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TREANOR, LUCIA. "Palindromic Structure in the “Pardoner's Tale”". Michigan Academician 41, n.º 1 (1 de janeiro 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 julho 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 novembro 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 (fevereiro 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 maio 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 julho 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, e 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 julho 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 março 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 julho de 2015): 87–95. http://dx.doi.org/10.22452/jtp.vol1no1.9.
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Kędzia, Ilona. "The Transforming Science". Cracow Indological Studies 22, n.º 1 (15 de outubro de 2020): 155–85. http://dx.doi.org/10.12797/cis.22.2020.01.07.
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The Transforming Science: Some Remarks on the Medico-Alchemical Teachings in Selected Works of Siddha Yākōpu, with Special Reference to the Kuru Nūl Aimpattaintu
The paper explores the concept of variously conceived transformations associated with figurative transcendence of manifold limitations, referred to in medico-alchemical Tamil Siddha literature. The research has been based on the study of selected texts of Yākōpu alias Irāmatēvar, one of prominent Tamil Siddha authors dated to 17th–18th centuries. Special reference has been made to the Kuru Nūl Aimpattaintu (“Fifty-five [Verses] of the Book on the Excellence”), considered by its author as a book containing some essential teachings of his science. The transformations referred to in the text concern both the domains of the human body, and the non-biological matter, being the object of alchemical operations of the Siddha adept. Such transforming science taught by Yākōpu is based on the action of certain substances credited with extraordinary potency.
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S.P, Induja. "The Four Types of Varunathar Culture in Sangam Literature". International Research Journal of Tamil 4, S-6 (30 de julho de 2022): 235–41. http://dx.doi.org/10.34256/irjt22s633.
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The Sangam literature clearly captures the way of life and cultural characteristics of the ancient Tamils. It is the Sangam literature that reveals the antiquity and venerability of the Tamil people even today. Literature is composed of beautiful songs that are rich in ideas and imagination. It is through these verses that the backgrounds of the Brahmins, Kings, Vellalas, and Merchants who existed at that time can be understood. The occupations, customs, rituals, etc., of the people who lived in ancient society can be traced back to the Sangam literature. The Tamil language is the classical language of the world's languages. Literature in this language has innumerable details about culture. But in today's environment, culture is only found in the books we read. The purpose of this article is to reveal that the only truth is the idea that everyone, from the common man to the educated, is changing according to the times and the environment.
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Subbulakshmi, S. "Thirugnana Sambandhar - A Mathematician". Shanlax International Journal of Arts, Science and Humanities 9, n.º 1 (1 de julho de 2021): 136–40. http://dx.doi.org/10.34293/sijash.v9i1.3991.
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India has been the Land of notable poets whose exemplary works are world renowned. One such great poet is Thirugnana Sambandhar. He is a saint, poet, philosopher, composer who belongs to 7th Century. He was born in Seerkaazhi of Tamilnadu. He had coined many Special Geometrical poetic structures like Thiru ezhukkootrirukkai (poem with mathematical Triangular Pattern), Maalai Maatru (a poem with palindromic Structure), Mozhi Maatru (a poem in which the meaning of the poem can be observed by a systematic Chane of words), Gomuthri (Flow of the poem in such a way it forms a wave line), Chakramaatru (a poem which is constructed in a circular form ). By the above mentioned amazing structure He has no parallels in the worlds poetry Thirugnana Sambandhar is the epitome of Tamil Literature has penned down many such extraordinary poems. A Mathematician is one who uses an extensive knowledge of Mathematics in their work. Mathematicians are concerned with numbers, data, quantity, structure, space,models and change. Here in this poetic form Thiruezhukkootrirukkai Thirugnana Sambandhar had used numbers in a brilliant way to form a Triangle. This is called “Chitrakavi” in Tamil. By analyzing the whole poem we will get a geometrical structure. In this Thiruezhukkootrirukkai Thirugnana Sambandhar has constructed the words in such a way to form a symmetrical triangle. These triangle is arranged in a perfect mathematical calculation. This can be analysed through the law of binomial co- efficient. This is analysed and proved in this paper. Thirugnana Sambandhar belongs to 7th Century whereas the Scientist and Mathematician Pascal who discovered the law of Bi-nomial co-efficient belongs to 17th century. Other than this Mathematical diagram of triangle this poem has Palindromic numbers which add more beauty to this structure which is also a mathematical calculation. By constructing this amazing poetic structure Thirugnana Sambandhar proves beyond doubt that he is a “Mathematician” of India of the 7th Century itself who had applied the law of triangle earlier.
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S, Jessintha, e Jaiganesh B. "The Political Postulates Constructed in the Epic Perunkathai". International Research Journal of Tamil 4, n.º 3 (6 de julho de 2022): 127–35. http://dx.doi.org/10.34256/irjt22319.
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During Sangam era, petty kings those who were ruling small territories or emperors who conquered many countries and built empires have followed monarchy. This was told in verses of Purananuru (400 heroic poems about kings). It said that, kingdom is hereditary; after a king, only his son has the right to rule his empire. Elderly son takes the crown and his siblings govern and support him in ruling the kingdom. The eldest one who got the right to rule differ themselves according to their mind-set. It will be a burden for those who just depend on tax collection from the people of his kingdom. Whereas it will be as easy as carrying a weight less cork for those who has nobility and excellence. Similarly, an epic King named Udhayanan, who has the right and qualities of a King was crowned by his uncle Vikkiran to rule Vaishali in his young age. This article researches and analyses the political ethics of King Udhayanan through the Tamil poem Perungathai (A Tamil poem that portraits history of King Udhayaṇan).
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Mythreanbu. "Working-Class People's Expressions in Modern Tamil Poetry". International Research Journal of Tamil 4, S-10 (10 de agosto de 2022): 35–39. http://dx.doi.org/10.34256/irjt22s106.
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Although literary works are the products of the imagination of individual writers, they are considered to be the voices of the times. It is appropriate to consider literature as the essence of a long history and as a necessary document for social change, rather than as a dry reflection of social currents. In this way, in the contemporary literary environment, more attention is paid to poetry, lyrical content, expressive ability, social vision, and new ideas than to other types of literature. Free verse, which in recent times has been identified as modern poetry, has developed in the form of singing new verses. Accordingly, these poems have the characteristic of absorbing the modern trends of recent times. In general, the free verse that appeared in the late nineteenth century was renaissance-oriented and addressed the morals of the human race living in a particular place. In addition, they looked closely at the effects of economic and social changes and acted in such a way as to express their effects immediately through depiction. Thus, the modern poems of recent periods depict the various types of changes that occur in society every day. Under it, the ideologies expressed in recent modern poetry appear as sources of 'confessions' and sources of life for the living people. Accordingly, the expressions of modern poetry have focused on important socio-political and economic issues such as humanity, life problems, contradictions, crises, imbalances, effects of contemporary trends, reactions etc. Accordingly, modern literature diverges from the classical language of Tamil grammatical traditional poetry that has existed so far. Individual disability, mental nature, experience impressions, anger at restrictions, resistance, unity for love, failure thoughts, likes and dislikes about politics, and slander can all be found in modern poems. In this way, this review examines the pains of the basic people's lives, the inequality positions, the economic problems of the peasants, and the inhuman misery between the relations from the poems of the recent period.
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M, Jayalakshmi. "Tamilar Valviyalil Pullinangal". International Research Journal of Tamil 4, SPL 2 (28 de fevereiro de 2022): 212–21. http://dx.doi.org/10.34256/irjt22s234.
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The Sangam Tamil people lived in the worship and respect of nature and worshipped as Lord. These blend in with the natural environment. They have preserved and lived a harmonious life. This information can be gleaned from the verses, hymns, and meat objects found in the songs sung by the Sangam poets in the Ettuthogai Noolgal. Although the name bird is given to all flying creatures in Sangam Texts, it is often said to belong to the point of laying eggs and hatching. The Dragonfly, beetle, etc. are also given the name of the flying bird. That is the case with minorities. The Sangam texts show that the name ' Pull' is derived from what is now considered a bird. The purpose of this article is to explore how birds and native life came to be found in the wild. Today many bird species are extinct. This article aim of creating a future idea of conserving bird species.
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Subramani, Jayaprakash, Rajesh Prabhu e Jagadeesapandian Palpandi. "Assessing the Severity of Acute Pancreatitis with CT Severity Index and Other Conventional Methods in a Tertiary Care Hospital in Tamil Nadu, India – A Comparative Cross-Sectional Study". Journal of Evidence Based Medicine and Healthcare 8, n.º 41 (30 de outubro de 2021): 3541–46. http://dx.doi.org/10.18410/jebmh/2021/642.
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BACKGROUND Acute pancreatitis is not uncommon in surgical practice with variable clinical presentation. Because of its potential notable catastrophic complications, it is mandatory to assess the severity at the earliest. In recent times, the decision making in the management is quite difficult due to its complications and outcome. So, an objective assessment of severity based on clinical and laboratory scoring verses computed tomography (CT) severity is still debate, hence the need for study. The purpose of this study was to compare the efficiency of CT severity index verses APACHE II and Ranson criteria in predicting the severity of acute pancreatitis. METHODS A total number of 36 consecutive cases of acute pancreatitis who were admitted between January 2013 and December 2014 in Apollo Specialty Hospitals – Madurai were included in the study. Written informed consent was obtained from all study participants. RESULTS In our study, out of 36 patients, 30 (83.33 %) were males and 6 (16.66 %) were females. The sex distribution shows a clear male predominance. Most of the patients in the present study belonged to the middle age group. Alcohol was the most common cause accounting for 41.7 % of the cases followed by the billiary pathology. CT severity index was the superior tool for prediction of the prognosis and early complications. CONCLUSIONS When using contrast enhanced computed tomography, it was found that there was a significant correlation between the development of organ failure and severity of pancreatitis. The specificity, sensitivity, positive predictive value (PPV), negative predictive value (NPV) and accuracy of Ranson and acute physiology and chronic health evaluation – II (APACHE II) at 48 hours of admission with acute pancreatitis does not correlate in determining the severity of acute pancreatitis. KEYWORDS Acute Pancreatitis, Severity Markers, CT Severity Index
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Rose, Delphine T., e Jeyarani P. "Comparative study of labetalol and nifedipine in management of non- severe preeclampsia and its fetomaternal outcome". International Journal of Reproduction, Contraception, Obstetrics and Gynecology 8, n.º 5 (29 de abril de 2019): 2034. http://dx.doi.org/10.18203/2320-1770.ijrcog20191962.
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Background: In developed countries, 16 percent of maternal deaths were attributed to hypertensive disorders. Of hypertensive disorders, the preeclampsia syndrome, either alone or superimposed on chronic hypertension, is the most dangerous. The incidence of preeclampsia in nulliparous populations ranged from 3 to 10 percent.Methods: The present study was conducted at Government Raja Mirasudhar Hospital, Thanjavur Medical College, Thanjavur, Tamil Nadu, India from October 2017 to October 2018. The study consisted of 100 antenatal women with non-severe preeclampsia. The efficacy of labetalol verses nifedipine in its management was studied along with the fetomaternal outcome.Results: In this study, in the labetalol and in the nifedipine groups adequate control of blood pressure was achieved. However, labetalol was well tolerated by our women without much side effects.Conclusions: The present study indicates both labetalol and nifedipine are equally efficacious in the control of hypertension in non-severe preeclampsia. Pathology of the disease was not altered significantly in both the groups. There was no significant difference in the neonatal outcome between the two groups.
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N, Subha. "Time Theory in Kurunthokai Songs". International Research Journal of Tamil 4, S-13 (21 de novembro de 2022): 219–24. http://dx.doi.org/10.34256/irjt224s1331.
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The events of life become literary records. No statement can be explained without pointing to at least one of the three periods of the past, present, and future. All the elements of the poem are special additions to the poem's specialty. In this way, the element of time helps to enhance the subtlety of the poem. The purpose of the term can be realized by understanding the way in which the elements of time are arranged. The Sangam literature deals with the various aspects and values of life, which are divided into Agatthinai and Puratthinai. Tolkappiyam defines the grammar of how Tamil verses should be arranged without breaking the tradition. In this article, it is examined with some evidence how the element of time, which the Tolkappiyar has shown as one of the elements of poetry, has been studied in the Korunthokai volumes. Finally, the element of time is an essential part of the verse, and the special additional style has been explained. The idea that it could be used as an extensive research field has also been put forward.
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M, Radha. "The Epic Tradition in the Song Natrinai". International Research Journal of Tamil 4, S-13 (21 de novembro de 2022): 249–55. http://dx.doi.org/10.34256/irjt224s1336.
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The reason for the pride and richness of a language is due to the grammar and literature that have emerged in the eyes of that language. The epics occupy a significant place in those verses. Homer's Iliad and Odyssey, considered to be the oldest epics in the world, have also been written in accordance with the epic tradition of that language. Indian language epics are also written within the epic tradition of the regional languages. These include the five great and minor epics that have appeared in the Tamil language; the Kamba Ramayanam, the Periyapuranam, etc. However, if we examine whether the Sangam literature, viz., the songs and the thokai, falls within the epic tradition, the Agam and Puram songs contain at least a few of the epic traditions of the Dandiya author. It can be seen that the majority of the epic elements have been matched in the Kalitthokai and the Pathuppaattu Songs. This study is intended to examine how the epic traditions have adapted to the song that has been taken up for the subject matter of the study. In particular, this study has revealed whether the epic grammar of the Dandiya author has been followed.
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Vijayan, K. Sajith, e Karin Bindu. "Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (9 de dezembro de 2021): 27–38. http://dx.doi.org/10.30819/aemr.8-4.
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The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum.
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Chettiarthodi, Rajendran. "A Scholar Poet from the Neighbouring Land". Cracow Indological Studies 22, n.º 1 (15 de outubro de 2020): 73–94. http://dx.doi.org/10.12797/cis.22.2020.01.04.
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A Scholar Poet from the Neighbouring Land: Uddaṇḍa Śāstrin’s Perceptions of Kerala
The present paper proposes to investigate the perceptions of Kerala in the works of Uddaṇḍa Śāstrin, a remarkable scholar, who came in search of patronage to the court of Mānavikrama, the Zamorin of Calicut of the 15th century A.D, from Lāṭapura, a famous Brahmin centre in Toṇḍamaṇḍala, in Chengalpattu, in the present Tamil Nadu. Often stereotyped as a haughty outsider looking down upon his contemporaries with contempt, Uddaṇḍa was actually a sharp-witted scholar, who readily appreciated the scholarship of his adopted land, even while mincing no words when he encountered mediocrity. His message poem Kokilasandeśa and his play Mallikāmāruta, as well as many stray verses still current in Kerala, apart from being a veritable treasure of information as far as medieval Kerala is concerned, are of great cultural significance as they register the perceptions of a gifted scholar poet from the neighbouring land. Unfortunately, in popular imagination, he is projected as a haughty outsider outsmarting indigenous scholarship, but ultimately defeated by a native prodigy in the form of Kākkaśśeri Bhaṭṭatiri. This paper aims at retrieving Uddaṇḍa’s valuable and often unbiased insights of Kerala, which are often overlooked in popular perceptions of him. As a sensitive author who recorded his impressions on crossing the geographical boundaries of his native land to reach Kerala, his firsthand accounts of great cities, centres of learning, famous temples, food habits and festivals, such as Ōṇaṃ of Kerala, that can be found in his works are really worth probing.
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Shanmuganathan, Thilagavathi. "Cultural Conceptualization of Tamil Hindu Marriages". International Journal of Language and Culture, 29 de junho de 2021. http://dx.doi.org/10.1075/ijolc.18010.sha.
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Abstract This study investigates the cultural conceptualization of marriage among Tamil Hindu communities in Australia and Malaysia. The Hindu cultural schema of marriage relates to the physical, social and spiritual aspects, and language acts as the central aspect of the cultural cognition of the community. Data is based on a variety of sources, particularly focus group discussions, translated verses from Hindu Holy Scriptures (Vedanta), and personal interviews. Findings show various cultural schemas entrenched within the marriage schema, particularly Vedic Astrology, Sacred Invocation and Blessings, which are shared knowledge among community members. The cultural schema of marriage (or vivaha) that is instantiated in the Vedanta considers marriage a religious obligation (Dharma). It is during social interactions that the cultural metaphors associated with marriage are discussed. marriage as a thousand-year crop and marriage as a journey are metaphorical expressions that illustrate the traditional worldview of the Tamil Hindu community.
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M.A.R Annamalai, Manonmani Devi. "SIMPLE METHOD IN TEACHING TAMIL YAAPPU GRAMMAR". International Research Journal of Tamil Literary Studies, 30 de janeiro de 2022, 19–26. http://dx.doi.org/10.34256/vp2213.
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The specialty of the Tamil Language lies in its excellent grammatical structure. There are five types of grammar: Letters, Words, Porul (Meanings), Yaappu, and Ani. Among these are the grammar of composing verses and preserving the structure of Tamil poetry. Intricate elements such as ethugei, monei, iyebu express the specialty that can be placed within each foot. Due to the presence of these elements in poetry/seiyul, one can easily memorise and store it in his/her memory bank. Yaappu grammar knowledge is important not only to poetry writing enthusiasts but also to avid poetry readers. The first step that Yaappu grammar learners need to know is separating the ‘seer’. The younger generation consider this separation aspect to be the most difficult task. Not surprisingly, the younger generation does not show much interest in learning Yaappu grammar. If we really manipulate the deconstruction technique with the simple mathematical knowledge that we have, Yaappu grammar will be easy for everyone. Therefore, the purpose of this article is to introduce a simple technique of sorting, using the mathematical knowledge to introduce the learning and teaching process for university students and to identify the directory status of the students through pre-testing and post-testing.
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K, Boomari. "Reading Sangam Literature from Time to Time". Indian Journal of Multilingual Research and Development, 20 de agosto de 2022, 143–47. http://dx.doi.org/10.54392/ijmrd223s128.
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It is the Sangam literature that is a testament to the antiquity of the Tamil language and a repository of Tamil culture. Such Sangam literature has continued to be read in one form or another since its inception. The Sangam literature, which was considered oral literature, was read aloud through recitation and singing. It can be seen from the verses of Nannul that the reading continued till the time of Sage Bhavananthi, who composed Nannul, which is considered a dependent of the book of Tolkappiyam. The advent of the printing press in the late nineteenth and early twentieth centuries made the Sangam literature hidden in paper prints accessible to all. This article summarises the continuous reading of Sangam literature from aural reading, which is known to have been the case during the Tolkappiyam period, to today's online reading.
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Anandakichenin, Suganya. "When Blame Turns into Praise". Religions of South Asia 16, n.º 2-3 (24 de dezembro de 2022). http://dx.doi.org/10.1558/rosa.24405.
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This article examines how Villiputturar’s fourteenth-century Paratam, the most important Tamil retelling of the Mahabharata, focuses on Sisupala’s tirade against Krsna at Yudhisthira’s sacrifice. This passage, which has fascinated many poets across the subcontinent over many centuries, is dealt with interestingly by Villiputturar, an erudite Srivaisnava scholar and possibly a court poet. While his knowledge of the Sanskrit texts clearly shows in his verses, there is also something very peculiar in his treatment of Sisupala and his speech that is unique, and which could be the result of the Alvars’, and perhaps even the Srivaisnava Acaryas’, compositions. This article will examine the words of Villiputturar’s Sisupala in light of a selection of texts, and will also assess his impact on the later Tamil poets, notably on the two poets who rendered the Bhagavatapurana into the vernacular language barely a century or two later.
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Kędzia-Warych, Ilona. "Alchemical Metaphors and their Yogic Interpretations in Selected Passages of the Tamil Siddha Literature". Religions of South Asia 17, n.º 2 (3 de setembro de 2023). http://dx.doi.org/10.1558/rosa.25165.
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In the Tamil siddha texts, the passages on yoga frequently interlace with teachings on alchemy. The texts on these domains of the traditional siddha knowledge are often composed in a deliberately ambiguous and obscure manner, which results from the use of various strategies, such as wordplay riddles, metaphors, ellipses and vague technical vocabulary. In this article, I examine ambiguous passages in the alchemical literature of the Siddhars which, apart from their literal, alchemical meaning, can be also interpreted as metaphorical allusions to yogic practices and concepts. I concentrate mostly on the literature ascribed to Siddhar Yakopu, tentatively dated to the seventeenth century. I analyse several instances of equivocal verses and consider the possible role of the obscure passages. I study the intertwined alchemical and yogic discourse and I reflect on the siddha understanding of matter.
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Barvin, Jainambu, e Mohamed Anwar. "SUJATHA'S WORKS ON THE BACKGROUND OF LANGUAGE". International Research Journal of Tamil Literary Studies, 30 de julho de 2021, 23–28. http://dx.doi.org/10.34256/vp2133.
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The purpose of this study is to explore the innovations that creator Sujatha has used in her works and that she has some unique identities in handling language. The explanatory approach approach has been handled based on the thread study of this study. The researcher confirms that Sujatha is also a great creator in the world of Tamil literature. Creators use many elements in their work to convey to the reader the emotions they have received. The creator can be identified by examining those elements. The study aims to identify her uniqueness in Sujatha's work. In Sujata's works, the language structure is better than the plot. His essence has been adopted by later literary men as well. I am learning a lot from Sujatha in the post-modernist Charu Nivedita uirmai magazine. Also says my teacher (p.43). S. Ramakrishnan says of Sujatha's "chopped verses are a forerunner to those like me today".
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R.VALLI. "TIRUMANTIRATTIL UPATĒCAM [PREACHINGS IN THIRUMANDIRAM]". Muallim Journal of Social Science and Humanities, 2 de outubro de 2021, 143–49. http://dx.doi.org/10.33306/mjssh/170.
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Thirumoolar has written Thirumandiram under 9 Tantras based on 9 agamas. (It is said that there were originally 28 agamas and only 9 were taught to Tirumular by his Guru) First 4 tantrams of Tirumandiram explains Aram, Porul, Inbham and Veedu (together known as Nan-marai - Tamil vedam) The other portion describe the way of worship, based on the agamas. It is enough if we remember that Agamas and Tamil vedas are known as Arumarai explaining the philosophy. Those explaining the way of worship and also praising that Supreme Power are Tirumurai. Tirumandiram is both Arumarai and Tirumurai. Herein an attempt has been made to understand the contents of a few of the verses of that great work: Pathy-Pasu-Pasam is the crux of Saivite philosophy. Pathy represents the Supreme, Pasu represents the Jeeva and Pasam represents ego, karmam and maya. Pathy is anadhy i.e. beginingless and also eternal. Pasu and Pasam have also no beginning but they have an end in the sense that ultimately, they become one with Pathy. Ego is the cause of birth. This study tries to attempt the Preaching of Thirumantra. Library research was done and explanatory method was adopted for this study. Findings of this study was having taken birth one should meditate Panchaksharam thereby he attains the stage of Sivayogi. "Chetthiruppar Sivayogiargal" - they are with the physical body, apparently dead. They (Sivayogiargal) outlive non-understanding and mis-understanding (avaranam and vikshepam) and ego (sense of I and mine) They are awake in the apparent sleep.
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Souza, Ana, e Vally Lytra. "Learning and performing Sanskrit as a sacred language: Children’s religious repertoires and syncretic practice in London". International Journal of Bilingualism, 24 de julho de 2024. http://dx.doi.org/10.1177/13670069241257015.
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Aim: We investigate how children in the Sri Lankan Tamil Hindu/Saiva faith community in London learn and use Sanskrit alongside Tamil and/or English and other multimodal and embodied resources to communicate with the Divine. Methodology: The data were collected as part of a 3-year multi-sited collaborative team ethnography documenting how migrant children become literate in faith settings. Data and analysis: The data consist of participant observations across religious education classes, the Temple, and the home, and interviews with the key participant child, Chantia, her brother and the Chief priest at the Temple. The analysis focuses on instances in the data where sacred language learning and performance are thematised. In addition, we analyse a digital video recording of Chantia’s daily morning prayers using transvisuals. Findings: Learning Sanskrit consists of integrating a limited set of Sanskrit religious texts and practices, such as key religious concepts, mantras, and poetic verses in children’s evolving religious repertoire and is embedded in children’s everyday religious socialisation across contexts. Chantia unites and syncretises a range of conventionalised semiotic resources, including religious texts in Sanskrit to communicate with the Divine and personalise her act of worship. Conclusions: Children’s religious repertoires are learned, deployed, adapted, and expanded differently depending on the affordances of the socio-cultural context. Chantia’s meaning-making process is much more complex than the rigid categorisation of the different modal resources she deploys, forming an integrated system of communication. Originality: Our conceptualisation of Sanskrit sacred language learning is anchored on a multilingual and multimodal perspective that does not privilege Sanskrit over other (sacred) languages nor linguistic over non-linguistic resources. Significance: Our paper extends current critique of logocentric perspectives in applied and sociolinguistics to the examination of religious repertoires that are often driven by a communication hierarchy positioning sacred languages at the top and other aspects of communication as secondary.
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Bronner, Yigal, e David Shulman. "Thinking with two heads: The poetics of asat in early-modern India". Indian Economic & Social History Review, 5 de maio de 2024. http://dx.doi.org/10.1177/00194646241241667.
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In early modern India, and particularly South India—from roughly the sixteenth century until the eighteenth—a new literary vogue emerged in all major literary traditions (Tamil, Telugu, Kannada, Malayalam, Sanskrit, Persian). With remarkable salience, we find verses built around absurdity of various kinds and modes. Sometimes it is a matter of pushing the existing literary conventions and figures to an impossible extreme. In other cases, we find a fascination with asymmetry, disjunction, skewed causality, and irrealis or counter-factual linguistic forms. Although such experiments with absurdity have precedents in classical kāvya, the evident consistency and intertextual relations among outlandish poems in this period are very striking, as is the fact that the theoreticians of poetics found it necessary to posit a grammar for them (including for poems based on asat, that is, non-existence or sheer impossibility). This essay explores the forms and logical underpinnings that this fashion for the bizarre assumed; we also offer a tentative explanation for the new trend. The prabandha-based poems of absurdity need to be distinguished from the coded texts known in Kannada as beḍagina vacana and in early Hindi as ulaṭbaṃsi, in which an upside-down or inside-out world is created, the goal being to arrest intellection altogether. We also show the distinction between the poetry of the absurd in the early modern texts and the European Dada movement, which aims at unravelling language and enshrines a principle of pure randomality in the choice of words.