Pariyerum Perumal and a Periyarite Note on Political Engagement

Antony Arul Valan
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Abstract

What was in the rhetoric of Periyar that moved an entire people in a direction that has continuing political relevance? How does his style respond to concerns about how we may engage within contemporary political formations, especially given that his work continues to resist being co-opted by his detractors? Analysing the formal elements of a 1931 speech by Periyar, delivered at Nagapattinam, I investigate the movements in his rhetoric which repeatedly mobilises the self as a site of political action. I argue that Periyar’s presentation of the self provides a distinct avenue of political engagement that substantiates the notion of inner conflict as crucial to the development of the titular hero in the 2018 Tamil film Pariyerum Perumal. Methodologically, I draw on the work of the relational psychoanalytic thinker D.W. Winnicott; in particular, his concept of ‘playing’, which refers to the creative moment of passionate immediate engagement with the other that opens up a potent space of understanding and is vital for survival. I show how charting out the various dimensions of this moment of creative play in these two works is crucial to further our understanding of the politics of Periyar and the journey of Pariyerum Perumal.
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Pariyerum Perumal与政治参与的Periyarite注记
佩里亚的言辞是什么让整个民族朝着一个具有持续政治意义的方向前进?他的风格如何回应人们对我们如何参与当代政治形态的担忧,特别是考虑到他的作品继续拒绝被批评者所吸收?分析佩里亚尔1931年在纳加帕蒂南发表的演讲的形式元素,我研究了他的修辞中的运动,这些运动反复动员自我作为政治行动的场所。我认为佩里亚尔对自我的呈现提供了一种独特的政治参与途径,证实了内心冲突的概念,这对2018年泰米尔电影《Pariyerum Perumal》中名义上的英雄的发展至关重要。在方法上,我借鉴了关系精神分析思想家D.W.温尼科特(D.W. Winnicott)的著作;特别是他的“游戏”概念,指的是充满激情的与他人直接接触的创造性时刻,这打开了一个有效的理解空间,对生存至关重要。我展示了如何在这两部作品中描绘出这一创造性游戏时刻的各个维度,这对我们进一步理解佩里亚尔的政治和帕里耶姆·佩鲁马尔的旅程至关重要。
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