Bibliografías temáticas / Palindromic verses in Tamil

Literatura académica sobre el tema "Palindromic verses in Tamil"

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Publicado: 27 de julio de 2024
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Palindromic verses in Tamil"

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TREANOR, LUCIA. "Palindromic Structure in the “Pardoner's Tale”". Michigan Academician 41, n.º 1 (1 de enero de 2012): 53–67. http://dx.doi.org/10.7245/0026-2005-41.1.53.

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ABSTRACT This paper explains the medieval writing process known as palindromic structure, a face of anagogy that, as far as we can determine, has largely been ignored in literary criticism. It begins by examining the “little verses” of Augustine of Dacia that were a staple of schoolboy studies, and demonstrates how the verses were used to teach the creative process to students of Latin composition. Then, after introducing Mary Douglas's criteria for identifying the structure, it sets forth Chaucer's “Pardoner's Tale” as a well-balanced palindrome, arguing for authorial intentionality by referencing a section of the “Parson's Tale.” It offers John Dryden's observations about Chaucer's characters—which he has written in palindromic structure—to show that later British authors were aware of Chaucer's method, and concludes by giving evidence that Chaucer knew some Greek.
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Ahmad Zubair, K. M. A. "செவ்விலக்கியக் கவிதைகளில் யாப்பு முறைமைகள் : தமிழ் மற்றும் அரபிக் கவிதைகளை முன்வைத்து". Shanlax International Journal of Tamil Research 5, n.º 1 (1 de julio de 2020): 28–32. http://dx.doi.org/10.34293/tamil.v5i1.3401.

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The Prosodical rules should be followed properly in the composition of Classical Rhymed poems/ verses in Tamil and Arabic. In both these classical languages, Tamil and Arabic; there are set of Prosodical rules. In the Prosodical elements namely syllable, poetic word pattern and stanza, we found unique similarities in both these classical poems. The aim of this article is to throw light on the similarities found in these Prosodical elements of classical Arabic and Tamil Poems.
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Akeyipapornchai, Manasicha. "Translation in a Multilingual Context: The Mixture of Sanskrit and Tamil Languages in Medieval South Indian Śrīvaiṣṇava Religious Tradition". Journal of South Asian Intellectual History 2, n.º 2 (25 de noviembre de 2020): 153–79. http://dx.doi.org/10.1163/25425552-12340016.

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Abstract In this paper, I investigate South Asian multilinguality by focusing on the medieval South Indian Śrīvaiṣṇava religious tradition (originated in the tenth century CE), which employ Sanskrit, Tamil, and Maṇipravāḷa, a hybrid language comprising both Sanskrit and Tamil, in their composition. Through the lens of translation and hybridity, I propose to complicate the recent scholarship on the Sanskrit and vernacular languages (e.g., Pollock and interlocutors) and also respond to the scholarly call for research that addresses the distinctive history of South Asian multilinguality. In particular, it explores the use of multiple linguistic media by one of the most significant Śrīvaiṣṇava theologians, Vedāntadeśika (c. 1268–1369 CE), in his Rahasyatrayasāra. The Rahasyatrayasāra which deals with soteriological and ritual aspects of the Śrīvaiṣṇavas was composed in Maṇipravāḷa and furnished with Sanskrit and Tamil opening and concluding verses. Through the investigation of the Maṇipravāḷa content in relation to the verses in the Rahasyatrayasāra, I argue that Maṇipravāḷa can be considered translation as it brings the Sanskrit and Tamil streams of the tradition together into a single context that can accommodate both. For a multilingual community like the Śrīvaiṣṇavas, Maṇipravāḷa, which represents translation into a hybrid, makes possible the collective religious identity.
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Anitha, D. "Tholkaappiyam and Contemporary Language Change in Tamil". Shanlax International Journal of Tamil Research 4, n.º 4 (1 de abril de 2020): 94–99. http://dx.doi.org/10.34293/tamil.v4i4.2399.

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The grammar of a language is subject to change as language change occurs. For instance, the grammar explained by Nannul differs from that of Tholkaappiyam, although both are Tamil grammar treatises. The aim of this article is to explore the verses of Tholkaappiyam that have become obsolete grammar rules. The study is limited to the Eluthatikaram chapter of tholkaappiyam.
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Ramaswamy, Sumathi. "Language of the People in the World of Gods: Ideologies of Tamil before the Nation". Journal of Asian Studies 57, n.º 1 (febrero de 1998): 66–92. http://dx.doi.org/10.2307/2659024.

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Once upon a time, long before the rise of the modern nation, a language named Tamil wandered about in a world inhabited by divinities and extraordinary beings. This was an enchanted world of miraculous events and wondrous deeds, where the dead were brought back to life, and deserts transformed into fragrant groves; and where verses in Tamil cured fevers, stopped floods, and impaled enemies. It was a world in which poets, because of their mastery of Tamil, lorded over the gods themselves, and in which celestials vied with each other to win the affections of the language. There were even those who insisted that devotees of Tamil could look forward to a life amongst the gods, while its enemies were destined to languish in hell.
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Et. al., Broskhan P,. "VADIVELU DIALOGUES AN ANYONE'S COLLOQUIALISM AND IDIOLECT". Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, n.º 11 (10 de mayo de 2021): 1615–26. http://dx.doi.org/10.17762/turcomat.v12i11.6092.

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The importance of humor can be understood by looking at the meaning of the Tamil proverb, "If you smile, you will get rid of the disease". The most interesting in cinema can also be the most desirable and always-seen scene comedy. Everyone from the youngest to the oldest loves comedy. Any idea is easily reached when told through humor. As far as Tamil cinema is concerned, a lot of comedians make people laugh and think. Vadivelu in particular has a very important place in the personality. Vadivelu may be a reaction of the common people. This study explores the linguistics that Vadivelu used in the verse he used in his comedy scenes. Tamil languages use a wide variety of Colloquialism and Idiolect. We use many language strategies in our daily lives. For example, proverbs and stories are popular among the Tamil people. Vadivelu used this linguistic technique extensively in films. Five films released in different eras were Manathai Thirudi Vittai(2001), Arya(2007), Chandramuki(2005), Pokkiri(2007) and Talanagaram (2006). The comedy of these films is still widely talked about among the people today as these films were released a while back. The reason for examining these films may be the character of Vadivelu in these films and the verses used in them. We seek to examine how Vadivelu's verses are inspired and used in the normal life of the people. The purpose of this study is to determine how characterization in language takes place in the individual and the basic biology of a group. And how this linguistic characteristic takes place in films. In particular we explore the connection between the success of Vadivelu’s comedy scenes and social use.
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V, Ramesh. "Cultural Traditions in Poet Meera's Free Verses". International Research Journal of Tamil 4, S-6 (30 de julio de 2022): 249–55. http://dx.doi.org/10.34256/irjt22s635.

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Meera's poems are classical, verse, satire, poems, poets' forum, and short poems. He also made his mark in the world of journalism through "Annam Vidu Thoothu, Kavi, Om Shakthi, and Moota Magazine." He is the recipient of many distinguished awards. He is a professor, fighter, poet, essayist, journalist, publisher, printer, and founder of the press, who created various dimensions. In the Tamil literary tradition, free verse, a literary form, has been of great value and influence in the last century and the present century. There were many innovations and revolutions in the subject matter and the method of singing, and a number of new poems were created. Not only that, but free verses are also being created today about the cultural virtues, thoughts, human emotions, and humanities that should be possessed by man. In this way, this article explores the cultural norms of contemporary society found in the poems of Meera, who is the pioneer of new poetry.
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T, Sheeba y Praveen Sam D. "Literary Interpretations based on the studies on Occasional Verses of the Medieval Period". International Research Journal of Tamil 3, n.º 3 (23 de julio de 2021): 82–88. http://dx.doi.org/10.34256/irjt21311.

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Poets recreate their innermost feelings in the minds of the readers through their poems. In addition, the vast majority of occasional verses sung on poets’ own emotions. They are therefore classified as autobiographical poems. In these songs, poets not only write about the beauty of nature but also about their experiences of life and the literary world. Literature composed of pleasure, humour, carefree contentment, and the emotions of fear, sadness, anxiety, pain, rivalry, jealousy, frustration, and struggle are largely discussed in the occasional verses of medieval literature. The role of literature in the sociological and psychological analysis of the everyday life problems of poets becomes an integral part of their themes. How do the problems that this society affect the soul of an individual? In it, one can learn from the literature of the time. The success of the creators is that they create the best literature related to human life. Further, the uniqueness and personality of a poet are known by the excellence of his or her conceptual style. This article studies the verses that have been excluded from the history of Tamil literature, and known as the "Occasional Verses Collection (Single Anthology)".
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Kędzia, Ilona. "The Triggers of Transformation". Asian Medicine 17, n.º 1 (14 de marzo de 2022): 60–84. http://dx.doi.org/10.1163/15734218-12341507.

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Abstract This article studies the comprehensive medico-alchemical Tamil text Six Hundred Verses by Siddhar Yākōpu. Through an analysis of selected sections of this text, the article explores the discourse on the preparation called cavukkāram. Cavukkāram seems to be crucial for the medico-alchemical system exposited in the book, where it is portrayed as a potent catalyst that enables both alchemical operations on inanimate matter and remarkable transformations of human beings. The article explores the recipes, powers, and further processing for cavukkāram, drawing out ambiguities and inconsistencies in the discourse on the substance and the equivocalness of the text. It concludes that Six Hundred Verses describes, among other things, several different methods of preparing a substance called cavukkāram; the vocabulary in the recipes is highly ambiguous, and certain ingredients are presented as rare and difficult to attain – all of which adds to the obscurity of the discourse.
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Ishak Samuel, Samikanu Jabamony. "An Analysis of the mythical aspects of the Ramayana in Malaysian Tamil New Verses". Journal of Tamil Peraivu 1, n.º 1 (15 de julio de 2015): 87–95. http://dx.doi.org/10.22452/jtp.vol1no1.9.

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Tesis sobre el tema "Palindromic verses in Tamil"

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Huang, Yi-Jing y 黃意靜. "A Study of Palindromic Verses in Yiguan Dao''s Oracle -- Using "Practice According to Dao Conforms with Human Nature" As Example". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/33216939917878653343.

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Libros sobre el tema "Palindromic verses in Tamil"

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Amitacakarar. [Amitacakarar iyar̲r̲iya yāpparuṅkalakkārikai, Kuṇacākarar iyar̲r̲iya uraiyuṭan̲] =: The verses on the precious jewel prosody. Pondichéry: Institut Français de Pondichéry, 1993.

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S, Ganapatisubramanian, Sundararaman M y Bhāskararāya fl 1675-1751, eds. Śrī Lalitā Sahasranāmam =: Śree Lalitā sahasranāmam : with meanings and commentaries in English : with transliteration of Samskrit verses/names, a lucid English rendering and commentaries : a translation of the book written in Tamil by Śree S. Ganapatisubramanian and Śree M. Sundararaman mainly based on "Soubhāgya Bhāskaram" the commentary in Samskrit by Śree Bhāskararāya. Nagercoil: CBH Publications, 2011.

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PALIN DROMIC VERSES IN TAMIL (A RESEARCH BOOK). Sridhar offset printers, 2011.

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Pattupattu, ten Tamil idylls: Tamil verses with English translation. Thanjavur: Tamil University, 1985.

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5

Karunanithi, M. Gleanings from Sangam verses: English version of Sangat Thamizh (Tamil University publication). Tamil University, 1997.

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Capítulos de libros sobre el tema "Palindromic verses in Tamil"

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Selby, Martha Ann. "Young Men Speak to Their Lovers "Anger Has Become Your Lover, Not l"". En Grow Long, Blessed Night, 164–68. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0011.

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Abstract This group of seven poems opens with four fine verses from the Sanskrit Amarufataka in which the man begs his beloved for forgiveness (it is unclear in some of these verses whether the pair are married or unmarried lovers). This particular theme is a favorite among Sanskrit poets, and it is one greatly favored by the poets anthologized in the Amaru collection especially. Compare poem 11.2 with poem 11.4, a Prakritgatha, keeping in mind their contexts and the suggestion that we can understand such verses to be “studied arguments.” s Poem 11.5 is a lovely example of Prakrit pillow talk, and 11.6 an artful piece of flattery addressed simultaneously to the men's beloved and the moon. This poem is a simple but beautiful sample of innovation within the bounds of sometimes rather tired convention,this verse being an inversion of the common simile, "Your face is like the moon." This section ends with a Tamil poem from Kuruntokdai, in which the man offers tender premarital reassurance to his lover.
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Selby, Martha Ann. "Wives’ Friends Speak to Husbands’ Messengers (and to the Husbands Themselves) "Just Where Does Your Chariot Think It's Going?"". En Grow Long, Blessed Night, 215–25. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0017.

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Abstract The first four poems of this chapter are spoken by the confidantes of abandoned wives to their husbands’ messengers. In every case, these words are said and then carried to the husbands to impel them to hurry home. Poems 17.5-17.19 are all addressed directly to the husband. Verses 17.5-17.7 are oblique instructions to husbands who are clumsy or overeager, or who don’t quite understand the importance of conjugal happiness. The tropes of the man-as-bee/woman-as-jasmine-bud are popular, almost overexploited metaphors in Prakrit and Sanskrit convention. In poem 17.8, the confidante tells the husband how much his newly pregnant wife loves him. Poems 17.9-17.13 are all from the Tamil tradition. The confidante quotes the wife verbatim to the husband, and it is unclear whether this is a time-honored convention or a latter-day commentarial “intervention”-it is possible that U. Ve Caminataiyar and other modern Tamil Commentators were uncomfortable with the idea of such direct confrontations between quarreling husbands and wives.
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Selby, Martha Ann. "Wives Address Their Philandering Husbands "More Than Three Are Bees Sucking Honey from Budding Flowers"". En Grow Long, Blessed Night, 197–205. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0015.

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Abstract The fifteen poems in this chapter all represent the voices of unhappy wives (the commentaries attached to a few of these verses suggest that the speakers could also be unmarried women who are lashing out at inconstant lovers). This section opens with two poems that depict protesting wives as their husbands set out on long journeys. Poem 15.1, a Prakrit gatha, is a bit opaque in meaning but commentator Mathuranath Sastri offers this interpretation, adopting the voice of the wife: "Whoever might be cut off from my heart for just an instant would naturally be remembered. But a man who lives night and day in my heart, how can I remember him? "The point seems to be that a love that lives in memory is not a love worth having! Poem 15.2, from the Sanskrit Amarufataka, ends in a bald suicide threat. Poem 15.3, a Tamil verse from Kuruntokdai, is addressed to a crowing rooster (but meant for the husband's ears). Since this unusual poem is set in the Marutam landscape, we can surmise that the husband has been sleeping with other women but has decided to return home. Poems 15.4-15.10 all record the voices of women as they bitterly quarrel with their men. All of these poems(with the exception of poem 15.4, a Prakrit gatha), are from the Amaru collection and demonstrate the pure genius of the authors associated with this anthology-their ability to create monologues and dia longues such as these, employing highly complex, algebraic meters while maintaining a perfectly colloquial tone, is unparalleled in other South Asian literary traditions. The final six poems all directly allude to rivals. Verses 15.10 and 15.11, from the Tamil anthology Ainkurunuru, are spoken by a women whose body has been ruined by childbirth. Her husband has taken on lovers, and she shames him. This is a theme that is unique to the Tamil tradition. The final poem in this series, a Prakritgatha, is spoken by a senior wife: She says this obliquely to her husband, who has focused all of his affections on a new co-wife. The senior wife compares herself to a serviceable, durable shawl that is warm in winter-what good is an ox against the cold?
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Henry, Justin W. "The Many Ramayanas of Lanka". En Ravana's Kingdom, 50—C3.N106. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197636305.003.0003.

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Abstract This chapter collates references to Ravana in Sinhala folklore, poetry, and topographical and historical prose texts from the fourteenth century to the British colonial period. I argue that formative Sinhala Buddhist impressions of Ravana were generated in large part through highly informal contexts; that is, through storytelling and the composition and augmentation of poetic verses, not as a derivation from the canonical sources or “high kāvya” which one might expect (the Vālmīki Rāmāyaṇa or Kampan’s Tamil version of the epic). I argue that the establishment of Ravana’s character in Sri Lankan imagination during the early modern period appears to have been the result of exchanges between ordinary people—largely outside of the purview of courts, salons, and monastic colleges.
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Selby, Martha Ann. "The Voices of Mothers and Foster Mothers "Her Hair Not Even Long Enough to Tie in a Knot"". En Grow Long, Blessed Night, 189–96. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127331.003.0014.

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Abstract The following eleven poems are all spoken by mothers and foster mothers who are pining for their young daughters after they have eloped with their lovers. All of these poems are from the Tamil anthologies-the convention of mothers’ lamentations is utterly unique to Tamil poetics. The poets of this tradition had a finely tuned sense of how parents fit in with the erotic lives of their children. The first two poems are spoken by the young girl's foster mother (cevilit-tay). In poem 14.1, the foster mother sets out in search of the eloping couple and gives voice to her despair, and in poem 14.2, the foster mother comforts the bereft and grieving biological mother (narray) and says prayers for the eloping couple's comfort as they make their way across the desert wastelands appropriate to the palai landscape, that of abject and sometimes permanent separation. Poems 14.3-14.8 are culled from a decad of verses found in Ainkurunuru, makat-pokkiya vali-t-tay iranku pattu, "that decad of the mother's lamentations at the elopement of her daughter."She complains about the gossip her daughter's rash actions have caused, curses the young man's mother for ever having given birth to him, describes the utter foolishness of her daughter, who has gone traipsing off to forests so tangled that even the monkeys stay out of them, and remarks bitterly on the name that her daughter's friends have given her.
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