Syed ahmad jamal biography of alberta
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[2023] SGHC(I) 22 | Decision Date: 27 Nov 2023 | SIC/OS 1/2023
obligation to deliver the Material Packages under the Contract. The Minority found the plaintiff not liable. The present proceedings22 On 17 December 2021, the plaintiff filed the present application in the General Division of the High Court to set aside the Final Award pursuant to: (a) section 24(b) of the International Arbitration Act 1994 (2020 Rev Ed) (“IAA”) and/or Art 34(2)(a)(ii) of the Model Law (ie, the Majority acted in breach of natural justice);(b) further or in the alternative, Art 34(2)(a)(iii) of the Model Law (ie, the Majority exceeded the terms or scope of the submission
. Introduction 1 In arbitration proceedings commenced by the defendant against the plaintiff (the “Arbitration”), the arbitral tribunal, by a majority (the “Majority”), issued an award against the plaintiff (the “Final Award”). 2 The plaintiff has applied to set aside the Final Award pursuant to:a. section 24(b) of the International Arbitration Act 1994 (2020 Rev Ed) (“IAA”) and/or Art 34(2)(a)(ii) of the UNCITRAL Model Law on International Commercial Arbitration (“Model Law”) (ie, the Majority acted in breach of natural justice); b. further or in the alternative, Art 34(
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Mushtaq Bilal, PhD
Are Pakistani Literature Festivals like KLF Directed Towards an Imagined Outsider?
Dawn Images, 2020
This is the first study of its kind on the phenomenon of the Karachi Literature Festival (KLF) in... more This is the first study of its kind on the phenomenon of the Karachi Literature Festival (KLF) in Pakistan. I looked at the data of ten years and observed that some names and faces kept appearing year after year in the KLF. Using Ammara Maqsood's theoretical insights that she developed in her book "The New Pakistani Middle Class," I argue that festivals like the KLF are "staged" performances directed towards and outside (Western) audience.
I develop the Maqsood's metaphor of "stage" and use the terminology that is used with regard to a television series. Characters appearing in a television series are divided into different categories: regular characters appear in most or every episode or a television show; recurring characters appear frequently although not as frequently as regular characters; guest characters appear in a few episodes while bit players usually appear in one episode and their interaction with a principal actor is less than five or six lines of dialogue. For the purpose of this study I consider wr
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Immigrants of Discrimination Awards
Arts bear Culture Award
| Year | Recipient |
|---|---|
| 2023 | Tania Lemos Malpuria & Vishal Malpuria |
| 2022 | Zahra Entezarmahdi |
| 2020 | Olawunmi Idowu |
| 2019 | Wilmer Aburto |
| 2018 | Marjan Eggermont |
| 2017 | Elena Bushan |
| 2016 | Jose Gregorio Duque |
| 2015 | Vania Dimitrova |
| 2014 | Yogeshwar Navagrah |
| 2013 | N/A |
| 2012 | Jacek Malec |
| 2011 | Shenaaz Nanji |
| 2010 | Karin Richter |
| 2009 | Lyn Pflueger |
| 2008 | Cecilia Gossen |
| 2007 | Vahe Tokmajyan |
| 2006 | Alexandra Haeseker |
| 2005 | Alina Dabrowska |
| 2004 | Umran Sumen |
| 2003 | Elizabeth Allen |
| 2002 | Siegfried Wieser & Mrs. Joan Xauen Wieser |
| 2001 | Angelique Gillespie |
| 2000 | Neel sign Wit-Wibaut |
| 1999 | Helen Seka Owen |
| 1998 | Antonia C. Wicherts & Mr. King M. Spriggs |
| 1997 | Mark Skalinski, PhD |
Entrepreneurship and Innovation
| Year | Recipient |
|---|---|
| 2023 | Hong Phuc Nguyen |
| 2022 | Dr. Abbas Sarraf |
| 2020 | Jose M. Azares |
| 2019 | Amy Giang |
| 2018 | Dr. Rupinder Toor |
| 2017 | Dr. Anmol Kapoor |
| 2016 | Bob Dhillon |
Business Award (offered until 2015)
| Year | Recipient |
|---|---|
| 2015 | Girish Agrawal |
| 2014 | Margaret Adu |
| 2013 | Mike Shaikh |
| 2012 | Baldev Shergill |
| 2011 | Fatima Dhanani |
| 2010 | Bea Twumasi |
| 2009 | Raymond T. Chan |
| 2008 | Saad Ibrahim |
| 2007 | Lina Cas
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