd Òksxpks iMVyks- >kMka i;kZoj.k furG nojikd [kwc vknkj djrkr- rh vkedka izk.kok; fnou dkcZu Mk;kZdlk;M gh ck;j vkiw.k ?ksrkr vkuh gok furG nojrkr- yksd oLrh okfMYY;ku izk.kok; m.kh tkou dkcZu Mk;kWdlk;M okMVk vkuh rsp cjkscj go sarysa iznq'k.kw; okMVkyksdoLrh okfMYY;ku dks;jkp sa izek.k okMyk- dks;j ?kjkP;k Òk;j mMksoikd tkxks ukf'kYY;ku euhl rk s jLR;kp sj] nksaxjkj e sGVk Fk; oyks rlksp l qdks dks;j mM;rkr- gks dks;j okR;ku mcrk r'ksap tukojk a lxY;kd ikrGk;rkr ikWfyfFk&ukpks; gkyhaljkd yksd [kqc okij djrkr- gpks iksr;ks okU;ku gkaxkFk; gqcrkr rkp sj mnd iMY;kj mnd dqlwu fdMs tkrkr- oyks dks;j dqlwu rkP;ks ?kk.kh] dqlVwVk.kh iMVkr- rkrwau tGkjka] fdMs tkrkr- gha tGjk Qk;ysfj;sph /kke ikrGk;rkr- gok nq'khr tkrk nq'khr gok dqMhar xsYY;kr o sxo sxGs jksx tkrkr- v'ks rjsau i;kZoj.k nq'khr tkYY;ku iznq'k.k okMVkyksdoLrh okfMYY;ku ?kjkarY;k lkMik.k;kph o soLFkk cjs rjsu djikd eGuk- gs ?k.k;kjs mnd jLrkp sj lksMVkrrkrwu ikuka] jLR;k o;Y;ks ukdk vkf'kYyks oLrw iMVkrg;ks oLrw Fak;p dqlrkr vkuh go sarysa iznq'k.k okM;rkrgh ?kjrjh vkeph vkep s [kkrhj vklk vkedka tj iznq'k.kk foj;r th.k txikd tk; tkY;kj vkedka frph jk[k.k djphp iMVyh uktkY;kj vkehp vkeP;k ika;kapsj dqnG ek:u ?ksrysX;Wch xwfnUgks vdjkoha okf.kT; ¼c½ i;kZoj.k vkuh iznq'k.k
,d nhl Egkdk jk;canjP;ku QksaMk ork vklruk okVsj iksj.;k xksa;P;k bxtsZd iGksou xksa;P;k lk;ckph ÒsV Äs oikpks fopkj vk;yks-Û gkao vkuh Egth Qkehy [kqlkZd okrh isVksoikd Egw.k fMl sacjku Q sLrkP;k o sGkj xsyhFka; opukQqMs Egkdk vkuh EgT;k Ò;.khd vtki tkysa Fka; fdrysa yksdkaph xnhZ vkuh dsnh OgMyh bxtZ bxthph nkjka vkuh f[kMD;ks fdrY;ks'kksp OgM- vkeh i;yh bxtsZP;k Òk;j ekVo ÄkfrYyks Fka; cl wu fel vk;dys- felkd [kwi yksd vkf'kYys- vkeh ekxhj xksa;P;k lk;ckp s n'kZu Äsoikd xsyh- ekxhj [kqlkZd okrh isV;yh- ekxhj lxGs bxtsZr Òksoyh- bxtsZr fÒrj ljP;k i;yh FkksMs yksd e s.kokrh] e s.kkph ckoyh ?ksou fodikd jkfoYys- ,d iknzhu vkedka lkafxYys fd xksa;p s lk;ckp s [kjs ukao lka Ýkaflbd w 'kkfUg;j vklys vkuh rkpks tYe ,fizykp s ‰ o sj ƒ‰Œˆ olkZ bLikuk ¼SPAIN½ ns'kkar tkyks- bukl n yks;ykd ykxwu Ýkaflbdw iknzh tko ad ikoyksxks;P;k lk;ckph ijc tjh ,dk fnlkph vklyh rj rs ijcsph r;kjh .ko fnl vknhp lq: tkrkr;kjsP;k g;k .ko fnlkad uosukps fnl Eg.kVkekxhj bxtsZrY;ku Òk;j ljukQqMsa OgMyh Q sjh iGksou Egkdk vkuh EgT;k Ò;.khd fi'ks ykxys- Fka; p.ks] dkika] ykMw] dkM;ks&cM;ks ¼[kkts½ fodikp s ek.k tGka&eGka fnlrkys- gkaxk ftulkaoj ekr;sph vk;nuka fodwad vklys- vkuh [ksGuh] diMs] piyka vkuh gsj oLrw gkaxk e sGVk- gkaos vkuh EgT;k Ò;.khu lkschr&lkschr diMs vkuh piyka ?ksryh- [kkoikd vkeh ykMw vkuh p.ks ?ksrys- g;k fnlk vkeh [kwi etk dsyhrUoh Vh EgknksZGdj vdjkoha okf.kT; ¼v½ ik sj.;k xk sa;P;k bxt sZd Ò sV
vkjs] vkjs jko jko rqdk fdrs rjs lkaxwad lksnrk g; j as gkaowp rw tkp sj mcks vklk R;k >kMkG fdrs iG;rk\ ák gako my;rk rqts dMsu Egkdk rqdk Egts ft.ksph ijoM lkaxph vklk rqeh euhl fdryas vkil qokFkhZ jas\ Egts vkax rqeh bYys bYys dkr:d ykxY;kr gako vkrk t.kVks tkyks Eg.k\ iw.k gkao rqedk lkoGh vtwuq; frryhp vtwuw; rqedk izk.kok; fnrk ejs EgT;k vkykf'kR;kd jko wu rqeh ftokd Fkdk; ?ksrkr ejs ekxhj Egkdk bYyks bYyk s ekjrkr fdR;kd js\ Egtsj l qd.;k¡d fdryh QGk&Qyk e sGVkr iw.k gkpks rqeh ekr rjh fopkj djrkr js \ rqeh gG'khd vkuh EgT;k ftokd ekRr iMih v'ks Òk;j mMksoik lkjds fdrs; gkMwu EgT;k e qGkar ?kyrkr v'ks djruk rqeP;k eukar ;qdwu ysxhr vlks fopkj ;suk js dh gako ejr tkY;kj rqep s Òyk;dsd cknk ;sryh Egw.k\ gtkjkauh yksdakd ,dk; o sGkj lkoGh vkuh izk.kok; fnoih gako ejs rqeP;ks ck;yks olkZrY;ku ,dnk ;srkr vkuh ÒksxkoG d'kh Egth iqtk djrkr rs iqtsd Egth [kkanh tk; Egw.k rqeh Egkdk dkirkr gkao tk.kVks tkyks rjh 'ksdM;kuh olkZ rqep s [kkrhj ft;srk ejs gako rqeh Eg.k s lkoGsd vkykf'kjks ?ksopks Egw.k gako vkaoMsrk vkuh rqeh gkaxk ?kjk cknwd e sGVyh Egw.k bYyks Egkdk uk djhr jkoY;kr\ rqep s dlysp nq[khp sj Egtks nh[k rqedk cjks djrk ejs rqeh fopkj dsyk Egts dkofjYys vkax Egkdk fdrys nq[krk rs A rqedkap vknkj fno ad gkao olkZph olk Z l sosd mcks jkoyk vkuh rqeh QkVY;k midkjkaph ;kn ekRrw; d'kh nofjukr\ iw.k ;kn noj eu'kk rqo s Egt s dMsu iMe qji.kk dsyh tkY;kj ysxhr Egts vkax mcs vklklj fuek.kZ e sjsu gkao rqdk vknkj djhr jkoryk s nso rqedk cjh cqn~n~ fnou vkedk vÒ; fnoikd rqep s dkGht vkeP;k ek;seksxku Òjryks v'ks ekxrkekfj;k Ogh QukfMl vdjkoha okf.kT; ¼c½ oMkP;k >kMkph vkith.k
vkjs] vkjs iksjk ! d'kh py;rk js eksVjlk;dy\ lkackGu ckck] ld;y iM'kh vlks Egtsj fdR;kd cstkj tkrk\ iG;ys\ iMyks ejsa! gako lkaxhr vklk] lodkl op Eg.k fdrs\ Egts[kkrhj iMyks- gs iG;- rw Egkdk tckcnkj ?kj ukdk rqep sp [kkrhj Egth xr v'kh tkY;klxY;kd QksaM iMY;kr] tsUuk i;yksp QkoVh Egts mdrko.k tkys] rqT;k ckik;ku gbMs+ e q[kkj dkMwu rkG;ks ek:u Egkdk ;sodkj fnyks- R;k fnlk Egkdk lxZ nksu cksVk ykxh fnlyks- vk;dryks Egth dk.kh\ vk;d rlks g;k xkokar jLrks [ka; vkf'kYyks\ vkf'kYyh rh okV xko akr gGw gGw l qnkj.kk tkyh- i;lks vk;yks- xkM;ks eksVjlk;dyh vk;Y;ks vkuh xko akr jLrks tkopks v'k s yksdakd fnlikd ykxys- xakoP;k ljiaP;kP;k nqjn'khZi.kk [kkrhj Egtks tYe tkyks- jLrks tkrk Egw.k xakodkjkp sj [kks'k;spks gawokj vk;yksEgkdk gs :i e sGVk Eg.klj [kqc =kl lkslp s iMys- tehu [k.kyh- rkp sj Qkrj e akMys [kMh ?kkyh Egkdk /kkMkou /kkMkou ,ds ikrGhp sj gkMys- vakx nq[krkys- iw.k vksXxh jkoyks- lGlGVs Mkacj Egtsj jd;ys- [kwc oGoGGsvakxkpks gqyi tkyks- rksMakrY;ku c z dkMys uk- Egkdk l qGl qGhr djik [kkrhj Egts o;Y;ku jksyj pyksoikd ykxys- fdrY;ks Egw.k ;kruk\ l aklrk rks ÒkX;o ar Egw.k vskXxh jkoyksa brY;ks ej.k;kruk lkslwu fuek.ks Egkdk lkschr :i fnys- vkl w gako —".k Òjksu dkGks dqGdqGhr iw.k EgT;k vakxkr rst vklys- lxys yksd Egkdk rqdwrqdw dGu iG;rkysEgts gs uos :i iGksou vk[[kks xko [kks'kh tkyksEgkdk; ch Egts lkschr :i iGksou fÒrjys fÒrj [kkrdquY;ks tkoikd ykxY;ks- ljiapku ukYy QksMyksQhr dkiysa vkuh Egts mdrko.k dsys- rqtks ckiw; rsUuk Fka; vkf'kYyks- Egkdk gs :i fnoikd nhljkr okcqjih dkexkj nksG;kr [akk;h gkMwu Egkdk iG;rkys- rkG;akP;k xMxMkVku Egkdk lxY;akuh ;sodkj fnyksEgts o;Y;ku o sxG;ko sxG;k vkdkjakP;k] jaxakP;ks xkM;ks] eksVjlk;dy lk;dyh ?kkoikd ykxY;ks- rakdk iG;r iG;r Egtks o sGw; cjks iklkj tkrkyks- fnlkpks Egkdk ekr ysxhr nksoks ykoikd e sGuklyks jkrpks gko ekrlks l q'ksx ?ksrkyks- tsUuk Egkyku ÒfjYys tM&tM Vªd Egt s o;Y;ku orkys rsUuk Egkdk ekr'ks dydkfoYys ojh tkrkysgGw gGw xkM;akps izek.k okMikd ykxys- lxysp nhl lkjds uklrkr- olkZ orkr r'kh Egth otu ?ksoikph rakd m.kh tk;r xsyh- EgT;k vakxkd ?kk; tkoikd ykxyks- rqedk rkp s dak;p iMawd uk- ^dke tkys o St e syh* Eg.kVkr rsp [kjsa EgT;ks dkrh opikd ykxY;ks OgMys OgMys ?kk; tkou Egts ekl fnlikd ykxys- rqedak ekr'ks fdrs; tkY;kj rqeh nksrksjkdMsy orkr- o[knk gkMVkr] eye yk;rkr vkuh ?kk; ekjdks djrkr- Egt s [kkrhj rqeh fdrs dsyk\ gko nq[khu oGoGVka rkps rqedk a dk;p uk- o;Y;ku Egkdkp nks'k! bryks rsai rqeph jkrnhl lsok dsyh rkp s gsp QG \ lkeds iMe wj ej s rqeh\ tj rqedk ?kk; tkoikd tk;uk] gkMk eksMikd tk;ukr tkY;kj Egkdk nkrksjkd gkMwu lkjdks djpksp iMVyksvk;Dyka] xksa;p s e q[;e a=h lkeds cjs euhl lxY;k xkaokr rs l q/kj.kk djrkr- Egth [kcj rakdk lkaxhr tkY;kj rs t:j Egkdk Egtsa :i ijrsa fnrysa gkph Egkdk [kk=h vklk- gako g;k Òakxjk fnlkph okV iG;yk- py] ÅB vkrk] nksrksjkxsj op vkuh eyeiV~Vh djxkSjo x;rksaMs vdjkoha okf.kT; jLR;kph vkith.k
Mk seuhd lkfo;k sa bVyha 'kkjkar l qiqYY;k Äjkar tYekd rq vk;yks pkayl vkuh chjhthV rqdk iGou ukao fnyksa Mkseuhd lkfo;ksa rqtks mÄMkl vkeh djrkar rqtha mrjk eksuku nojrkao rqts iksjh tkod vkeh nsok ykxh ekxrkao LVho Øw> vdjkoha dyk fiVdqG;k s vkaC;k vk’ksu >kM jks;ysa vkacs dsUuk ykxysp uk ikyks >kMikd vk;q'; x sysa 'kstkjh ykxha >xMsa ukdk ns[kwu f'ke sj yk;yks ekM ekMkd ykxyks pM ukYy Fk;ap lxysa iMysa ikM i.klk Äjs rqts xksM i q.k rkdk dkaV;kph tkM ijnslkar fdryh; vklyh tksM rjh ek;nslkph vksM vkiY;kP;ku pMwd ut rj pMuklruk jkop sa nqljks pMVk tkY;kj rkap s ik; fdR;kd vksMp s\ p anzkd ysxhr nkx vklk vkedk [kcj vklrk rjh nqljks [ka; p qdrk gkpsj vkaep s y{k vklrk ,Wju jksfMªxl vdjkoha olf.kT; ¼v½
POVITR PUSTOK Adlo and Novo korar Tantunt asat kannio sobar Vachun niyallit ani sotmandit Amchem jivit zatolem korench sobit Utpotichea Pustokant Dev rochta Mon’xak sonvsarant Ak’khi prithum To korta Punn monis patkant budd’ta Suttka amkam kitem sangta? Devacho mog Israel-a sovem lasta Vinchum kaddloli apli porza Abraham, Moses, Jacob hankam vinchta Joshua, Samuel, Raza, Ezra Porjechi seva korunk sangtat Nehemias, Tobit, Judit, Makabeu Dakhoitat amkam jivitachio vatto Stotram, Mhunn’nneo, Gitantlem Git, Aikotanam, vachtanam zata khuxalborit Sirak, Izaias, Jeremias, Ezekiel Tanchi zannvai bhonvli akkhi Israel Daniel, Hosea, Joel, Jonas Tannem magnnem kelem korun upas Mika, Nahum, Zekaria, Malaki Bandun haddli Devachi xanti Matev, Marku, Luk, Juanv Sangta Jezu Krist bhonvlo soglle ganv Devachem Utor, mog, ximpddaunk Ani amcho bhavarth thir rakhunk Ithihas, Romkar, Korintkar, Galasiekar Bhavart ximpddailo tea kallar Efezkarnk, Filipkarank, Koloskarank Apovnnem amkam sogllea Kristi lokank Timotak, Titak, Hebrevank Vavurle bhavarth diunk dusreank Jezu Kristachia dusrea yenneachi sangta kanni Povitr Pustokantlem nimannem Pustok Prokasnni JOEL COSTA XII ARTS
"NITT BOSAT" Jea disa Tumkam sutt'tti Tea disa Hanv gheta 'chance' Ani bosta oddun to bank Puro zaun to tticher-acho man Ani mhunntta Hanvui ek 'student' hea iskolant. "Aikat aikat, ogi bosat" Punn atam hanvuch ogi bostam Tumkam aikunk ravtam Tumi tor asat kambrun Hinvachi odhikuch jhem kaddun, Az tumchi sutt'tti Ani hanv poddleam ekttim. Tumche klassint az kaddttam Tich jhem tumchi! Faleamcho suryo yetlo tedna Porot suru "Aikat aikat, nitt bosat, Ug'ddat pan don ani sat!“ MS. SELZA LOPES HISTORY TEACHER 'LOBYEO' Bhurgeponnaileo yadi Mhaka ghorche diken odd'tta Tedna apa-lipa Kalliz mhojem Tuka-mhaka Chor-pulis korta Tedna 'tujem-mhojem' 'Tujim bhurgim, mhojim bhurgim' Amchinch zavun Koindda-balamnim khelltta Sat fator, sat ximpio Yadi teo ekttaim yeun Tuje mhoje Modli vonot Zhoklolea lobyeam porim Usllun poddtta ani Tum ani hanv Ekech diken dhanvtam. MS. SELZA LOPES HISTORY TEACHER
SRUSHTI HALDANKAR (XI ARTS) SRUSHTI HALDANKAR (XI ARTS) PRAVEEN D. ZAMBAULIKAR (XI ARTS) RAYSANCIA D’CUNHA (XI ARTS)
A L A B T E C H G D K O U L S C V E I N W A N V I U E J E H N R J A G M B J F D H B E V E L T L F H I V M I K A A D T E O O X M B F P K C N U P P I N R H E N R Y R S G L M R Z A Q L V T D T Q S L E M S A P C A E A L S E W R A E P T O W R A D T A S Z B Y Y S B X G R O U P A X M L A O V D Q S Y U T S E Y E S M D P N B P P R G Z I J F E K S Y L E Q E P H C O U L Y R S I H S L A T Z R X L U W L Y V N O G U B R H C D I D U J I K E L E M F C H G U A Z E T E S T V R W N X Q B Y N T O Z A N B L C E C E E K F J G I O P G U C B O L X M V N D T P B Y Q A E T O H R L D O C W F U E S H U K T J S I O R Z E A O G P W P O V E R I F Y C N B M A E L D F Q Z I Y U X D T R O P E R H Y N J G R M X N I P H L E B O T O M I S T Y R K W B E T N V A O G C P H Z D Q I S E L T S V R J F V E B U T D E T A U C A V E U 1. PHLEBOTOMY 2. BLOOD 3. VEIN 4. EVACUATED TUBE 5. LABORATORY 6. URINALYSIS 7. PHLEBOTOMIST 8. LAB TECH 9. ARTERY 10. VEIN PUNCTURE 11. DERMAL PUNCTURE 12. NEEDLE 13. BEVEL 14. SYRINGE 15. ALCOHOL PADS 16. BANDAGES 17. GAUZE 18. STERILE 19. SAMPLES 20. REPORT 21. SAMPLE 22. GROUP 23. TEST 24. VERIFY 25. HIV KENISHA BARRETTO XI SCIENCE B