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Air India Open Ticket

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    open ticket
  • The return leg of a round-trip ticket that does not hold the traveler to a particular flight, time, or day but can be used as need be.

  • Ticket that is valid for transportation between certain points but indicates no specific reservation.

  • (Open Tickets) Change a ticket for a ticket CLOSED OPEN will be considered as a cancellation of departure.

    air india
  • Air India (??? ??????) is a state-owned flag carrier of the Republic of India. It operates a fleet of Airbus and Boeing aircraft serving Asia, Europe and North America. It is India's oldest and largest airline.

  • Indian Airlines or Indian (?????? ???????? or ??????) is a major Indian airline based in Mumbai and focuses primarily on domestic routes, along with several international services to neighbouring countries in Asia.

  • FC Air India, found in 1952, is an Indian professional football club based in Mumbai, Maharashtra. They are sponsored by Air India under the management of T.K. Singh and have enjoyed some success in the Maharashtrian Football and the NFL India. They play in the I-League and Mumbai Super Division.

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Analyse und Evaluierung bestehender Test Management Programme: zur Erweiterung eines bestehenden Open Ticket Request Systems mit dem Ziel der Verknüpfung von Testfällen und Tickets (German Edition)

Analyse und Evaluierung bestehender Test Management Programme: zur Erweiterung eines bestehenden Open Ticket Request Systems mit dem Ziel der Verknüpfung von Testfällen und Tickets (German Edition)

In dieser Arbeit wird ein strukturierter Ansatz zur Evaluierung webbasierter Test Management Programme vorgestellt. Als Ergebnis soll eine Empfehlung uber geeignete Test Management Losungen fur die Verwaltung von Akzeptanztests bei der XY GmbH in Dresden entstehen. Die Arbeit entstand im Rahmen eines Auftrages durch die XY GmbH. Als erstes wird der momentane Testprozess analysiert, aus den Ergebnissen dieser Analyse werden Anforderungen an die Programme formuliert, welche anschlie?end in einem praxisnahen Szenario gepruft werden. Abschlie?end werden Empfehlungen fur den Einsatz der uberpruften Losungen gegeben, sowie Anpassungen dieser aufgezeigt.

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Among the countries of the developing world, India has one of the older and better-organized diplomatic services. Part heir to the ‘Political Service’ of the renowned colonial Indian Civil Service, the Indian Foreign Service was established in 1948, a year after independence. From the outset the IFS was imbued with a sense of uniqueness and relative isolation from the rest of the central government, due primarily to the circumstances of its cre- ation as virtually a personal project of India’s first prime minister, the urbane and worldly national movement leader Jawaharlal Nehru.

In 1946, on the eve of independence, Jawaharlal Nehru articulated India’s commitment to approach the world with “clear and friendly eyes” and spoke of the newly liberated country’s right to choose an external pol- icy that reflected its independence and was not a pawn in the hands of others — the basic policy of nonalignment. Nehru functioned as his own foreign minister for his entire prime ministership, from 1947 until his death in 1964. It was Nehru who set up the Indian Foreign Service and, with his towering personality and penchant for micro-management, stamped it indelibly with his style as well as his worldview. For nearly two decades, both the IFS and the Ministry of External Affairs basked in Nehru’s reflected glory.

It is not our purpose to discuss the Nehruvian foreign policy legacy, but some instances of his passion for detail help shed light on facets of the Indian Foreign Service. It was not unusual, for example, for Nehru to write replies to incoming cipher telegrams from ambassadors, which were then sent out in the name of heads of territorial divi- sions, or even their deputies. In the very readable mem- oirs written by Badr-ud-din Tyabji, former ambassador and secretary in the MEA, Memoirs of an Egoist (Roli Books, 1988), this has been described as the syndrome of the time: “leave it to Panditji” — pushing up all decisions to Nehru, however minor.
Working on the staff of Prime Minister Indira Gandhi in 1981-82, I came upon a set of long notes exchanged in the mid-1950s between Nehru and the Civil Service head of MEA, called the Foreign Secretary in Indian termi- nology. Nehru sent him a four-page note describing the criteria that should be applied to the selection of ambas- sadors. The Foreign Secretary sent a two-page rejoinder the same day, gently pointing to the practical difficulties in finding ideal choices, to which Nehru sent a further long response the next day. No decision was taken, the more so as selection of envoys was principally the prime minister’s prerogative, with the Foreign Secretary acting as his adviser. The exchange reflected Nehru’s passion for philosophical debate and his speed of thought, but also a certain disinclination for hard decisions.

The fact that for the first 30 years new entrants had to rank among the top 20 to 40 individuals in the Union Public Service Commission annual combined Civil Services examination merit list, out of the 20,000 to 40,000 who sat for the exam (which was the only entry route into the high civil services, including the sister ser- vice, the Indian Administrative Service), reinforced the sense of elitism.

In recent years career opportunities in India have greatly expanded. Yet the civil service, and the IFS in particular, continue to attract top talent. What are the contours of this diplomatic service today? What are its strengths and weaknesses?

The IFS Today


The first thing to note about the Indian Foreign Service is that it is exceptionally small in size, by comparison with not just India’s needs but also the func- tions performed. To operate some 115 embassies and permanent missions and 40-odd consulates abroad, plus man the MEA, there are only some 750 officials of the rank of desk-officers and above (i.e., third secretaries and higher). By comparison the “tail” is much longer, consist- ing of about 2,800 non-diplomatic support personnel, according to the MEA Annual Report published each March.

MEA simply does not have the personnel it needs for vital tasks, and the number of missions abroad is too large. Ideally, looking to the experience of other major services, the ratio of officers at headquarters to missions should be around 1-to-1.5 or -2: in India it is 1-to-4. The IFS cadre needs urgent expansion to at least 1,000, and with it a pruning of support staff, via upgrading many to function as junior desk officials. With this must come also a reduction in the number of missions and posts. But as long as assignments abroad are seen as an essential “right,” vested interests block these cutbacks.

The results are plain to see. Public diplomacy, for example, is in its infancy in India, not because its meth- ods are not understood, but b

Petula Clark

Petula Clark

German postcard by Kruger, posted by mail in 1965. Photo: Pierre Spitzer.

Singer, actress and composer Petula Clark (1932) is the most successful British female solo recording artist. She began as as Britain's Shirley Temple, and appeared in over 30 films. During the 1960’s she became internationally known for her upbeat hits, including the evergreen Downtown.

She was born Petula Sally Olwen Clark to an English father and Welsh mother in Epsom, England. As a child, she sang in the chapel choir. In 1942, she made her radio debut while attending a BBC broadcast with her father, hoping to send a message to an uncle stationed overseas. During an air raid, the producer requested that someone perform to settle the jittery audience, and Clark volunteered a rendition of Mighty Lak a Rose to an enthusiastic response in the theatre. She then repeated her performance for the broadcast audience, launching a series of some 500 appearances in programmes to entertain the troops. In addition to radio work, Clark frequently toured the UK with fellow child performer Julie Andrews. "Britain's Shirley Temple" was considered a mascot by the RAF. In 1944, while performing at London's Royal Albert Hall, Clark was discovered by film director Maurice Elvey, who cast her as an orphaned waif in his weepy war drama Medal for the General (1944). In quick succession, she starred in Strawberry Roan (1945, Maurice Elvey), I Know Where I'm Going! (1945, Michael Powell, Emeric Pressburger), London Town (1946, Wesley Rles), and Here Come the Hetts (1948, Ken Annakin), the first in a series of Hett Family films based on a British radio series. Although most of the 24 films she made during the 1940’s and 1950’s were B-movies, she did work with Anthony Newley in Vice Versa (1948, Peter Ustinov) and Alec Guinness in The Card (1952, Ronald Neame). In 1946, she launched her television career with an appearance on a BBC variety show, Cabaret Cartoons, which led to her being signed to host her own afternoon series, titled simply Petula Clark. A second, Pet's Parlour, followed in 1949. In later years, she starred in This is Petula Clark (1966-1967) and The Sound of Petula (1972-1974).

In 1949, Petula recorded her first songs Music, Music, Music and Put Your Shoes On, Lucy. Because neither EMI nor Decca, for whom she had recorded, were keen to sign her to a long-term contract, Clark's father teamed with Alan A. Freeman to form their own label, Polygon Records. She scored a number of major hits in the UK during the 1950’s, including The Little Shoemaker (1954), Majorca (1955), Suddenly There's a Valley (1955) and With All My Heart (1956). It was around 1955 that Clark became romantically linked with Joe "Mr Piano" Henderson. Their relationship lasted a couple of years, professionally culminating in a BBC Radio series in which they performed together. Near the end of 1955, Polygon Records was sold to Pye Records, for whom she would record for the remainder of the 1950’s, throughout the 1960’s and early into the 1970’s. In 1958, Clark was invited to appear at the Olympia in Paris where, despite her misgivings, she was received with acclaim. At the office of Vogue Records she met publicist Claude Wolff, to whom she was attracted, and when told he would work with her if she signed with the label, she agreed. Her initial French recordings were huge successes. Gradually she moved further into the continent, recording in German, French, Italian and Spanish, and establishing herself as a multi-lingual performer.In 1961, Clark married Wolff. Wanting to escape the strictures of child stardom imposed upon her by the British public, and anxious to escape the influence of her father, she relocated to France, where she and Wolff had two daughters, Barbara Michelle and Katherine Natalie. Their son Patrick was born in 1972. While she focused on her new career in France, she continued to achieve hit records in the UK into the early 1960’s, developing a parallel career on both sides of the Channel. Her 1961 recording of Sailor became her first #1 hit in the UK. In France, Ya Ya Twist (the only successful recording of a twist song by a female) and Chariot (the original version of I Will Follow Him) became smash hits in 1962. Released in four different languages in late 1964, Downtown was a success in the UK, France, Netherlands, Germany, Australia, Italy, and even Rhodesia, Japan, and India, and it went to #1 on the US charts in January 1965. It was the first of fifteen consecutive Top 40 hits Clark scored in the USA, including I Know a Place, My Love, A Sign of the Times, I Couldn't Live Without Your Love, This Is My Song, and Don't Sleep in the Subway. She was honored with Grammy Awards for Downtown in 1964 and for I Know a Place in 1965. In 2003, Downtown was inducted into the Grammy Hall of Fame.

In 1964, Petula Clark wrote the musical score for the French crime caper A Couteaux Tires/Daggers Drawn (1964) and also pla

air india open ticket

air india open ticket

Andre Agassi Limited-Edition Through the Years Photos w/ 2006 US Open Ticket and Finals-Used Net

This limited-edition piece showcases Andre Agassi and his three decades of US Open play. Features three original glossy photos of Andre, one from each decade of US Open competition. Also includes a ticket to the 2006 US Open (his last), and a swatch of net used during the 2006 Men's Final.

Our art studio uses the highest quality framing techniques to enhance the beautiful piece. This piece has high-quality protective glass set in a solid-wood frame with a mahogany finish. Sure to be a unique and cherished item for every collector and fan!
Dimensions (inches): 24 x 24

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