From the point of view of Social Anthropology, the rituals associated with religion and its upright modes of worship convey something to each individual and society. Among the rituals, the totemism propounded by the author explains the origin of religion and explains in detail how its effectiveness is established in society. In particular, this study includes the issues of religious rituals, the origin of Totemic religion, Totemic worship, its characteristics, and the position of Totemic worship in society. Therefore, the purpose of this study is to explain the performance, characteristics, and stability of Totemic worship, which is one of religious worship, from a social and anthropological point of view.
{"title":"Totemism in Religious Theories: A Social Anthropological Perspective","authors":"Rajendran Kirushikkah","doi":"10.54392/ijot2242","DOIUrl":"https://doi.org/10.54392/ijot2242","url":null,"abstract":"From the point of view of Social Anthropology, the rituals associated with religion and its upright modes of worship convey something to each individual and society. Among the rituals, the totemism propounded by the author explains the origin of religion and explains in detail how its effectiveness is established in society. In particular, this study includes the issues of religious rituals, the origin of Totemic religion, Totemic worship, its characteristics, and the position of Totemic worship in society. Therefore, the purpose of this study is to explain the performance, characteristics, and stability of Totemic worship, which is one of religious worship, from a social and anthropological point of view.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"6 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128744002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the war in the northern part of Sri Lanka, theatre committees functioned on a monthly allowance basis. This activity has been going on continuously for many years. These theatre groups have travelled relying on people. The people have fed them. Here the salary allowance was not paid according to the quality of the actor in the theatre group, but according to the number of his family members. Instead of 'qualified wages', the allowance of 'wages as per requirement' has been given. A group of equal numbers of women and men have cycled and staged plays. The play has been staged in at least three places every day, travelling day and night continuously for 22 days in a month. The actors, who went on bicycles professionally and staged plays, performed real life on stage. They saw the reality of the stage in life. There are no differences between fiction and reality in this theatre journey. The real story becomes a drama. A drama story becomes a reality. Here the dramaturgy fits in with many true stories and becomes visions of realities. At the same time, after a play is over, more plays are created. Moreover, more and more have evolved. Here, the play has helped the affected people reach the stage of 'despair'. It leads to a state of repentance, collective empathy, gaining confidence, and a desire to live. This study is based on the stage definition of liberation, on the basis of the ethnographic point of view, on the basis of which the researcher himself lived at a given time, and on the basis of witnessing the plays. But there are gaps in this study. To further enrich the study, the fonts of the plays produced by the theatre groups recorded sound, and cinematography is also required. Observation studies are also required. They are limited in the context of a military crisis.
{"title":"'Staying True to Theatrical Life': Bicycle Theatre Group in Northern Sri Lanka","authors":"Thevanayagam Thevananth","doi":"10.54392/ijot2241","DOIUrl":"https://doi.org/10.54392/ijot2241","url":null,"abstract":"During the war in the northern part of Sri Lanka, theatre committees functioned on a monthly allowance basis. This activity has been going on continuously for many years. These theatre groups have travelled relying on people. The people have fed them. Here the salary allowance was not paid according to the quality of the actor in the theatre group, but according to the number of his family members. Instead of 'qualified wages', the allowance of 'wages as per requirement' has been given. A group of equal numbers of women and men have cycled and staged plays. The play has been staged in at least three places every day, travelling day and night continuously for 22 days in a month. The actors, who went on bicycles professionally and staged plays, performed real life on stage. They saw the reality of the stage in life. There are no differences between fiction and reality in this theatre journey. The real story becomes a drama. A drama story becomes a reality. Here the dramaturgy fits in with many true stories and becomes visions of realities. At the same time, after a play is over, more plays are created. Moreover, more and more have evolved. Here, the play has helped the affected people reach the stage of 'despair'. It leads to a state of repentance, collective empathy, gaining confidence, and a desire to live. This study is based on the stage definition of liberation, on the basis of the ethnographic point of view, on the basis of which the researcher himself lived at a given time, and on the basis of witnessing the plays. But there are gaps in this study. To further enrich the study, the fonts of the plays produced by the theatre groups recorded sound, and cinematography is also required. Observation studies are also required. They are limited in the context of a military crisis.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122063372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The biographies and historical identities of the Tamils are given prominence in the form of inscriptions, manuscripts and pottery. There are many inscriptions and manuscripts in Batticaloa and Tamil Nadu in Sri Lanka. Thus, the Dathan inscription is one of the major inscriptions referring to the Batticaloa Prehistory and the Batticaloa Manmiyam. This inscription identifies Dathan who came to Batticaloa during the reign of Ethirmannasingan, the Kalinga king who ruled Batticaloa. Dathan, who came from Kongu Naadu in India and belonged to the Vaishnava religion, came here to teach the Pandavas about the exile. The Pandiruppu Thiraupadi Amman Temple is a continuation of this. In such a context, the Pandiruppu Thiroupathi Amman Temple is the first temple in Sri Lanka. Following this many Thiroupathi Amman temples were established in Batticaloa Tamil Nadu. Bharatanatyam is spread in the background of this Dathan inscription and one can also see the rhymes associated with the story of bharatha Ammanai that have arisen here. Following that, the goddesses are also beginning to write Bharat Goddess Ammanai, Vaikuntha Goddess Reading. All these goddesses have arisen in Batticaloa Tamil Nadu with the input of story of bharatham. It also shows the history of the Sinhala king Vimaladharmasooriya I who ruled Kandy and clarifies the grant given by the emperor to the Pandiruppu Thiroupathi Amman temple.
{"title":"A study of the Dathan Inscription","authors":"Murugu Thayanithy","doi":"10.54392/ijot2236","DOIUrl":"https://doi.org/10.54392/ijot2236","url":null,"abstract":"The biographies and historical identities of the Tamils are given prominence in the form of inscriptions, manuscripts and pottery. There are many inscriptions and manuscripts in Batticaloa and Tamil Nadu in Sri Lanka. Thus, the Dathan inscription is one of the major inscriptions referring to the Batticaloa Prehistory and the Batticaloa Manmiyam. This inscription identifies Dathan who came to Batticaloa during the reign of Ethirmannasingan, the Kalinga king who ruled Batticaloa. Dathan, who came from Kongu Naadu in India and belonged to the Vaishnava religion, came here to teach the Pandavas about the exile. The Pandiruppu Thiraupadi Amman Temple is a continuation of this. In such a context, the Pandiruppu Thiroupathi Amman Temple is the first temple in Sri Lanka. Following this many Thiroupathi Amman temples were established in Batticaloa Tamil Nadu. Bharatanatyam is spread in the background of this Dathan inscription and one can also see the rhymes associated with the story of bharatha Ammanai that have arisen here. Following that, the goddesses are also beginning to write Bharat Goddess Ammanai, Vaikuntha Goddess Reading. All these goddesses have arisen in Batticaloa Tamil Nadu with the input of story of bharatham. It also shows the history of the Sinhala king Vimaladharmasooriya I who ruled Kandy and clarifies the grant given by the emperor to the Pandiruppu Thiroupathi Amman temple.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122702129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
All the glories of Tamil sung by Sangam poets during the Sangam period, Kalaignar M. Karunanidhi tried to write in a simple style in the weekly magazine 'Kungumum'. As a result, today we have in our hands a great "Sangam treasure". Yes, many have studied the Sangam literature. Very few have searched for the treasure of Sangam literature out of interest and love for Tamil and brought it to the people. Kalaignar M. Karunanidhi's works are multifaceted in signification. Regarding Sangam literature, he selected some songs and divided them into internal and external genres and gave an explanatory speech in his own style as to heroism and love. He regarded the Sangam literature from a new angle, enjoyed it, and made it understandable to the common people. Kalaignar M. Karunanidhi can also be mentioned in that line. This article examines some of the poems in his work from the Kalaignar's point of view.
在Sangam时期，Sangam诗人唱的所有泰米尔语的荣耀，Kalaignar M. Karunanidhi试图在周刊“Kungumum”中以简单的风格写作。因此，今天我们手中有了一个伟大的“上岩宝藏”。是的，很多人都研究过上岩文学。很少有人出于对泰米尔语的兴趣和热爱去寻找Sangam文学的宝藏，并把它带给人们。Kalaignar M. Karunanidhi的作品具有多方面的意义。对于上岩文学，他选择了一些歌曲，将其分为内部和外部类型，并以自己的风格对英雄主义和爱情进行了解释。他以全新的视角看待上岩文学，享受上岩文学，并使其通俗易懂。Kalaignar M. Karunanidhi也可以在这句话中提到。本文从卡拉格纳的角度考察了他作品中的一些诗歌。
{"title":"Sangam Tamil and Kalaignar","authors":"P. M","doi":"10.54392/ijot2235","DOIUrl":"https://doi.org/10.54392/ijot2235","url":null,"abstract":"All the glories of Tamil sung by Sangam poets during the Sangam period, Kalaignar M. Karunanidhi tried to write in a simple style in the weekly magazine 'Kungumum'. As a result, today we have in our hands a great \"Sangam treasure\". Yes, many have studied the Sangam literature. Very few have searched for the treasure of Sangam literature out of interest and love for Tamil and brought it to the people. Kalaignar M. Karunanidhi's works are multifaceted in signification. Regarding Sangam literature, he selected some songs and divided them into internal and external genres and gave an explanatory speech in his own style as to heroism and love. He regarded the Sangam literature from a new angle, enjoyed it, and made it understandable to the common people. Kalaignar M. Karunanidhi can also be mentioned in that line. This article examines some of the poems in his work from the Kalaignar's point of view.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121057285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A country controls and rules another country by its social, political and economical power as it is called colonization. This colonization activity has started from Aryan invasion on Dravidian people and their culture. From 19th century many countries ruled by Portuguese, Dutch, Roman countries. They explored on another country and ruled it as slave. Later The slavery system tried to break its chain and got freedom by political way. Even though the colonized countries got freedom from rued country, their footpath of colonization never vanished and developed based on new world and technology. K.A. Gunasekaran written a drama of “Thodu” which discloses that every nation must have self thinking and its effects on their country by their principle. By this play he wants to recover the Corner people and Tribes people from slavery system.
{"title":"Social and Cultural Theory Exposed by Gunasekaran’s Drama of ‘THODU’","authors":"M. V.","doi":"10.54392/ijot2234","DOIUrl":"https://doi.org/10.54392/ijot2234","url":null,"abstract":"A country controls and rules another country by its social, political and economical power as it is called colonization. This colonization activity has started from Aryan invasion on Dravidian people and their culture. From 19th century many countries ruled by Portuguese, Dutch, Roman countries. They explored on another country and ruled it as slave. Later The slavery system tried to break its chain and got freedom by political way. Even though the colonized countries got freedom from rued country, their footpath of colonization never vanished and developed based on new world and technology. K.A. Gunasekaran written a drama of “Thodu” which discloses that every nation must have self thinking and its effects on their country by their principle. By this play he wants to recover the Corner people and Tribes people from slavery system.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129607368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Perumpanatrupadai with the special name Panaru was sung by Kadiyalur Uruthirankannan to praise the Perumpanan who was about to receive the prize by Panan to appease the Thondaiman Ilanthirayan. Not only the news about the bravery and gift of Thondaiman Ilanthirayan, but also the lifestyle of the Panars, the lives and work of Einar, Kovalar, Uzhawar, Valaignar, Anthanar, etc., news about the construction of their residences, food preparation, hospitality, agriculture, barter, etc., have been recorded. This article is designed to analyse the news about housing and food.
{"title":"Perumpanatrupadai's Traditional Residence and Food Habits","authors":"A. S","doi":"10.54392/ijot2233","DOIUrl":"https://doi.org/10.54392/ijot2233","url":null,"abstract":"The Perumpanatrupadai with the special name Panaru was sung by Kadiyalur Uruthirankannan to praise the Perumpanan who was about to receive the prize by Panan to appease the Thondaiman Ilanthirayan. Not only the news about the bravery and gift of Thondaiman Ilanthirayan, but also the lifestyle of the Panars, the lives and work of Einar, Kovalar, Uzhawar, Valaignar, Anthanar, etc., news about the construction of their residences, food preparation, hospitality, agriculture, barter, etc., have been recorded. This article is designed to analyse the news about housing and food.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126403127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
All Tamil literature is a gift given to us by our forefathers. All literature expresses the life values of the people. In this way, folk literature, which is unwritten literature, reflects human feelings. A man expresses his subconscious thoughts and beliefs through folk literature. In folk literature that includes folk songs, folk tales, fables, proverbs, etc., man expresses his life experiences from birth to death. Folk In literature, man expresses his life records from birth to death. In lullabies, events such as a mother's love for her child and making children realise the importance of relatives are important to human life. The way agriculture is expressed in special kummi songs, the subconscious impressions of man through faith in God, the subconscious impressions of man through themangu songs, the expression of male and female relationships through themangu songs, the characteristics of grooms who collect dowry from women through marriage, and indicate social disorders This review article is intended to reveal women lamenting the loss of their mothers in the metaphorical songs that express their characteristics at the end of human life, and women who have lost their husbands are marginalised in society due to their helpless condition.
{"title":"Psychology in Tamil Folk Songs","authors":"Nivetha K, Sasirekha P, B. K, R. M","doi":"10.54392/ijot2232","DOIUrl":"https://doi.org/10.54392/ijot2232","url":null,"abstract":"All Tamil literature is a gift given to us by our forefathers. All literature expresses the life values of the people. In this way, folk literature, which is unwritten literature, reflects human feelings. A man expresses his subconscious thoughts and beliefs through folk literature. In folk literature that includes folk songs, folk tales, fables, proverbs, etc., man expresses his life experiences from birth to death. Folk In literature, man expresses his life records from birth to death. In lullabies, events such as a mother's love for her child and making children realise the importance of relatives are important to human life. The way agriculture is expressed in special kummi songs, the subconscious impressions of man through faith in God, the subconscious impressions of man through themangu songs, the expression of male and female relationships through themangu songs, the characteristics of grooms who collect dowry from women through marriage, and indicate social disorders This review article is intended to reveal women lamenting the loss of their mothers in the metaphorical songs that express their characteristics at the end of human life, and women who have lost their husbands are marginalised in society due to their helpless condition.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129440237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Tamil Nadu, literature is one of the prime sources of information on religion, culture, history, philosophy, social customs, beliefs, etc. Literature that originated in the history of Tamil Nadu from time to time identifies the unique features of those times. In the development of Tamil literature, the period in which moral literature originated is called the Moral Era distinctively, which is the same time where many philosophical works of literature refer to the period of origin as the period of philosophical ethics. This study reveals the uniqueness and the generalities of God as claimed in Thirukkural and the God as portrayed in the literature of Thiruvarutpayan that originated in the philosophical period. In particular, this article gives a comparative basis for the ideas that come to mind in the 36th chapter on the power of realization in Thirukkural, and on the three elements that can be found in Thiruvarutpayana, viz., God, Life, and affection.
{"title":"A comparative perspective of fact in Thirukkural and Thiruvarutpayan","authors":"Gunapalasingam V, Mumthaj Sameem M.S.J, S. R","doi":"10.54392/ijot2231","DOIUrl":"https://doi.org/10.54392/ijot2231","url":null,"abstract":"In Tamil Nadu, literature is one of the prime sources of information on religion, culture, history, philosophy, social customs, beliefs, etc. Literature that originated in the history of Tamil Nadu from time to time identifies the unique features of those times. In the development of Tamil literature, the period in which moral literature originated is called the Moral Era distinctively, which is the same time where many philosophical works of literature refer to the period of origin as the period of philosophical ethics. This study reveals the uniqueness and the generalities of God as claimed in Thirukkural and the God as portrayed in the literature of Thiruvarutpayan that originated in the philosophical period. In particular, this article gives a comparative basis for the ideas that come to mind in the 36th chapter on the power of realization in Thirukkural, and on the three elements that can be found in Thiruvarutpayana, viz., God, Life, and affection.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121729296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Thirumurugatrupadai worships Murugu, the ancient deity of the past. Literature guides spiritual attainment through civilised world life. "Thirumurugatrupadai" stands as proof of such a purpose. Thirumurugatrupadai guides us to attain freedom from birth with the highest aim of 'listening to the greatness of the great'. The ideological aim is that the Lord himself will come as a wise teacher to conquer the mature soul. It may be said that the concept of the poet who has been presented with a gift orienting the poet who is yet to receive the prize is similar to the position in which Gnanaguru directs the matured soul towards God. The manner, in which the holiness of God is conveyed in the Arupatai Veedu (The Six Abodes of God Murugan), such as Nakkeerar, Thiruparankundram, etc., signifies the realisation of the divine power in all the six yogic states of the body and the eternal attachment to the path of bliss. Moreover, the way in which the worship of Lord Murugan has been put forward in the form of hill-topography is the guidance of the realisation of "sovereignty in nature'. Thirumurugan's position as the inner light in all objects can be seen in Thiruparankundram, the greatness of Thirumurugan, the precious being, with six faces and twelve hands because of his great grace to the living beings, in Thiruchiralaivai, in Thiruavinankudi, where Thirumurugan is the great object worshipped by all, in Thiruvinankudi, where Thirumurugan is the inner object of the six letters, in Thiruveragam, and in Thiruthanikai, the greatness of Kumaran resides. In addition, Thirumurukatrupatai enables the devotees to realise the ability of Thirumurugan to reside everywhere and is praised as a temple for redressal of grievances by placing it in the eyes of Pazhamuthir Solai. Moreover, Thirumurugan's ability to show his great form, which transcends the sky, as a small one for his devotee to see, is indicative of the devotional principle that 'God is always humble to his devotees'.
{"title":"The Holy Revival of Thirumurugan at Arupatai Veedu","authors":"M. R","doi":"10.54392/ijot2229","DOIUrl":"https://doi.org/10.54392/ijot2229","url":null,"abstract":"The Thirumurugatrupadai worships Murugu, the ancient deity of the past. Literature guides spiritual attainment through civilised world life. \"Thirumurugatrupadai\" stands as proof of such a purpose. Thirumurugatrupadai guides us to attain freedom from birth with the highest aim of 'listening to the greatness of the great'. The ideological aim is that the Lord himself will come as a wise teacher to conquer the mature soul. It may be said that the concept of the poet who has been presented with a gift orienting the poet who is yet to receive the prize is similar to the position in which Gnanaguru directs the matured soul towards God. The manner, in which the holiness of God is conveyed in the Arupatai Veedu (The Six Abodes of God Murugan), such as Nakkeerar, Thiruparankundram, etc., signifies the realisation of the divine power in all the six yogic states of the body and the eternal attachment to the path of bliss. Moreover, the way in which the worship of Lord Murugan has been put forward in the form of hill-topography is the guidance of the realisation of \"sovereignty in nature'. Thirumurugan's position as the inner light in all objects can be seen in Thiruparankundram, the greatness of Thirumurugan, the precious being, with six faces and twelve hands because of his great grace to the living beings, in Thiruchiralaivai, in Thiruavinankudi, where Thirumurugan is the great object worshipped by all, in Thiruvinankudi, where Thirumurugan is the inner object of the six letters, in Thiruveragam, and in Thiruthanikai, the greatness of Kumaran resides. In addition, Thirumurukatrupatai enables the devotees to realise the ability of Thirumurugan to reside everywhere and is praised as a temple for redressal of grievances by placing it in the eyes of Pazhamuthir Solai. Moreover, Thirumurugan's ability to show his great form, which transcends the sky, as a small one for his devotee to see, is indicative of the devotional principle that 'God is always humble to his devotees'.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"18 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114132716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pattinapalai in Pathuppatu reveals the dynamical change of Tamil cultural life, the way in which ethnographic group life is shattered and the life of hunger develops, and the transformation of performing artists. Although the valour and glory of the king form the theme of Pattinapalai, when it is re-read, different lessons emerge. In this, it can be observed that social changes are taking place based on domestic and public lives, and the Aryan community penetrating into Tamil brought about changes in the thinking of the local ethnic groups and changed the cultural lifestyle. In this study, the issues raised in Pattinpalai are approached from an alternative perspective. This article focuses on the race, land, politics, and lifestyle of the people who lived during the Sangam period.
{"title":"A Study of the Lives of Performing Artists in Pattinapalai","authors":"Chandrakumar S","doi":"10.54392/ijot2228","DOIUrl":"https://doi.org/10.54392/ijot2228","url":null,"abstract":"Pattinapalai in Pathuppatu reveals the dynamical change of Tamil cultural life, the way in which ethnographic group life is shattered and the life of hunger develops, and the transformation of performing artists. Although the valour and glory of the king form the theme of Pattinapalai, when it is re-read, different lessons emerge. In this, it can be observed that social changes are taking place based on domestic and public lives, and the Aryan community penetrating into Tamil brought about changes in the thinking of the local ethnic groups and changed the cultural lifestyle. In this study, the issues raised in Pattinpalai are approached from an alternative perspective. This article focuses on the race, land, politics, and lifestyle of the people who lived during the Sangam period.","PeriodicalId":166390,"journal":{"name":"Indian Journal of Tamil","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131292021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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