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The recently developed theory called Theory of Accountability (Theory A) for organizations of 21st century identifies the various factors which affect the organizational human resources performance. The essential components identified to improve the productivity of any organization based on the postulates of Theory A are (1) Planning, (2) Target setting, (3) Motivation, (4) Work Strategies, (5) Responsibility, (6) Role model, (7) Monitoring & Guiding, and (8) Accountability. The objective of this paper is to apply the components of Theory A to Indian Banking system and to study how to improve the productivity of the banking system for economic progress in India. Accordingly we analysed the business model and the organizational strategy of Indian Banks in terms of their business objectives, service planning, target setting for the employees, employee motivational factors, working strategies to improve productivity, selfand mutual responsibilities among individual employees and in their teams, concept of role model in banking service innovation, continuous monitoring and guiding strategies, and finally accountability of each and every employee at different organizational levels. The applicability of Theory A on both private and public sector banks are discussed in general and suitable suggestions are proposed to the banking sector to improve productivity based on the postulates of Theory A.

This essay uses Santosh Sivan's art film The Terrorist and its portrayal of a female suicide bomber as the basis for exploring discourses on terrorism that often dismiss the explosive politics of suicide bombers as unequivocally immoral and irrational and take as a given the notion that female combatants are subservient to patriarchal models in contexts of war. The essay draws from social theory, particularly Achille Mbembe's Necropolitics, to consider the ways in which subjectivities are marginalized and rendered invisible in violent societies, and how the suicide bomber complicates the paradigms by which such subjectivities are deemed to be alive. The essay then moves into textual analysis of the film to consider the ways in which its art-cinema style negotiates these matters by portraying the central conflict between individual and social death that challenge how we register the motivations behind suicide bombings and the intellectual discussions that frame them.

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