Latest news with #Krishnan
New Indian Express
2 days ago
- Health
- New Indian Express
NEET-PG postponed for single shift exam following Supreme Court order
NEW DELHI: The National Board of Examinations in Medical Sciences (NBEMS) on Monday announced the postponement of NEET PG 2025 examinations, which was earlier slated for June 15. The announcement to postpone National Eligibility-cum-Entrance Test Postgraduate (NEET-PG) came following the Supreme Court's May 30 order that the exam should be held in a single shift. In its order, the apex court had emphasised on the need for "complete transparency" and had mandated that "secure centres are identified and commissioned" for the fair conduct of the examination. The postponement has brought some relief to anguished candidates, whereas many took to social media to urge NBEMS to announce the fresh exam date soon. In a notice, NBEMS cited the Supreme Court of India order in which they were directed to make necessary arrangements for holding the NEET-PG 2025 examination in one shift. The revised date for the conduct of NEET-PG 2025 shall be notified shortly, the order said. Welcoming the announcement, Dr Rohan Krishnan, National Chief Patron, FAIMA, said that it is important that exams should be conducted in a single shift. Speaking to TNIE, Dr Krishnan said, 'It is unfortunate that NBEMS did not listen to us and we had to drag them to the court to get the judgment in favour of one single shift. If they had heard our plea earlier, this situation would not have occurred. The exam would have been conducted on time. Now, we want them to announce the fresh date soon so that the students do not suffer and their preparations do not suffer." Several resident doctor associations and medical professionals had demanded that the exam be held in a single shift to ensure uniformity and fairness. After the National Board of Examinations in Medical Sciences (NBEMS) did not act on their request, the associations approached the Supreme Court, which ultimately ruled in their favour. NEET PG serves as the gateway to MD, MS, and PG Diploma programs across the country.
Mint
5 days ago
- Business
- Mint
Apollo Hospitals to deepen presence in Bengaluru, Hyderabad
Apollo Hospitals Enterprise Ltd is increasing its penetration in Bengaluru and Hyderabad through a mix of greenfield and brownfield projects, as it embarks on a large-scale expansion plan in FY26. The hospital chain has approved a brownfield expansion of 160 beds across Jubilee Hills and Secunderabad facilities in Hyderabad, as well as acquired 2.53-acre land in Sarjapur, Bengaluru for a 500-bed greenfield hospital. These are expected to be operational in 3-4 years. It has also acquired an existing 200-bed hospital in Sarjapur, which will be operational in the next two quarters, the company said. This is in addition to the chain's planned expansion in Gurugram, Hyderabad, Kolkata and Pune, which it is commencing in FY26. Also read: IHH Healthcare arm increases damages sought from Daiichi Sankyo to ₹11,800 crore over Fortis stake dispute 'Over the next one year, we will be having quite a bit of expansions coming up," chief financial officer Krishnan Akhileswaran told Mint. The chain will be adding over 4,300 beds over three to four years beginning FY26, with a total capital outlay of over ₹8,000 crore. In the fourth quarter ended March, the company's consolidated revenues rose 13% year-on-year to ₹5,592 crore. Consolidated ebitda increased 20% over a year earlier to ₹770 crore, while profit after tax (PAT) rose 54% to ₹390 crore. For FY25, Apollo's consolidated revenues rose 14% on-year to ₹21,794 crore, while ebitda grew 26% to ₹3,022 crore. PAT increased 61% to ₹1,446 crore. Also read: Zydus bets big on vaccines and medtech Hospitals business grows The company's hospitals business grew 10% year-on-year in Q4 to ₹2,822 crore, while ebitda grew 16% to ₹686.3 crore. The business reported an ebitda margin of 24.3%. 'All of this is clearly representative of the operating leverage that we have from the same facilities that we are operating out of. No new facilities added as yet," Krishnan said. The growth from the company's bed additions starting this year will be significantly seen in FY27, he said. The company saw a dip in volumes due to the loss of patients from Bangladesh. However, the current base is the lowest it can get to, Krishan said. Also read: Access to obesity management not available to most Indian patients: World Heart Federation report The company expects Apollo 24/7 to be profitable by the end of FY26. It is focusing on 20% growth for Apollo Healthco, its digital healthcare and omnichannel pharmacy arm in FY26. 'The focus [for Apollo Healthco] is more on revenue and profitability," Krishnan said.
Pink Villa
27-05-2025
- Entertainment
- Pink Villa
Trisha Krishnan wears mermaid-style blingy lehenga for Thug Life promotion, perfect for wedding sangeet
When the opportunity of embracing ethnic fashion shows up, Trisha Krishnan reigns supreme. The South Indian heartthrob, with her bewitching beauty and fashion A-game, can make anyone stop and admire. Yet again, the diva served an awe-inspiring neo-ethnic look, which was every inch ravishing. With her alluring diamond set, Krishnan turned up the glamor meter of her navy blue sway. Trisha Krishnan stepped out for the audio launch ceremony of her upcoming film, Thug Life, garnering awe and attention with her elegant fashion. The actress wore a mesmerizing lehenga set from the brand Mishru. She exuded unparalleled grace in this designer couture as it followed a unique, contemporary style of tailoring. Starting with the gorgeous top, the bodice featured a structured silhouette with a strapless, subtle sweetheart neckline. The U-shaped hemline of the blouse, sultrily revealing the diva's waist, exuded modern glamor. The cupped stitching with the body-hugging blouse perfectly accentuated Trisha's form. The skirt of the lehenga embodied the perfect mermaid scale aesthetic. Beginning a little lower on the waist, the skirt boasted a cinching silhouette till the knees before cascading into flared bottoms. Unlike usual fish-cut skirts, Krishnan's flair featured a rather voluminous structure, creating a statement-making fit. The Mishru brand follows a whimsical floral and botanical signature design that reflected quite lavishly on the Identity actress's neo-ethnic sway. The ensemble highlighted hand-embroidered wildflower motifs, decorated with shimmery sequins. This intricate art fully spanned both the blouse and the skirt, serving an impeccable artisanal flair. The light, tulle dupatta balanced Trisha's heavily embellished lehenga. However, it did feature a scalloped, wildflower appliqué border. The actress beautifully slung the dupatta on her shoulders like a cape. This drape style elevated the contemporary appeal of her lehenga. Trisha Krishnan's gorgeous diamond set For the jewelry, the Road actress opted for lavish diamond jewelry from the brand GRT Jewellers. She adorned a delicate diamond neckpiece, trimmed with strings of dangling diamonds, perfectly complementing her mermaid fashion vibe. She wore matching earrings and a statement diamond ring to complete her outfit with sparkle and brilliance. The South Indian beauty maven flaunted a glowy glam for this fit with a warm base topped with light blush, highlighter, and contour. She accentuated her eyes with kohl and eyeliner and completed her glam with a glossed-up nude lipstick. The diva side-swept her hair with her curled-up front strands framing her face gorgeously.
Qatar Tribune
25-05-2025
- Business
- Qatar Tribune
US to tighten AI chip export curbs to China despite Nvidia CEO's pushback
ANI Washington The Trump administration announced on Wednesday that it will continue its efforts to prevent advanced artificial intelligence (AI) technology from reaching China, dismissing requests from Nvidia's CEO Jensen Huang to relax chip export limitations to the country. 'We have great respect for Jensen,' stated Sriram Krishnan, a senior policy adviser for AI at the White House, during a Bloomberg Television interview. 'There remains bipartisan and widespread concern about the potential implications of these GPUs once they are physically in China,'Krishnan said. Though the Trump administration still perceives a security threat from expanding AI chip exports to China, Krishnan acknowledged that he aligns with Huang's perspective that restrictions on a broader array of US trading partners should be reassessed. According to the Taipei Times report, the Trump administration is reversing. It intends to replace an AI diffusion regulation established by former President Joe Biden, which, as Krishnan indicated, resulted in 'GPU haves and GPU have-nots.' 'When it pertains to the rest of the world, we aim for an American AI ecosystem that starts from the GPUs and extends to the models and everything built upon that,' Krishnan remarked. 'On this point, Jensen and I share common ground,' he added. Krishnan's comments followed Huang's strongest public criticism yet regarding the increasing US export restrictions aimed at China, Taipei Times reported.
Scroll.in
24-05-2025
- Entertainment
- Scroll.in
‘Literature gives you something history can't': Editor Mini Krishnan on classic Indian stories
Mini Krishnan is a powerhouse of Indian translation. From her own translation work to her extensive editorial background, Krishnan has played a key role in shaping the publishing landscape of India by championing works written in regional languages (and by supporting translators). This year, Krishnan edited three anthologies, each highlighting the modern short story tradition in a regional language. While the editions in Kannada, Odia, and Malayalam are out on shelves, more are in the pipeline. The collections paint a sprawling and masterful landscape of the literary traditions of India across the 20th century. In an interview with Scroll, Krishnan shared her thoughts on the nitty-gritty of translation in India while highlighting the value of translated literature as a source of history, comfort, and beauty. Excerpts from the conversation: What is the relationship and editorial process between you and the translators across these three books? First of all, I've known all three of them for a long time. The translators would send me gists of stories – on the phone or in short emails. I gave them a brief: Look at the themes of a time long gone. What was vital in those days? It might seem quaint now, but those layers of society shaped us. I wanted them to explore how families and relationships have changed – not just in communities but in smaller groups, like friendships. I also asked them to consider the early influence of colonialism – English education, changes in religion, dress, jewellery and how communities interacted. It was about tracing how we got here, not just through a telescope, but also a closer look. They set to work, making selections from far and wide, each using their own networks. It was very collaborative. Although only two names appear on the cover, there are a lot of hidden names of people who helped behind the scenes, and they've all been acknowledged. The selection and curation were done by the translators and their supporters. Of course, I was familiar with some of the names, so I'd occasionally ask, 'Have you looked at material by this person? Is there someone we've left out?' I had this bank of information that could be useful to the project. I'd share lists and say, 'Have you covered this? Can you find anything on that person?' Often, these suggestions came from past editors who specialised in short stories. I also did my own research alongside theirs. Sometimes it overlapped with what the translators found, sometimes it didn't. But I gave them complete freedom to choose the writers and the stories. I just said, 'Let's aim for wonderful stories. Let's not include pieces that are too self-regarding or don't show enough.' My focus was on society. If it's just an experimental piece – a writer showing off their virtuosity – we don't want that. How did you decide on these three languages? Why these – and not others? Are more coming? Yes, that's actually in the pipeline. Next year, you'll see Telugu, Bengali, and Tamil, and the year after that, Urdu and Marathi. I'm still trying to persuade someone to take on Hindi. We hope to cover as many languages as possible. These three were chosen simply because the translators said, 'In ten or 11 months, we can give you a draft.' So it was a matter of timing and who was ready. What do you hope readers get out of these collections? In a piece for Scroll, you wrote that ' in translations lie the key to accessing and understanding our histories and identities.' How does that play out for readers? Literature gives you something history often can't. Right now, we're in a time where alternative histories are everywhere – books, films, podcasts, and even angry messages on WhatsApp. As Ramachandra Guha said, 'History depends on the kind of research and where the historian did it, their slants and predilections.' But fiction – especially translated fiction – may look like storytelling, but it's actually real lives being retold, expressed, interpreted imaginatively and vertically. And often, literature doesn't lie. Stories leave an impression. I don't think a document, however accurate, ever can. We need emotional understanding today – and I believe literature and translation give you that. I also hope that some of this material – not just these books but any translation of our literature – reaches colleges, universities, and study centres. It perfectly supplements fields like sociology, the women's movement, and Dalit writing. These accounts give you a glimpse into those struggles and are crucial for understanding our society. I hope that these works, in their own way, will enrich each of these subjects, sociology, environmentalism, and history, and help us understand ourselves better. That's fascinating. Building on what you said, how much of the translation work is archival? These stories are introduced to a larger English audience and preserved through publishing and continued readership. How much of this work is about historical preservation rather than just pleasure? I'd say at least 30 per cent of it is archival. Not all the stories will interest everyone – tastes have shifted. Today's readers tend to crave fast-moving stories and immediate sensation, so some readers might find these stories less exciting than contemporary fiction. It's like watching a movie from 1962 – it might seem less immediate, but it still holds relevance. These stories existed in regional languages but weren't accessible to a larger readership, where all Indians could engage with them. For example, in the Kannada volume, there's a shocking story ('The Battered Heart') from the 1930s, written by a woman, about what happens in an ashram. It completely exposes the hypocrisy in a secretive society. It was shocking that a woman would write such a piece at that time, and even more so that the editor agreed to publish it. I can only imagine the electric shock the readers must have felt when they first read it. It's funny that you brought up that story because I was also thinking about it. Towards the end, after the shockwaves of the revelation of a corrupt, sexually predatory priest, there's this dream sequence about what happens when the woman he assaulted dies. I didn't quite know how to read that. I felt like I was struggling too. On one hand, it almost felt like editorial resistance. Because it's so wildly different to the rest of the story. It's heartbreaking that she envisions them being together in death because it's entirely at odds with what the rest of the story is trying to say. It's such a product of its time that it was included, and now, reading it, it feels tragic. Sometimes, I even wondered if the editor asked the writer to rewrite the ending – put some plaster on it because it might be too much for the audience to handle. A bit of whitewash, don't you think? The 'terrible' editor must have said, 'Do something!' That was fascinating. Yes, and that just makes me think back to how I see the Odia collection. For me, it's centred squarely in the village – there's starvation, the seeds of urbanisation, but it's really rooted in rural life. On the other hand, the Malayalam collection feels largely urban. You have degrees, law and order, the written word, letter writing, and epistolary short stories. But with the Kannada collection, I found it hard to categorise thematically – it feels sprawling in a way. How do you envision these three collections? I never really had a categori s ation like that in mind, but now that you bring it up, in an interview last week, someone asked me how I made my selections. It's not just about these books but my general work. I mentioned that rural India has always been left out of mainstream publishing. Publishing is an urban phenomenon, and the same goes for translation. Even regional language writers – those who were close to publishers in bigger cities got their break. But very few from outside those circles ever made it. So when I started working on translations a long time ago, one of my goals was to bring rural India into the fold and work with novels set in small towns or villages. I was interested in seeing the connections between how people lived in these places and how their lives changed when they moved to urban areas, and the mix that came about when they went back to their villages. That was a preoccupation of mine, and it continues to be. I haven't always succeeded in selecting that kind of novel or getting translators to agree to work with that kind of novel. So, to answer your question, no, I didn't impose a specific base or theme. It just so happened that when the translators of the Odia collection looked back at the writing from that time, the focus in Odisha was on village life. Most of the prominent writers were from well-established, educated families, but they were still strongly rooted in their hometowns or villages, their places of origin. That must have influenced the focus on rural life in those stories, especially considering that it was a comparatively less developed region of India at the time. In what ways do you think the translational landscape in India has changed over the past couple of years? How has that been for you in the middle of it? When I started publishing translations in the 90s, it was a very depressed industry. I could never have done anything at all if my friends who ran a big trust hadn't funded the Macmillan translations then. Early translations were a sort of formal, official, very stiff English set in place by Englishmen who studied our languages and made the translations. So, of course, they had regional language experts to help them, Indian experts. But when the Indians took over, they felt they had to use that same kind of stiff, formal English. So for a long time, I would say translations done in the 40s to 60s suffered from incorrect grammar and stiffness. Let's face it, an uneducated person in a household wouldn't use the same language as an educated person would. So there was that very stilted language. Then came the shift between the '70s and the '90s when translators started to take risks. And then that voice appealed to the Indian reader because that was their own voice. And that's how, I think, part of the popularity of translations began. For a long time, Indian writers in English completely blanketed the landscape, and translations were not held in any kind of regard. Translators' names were even kept off the cover! I think I was the first to insist on equal rights and equal payment also for authors and translators at Macmillan. I had the translators' names on the cover, their pictures in their brochures, royalties, and advances. Many publishers, I think, even today, don't give translators the same royalty. It's less than what they give authors. So the recognition of translation as an important, and not a secondary, as a significant original and creative work in its own right has only come very slowly and recently. Luckily, 20 years ago, awards were set up: the Crossword Book Award, the Hindu Literature Award, and the JCB Prize for Literature. There were so many other local prizes for translation. Many things came together in a very diverse market like ours, where people, where books are not the most important things that people go for, and the library movement also helped. All those things came together to give translation a certain profile, which it didn't have for many decades before. And that has happened very recently. Earlier, you had to fight and campaign to get a space for a translator to talk about a particular item. Now, writers are invited to school, to colleges, to universities. That's a very exciting thing because translators and writers speak together and talk to audiences and students. These things make a very big difference.
