INFLUENCE OF TILAK IN MUMBAI KARNATAKA FREEDOM MOVEMENT

Authors

  • Kakasaheb Laxman Gasti Ph.D Research Scholar, Department of History and Archaeology, Karnataka University, Dharwad

DOI:

https://doi.org/10.29121/shodhkosh.v2.i2.2021.4182

Keywords:

Mumbai, Belagavi, School, Kannada, Desagati, Kesari, Jamakhandi, Dharwad

Abstract [English]

Mumbai Karnataka shares its boundaries with Goa and Maharashtra in the northwest, in the east with Hyderabad Nizam of pre independence, Mysore before integration in the south, and Arabian sea at the west, is the geographical location of Mumbai Karnataka. Kannada is the primary language here. This Mumbai Karnataka was the southern area of Mumbai Presidency which comprised of revenue districts like Belagavi, Dharwad, Uttar Kannada and Bijapur. Along with these places it also included Mudhol, Jamakhandi, Ramadurg, Savanur and many other such princely states. The development of national freedom movement is the important incident of Modern India .This freedom movement was the major movement which started after the Sepoy Mutiny of 1857.The freedom movement was initiated by many freedom strugglers and intellectuals. Tilak was one of the main leaders of struggle who made this movement a public movement.

References

Kannada language encyclopedia, history and archaeology, kuvemu kannada learning center, Mysuru university 2009, page 456

Suranath kamat, swatantra sangaramada smrutigalu (first volume) Geeta book house mysuru 1974 pag 139

Same, page 1179

Shankar ghosh, political ideas and movements in india, allied publishers 1975 page 73

Suranath kamat, swatantra sangaramada smrutigalu (second volume) geeta bookhouse

Mysuru page 955

Suranath kamat , swatantra sangramada smrtigalu (first volume) geeta bookhouse mysuru 1974, page 986

Shankar narayanrao np swatantra gangeya saavira toregalu, navakarnataka , 9 publication 2013 page 138

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Published

2021-12-31

How to Cite

Gasti, K. L. (2021). INFLUENCE OF TILAK IN MUMBAI KARNATAKA FREEDOM MOVEMENT. ShodhKosh: Journal of Visual and Performing Arts, 2(2), 304–307. https://doi.org/10.29121/shodhkosh.v2.i2.2021.4182