A masterclass of contemporary Tamil poetry' - Namita Gokhale In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets - particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani - charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues - fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstrom's English translation.
This book is a rendering in English of the Tamil epics Silappadikaram and Manimekalai written by renowned Tamil poets. Silappadikaram is the story of Kovalan and Kannagi and of how Kannagi avenges the wrong done to her husband. Manimekalai is meant to be a sequel to Silappadikaram, being the story of Kovalan s daughter s renunciation. There are strong spiritual undertones in the story that give an insight into the religious influence of those times. The illustrations are by A V Illango who is a well-known name in the Indian art scene. His areas of interest are Tamil folklore and the mythology and temple architecture of Tamil Nadu.
The body was the only truth she knew. It was the body alone that was left, even as she went beyond the body.’ Journeys form the leitmotif of these astonishing new stories by Ambai. Sometimes culminating in an unconventional love affair, some are extraordinary tales of loyalty and integrity; others touch on the almost fantastic, absurd aspect of Mumbai. Yet others explore the notion of a wholesome self, and its tragic absence at times. These stories are illuminated by vivid and unusual characters: from an eccentric, penurious singer-couple who adopt an ape as their son, to a male prostitute, who is battered by bimbos for not giving ‘full’ satisfaction. Crucially, some of the stories, like the title one, engage uninhibitedly with a woman’s relationship to her body. For Ambai, feminist par excellence, the sensual body, experienced as a natural landscape changing with age, is at the same time, the only vehicle of life and tool for mapping the external world.
Broadly speaking, Indian English (IE) is that variety of English used by a large number of educated Indians as a second language. Kachru (1983) used the term ‘Indian English’ for the variety of English used generally in the South Asian countries. David Crystal (2003) observes that in India the numbers of English speakers outrank the combined number of speakers in USA and UK. A considerable body of creative writing is also produced in English and is increasing steadily. Writers like Mulk Raj Anand, R.K. Narayan, and Raja Rao, and Arundhati Roy, have become part of India’s literary tradition and they may continue to hold their status in world literature too. The use of Indian English in different domains in interaction with other regional languages has resulted in its development and recognition as a distinct variety in its own right. It is an attempt to study the styles of two of the prominent writers of Indian English, namely R.K. Narayan and Arundhati Roy by examining the different linguistic and literary aspects as reflected in their selected fictions—R.K. Narayan’s “Swami and Friends” (SF) and “The Guide” (TG) and Arundhati Roy’s “The God of Small Things” (GST). An examination of selected fictions of the two writers of this study has shown that stylistic analysis can be a rich field of enquiry in Indian English. Studies of the present kind can be used as a source material for applied linguistics. They can be extended for a comparative study of stylistic traits of Indian writers and non-Indian writers. The study suggests the possibility of further research in comparative stylistic studies in Indian English fiction, on the one hand, and American, British, or Australian fiction, on the other. Our comparison of the two writers, one of the colonial period and the other belonging to the post-colonial period, suggests that a more extensive stylistic study of Indian writing in English is called for to understand the changing phases of English in the socio-cultural ethos of the Indian society. The book is organized as follows: Chapter-I is an introduction to Indian English, its importance and the objective of the research. Chapter-II deals with review of literature on Indian English as well as stylistic studies in Indian English fiction. Chapter-III is concerned with a brief introduction to the texts chosen for study. Chapter-IV discusses the methodology adopted in the study. Chapter-V deals with the results of the study and makes a comparison between the two authors’ styles. Chapter-VI consists of a summary of the research and concludes with suggestions regarding further research needs.
Public enterprises reforms occupy the central place in the schemes of economic reforms in India. In many developing countries opting for economic reforms, public enterprise reforms have come at the beginning of the cycle of economic reforms. In India, it has not happened so and the results are there for us to see. The present book makes an attempt to present a case for reforming public enterprises in India and also the agenda for action for this purposes. It outlines the challenges ahead for public enterprises and the need for reforms viewed from the global perspective. It outlines the performance of the public enterprises and the areas requiring the attention of the reformers. It presents the case of a state in which reforms have to be carried out and the context for such reforms. It identifies regulations as one of the key component of the reforms. The book also elucidates the reform experience of some of the states. It presents a balanced view of the theory and practice of public enterprise management in the reform context. It incorporates case studies of nine public enterprises to demonstrate the need and effect of economic reforms.
In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets -- particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani -- charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues -- fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstrom's English translation.
This book is a rendering in English of the Tamil epics Silappadikaram and Manimekalai written by renowned Tamil poets. Silappadikaram is the story of Kovalan and Kannagi and of how Kannagi avenges the wrong done to her husband. Manimekalai is meant to be a sequel to Silappadikaram, being the story of Kovalan s daughter s renunciation. There are strong spiritual undertones in the story that give an insight into the religious influence of those times. The illustrations are by A V Illango who is a well-known name in the Indian art scene. His areas of interest are Tamil folklore and the mythology and temple architecture of Tamil Nadu.
The body was the only truth she knew. It was the body alone that was left, even as she went beyond the body.’ Journeys form the leitmotif of these astonishing new stories by Ambai. Sometimes culminating in an unconventional love affair, some are extraordinary tales of loyalty and integrity; others touch on the almost fantastic, absurd aspect of Mumbai. Yet others explore the notion of a wholesome self, and its tragic absence at times. These stories are illuminated by vivid and unusual characters: from an eccentric, penurious singer-couple who adopt an ape as their son, to a male prostitute, who is battered by bimbos for not giving ‘full’ satisfaction. Crucially, some of the stories, like the title one, engage uninhibitedly with a woman’s relationship to her body. For Ambai, feminist par excellence, the sensual body, experienced as a natural landscape changing with age, is at the same time, the only vehicle of life and tool for mapping the external world.
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