Kooththu Theatre is a necessity of today. Kooththu Theatre is a festival where children, the elderly, men and women all come together to celebrate and enjoy. In the past, Kooththu was performed in every region. However, due to the modern mindset, people have become consumers and live as consumers, so the tradition of Kooththu has been abandoned in some places. Due to the losses caused by war, natural disasters, migration, and etc., in Sri Lanka, every person has forgotten themselves and their art and is moving unhealthy due to economic and competitive life. In order to strengthen human unity and health, it is necessary to revive and fully engage in open-air stage. The aim of the study is to create an opportunity for the young generation who are not involved in Kooththu in the village to participate. This study was carried out through Kooththu to create an environment for them to act freely and to educate through entertainment. During this activity, the children celebrated and enjoyed themselves without discrimination. They expressed their true thoughts. They understood themselves and the environment, gained knowledge and experience, and were trained physically and mentally to face challenges. The community united and expressed their opinions. The parents of the children were happy to see the children's talent directly. Their cooperation added strength to the children's creativity process and its recognition. In this, adults also participated enthusiastically and showed their abilities. This study focuses on its implementation, implementation method, and the change that occurred. It was conducted in the village of Kallady in Verungal, Sri Lanka, with the aim of involving children in the creativity process.
Articles
The emergence of virtuous actions that contribute to the upliftment of human life requires clear thinking and a selfless disposition. One of the primary factors that cultivates noble thoughts in the human mind is divine worship. Through devotion to God, individuals attain mental peace and develop positive moral values. With the objective of emphasizing that the outcomes of human life are determined by one’s actions, various religions have formulated philosophical doctrines. In this context, Saivism, which worships Lord Siva, is founded upon the philosophical system known as Saiva Siddhanta. According to this doctrine, if a person leads a life of purity and moral discipline, they will ultimately attain moksha—the state of supreme bliss—by uniting with the Divine. Saiva Siddhanta also explains the paths through which this liberation can be attained. Based on the nature of one’s actions and spiritual maturity, an individual progresses through four distinct paths leading to liberation, namely Charya, Kriya, Yoga, and Jnana. Saiva Siddhanta asserts that for a soul to attain these four paths of liberation, it must remain rooted in ethical conduct and acquire spiritual refinement.These four paths of liberation articulated by Saiva Siddhanta are designed to elevate human life to a higher spiritual state. By structuring one’s life and actions in accordance with moral discipline, an individual can experience everlasting bliss. This fundamental principle is clearly understood through the concept of the fourfold path to liberation as propounded by Saiva Siddhanta.
மனித வாழ்வின் உயர்வுக்குக் காரணமான நற்செயல்பாடுகள் தோன்றுவதற்குத் தெளிவான சிந்தனையும், சுயநலம் இல்லாத குணமும் வேண்டும். மனிதனின் மனங்களில் உயர்வான சிந்தனையை உருவாக்குவதற்குக் காரணமாக இருப்பது இறைவழிபாடு ஆகும். இறைவழிப்பாட்டின் மூலம் மனிதன் மன அமைதியையும், நல்ல பண்புகளையும் கற்றுக்கொள்கிறான். மனிதன் செய்யும் செயலுக்கு ஏற்ப அவனுடைய வாழ்க்கையில் பயன் கிடைக்கும் என்பதை வலியுறுத்தும் நோக்கில் பல சமயங்கள் தத்துவக் கொள்கைகளை உருவாக்கித் தந்துள்ளன. அந்நிலையில் சிவனை வழிபடும் சைவ சமயம் சித்தாந்தம் என்ற தத்துவக்கொள்கையினைக் கொண்டுள்ளது. அச்சித்தாந்தத்தில் மனிதன் தூயநெறியில் வாழ்ந்து வந்தால் இறுதியில் இறைவனோடு சேர்ந்து பேரின்பத்தை அடையும் முத்தியைப் பெறுவான் எனக்கூறப்பட்டுள்ளது. அந்த முத்தியை அடைவதற்கு உண்டான வழிகளையும் சித்தாந்தம் மொழிகிறது. மனிதன் தன் செயல்பாட்டிற்கு ஏற்ப நான்கு வகையான முத்திக்குரிய மார்க்கத்தை அடைகிறான். அவை, சரியை, கிரியை, யோகம், ஞானம் என்பதாகும். இந்த நால்வகை முத்தி மார்க்கத்தையும் ஒரு உயிர் அடைய, அந்த உயிர் ஒழுக்கநிலையில் நின்று பக்குவத்தைப் பெறவேண்டும் எனச் சித்தாந்தம் கூறுகிறது. சித்தாந்தம் கூறும் இந்த நால்வகை முத்தி மார்க்கமும் மனித வாழ்க்கையை மேன்மை அடையச் செய்ய உருவாக்கப்பட்டது. மனிதன் தன் வாழ்வியல் செயல்பாட்டை ஒழுக்கமுடையதாக அமைத்துக் கொண்டால் அவனது வாழ்க்கையில் எப்போதும் பேரின்பம் நிலைத்திருக்கும் என்ற கருத்தை நாம் சித்தாந்தம் கூறும் முத்தி மார்க்கத்தால் உணரலாம்.
Natrinai is a form of Ancient literature and romantic poetry. This book has been written by 175 poets. The name of the compiler of this work is unknown. It was commissioned by PANNADU THANDHA MARAN VAZHUTHI. When preparing a dictionary for the Sangam literature, various rules must be followed. Indexing is one such rule. Contemporary studies have produced research on concordances, word indexes, content indexes. When undertaking dictionary work for classical literature. One must first analyze the traditional verses. The meaning centered theme, word meaning, grammatical notes and the context in which the verses are composed must be analyzed with unde4r standing every word is meaningful. In the case of Sangam literature, many words are difficult to understand directly. Tholkappiyam is helpful in analyzing the nuances of the verses. Accordingly, this research paper is based solely on the first poem of the Natrinai anthology, a Kurinji- Themed poem that begins with the lines “Nindra sillar needu thondriniya”.
This article explains that in Sangam Akam literature, the Thozhi (confidante) is not merely a supporting character but a powerful personality equal to the hero and heroine. Using Tolkappiyam and the Ettuthokai anthologies as evidence, this research establishes how she serves as a brilliant advisor and a protective fortress for love during both the clandestine (Kalavu) and wedded (Karpu) stages of life. Specifically, the paper provides a detailed analysis of how her eloquence, intellect, and psychological insights lead love toward marriage through literary conventions such as Arathodu Nitral, Varaivu Kadathal, and Iyarpalithal.
The Real and the Reflective: A Philosophical Perspective on Balu Mahendra’s Cinematic Vision
Pages 28-42Balu Mahendra, commonly hailed as the "Visual Poet" of Tamil cinema, holds a unique position in Indian cinema history where realism, philosophy, and aesthetics blend. This research is an investigation of his film vision from a philosophical perspective, with existentialism, phenomenology, feminist film theory, and Indian aesthetics, specifically the Rasa tradition, being the key areas of focus. Compared to conventional Indian cinema steeped in melodrama and spectacle, Mahendra's use of natural lighting, silences, and sparse dialogue produces an introspective realism that fosters consideration. Through close analysis of Moondram Pirai (1982), Veedu (1988), Sandhya Raagam (1989), Marupadiyum (1993), and Julie Ganapathi (2003), the paper examines themes of death, memory, moral complexity, and empathy. His empathetic representation of women resists Laura Mulvey's "male gaze," presenting emotionally nuanced feminine subjectivity within patriarchal worlds. Reception by audiences, especially Gen Z, indicates that his "slow cinema" speaks so profoundly now, confirming Mahendra not merely as a director but as a visual philosopher negotiating Western existentialism and Indian aesthetic traditions.
This research paper analyzes the impact of folk children's play songs on the Psychological Development of children, specifically within the multi-ethnic social background of the Matara District in Sri Lanka. These songs are categorized using the theoretical frameworks of Vygotsky's Social Development Theory, Piaget's Theory of Cognitive Development, and Gardner's Theory of Multiple Intelligences.
The study explains in detail how the rhythm, rhyme, alliteration, and repetitive lines embedded in play songs enhance children's Memory, and how group activities foster Social Harmony. Based on the findings, it is concluded that these songs serve as a "Psychological Treasure" in early childhood education and personality formation.
Language is a powerful tool of communication, and one of its most interesting features is the ability of a single word to convey multiple meanings. In English, such words are commonly referred to as homonyms, whereas in Tamil this phenomenon is known as “ஒரு சொல்லுக்குப் பல பொருள்.” This article presents a detailed comparative study of English homonyms and the Tamil concept of multiple meanings. It examines definitions, classifications, examples, contextual usage, similarities, differences, and the role of culture and grammar. The study highlights how both languages enrich expression while relying heavily on context for accurate interpretation.
In the life of ancient Tamils, medicine was not merely a tool for curing diseases but existed as a way of life in harmony with nature. Siddha medicine, considered one of the oldest medical systems in the world, finds its foundational roots within Tamil literature. This research paper provides a comprehensive analysis of medical data embedded across a timeline ranging from the Tolkappiyam and Sangam literature to the Pathinen Keezhkanakku (Eighteen Lesser Texts) and Chola-era inscriptions.
Specifically, the anatomical knowledge of ancient Tamils, battlefield surgical procedures, diagnostic techniques, and pharmacological classifications are analyzed from a scientific perspective. The paper presents detailed discussions on how the principle of 'Food as Medicine' and psychiatric treatment methods are recorded in literature. Through historical evidence such as the Thirumukkudal inscription, the hospital management systems and medical education methods of that era are investigated. Finally, the study concludes by highlighting how the medical wisdom of ancient Tamils aligns with modern medical discoveries and emphasizes its relevance for the future.
பழந்தமிழர் வாழ்வியலில் மருத்துவம் என்பது வெறும் நோய் தீர்க்கும் கருவியாக அமையாமல், இயற்கையோடு இயைந்த ஒரு வாழ்வியல் நெறியாகவே திகழ்ந்தது. உலக அளவில் தொன்மையான மருத்துவ முறைகளில் ஒன்றாகக் கருதப்படும் சித்த மருத்துவம், தமிழர்களின் இலக்கியங்களிலேயே தனது வேர்களைக் கொண்டுள்ளது. இவ் ஆய்வேடு, தொல்காப்பியம் தொடங்கி, சங்க இலக்கியங்கள், பதினெண் கீழ்க்கணக்கு நூல்கள் மற்றும் சோழர் காலக் கல்வெட்டுகள் வரை பொதிந்துள்ள மருத்துவத் தரவுகளை விரிவாக ஆய்வு செய்கிறது. குறிப்பாக, பழந்தமிழரின் உடற்கூறியல் அறிவு, போர்க்கள அறுவை சிகிச்சை முறைகள், நோயறிதல் நுட்பங்கள் மற்றும் மருந்தியல் வகைப்பாடுகள் ஆகியவை அறிவியல் கண்ணோட்டத்தில் பகுப்பாய்வு செய்யப்படுகின்றன. 'உணவே மருந்து' என்ற கோட்பாடு மற்றும் மனநல மருத்துவ முறைகள் எவ்வாறு இலக்கியங்களில் பதிவாகியுள்ளன என்பது குறித்து விரிவான விவாதங்கள் முன்வைக்கப்படுகின்றன. திருமுக்கூடல் கல்வெட்டு போன்ற வரலாற்றுச் சான்றுகள் வழியாக, அன்றைய மருத்துவமனை மேலாண்மை மற்றும் மருத்துவக் கல்வி முறைகள் ஆராயப்படுகின்றன. முடிவாக, பழந்தமிழரின் மருத்துவ அறிவுத்திறன் தற்கால நவீன மருத்துவக் கண்டுபிடிப்புகளுடன் எவ்வாறு ஒத்துப் போகிறது என்பதும், அதன் எதிர்காலத் தேவை குறித்தும் இவ் ஆய்வு முடிவுகளை வழங்குகிறது.
This article analyzes how the short stories of Kumaraselva prioritize postmodern theories by shattering the beliefs in a "single truth," a "single history," and a "single center." The study explores how elements such as marginalized experiences, suppressed voices, mythological components, historical fragments, social violence, gender politics, and the use of regional dialects are brought to the forefront within a postmodern framework in his works.
“ ஒரே உண்மை “, “ ஒரே வரலாறு “ ,“ ஒரே மையம் “ என்ற நம்பிக்கைகளை உடைத்து விளிம்பு நிலை அனுபவங்கள், மறுக்கப்பட்ட குரல்கள், புராணக் கூறுகள் , வரலாற்றுச் சிதறல்கள் , சமூக வன்முறை, பாலின அரசியல், வட்டார மொழியின் பயன்பாடு ஆகியவை குமார செல்வாவின் சிறுகதைகளில் பின்நவீனகோட்பாடோடு முன்னிலைப் படுத்தப்படுவதை இக்கட்டுரை ஆராய்கிறது.
At the outset Hanuman, Vaali, Veedana, and Ravana say that Vali has been blessed with a Boon from Lord Shiva that half the strength of his opponent would be gained by him in direct combat. Because of this belief only Rama broke the War Dharma and killed Vaali by hiding himself behind a tree during the course of war between Vali and his own Brother Sugreevaa. But on hearing fact that Vaali had won his battle with Dhundhubi after 12 months and another win over Mayavi has been finally achieved only after his vigorous fight for 28 months, we could be aware of the reality that there lies no Truth about Lord Shiva’s Boon for Vaali as quoted in the Epics.
வாலி எதிரில் நின்று யார் சண்டையிட்டாலும் அவர்களின் வலிமையில் பாதி அவனுக்கு வந்துவிடும் வரத்தை சிவபெருமானிடமிருந்து பெற்றவன் என்று முதலில் அனுமனும், வாலியும், வீடணனும், இராவணனும் கூறுகிறார்கள். இராமனும் அவ்வரத்தை நம்பியதாலேயே சுக்ரீவனுக்கும், வாலிக்கும் இடையே சண்டை நடந்த போது மறைந்திருந்து அறத்தையும் மீறி வாலியை வதம் செய்தான். வாலி, துந்துபியுடன் சண்டையிட்டபோது (ஈராறு மாதங்கள்) 12 மாதங்களும், மாயாவியுடன் 28 மாதங்களும் சண்டையிட்டே இறுதியில் வென்றான் என்கிற போது வரம் உண்மையாக இருக்கவில்லை என்பதையும் நாம் அறிந்து கொள்ள முடிகிறது.
Vilpatti is a major panchayat located within the Kodaikanal Taluk of Dindigul District, Tamil Nadu. Megalithic burial monuments are found in many villages across this region. This mountainous area was once inhabited by the Porunar and Vedars, the petty chieftains of the Sangam era. Although it fell under the rule of various empires that governed Tamil Nadu, the region gained prominence during the Madurai Nayak period. Prior to the arrival of the British, Kodaikanal city was part of the Vilpatti territory; it became a world-renowned tourist destination only after the British chose it as a summer retreat.
The name Vilpatti is derived from its history as a settlement for the Vedars (hunters), the indigenous people of the Kurinji (mountainous) landscape. In this village, a temple dedicated to Lord Murugan, known as Vetri Velappar, is situated atop a rock. Dating back to the 18th century, the temple faces west and consists of a single prakara (circumambulatory path) encompassing the garbhagriha (sanctum sanctorum), idainazhigai (vestibule), ardha mandapa, maha mandapa, muna mandapa, a Shiva shrine, and a navagraha mandapa.
The primary deities and sculptures include Baladandayuthapani, Vinayaka, Munivar, Shiva, and the Lingam. The friezes on the kodungai (eaves) feature rows of sculptures depicting warriors, elephants, horses, lions, dancers, peacocks, turtles, yali, and a pregnant woman. Within the Shiva shrine, diverse sculptures such as the Lingam, Kadamban, Idumban, Durga, Vinayaka, the mythical Ganda Bherunda bird, erotica, and Purushamriga (sphinx-like figure) are found.
The temple performs three-time daily puja rituals, and a Maha Kumbhabhishekam (consecration) was held in 2014. The temple owns lands in Vilpatti and Periyakulam and is currently administered by the Palani Devasthanam. It can be concluded that this temple originated within the Nayak art tradition, which represents the final phase of Tamil Nadu’s classical artistic heritage.
Objective: Since Siddha literature is predominantly written in poetic verse, it is essential to provide systematic prose commentaries (Pozhippurai) to facilitate future educational and medical research. This literary study preserves the traditional knowledge, medical essence, and cultural heritage of the text "Agathiyar Vaithiyam 108," making it accessible to modern readers.
Methodology: The study involved an intensive analysis of the original text to identify archaic and complex terminology. Using traditional lexicons (Nigandus) and existing medical data, the precise meanings of the verses were verified to establish a standardized commentary. Furthermore, consultations were held with experts in the fields of pharmacology and linguistics to ensure accuracy.
Results: Through this literary investigation, a total of 49 medical formulations were identified, consisting of 46 internal medicines and 3 external medicines. Implementing these findings will significantly enhance the standard of treatment within Siddha medicine.
Conclusion: This study serves as a vital bridge between ancient Siddha science and modern understanding. It highlights the depth of Siddha medical data for contemporary society and establishes a robust foundation for future scientific research.
In the history of Tamil literature, the Sangam era is considered the pinnacle of human emotional expression. In particular, the concept of 'Akam' (Interior) created a sublime aesthetic by intertwining the love between a hero and a heroine with a natural backdrop. The Bhakti movement, which emerged during the medieval period, utilized these Akapporul traditions as a tool and elevated them to a divine plane.
This research paper provides a detailed analysis of how Sangam-era Akattinai rules were transformed within Bhakti literature. It engages in a deep discussion regarding the philosophical concept of 'Nayaka-Nayaki Bhava' (Hero-Heroine Sentiment), where the nameless human hero is replaced by the Supreme Being as the Hero, and the devotee assumes the role of the Heroine.
The study explains extensively how Akathurai (thematic modes) such as Thoodhu (Sending a messenger), Madal (A public declaration of love/protest), and Valai Negilvu (The slipping of bangles due to pining), which appear in the hymns of the Alwars and Nayanmars, express the longing of the soul. Furthermore, it explores the philosophical reasoning behind why the soul is identified with feminine characteristics. Through comparative tables and song analysis, this study establishes how Bhakti literature preserved the external structure of Sangam literature while theoretically reshaping its internal meaning.
தமிழ் இலக்கண மரபில் புணரியல் மாற்றங்கள்: நேமிநாதம் மற்றும் அதன் முன்னோடிகள் குறித்த ஒரு மொழியியல் பகுப்பாய்வு
Pages 116-120Grammatical structures play a vital role in preserving the classical nature of the Tamil language. Specifically, 'Punariyal' (Morphophonemics) is a scientific branch that defines the phonological and morphological changes that occur when a preceding word (Nilaimozhi) and a succeeding word (Varumozhi) combine.
Centering on 'Neminatham', authored by Gunaveera Pandithar in the 12th century, this article analyzes morphophonemic changes by comparing it with the foundational texts Tolkappiyam and Nannul. It provides a detailed analysis of:
- Sandhi Methods: The distinctions between Vetrurmai (Case-based) and Alvazhi (Non-case-based) combinations.
- Vikarams (Transformations): The three primary internal changes—Thondral (Insertion), Thirithal (Alteration), and Keduthal (Deletion).
- Prosody (Isai): The methods through which clarity of meaning is achieved through prosodic features.
Furthermore, the findings of this study confirm the essential necessity of these morphophonemic rules in modern Natural Language Processing (NLP) and Machine Translation.
In the history of Tamil literature, the Bhakti movement is considered a significant turning point. Specifically, the sixty-three Saivite saints known as the Nayanmars created a new literary genre by merging the classical Tamil Akam (interior/love) tradition with the path of devotion. The principles of Akathinai, which originally depicted human love in Sangam literature, were transformed during the Bhakti era into a supreme, blissful love between the individual soul and the Divine, known as Nayaka-Nayaki Bhava (the sentiment of the Lover and the Beloved).
This study explores the Akam techniques, the hero-heroine sentiment, the pangs of separation, and the tradition of sending messengers (Thoodu) found in the hymns (Pathigams) of the Tevaram Trinity (Thirugnanasambandar, Thirunavukkarasar, and Sundaramurthi Nayanar) within the framework of Saiva Siddhanta. Furthermore, it provides a detailed analysis of how the Nayanmars visualized themselves as women (adopting feminine sensibilities) to express their love for the Divine as the Supreme Beauty. It also examines how this shift served as an alternative to the ascetic doctrines of Jainism and Buddhism by celebrating the virtues of a life intertwined with devotion.
This study examines at how Koolavanigar Seethalai Sathanar, the author of the epic poem Manimekalai, offers suggestions for cultural transformation while deconstructing the dominant beliefs and customs (meta-narratives) of the society at the time. One of the important reforms in storytelling is that the majority of the narrative is supported by female characters. Sathanar's Manimekalai can be interpreted as a work that challenges the prevailing societal ideologies of the time and encourages cultural change by addressing hunger relief, encouraging love for all living things, and alleviating real-life suffering.
மணிமேகலை எனும் காப்பிய நூலில், அக்காலத்தைய சமூகத்தின் பழக்க வழக்கத்தையும், பெரும்பான்மை நம்பிக்கைகளையும் (meta narrative) உடைத்து (De-construct), எவ்வாறு பண்பாட்டு சீர்திருத்தக் கருத்துக்களை முன் வைக்கிறார் ஆசிரியர் கூலவணிகர் சீத்தலை சாத்தனார் என ஆராய்கிறது இக்கட்டுரை. பெரும்பகுதி கதையை பெண் கதாபாத்திரங்களே தாங்கி நிற்கும் தூண்களாக வடிவமைத்திருப்பது, கதைசொல்லலின் முதல் சீர்திருத்தமாக பார்க்கப்படுகிறது. பசிப்பிணி போக்க, அனைத்து உயிர்களிடமும் அன்பு செலுத்த, நிஜ வாழ்வின் துன்பம் போக்க, அதுவரை பின்பற்றிய பெரும்பான்மை சமூக நம்பிக்கைகள் உடைக்கப்பட்டு, பண்பாட்டு சீர்திருத்தம் செய்வதாகவே சாத்தனார் எழுதிய மணிமேகலையை காணமுடிகிறது.
Ki. Rajanarayanan (Ki. Ra.) is celebrated as the pioneer of regional literature and the father of 'Karisal' (black soil) literature in the Tamil literary landscape. His works, particularly Gopalla Gramam and Gopallapurathu Makkal, meticulously document the history of a specific geographical region and the social, cultural, and economic transformations of the people living there. These works detail the 1,000-kilometer journey of the Kammavar Naicker community, who migrated southward from the Andhra region due to Mughal invasions and political crises, and their heroic history of transforming the arid Karisal wastelands into fertile agricultural fields.
This research paper examines Ki. Ra.’s works from an ethnographic perspective, focusing on the unique ecology of the Karisal land, clan deity worship, rituals, beliefs, caste structures, and agricultural practices. Furthermore, it provides a detailed analysis of the linguistic significance of the Karisal regional dialect and the influence of oral storytelling traditions. The primary objective of this study is to illustrate the paradox between the parched nature of the Karisal land and the profound emotional warmth (the "wet hearts") of its people.
சிவனின் கூத்துத்தத்துவம்: ஆன்மிகமும் அழகியலும்Shiva's Philosophy of Dance: Spirituality and Aesthetics
Pages 151-160Shiva's dance is not merely an artistic performance; it is a profound spiritual expression that symbolizes the cosmic processes governing the universe and human existence. In the Shaiva tradition, Shiva manifests as Nataraja, whose Tandava embodies the five divine acts (Pancha Krityas): creation (Srishti), preservation (Sthiti), destruction (Samhara), concealment (Tirobhava), and grace (Anugraha). Through dance, these cosmic functions are communicated in a form that is accessible to human perception. Every bodily movement, footwork, and hand gesture in Shiva's dance signifies deep metaphysical concepts. The image of Nataraja worshipped at the Chidambaram temple, centered on the principle of Akasha (space), represents the highest expression of the philosophy of dance. The suppression of the demon Apasmara symbolizes the destruction of ignorance, while the raised foot signifies liberation (moksha). The ring of fire (Prabhamandala) surrounding Shiva represents the cyclical nature of time and cosmic energy, creating a powerful aesthetic experience. These visual and symbolic elements evoke rasa (aesthetic emotion) in the viewer, enabling spiritual realization through artistic appreciation. Shiva's philosophy of dance is deeply reflected in Tamil Shaiva literary works such as Thiruvilaiyadal Puranam, Tevaram, and Thiruvasagam. In these texts, Shiva's divine play (lila), in which he mingles with devotees and performs dance, highlights his compassion, simplicity, and grace. Dance thus becomes a medium that strengthens the bond between the divine and the devotee. Therefore, Shiva's philosophy of dance may be understood as a sublime synthesis of spirituality and aesthetics.
This review aimed at tracing the historically spoken lifestyle of Tamil transgender, rituals followed by them since ages, their traditional heritage by surfing nearly 15 Tamil books published exclusively for transgender written by various authors. Nomenclature itself is a huge subject where as they have many types of identity names, names of relationships, different code language for currency identification, a unique language for them named as kowdi language. The gender reassignment surgeries they underwent have a hierarchical spiritual ritual format which was a surprising factor. This article will be a nutshell of life stages of transgender and their culture. They had a peculiar group life rules, family principles and social customs for their own kind. In-spite of all these they had a desperate search for source of income, survival and an urge to come up in life.
அரவாணிகளின் பிறப்பு இன பிறழ்வுகள் நிகழ்கின்ற போது ஏற்படுகின்ற இனம்புரியாத மன உணர்வுகளுடன் பள்ளி பருவம், பள்ளிகூடத்தில் ஏற்படும் சோதனைகள், அரவாணியாக மாறுகின்ற தருணத்தில் குடும்பத்தில் நிராகரிப்பு, சமூகத்தினர், சுற்றத்தார், குடும்பத்தார் அணுகும் முறைகள், பின்பு வீட்டைவிட்டு வெளியேறி குடியேறும் கூட்டு வாழ்க்கை, சமூக வாழ்க்கை எத்தகையது, அவர்கள் வாழ்க்கைக்காக வகுத்து கொண்ட சட்டத் திட்டங்கள், நம்பிக்கைகள், சடங்கு முறைகள் இவற்றால் அரவாணிகள் கண்ட நன்மை தீமைகள், அனுபவிக்கும் துன்பங்கள் மற்றும் என்னவாக ஆகவேண்டும் என்று எதிர்பார்த்த வாழ்க்கைக்கும் படித்த படிப்பிற்கும் செய்கின்ற தொழிலுக்கும் உள்ள முரண்பாடுகள், ஆகியவற்றை ஆராய்ந்துள்ளது இந்த ஆய்வு.
In the history of Tamil literature, the period of Bhakti literature is regarded as a golden era where the triad of language, art, and spirituality converged. Specifically, Thevaram, constituting the first seven of the twelve Thirumurais, stands as a monumental achievement that fused the classical Tamil tradition of Akam (inner/love theme) grammar with the path of devotion (Bhakti).
This research paper extensively examines how Karupporul (native elements) in Thevaram hymns is utilized not merely to describe the geographical nature of a landscape, but to elucidate profound spiritual truths and sentiments related to the Akam tradition. Among the three fundamental components defined by the Tolkappiyam—Muthanporul (primary elements), Karupporul (native elements), and Uripporul (emotional themes)—Karupporul represents the lifeline of a landscape. It comprises elements such as the presiding deity, food sources, fauna, flora, birds, percussion instruments (Parai), occupations, and string instruments (Yazh).
When depicting the natural abundance of the shrines they praised, the Thevaram Trio (Sambandar, Appar, and Sundarar) employed these native elements not as mere aesthetic descriptions, but as Ullurai Uvamam (implied metaphors) that illustrate the relationship between the soul and the Divine. Through the analysis of 12 primary hymns, this paper logically dissects how the flowers of the Ainthinai (five landscapes), the behavior of animals, the resonance of musical instruments, and the worship practices of devotees collectively construct the spiritual identity of a region.
In the history of Tamil literature, the Bhakti movement is considered a period of renaissance. The songs of Thirunavukkarasar, found in the Saiva Thirumurai which emerged in the 7th Century AD, possess both spiritual maturity and poetic excellence.
This paper examines the Akathurai (inner/love poetry) traditions handled by Thirunavukkarasar in his Fifth Thirumurai, focusing specifically on the literary technique known as 'Thai Kootru' (Mother's Utterance).
The study analyzes in detail how Navukkarasar has transformed the Sangam literary tradition of the Sevilithai (Foster Mother)—who typically explains the heroine's state—into a tool in Bhakti literature to express the soul's yearning for the Divine. The research focuses on songs where the mother laments and describes the heroine's mental transformation: her shift from worldly pleasures to seeking refuge in God alone, the 'Nayaki-Nayaka' Bhava (Bridal Mysticism), and the soul's total surrender to the Lord.
Furthermore, this paper elucidates how the Kalaviyal (pre-marital love) and Karpiyal (marital/chaste love) traditions defined in the Tolkappiyam have been handled with modifications within Bhakti literature, alongside the theological philosophies conveyed through these hymns.
உள்ளம் கவர் கள்வன்
Pages 184-192In the history of Tamil literature, the word Kalvan (thief) does not merely denote a common criminal; it carries a profound symbolic meaning across the distinct realms of love (Akam) and devotion (Bhakti). This article explores how the "human hero" who steals the heroine’s heart in the Sangam literary tradition evolved into the "Divine Being" who steals the ignorance of souls during the Bhakti period.
Drawing upon the scholarly insights of Dr. A. Atheeswari, this paper analyzes the transformation of the Kalvan symbol—found in works like Kuruntokai and Kalithokai—into the "Thief who steals the heart" (Ullam Kavar Kalvan) in Thirugnanasambandhar’s Thodudaiya Seviyan hymn.
The article provides a detailed explanation of the six stages through which the Divine steals the soul's heart:
- Arousing Doubt (Initial encounter/wonder)
- Loosening the Bangles (The physical manifestation of longing)
- Captivating through Speech
- Awe-inspiring Acts
- Captivating through Valor
- Forceful Grace (Coming voluntarily to claim the soul)
Furthermore, the paper discusses from a philosophical perspective why the Almighty is hailed as the "Great Thief" in Saiva Siddhanta and explores His nature as Antaryami (the Indweller).
The Bhakti movement is considered a monumental era of social and literary renaissance in the history of Tamil literature. In particular, the three primary Tevaram saints of the 7th century CE were pioneers in transposing the Akapporul (subjective/interior) traditions of Sangam literature onto a spiritual plane. In the Tevaram hymns of Thirugnanasambandhar, the essential themes (Uripporul) of the five landscapes—Union (Punarthal), Separation (Pirithal), Waiting (Iruthal), Lamenting (Irangal), and Sulkiness (Oodal)—transcend their worldly meanings. They evolve into symbols explaining the blissful relationship between the Soul and the Divine (Nayaka-Nayaki Bhava).
This research paper explores the philosophical truths embedded within the context of the five landscapes found in Sambandar's hymns. Specifically, it provides a detailed analysis of how Sambandar used the codes of Thinai (landscape conduct) to frame the various emotional stages the Soul (as the heroine) undergoes to reach the Divine (as the hero). Furthermore, the paper discusses how these works served as a Saiva Siddhanta alternative to Jain and Buddhist doctrines and examines how this path of devotion was disseminated among the masses through music and the Pann (melodic mode) system.
In the history of Tamil literature, grammar and literature serve as two sides of the same coin. Specifically, the impact of the life principles laid down by Tolkappiyam—the world's oldest grammatical treatise—on later Bhakti literature is a subject of profound research. During the 7th century CE, when the Bhakti movement flourished in Tamil Nadu, the two great mentors, Thirugnanasambandhar and Thirunavukkarasar, revitalized Saivism through their Tevaram hymns. This article explores in detail how the natural descriptions and temporal records embedded in their songs align with the concept of 'Mutharporul' (Primary Subject Matter) as defined in the Porulathikaram of Tolkappiyam.
The research analyzes how the components of Mutharporul—namely Land (Nilam) and Time (Poluthu)—are documented in the Tevaram pathigams of Sambandar and Navukkarasar. Nature, which served as a backdrop for love and valor in Sangam literature, is transformed into a tool for praising Divine Grace in the Tevaram. The study identifies how the minor divisions of time (Sirupoluthu) such as Dawn (Vaikarai), Morning (Vidiyal), Midday (Nanpakal), Evening (Maalai), and Midnight (Yamam) are intertwined with ritualistic worship and divine vision. Furthermore, the characteristics of the five types of landscapes are mapped onto the sacred shrines (Thiruthalangal) of the Lord. By comparing literary data with grammatical rules, this paper establishes how the geographical and temporal thoughts of Tamils underwent a spiritual evolution during the Bhakti period.
இலியட் மற்றும் மகாபாரததில் உள்ள போர் ஒப்பீடுThe Comparison of Combat in Iliad and Mahabharata
Pages 207-215Literature created by humans has a great impact on society. Literature is a reflection of humans. It also highlights the beliefs, customs, cultures, political and life problems of the people and also tells philosophies for future generations. Internal and external factors of the people lifestyle are two inseparable parts of literature. The epic poem called Iliad, which originated in Greece, highlights the life of the ancient Greek people. Some of the events and characters in this epic are consistent with the epic poem Mahabharata, which originated in India. This research article is to compare the events in two famous literatures in world literature, the Iliad and the Mahabharata.
The Tirukkural, a foundational Tamil ethical text attributed to the sage Thiruvalluvar, offers a sophisticated precursor to modern human rights discourse. While the Universal Declaration of Human Rights (UDHR) was codified in 1948 in response to the atrocities of World War II, the Tirukkural articulated principles of inherent dignity, moral equality, and social justice nearly two millennia earlier.1 This research report provides a comprehensive analysis of the ethical mapping between Thiruvalluvar’s 1,330 couplets and the thirty articles of the UDHR. By examining the tripartite structure of Aram (Virtue), Porul (Wealth), and Inbam (Love), the study identifies how ancient Tamil thought rejected birth-based hierarchies and established the accountability of sovereigns.1 Furthermore, the report explores the linguistic complexities of translating these concepts, noting the challenges posed by Tamil’s agglutinative morphology and the cultural nuances of terms like Aram.6 Integrating contemporary Tamil academic insights with global legal perspectives, the analysis demonstrates that the Tirukkural serves as a universal moral blueprint for human development, anticipating the contemporary need for ecological ethics, gender justice, and economic equity.
The political and administrative history of the Kongu country (modern-day Coimbatore, Erode, Salem, and surrounding regions) occupies a unique position in Tamil history due to its geographical location between the Chera, Chola, and Pandya kingdoms. This article examines the administrative significance of the Kongu Cholas from the 10th to the 13th centuries A.D., specifically focusing on the period between Vira Chola I and Vikrama Chola III.
Drawing evidence from temple inscriptions and copper plates, the study details a hierarchical governance structure consisting of central, nadu (micro-region), and local divisions. While the monarchy was hereditary and exercised significant authority over land revenue and judicial matters, the administration was heavily decentralized. Vital roles were played by village assemblies (Sabhas and Urs), which functioned as "little republics" managing local justice, irrigation, and taxation. Furthermore, the article explores the specialized military organization of the region, characterized by distinct senior and junior divisions (Mutha and Ilaiya samarkkattu) and the recruitment of diverse forces like the Malayalapadai. Ultimately, the Kongu Chola government is presented as an efficient monarchy tempered by democratic local institutions that reflected the customary practices of the era.