Plan zemelʻnogo otvoda uchastka litera "K" kollektivov "Kalininovka" i "Novai︠a︡ Zhiznʻ" Krivorogskogo okruga Sofievskogo raĭona ploshchadiʻ︠u︡ 569 desi︠a︡tin

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Plan otvoda zemli kollektiva "Poltavt︠s︡y" Krivorogskogo okruga Sofievskogo raĭona ploshchadiʻ︠u︡ 182 desi︠a︡tiny

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Plan uchastka kolfonda litera "B" Krivorogskogo okruga Mikhaĭlovskogo raĭona ploshchadiʻ︠u︡ 495 desi︠a︡tin

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Plan uchastka kolonizat︠s︡ionnogo fonda pod literami "A" i "B" Krivorogskogo okruga Mikhaĭlovskogo raĭona ploshchadiʻ︠u︡ 1356 desi︠a︡tin

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Plan obʻedinnogo zemelʻnogo otvoda uchastkov kolonizat︠s︡ionnogo fonda "Novyĭ Putʻ" i "N", Krivorogskogo okruga Krivorogskogo raĭona, ploshchadiʻ︠u︡ 1021 desi︠a︡tina

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Plan uchastka kolonizat︠s︡ionnogo fonda poselok "Chervonnyĭ" ( Ėrbardaĭter), Dnepro-Petrovskogo okruga, Sinelʻnikovskogo raĭona, ploshchadiʻ︠u︡ 793 desi︠a︡tin

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Plan uchastka kolfondalitera "D" Krivorogskogo okruga Mikhaĭlovskogo raĭona ploshchchadiʻ︠u︡ 874 desi︠a︡tin

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Plan zemelʻnogo otvoda kolfonda "Niva" Krivorogskogo okruga Sofievskogo raĭona ploshchadiʻ︠u︡ 861 desi︠a︡tin

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Plan zemelʻnogo otvoda kolfonda "Niva" Krivorogskogo okruga Sofievskogo raĭona ploshchadiʻ︠u︡ 262 desi︠a︡tiny

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Plan zemelʻnogo otvoda kolfonda "Novai︠a︡ Zhiznʻ" Krivorogskogo okruga, Mikhaĭlovskogo raĭona ploshchadiʻ︠u︡ 303 desi︠a︡tin

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Plan zemelʻnogo otvoda kollektiva "Novyĭ Putʻ" Krivorogskogo okruga Mikhaĭlovskogo raĭona ploshchadiʻ︠u︡ 717 desi︠a︡tin

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Plan uchastka gosfonda kollektiva "Trud" Krivorogskogo okruga i raĭona ploshchadiʻ︠u︡ 107 desi︠a︡tin

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Plan zemelʻnogo otvoda s.-kh. arteli "Krasnyĭ Pakharʻ" Krivorogskogo okruga, Sofievskogo raĭona ploshchadiʻ︠u︡ 1380 desi︠a︡tin

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American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

Mothering siblings: Diaspora, desire and identity in American born confused Desi

In this essay we consider the construction of cultural identity, motherhood and the family in ABCD, a film of the Indian diaspora that had its world premiere at the 2001 London Film Festival. This film reads family, apparently within familiar narrative structures such as the U.S.-immigrant story, as portrayed in films like Goodbye, Columbus and My Big Fat Greek Wedding, and the "leaving home" story, as classically portrayed in Pride and Prejudice, where a young person needs to escape from her clueless family. The irritating presence of the mother in the film, and the quickness with which her two children appear to make life-determining decisions following her death, seem to invite discussions of plot and character organized around ideas of individual development, self-improvement and understanding. This is the territory of the desire plot, an account of family history captured for the twentieth century by Freudian-Lacanian readings which position sexual desire within the unconscious history of familial fantasies, understood as vertical and Oedipal. In this territory, mothers and old ladies become, as Mary Jacobus memorably phrased it, little more than "the waste products" of a system in which marriageable women are objects of exchange between men (142) and a mother's death would be expected to grease the wheels of narrative. Identity and narrative are inextricably linked here: a certain understanding of narrative as developmental and teleological paves the way for an understanding of identity as either/or. There are problems, however, in trying to read ABCD as a bildüngsroman structured by what Susan Freidman calls "the temporal plots of the family romance, its repetitions and discontents" (137), rendering the "Indian" characteristics of the plot unreadable, and the apparently self-defeating nature of the characters' choices and behavior, rather pointless. A central [End Page 16] difficulty is that the film both responds to and resists readings based on the Oedipal model of the bildüngsroman with its focus on linear development through time.