FeTNA 2014 Souvenir

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27th Annual Tamil Convention in Association with Missouri Tamil Sangam

Chaifetz Arena St.Louis MO 63103

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Federation of Tamil Sangams of North America

ÝQ 20---&21, F¼õœÀõ˜ Ý‡´ 2045 ü¨¬ô 4&5, 2014

Supported by Missouri Art Council

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Federation Of Tamil Sangams of North America (FeTNA)27th Annual Tamil Convention 2014

July 4-5, 2014Chaifetz Arena

St.Louis, MO 63103

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O ne translates to share. Translations into English expose both Tamils and non-Tamils to Sangam litera-ture. They reveal the contents to

those who are unable to understand the Tamil poems. They also encourage Tamil readers to learn the original poems. Adding word by word meanings provides beginners a tool to learn the poems.

My own journey started with reading the Eng-lish translations of A. K. Ramanujan and George Hart. These translations instilled in me the desire to learn the Tamil poems. They offered a window into the life of my ancestors, and the society in which they lived. On a visit to Tamil Nadu, I found a teacher in R. Rukmani who got me started in just sixteen hours, teaching me the 103 line Mullaippāttu poem. I continued my studies with commentaries of many Tamil scholars and English books written by Tamil scholars like Fr. Thaninayagam, Kamil Zvelebil, Devapoopathi Nadarajah, K. Kailasapathy, P. Marudanayagam, Martha Ann Selby, John Ralston Marr, Takanobu Takahashi, George Hart and others. I also read the translations of J.V. Chelliah, V. Murugan, A. Dakshinamurthy, Robert Butler, M. Shanmugam Pillai, David Ludden, M.L. Thangappa, Lakshmi

Holmstrom, N. Kandasamy, Martha Ann Selby and others.

When I learned to comprehend the Sangam poems, I was struck by their beauty. I realized that not even the best translations could do justice to them. I became addicted to their sweetness, and started to spend most of my waking hours reading them. Everything about them appeared special – the delightful words, descriptions of situations, the structure of the poems, the characters, the his-tory, the sentiments of young women, sense of humor, the many kinds of fauna and flora, various arts, artists, the similes and metaphors, the implied many meanings, the words of wisdom, and so on.

I started to translate with the idea of teaching Sangam poetry to those wanting to learn, espe-cially those whose medium of instruction in school was English. Like me, many have not had the opportunity to learn the poems at their homes or even in schools. Some of us have tried to learn using commentaries, only to be discouraged by their difficult language. We were given the im-pression that the poems were very difficult, and hence only for scholars. However, I found through my own learning process, that with proper guid-ance and a little help, those interested can learn

Vaidehi Herbert

PERSPECTIVES IN TRANSLATING

SANGAM POETRY

Vaidehi Herbert

27Ýõ¶ îI› Mö£ 2014


and enjoy them. Now, with my translations, I give word by word meanings with necessary notes to help new readers. I have received positive feed-back from many.

Translating poems from a two thousand year old, rich, ancient literature into a modern language from an entirely different culture offers some challenges, especially since the Sangam literature is short on words but extremely rich in meanings, which makes the translations longer. One Tamil word might need two or three English words to convey the meaning. At times, English does not have the equivalent words for Tamil. Also, the lists of many similes and metaphors are not easy to translate while still retaining the original con-tent and beauty. Translation is not merely a mat-ter of substituting words. It is the art of bringing out the sentiments of the poets who lived two thousand years ago, and revealing the essence of their poems, keeping intact the descriptions and core structure. Suggestions have to be expressed aptly. Many words have more than one meaning. At times, one meaning seems to be the logical choice. Sometimes, more than one meaning seems logical. Also, word usages have changed over time. There are some religious concepts of Bud-dhism and Jainism which were prevalent then among the Tamils, which have often been lost in many commentaries. One has to make an effort not to translate based on today’s values. Luckily, there are many Tamil commentaries, both ancient and modern, which offer insight with depth. One has to sift through many, some with varying view-points, and also draw upon the usages in other poems that one has read, to come to conclusions. In some situations, epigraphical evidence needs to be considered as well. There are also many scholarly books exposing the various facets of the literature, which aid the translator to understand the nuances. Basically, the translator faces many of the same issues that commentators face, in ad-dition to translation issues.

Human sentiments are revealed through fauna,

flora and the many elements of nature found to this day in the environments of Tamil Nadu. The translator’s work is made somewhat easy by the vivid descriptions of the landscapes and scenari-os. For a translator who grew up in Tamil Nadu observing the different landscapes seen in the poems, there is an advantage knowing the terrains and their unique characteristics down to the min-ute details, which are key matters in understanding the related emotions, since Sangam poetry is highly conventionalized landscape poetry.

The goal of all the Sangam translators is one and the same – to share these ancient poems with modern readers. Each one employs a different style. Some translate selected poems from the various Sangam books. Some translate complete books. Most are done in academic settings. How-ever, there are non-academic Tamils who have also translated. There are several styles of trans-lations into English. Some translators have pre-sented the poems in a classical form of English, fitting the classical structure of the ancient Tamil poems. Some have translated them into modern English, either in prose or poetry form, making them easier to read. Some present the Tamil originals along with English whereas others give only the English versions. Most translators are Tamil scholars who have learned classical poetry for many years. There are some translators, like myself, who are not career Tamil scholars. There are also a few translators from other cultures. These foreign scholars have spent many years in Tamil research and teaching. Despite that, native Tamil translators have an advantage, having grown up in the culture, and knowing the subtle-ties and nuances of traditions, many continuing to this day.

Most of the translators work by themselves with some editing help. Some translators work with others as a team. A. K. Ramanujan, who set the gold standard for Sangam poetry translations, writes in his translator’s note of his book ‘Poems of Love and War’ that his colleague Dr. V. S.


Rajam checked each and every poem, offered suggestions and corrected his errors. He also credits Keith Harrison, a poet and translator who checked his translations before they were pub-lished. George Hart worked with Hank Heifitz to translate the Puranānūru in poetic form. Both A. K. Ramanujan and George Hart are themselves English poets.

Translations are also good resources for re-search students and scholars who seek specific information from a Tamil society that existed two thousand years ago. Primatologists, ornitholo-gists, astronomers, botanists, musicians, histori-ans and other scholars look to Sangam poetry translations for their research and studies. They also help those from Kerala who want to learn Chēra history.

Puram poems are straightforward, filled with history and are mostly the direct words of the poets. They are relatively easy to translate, de-spite the many complicated scenarios that some of them present. They range from charity of pa-trons to cruelty of warring kings. They offer a few interesting stories of deep friendships be-tween poets and kings, generosity of the kings, their appreciation for poets, bards and artists, words of wisdom, situation of widows, martial prowess, battle equipment, divisions of armies, cattle raiding, honoring memorial stones planted for warriors, battles between kings with even some rare friendships between kings. There are also the words of brave mothers and wives, and descriptions of situations when families refuse to give their daughter’s hand to kings.

Akam poems, which are the majority of the poems, are more difficult to translate. They often have implied meanings and are the voices of just a few speakers - the heroine’s friend, the heroine, the hero, the heroine’s mother, heroine’s foster mother and bystanders. An occasional poem is presented in the words of the hero’s friend or the charioteer. The heroine’s friend is the speaker in most of the Akam poems, followed by the heroine.

The friend is like a sister to the heroine. Tholkap-piyam Porulathikāram 123 says that she is the daughter of the foster mother, even though it is not explicitly revealed so in the literature. She goes with the heroine to the family millet field to chase marauding parrots that come to eat the mature millet. That is where they meet the hero. She is a young girl who grew up with the heroine playing with balls, sand houses and kalangu beans, who cares, advises, and encourages her, arranges trysts, talks to the mother and foster mother about marriage, watches the family bring a diviner to find the cause of the heroine’s ailment, teases the diviner, announces to the heroine that marriage is imminent, pleads with the hero not to move away to earn wealth, chides the hero when he strays in his marriage, refuses the unfaithful hero entry into his marital house when he wants to return, and communicates with the messenger bard when the couple is estranged.

The nobility of the literature can be seen by its respect for poets, bards, dancers, drummers and other artists, heroism, courage of women and its love for nature. Cruelty in war situations, which no society should be proud of, is depicted in great detail. It is not a literature belonging to any elite group. It is about all Tamils, describing often the lives of ordinary citizens, despite many Puram poems being about kings. The poets came from many different backgrounds - from cattle herding to royalty. Most of them were men, but there were some female poets. It has been a fascinating journey to see words, phrases and themes from Sangam literature echoed often in later didactic works including Thirukkural, the epic poems, religious Saivite and Vaishnavite hymns, modern literature and even movie songs.

What every Tamil can find are some elements that offer continuity from our past. There are crow omens announcing the arrival of guests. There are lizard omens which exist to this day. There are omens with twitching eyes, which we still have. Young girls play with little red velvet,

27Ýõ¶ îI› Mö£ 2014


crawling pattuppoochis (trombidium grandissi-mum) which they still do in rural Tamil Nadu. Many of the foods that we eat today have come down to us with the same names. There are also references to kolams.

Sangam poems are delightful to read and un-derstand. Extracting the implied meanings in the poems is like solving riddles. Sharing the poems with people from other cultures is also a source of great happiness, especially since there were very few cultures which wrote sophisticated material that early. Learning one’s culture by digging into the depths of its ancient literature with historical references is a treat. There is such happiness when one sees the towns, mountains and rivers which bear the same names even today. A. K. Ramanu-jan’s words, “Even one’s own tradition is not one’s birthright; it has to be earned, repossessed” is very apt. The tools available: the five land-scapes of Kurinji, Marutham, Mullai, Pālai and Neythal; the analytical elements of muthal, which are the land, season and time; karu which are the fauna, flora, art and people of the land; uri, which is the emotion attached to the thinai; and ullurai or implied meaning, give a perfect structure for the poems, which make them easy to comprehend, makes all the poems of the same thinai as vignettes of one long story, and hence acts as guides to the translator to express the sentiment in apt words.

A translator can get excited while revealing poems that have special elements. There are some rare poems where a hunter pities and releases a sad bird caught in his net on a blustery day, a wild dog decides not to attack a sow with her piglets out of pity, a hunter does not attack a brave boar which protects his family since he admires its bravery, a king fans a poet who slept on the cot meant for the honored royal drum instead of pun-ishing him, and a poet intervenes and saves a king’s children who are about to be crushed to death by an enemy king’s elephant. My world changed completely on confronting the delights

of Sangam poetry. Living in a tropical environ-ment, I see the poems come to life every day when I see the ocean, mountains and waterfalls, coco-nut, betelnut, vēngai, mango, neem, murungai, breadfruit, nāval and jackfruit trees, mullai, vetchi and erukkam flowers, and house lizards, parrots, sparrows and pigeons.

Many techniques are used by translators to effectively reveal the original meanings. I have chosen to write in readable, modern English as a way of conveying the meanings of the poems. I also use inset displays to indicate long paren-thetical descriptions. I have broken the poems into appropriate, small paragraphs for the sake of clarity. I have generally chosen to keep the Tamil names for trees and flowers, giving the English and Latin names in the ‘Meanings’ sec-tion. When there are more than one meaning, I choose what I feel is apt, but give the reader the other possibilities in the ‘Notes’ section. I strive to bring the reader vivid images from the poems, like ‘dry vākai tree seedpods rattling like anklets with pebbles‘, ‘loud ocean waves pounding the shores ceaselessly’, ‘waterfalls coming down with roars like the drum beats of drummers’, ‘flower clusters swarmed by humming bees sounding like the music of lutes’, ‘horses hitched to chariots flying like the wind’, ‘delicate pea-cocks screeching in the forest’, ‘a pining, lonely ibis calling lovingly perched on a palmyra frond’, ‘rumbling, dark rainclouds coming down with lightning strikes and loud thunder’, ‘an elephant attacked by a tiger trumpeting in pain’, etc.

Most translators, including myself, feel that our work is never complete, even after it appears in print. We change words and phrases each time we look at a poem, since none of them turn out to be as lovely as Sangam poetry. With the interest to share our work with others, we release them at some point. I hope my translations will be used as tools to learn the delightful original poems that have no equal.


27Ýõ¶ îI› Mö£ 2014

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(28.05.1914 -& 09. 06.1981)

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å¼ °¬ø«ò Ý°‹. F¼º¼è£ŸÁŠð¬ì, ðKð£ì™, CôŠðFè£ó‹, ð¡Q¼ F¼º¬øèœ, ï£ô£JóŠ ðÂõ™, CŸPô‚AòƒèO™ Þì‹ªðŸÁœ÷ Þ¬ê¸†ðƒè¬÷Š ð£® â´ˆ¶¬ó‚°‹ ÝŸø™ ªðŸøõó£è‚ °ì‰¬î ð.²‰î«óêù£˜ Üõ˜èœ M÷ƒAù£˜èœ. îIöèˆF¡ ðô á˜èO™ õ£›‰î îIö¡ð˜èœ ÞŠªð¼ñèù£K¡ Þ¬êò£˜õñP‰¶Þò¡ø õ¬èJ™ ¶¬íG¡Áœ÷ù˜. ÝJÂ‹ ÞŠªð¼ñèù£K¡ º¿ˆFø¬ù»‹ âF˜è£ôˆ îI›‚ °Íè‹ºŸø£è ÜP»‹ õ‡í‹ Þõ˜ Ë™èœ ð£¶è£‚èŠðì£ñ™ «ð£ù¬ñ»‹, Þõ˜î‹ îIN¬ê à¬óèœ è£ŸP™ è¬ó‰î¬ñ»‹ ï‹ «ð£Ã› â¡«ø ªê£™ô «õ‡´‹.

“îI¿‚°ˆ ªî£‡´ ªêŒ«î£¡ ê£õF™¬ô” â¡ø ÃŸÁ‚° ãŸðˆ îIN¬ê ðóŠHò ÞŠªð¼ñèù£K¡ CøŠ¹è¬÷ àôè‹ õ£› îIö˜èœ ÜP»‹ õ‡í‹ G¬ù¾Ãó¾‹, ÝõíŠð´ˆî¾‹ îIö¡ð˜èœ º¡õó«õ‡´‹. °ì‰¬î ð. ²‰î«óêù£˜ Üõ˜èœ îI› ,ªî½ƒ°, Þ‰F, êñŸA¼î‹âùŠð¡ªñ£N ÜP¾‹, îI›ŠðŸÁ‹ ªè£‡ìõ˜. ð£´¶¬ø õ™½ï˜. âO¬ñ»‹ Üì‚èº‹ ªè£‡ìõ˜. îIN¬ê G¬ùM™ Í›Aˆ F¬÷ˆîõ˜.

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Ýó£Œ‰¶ à‡¬ñ è‡ìõ˜. ¬êõ êñò ß´ð£´ G¬ø‰îõ˜. Cõ«ïò„ ªê™õó£è M÷ƒAòõ˜. îIöèˆF¡ ð™«õÁ ð°FèO™ ðœOèœ, è™ÖKèœ, ªð£¶ Üóƒ°èO™ î‹ Þ¬êˆFøù£™ ñ‚èOì‹ îIN¬ê °Pˆî MNŠ¹í˜„C¬ò ãŸð´ˆFòõ˜. îIN¬ê e†C‚°‹, õ÷˜C‚°‹ ð£´ð†ì Þõ˜î‹ õ£›‚¬è õóô£Á îIN¬ê õóô£ŸP™ â¡Á‹ G¡Á Gô¾‹ ªð¼¬ñ‚°Kò¶.

°ì‰¬î ð.²‰î«óêù£˜ ðŸPò °PŠ¹èœ

î…ê£×˜ ñ£õ†ì‹ °ì‰¬îJ™ õ£›‰î ð…êïî‹ Hœ¬÷, °Šð‹ñ£œ ÝA«ò£K¡ ñèù£è 28.05.1914 Þ™ Y˜è£NJ™ Hø‰îõ˜. ï£¡è£‹ õ°Š¹ õ¬ó è™M ðJ¡øõ˜. ªðŸ«ø£˜Þ÷‹ Üè¬õJ™ ï¬è‚è¬ìªò£¡P™ ðEJ™ « ê ˜ ˆ î ù ˜ . Þ õ K ì ‹ Þ ¼ ‰ î Þ¬êò£˜õ‹Þ¬êˆ î†´è¬÷‚«è†´ Þ¬êòP¾ ªðÁ‹õ£ŒŠ¬ð à‡ì£‚Aò¶.ðœOŠð®Š¹ Þõ¼‚° õ£Œ‚è£ñ™ «ð£ù£½‹ ðôË™è¬÷ˆî£«ñèŸÁÜP¾ªðŸø£˜, Þ÷¬ñ ºî™ G¬ø¾‚è£ô‹ õ¬óJ™ °‹ð« è £í‹ «ð†¬ì ï£íò‚è£óˆ ªî¼M™ °®‚ÃL‚° õ£›‰îõ˜.

F¼õï‰î¹ó‹ Þô‚°ñíŠHœ¬÷ Üõ˜èOì‹ îñ‚A¼‰î Þ¬êf´ð£†¬ì„ ªê£™L Þ¬ê èŸH‚°‹ð® «õ‡®ù£˜. ð.²‰î«óêù£K¡ Þ¬ê ß´ð£†¬ìŠ ð£ó£†®ò Þô‚°ñíŠHœ¬÷ Üõ˜èœ Üƒ°ˆ îƒAŠð®‚è õ£ŒŠH¡¬ñ¬ò„ ªê£™L‚ °ì‰¬î‚° ÜÂŠH ¬õˆî£˜. ð.²‰î«óêù£˜ ºî¡ºî™ (H®™) è‰îê£I «îCè˜ â¡ðõKì‹ Þ¬êðJ¡ø£˜. H¡¹ «õŠðˆÉ˜ ð£ô²ŠHóñEò‹ Üõ˜èOì‹ Côè£ô‹ Þ¬êðJ¡ø£˜. Üî¡H¡ù˜ 1 9 3 5 ºî™ ã ø ˆ î £öŠ ðF«ù¿ Ý‡´èÀ‚°‹ «ñô£è‚ °ì‰¬îJ™ õ£›‰î «õî£ó‡ò‹ Þó£ñ„ê‰Fó¡ Üõ˜èOì‹ ªêšM¬ê ðJ¡Áœ÷£˜.

ð.²‰î«óêù£˜ Üõ˜èœ 1944 Þ™ F¼õ£†® ªê£˜íˆî‹ñ£¬÷ ñí‰î£˜.

Þõ˜èÀ‚° Þ™ôøŠðòù£Œõ£Œˆî ñö¬ô„ªê™õƒèœ Þ÷¬ñJ«ô«ò ñ¬ø‰îù˜.

ð.²‰î«óêù£˜ Üõ˜èO¡ Þ¬êJ™ ß ´ ð £ ´ ª è £‡ì Ü¡ ð ˜ è ÷ £ ™ Ý´¶¬øJ™ 1946 Þ™ ÜŠð˜ Ü¼œ ªïP‚èöè‹ ãŸð´ˆîŠð†´ˆ ªî£ì˜ Þ¬êŠªð£N¾èœ Gè›ˆîŠªðŸøù. F ¼¬õ ò £Á Ü ó ê ˜ è ™ÖKJ™ Þ¬êò£CKòó£è ÜPë˜ ð. ²‰î«óêù£˜ ðEò£ŸPò ªð£¿¶ åšªõ£¼ Aö¬ñ»‹ ªõœO‚Aö¬ñ ñ£¬ôJ™ ªî£ì˜ õ‡®J™ ãP, Þó¾ ðˆ¶ ñEò÷M™ Ý´¶¬ø õ‰¶, Þó¾‹ ñÁï£†èÀ‹ ªðKò¹ó£í‹, «îõ£ó‹ ðJŸÁMŠð¬î õö‚èñ£è‚ ªè£‡®¼‰î£˜. Þšõ£Á Í¡ø£‡´èœ Ý´¶¬øJ™ ªðKò ¹ó£íˆ¬î MK¾¬ó ªêŒ¶œ÷£˜. Þ¼ï£œ õ°Š¹èÀ‚°Š Hø° Fƒè†Aö¬ñ ¬õè¬øJ™ Ý´¶¬øJ™ ¹øŠð†´‚ è£¬ôJ™ î…ê£×˜ õ¬ó ªî£ì˜õ‡®J™ ðòEˆ¶ˆ F¼¬õò£Ÿ¬ø Ü¬ìõ¬î õö‚èñ£è ¬õˆF¼‰î£˜.

Þ š õ £ Á Ý ‡ ´ ‚ è í ‚ A ™ F¼º¬ø è¬÷Š ðJŸÁMˆî î £™ Ü‰Gè›¾è¬÷ ãŸð£´ ªêŒF¼‰î Ý´¶¬ø ¬õˆFòLƒè‹ Üõ˜èœ °ì‰¬î ð. ²‰î«óêù£¼‚° 1975 Þ™ ñEMö£¬õ ïìˆF, îƒèˆî£™ Ü¬ñ‰î Ü‚èˆ¬î (ªè÷Kêƒè˜ ) Þó‡ì¬ó ð¾Q™ ðKêOˆî£˜. ²‰î«óêù£K¡ ñ¬ùM‚° ñƒèô ÜE»‹ õöƒA ñA›‰îù˜.

ï£¬èŠð†ìùˆF™ Ü‰ï£œ õ£›‰î èMë˜«è£ «è£¬õ.Þ÷…«êó¡ Üõ˜èO¡ ãŸð£†®™ Ü¬ñ‚èŠªðŸø ï£¬èˆ îI›„ êƒèˆF™ ð.²‰î«óêù£˜ CôŠðFè£óˆ¬î ñ£î‰«î£Á‹ ªê£Ÿªð£Nõ£è Gè›ˆF ÜŠð°FJ™ îIN¬ê Ý˜õˆ¬î ñ‚èOì‹ ãŸð´ˆFù£˜. Þ‰îŠ ªð£NM™ Üóƒ«èŸÁ è£¬î, è£ù™õK, «õ†´õõK, °¡ø‚°ó¬õ, ÝŒ„Cò˜°ó¬õJ™ Þì‹ªðŸÁœ÷ Þ¬êŠð°Fèœ M÷‚èŠð†ìù.

F¼„Có£ŠðœO ñ£õ†ì‹ F¼ˆîõˆ ¶¬øJ™ (Þô£™°®) ð.².ï£´è£‡ °¿ ªêò™ðÁ¡ø¶. Þƒ°‹ ªî£ì˜Š

Þ¬ê ß´ð£†¬ìŠ ð£ó£†®ò Þô‚°ñí Hœ¬÷ Üõ˜èœ Üƒ°ˆ îƒAŠð®‚è õ£ŒŠH¡ ¬ñ¬ò„ ªê£™L‚ °ì‰¬î‚° ÜÂŠH ¬õˆî£˜.

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ªð£N¾èœ îIN¬ê °Pˆ¶ ïì‰¶œ÷¶. F¼ñöð£®J½‹, W¬öŠðØ×K½‹, F¼ñ£ÛK½‹ Þõ˜ î‹ îIN¬êŠðE ªî£ì˜‰¶ ï¬ìªðŸÁœ÷¶.

1949 ºî™ 1952 õ¬ó F¼¬õò£Á Üóê˜ è™ÖKJ™ ¹ôõ˜ õ°Š¹ Þ¬êò£CKòó£è¾‹, 1952Å¬ô ºî™ 1955 õ¬ó Ü‡í£ñ¬ôŠ ð™è¬ô‚èöèˆF™ «îõ£ó Þ¬ê MK¾¬óò£÷ó£è¾‹ ðE¹K‰¶œ÷£˜. ð‡í£ó£Œ„C °Pˆî Þõ˜î‹ º®¾è¬÷ ñó¹õNJ™ ð£´‹ å¶õ£˜èœ ãŸè£ñ½‹, Þõ˜î‹ «îõ£óŠ ðEèÀ‚° Ýî ó ¾ ï ™ è £ ñ½‹ Þ ¼ ‰ î ¬ ñ ò £ ™ Ü‡í£ ñ¬ ô Š ð™è¬ô‚èöèŠ ðEJL¼‰¶ ªõO«òø «ï˜‰î¶.Üî¡Hø° ²‰î«óêù£˜ Cî‹ðó‹ ªê™ô «ï˜‰î£½‹ Ü‡í£ñ¬ôŠ ð™è¬ô‚èöè‹ ªê™õF™¬ô â¡ø º®¾ì¡ õ£›‰¶œ÷£˜. ðEJö‰î ð.²‰î«óêù£˜ ðô á˜èÀ‚°‹ ªê¡Á ðœO, è™ÖK, «è£J™èœ, Þô‚Aò Ü¬ñŠ¹èO™ Þ¬ê„ªê£Ÿªð£N¾ ªêŒ¶õÁ¬ñ«ò£´ õ£›‰¶ õóô£ù£˜.

ªð£¶ñ‚èOì‹ Þ¬ê¬ò‚ªè£‡´ ªê™½‹ ªð£¿¶ ñ‚èœ M¼‹¹‹ õ‡í‹ ï¬è„²¬õ»ì¡ à¬óò£ŸÁ‹ FøQ™ õ™ôõó£ù£˜. Iè¾‹ ÜKòªêŒFè¬÷»‹ Ü¬ùõ¼‚°‹ ¹K»‹ð® âO¬ñò£è ªõOŠð´ˆFòî£™ Þõ˜ ¹è› °ñK ºî™ õì«õƒèì‹ õ¬ó ðóMò¶.

CôŠðFè£óˆF¡ Þ¬êòö°M÷ƒ°‹ Þìƒè¬÷Šð£®‚è£†´‹ ªð£¿¶ îIöèñ‚èœ îƒèO¡ ÜKòªð¼…ªê™õ‹ A¬ìˆ¶ M†ìî£è àí˜‰îù˜. êñò Ë™è¬÷Š ð‡«í£´ ð£®òî£½‹ ðö‹ð‡èO¡ à‡¬ñ õóô£Ÿ¬ø â´ˆ¶¬óˆîî£½‹ ð.²‰î«óêù£˜‚°Š ð™«õÁ CøŠ¹è¬÷ˆ îIöè ñ‚èœ ªêŒîù˜. Üõ¼‚°Š ð™«õÁ ð†ìƒè¬÷ õ ö ƒ A ñ A › ‰ î ù ˜ . Ü õ Ÿ Á œ ð‡í£ó£Œ„CMˆîè˜ (ñ¶¬óÝbù‹). F¼º¬ø‚èô£GF (î¼¬ñò£bù‹) , ãN¬êˆî¬ôñè¡ (°¡ø‚°®Ýbù‹), Þ¬êòº¶ àœO†ì ð†ìƒèœ °PŠHìˆî‚èù. ð£õ£í˜ îI›‚°´‹ð‹

(ªïŒ«õL) â¡Â‹ Ü¬ñŠ¹ Þõ¬ó àò˜õ£èŠ «ð£ŸPñFˆî¶.

Ü¼†ªê™õ˜ ï£ .ñè£Lƒèù£˜ , c F ò ó ê ˜ ª ê ƒ « è £†´ «õôù£ ˜ ºîô£ùõ˜èœ ð.²‰î«óêù£˜ Þ¬êJ™ F¬÷ˆîõ˜èÀœ °PŠHìˆî‚èõ˜èœ. Þ õ ˜ î ‹ Ü ¼ ¬ ñ Ü ‰ ï £ œ ºîô¬ñ„ê˜è˜è÷£è M÷ƒAò è¬ôë˜ º . è ¼ í £ G F . â ‹ . T . Ý ˜ ºîô£ùõ˜èÀ‚°ˆ ªîKM‚èŠð†ì¶‹ Þõ¼‚°Š ð™«õÁ CøŠ¹èœ A¬ìˆîù.â‹.T.Ý˜ õœÀõ˜«è£†ìˆF™ Þõ˜î‹ ð£ì¬ô‚«è†´ MòŠ¹Ÿø£˜. ñ¶¬ó è£ñó£ê˜ ð™è¬ô‚èöèˆF™ ÍîPë˜ õ.²ð.ñ£E‚èù£˜ Üõ˜è÷£™ Côè£ô‹ îIN¬ê ÝŒ¾‚°Š ðEòñ˜ˆîŠ ð†´œ÷£˜.

ð . ² ‰ î « ó ê ù £ ˜ Ü õ ˜ èÀ ‚ ° M¹ô£ù‰îK¡ ªî£ì˜¹ A¬ìˆî¶‹ CôŠðFè£ó Þ¬êò£ŒM™ «î£Œ‰î£˜. °ìõ£ê™ â¡Â‹ á¼‚° Ü¼A™ àœ÷ F¼‚ªè£œ÷‹ÌÉ˜(F¼‚è÷‹Ì˜) â¡ø áK™ 1947 Þ™ ï¬ìªðŸø M¹ô£ù‰îK¡ ò£›Ë™ Üóƒ«èŸø Mö£M™ Ü®è÷£˜ Mò‰¶ «ð£ŸÁ‹ õ‡í‹ ð.²‰î«óêù£˜ ÜKòõ¬èJ™ ò£›ËL¡ CøŠH¬ù M÷‚Aòªð£¿¶ Ü®è÷£˜ Mò‰¶ ð£ó£†®ù£˜.

ð.²‰î«óêù£˜ Üõ˜èO¡ õNõN õ£K²è÷£è„ Cô¬ó à¼õ£‚A»œ÷£˜ Üõ˜èÀœ «ðó£CKò˜ F¼.¬õˆFòLƒè‹, F¼.«è£®Lƒè‹ °P‚èˆî‚èõ˜èœ. °ì‰¬î‚ èF˜.îI›õ£í¡ Üõ˜èœ ð .² ‰î«óêù£K¡ ¹è¬ö G¬ù¾ Ã˜‰îõ˜èO™ ºî¡¬ñò£ùõ˜.

ñ¶¬óJ™ Þõ˜ ðEJ¡ GIˆî‹ M´FJ™ îƒAJ¼‰î ªð£¿¶ ñ…êœ è£ñ£¬ôò£™ àì™ ïô‹ð£F‚èŠð†ì£˜. Ü¡ð˜èO¡ àîMò£™ F¼„Có£ŠðœOJ™ ñ¼ˆ¶õñ¬ùJ™ «ê˜‚èŠð†ì£˜.ßó™ ð£F‚èŠð†ì è£óíˆî£™ ñ¼ˆ¶õ‹ ðòùO‚è£¶ âù ñ¼ˆ¶õ˜ ¬èMKˆîù˜. âù «õ°ì‰¬îJ™ àœ÷ ð.²‰î«óêù£˜ Þ™ôˆF™ (è¬ìC õ¬ó õ£ì¬è i†®™ õ£›‰îõ˜) Ü¡ð˜èœ Þõ¼‚° M¼Šðñ£ù

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ñ¬ùJ™ «ê˜‚èŠð†ì£˜.

F¼¬õò£ŸÁŠ ðFèˆF™ Þì‹ ª ðÁ‹ ð £ì™è¬÷Šð £ì , Ü¡ù£K¡ àJ˜ 09 . 06 . 1 98 1 Þ™HK‰î¶. îIöè‹ âƒ°‹ Þ¬êˆîI¬öŠ ðóŠHò îIN¬êˆ ªî¡ø™ °ì‰¬îJ™ ÜìƒAˆ îI¿ôè‹ ñF‚°‹ õ‡í‹ ¹è›õ£›¾ õ£›‰¶õ¼Aø¶.

ð.²‰î«óêù£˜ ð£®»œ÷ù õ£èŠ ðô åL ï£ì£‚èœ ðŸPò M õ ó ‹ ª î K ò õ ¼ A¡ øù . ªõOï£†´ ÜPë˜ å¼õ˜ ðKð£ì™ â¡Â‹ Þô‚Aòˆ¬îŠ ð . ² ‰ î « ó êù £ ˜ õNò £ è Š ð£ì„ªêŒ¶ ðF¾ ªêŒ¶œ÷¬î ÜPòº®A ø¶ . Ü¶ « ð £ ™ õ£ªù£L G¬ôòƒèO™ Üõ˜ ð£®ò åLŠðF¾èœ Þ¼‚èõ£ŒŠ¹ àœ÷¶. «è£¬õŠ ð°FJ™ ð . ² ‰ î « ó êù£˜ Üõ˜è¬÷ Ü ¬ ö ˆ ¶ Š ð £ ì „ ª ê Œ î Ü¡ð˜èOìº‹ Þ¼‚èõ£ŒŠ¹ à‡´. Þ¡Â‹ îIöèˆF¡ ðô ð°FèO½‹ ðô Ü¡ð˜èOìº‹ Þ¼‚°‹ åLï£ì£‚è÷ˆ Fó†® ªõOJ´õ¶ îI¿‚° IèŠªðKò Ý‚èñ£è Ü¬ñ»‹.

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Þõ˜ î‹ îIN¬êŠ ðE¬òŠ «ð£ŸÁ‹ õ‡í‹ Ü¼†ªê™õ˜ ï £ . ñ è £ L ƒ è ‹ Ü õ ˜ è œ ð.²‰î«óêù£˜ ñ¬ø¾‚°Š Hø° Üõ˜ î‹ñ¬ùM‚° GF»îM ªêŒî¬ñ ï¡P»ì¡ °PŠHìˆî °‰îî¶.

°ì‰¬î ²‰î«óêù£K¡ îI›‚ªè£¬ì

1. Þ¬êˆîI›ŠðJŸC Ë™(1971)

F¼ŠðˆÉ˜(ºè¬õ)ˆ îI›„êƒè Þ¬êˆîI› ªõOf´

2. ºî™ ä‰F¬êŠð‡èœ(1956) ð£K G¬ôò‹,

3. ºî™ ä‰F¬ê Gó™,

4. ºî™ ÝP¬ê Gó™,

5. ºî™ ãN¬ê Gó™

ºîô£ù Ë™è¬÷ â¿Fòõ˜.

«ñ½‹ æ«ó›ð£¬ô, Þó‡ì£‹ ä‰F¬ê Gó™, Þó‡ì£‹ ãN¬ê Gó™ , ðKð£ì™ Þ¬êº¬ø , ð£í˜èœ ðJŸÁMˆî Þ¬êº¬ø, Þ¬ê ˆ îI›Š ðJ ŸC Ë™ , Þ¬êˆîI› ÜèóGó™, «õQŸè£¬î Þ¬êŠð°F M÷‚è‹, «ê‚Aö£˜ è ‡ ì Þ ¬ ê ˆ î I › , ê¬ñò‚°óõ˜èœ ¬è‚ªè£‡ì Þ¬êˆîI› , ªð¼‹ ð‡èœ ðFù£Á, ËŸÁÍ¡Á ð‡èœ, î£÷Ë™èœ 1 ºî™ 6 õ¬ó, è®î Þô‚Aò Þ¬êˆîI›‚°PŠ¹èœ, Þ¬êˆîI›-îIN¬êŠð£ì™èœ, Þ¬êˆîI› õóô£Á ºîô£ù Þõ˜î‹ Ë™èœ ªõOõó£ñ™ «ð£Jù.

îIN¬ê °Pˆî

ð.²‰î«óêù£˜

Üõ˜èO¡ º®¾èœ

1. î I › ñ ‚ è œ Þ ¬ ê ¬ ò àí˜‰î¶ °öŸè¼Mèœ õNò£°‹.

2 . º ™ ¬ ô G ô ñ ‚ è « ÷ °öŸè¼Mè¬÷»‹, ò£›‚ è ¼ M è ¬ ÷ » ‹ è ‡ ´ H®ˆîù˜.

3. ºîL™ °ö™è¼M ä‰¶ ¶¬÷è¬÷‚ªè£‡®¼‰î¶. Ü¶«ð£™ ä‰¶ ïó‹¹èœ ªè£‡ì ò£› ðò¡ð´ˆîŠ ð†ì¶.

4. ä‰¶ ¶¬÷èO¡ õNò£è â¿‰î ä‰¶ Þ¬êè«÷ ÝF

Þ¬êò£°‹.

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á¼ôõ˜ F¼«ñQ ªè£‡´ ªê™õF™ Þ¡ªù£¼ ñóˆ É‚° õ£èù‹ ðŸP»… ªê£™ô«õ‡´‹. °†¬ìI¬ê «ð£ô Ü®ˆî†´‹, Ü®ˆî†®Ÿ°‚ W«ö 4 è£™èÀ‹, «ñ«ô 4 É‡èÀ‹, 4 É‡èÀ‚°‹ «ñ«ô Í®ò¶«ð£™ å¼ «ñŸø†´‹. «ñŸø†´Š ð‚èƒèO™ 4 î£›õ£óº‹ (î£›õ£óƒè¬÷ˆ î£¡ è«õ£î‹ â¡ð˜. èšMò àˆî‹ = èšMò àò˜„C. è«õ£î‹ è«ð£îñ£èˆ FK‰¶ õìªñ£N à¼‚è£†´‹. ï£º‹ ñòƒAˆ îIN™¬ô«ò£ â¡Á îMŠ«ð£‹ . «è£JŸªî£ì˜ð£ù ðô CŸð„ ªê£Ÿè¬÷ ÞŠð® Þ¬ì‚ è£ôˆF™ Þ¼HøŠHò£‚A ¬ õ ˆ F ¼ ‚ A ø £ ˜ è œ . ) « ê ˜ ‰ ¶ Þšõ£ èùI¼‚°‹ . ( ñJô £ ŠÌ ˜ ÜÁðˆ¶Íõ˜ F¼Mö£M™ 63 ï£ò¡ñ£˜ F¼«ñQè¬÷ˆ É‚A õ¼õ¬î åš«õ£˜ Ý‡´‹ ªî£¬ô‚è£†CJŸ ð£˜‚A«ø£«ñ, G¬ù¾ õ¼Aøî£?) ãó£÷ñ£ù ï£†´Š¹ø i´èO½‹, «è£J™èO½‹ è«õ£î‚ è†´ñ£ù‹ Þ¼Šð¬î‚ è£íô£‹. ÝƒAôˆF™ sun-shade â¡Aø£˜è«÷? Ü¶î£¡ Þ¶. îMó ñ¬öˆÉø™èœ àœO¼Šð¬î Üµè£F¼‚è¾‹ Þ¬õ õNªêŒ»‹.

Ýè 4 è£™èœ, 4 É‡èœ, 1 W›ˆî†´, 1 «ñŸø†´ , 1 è«õ£î‹ ÜìƒAò è†´ñ£ùˆF™ F¼«ñQè¬÷ GÁˆF 4 è£™èO™ èJø£™ ÍƒA™è¬÷‚ è†®ˆ É‚A„ ªê™ô º®»‹. Þšõ£èùˆFŸ°„ êŠðó‹ â¡Á ªðò˜. «ñ«ô Ã‹ð£¶ ê Š ¬ ð ò £ è Þ ¼ ‚ A ø î ™ ô õ £ ? ªðò˜‚è£óí‹ ÜŠð® â¿Aø¶.

Þ¿Š¹ õ£èùƒèO™ ªõÁ«ñ 4 ñó„ê‚èóƒèÀ‹ «î˜‚è£™ Ü„²èÀ‹ («î‚°‹, Þ½Š¬ð»‹ ñó «õ¬ô‚°Š ªðò˜«ð£ù¬õ) Þ¬õ «ê˜‰î «î˜ˆî†´‹ ªè£‡ì¶ êè¬ì âùŠð´‹. (Þ¶¾‹ Þ½Š¬ðò£ô£ù¶. êè¬ì, õ‡®, «î˜ ªêŒò ñó‰ «î˜‰ªî´Šð¶ ªð¼ƒè¬ô. ê è ¬ ì¬ ò Š ¹ K ‰ ¶ ª è £‡ì £ ™ «î˜‚è†´ñ£ù‹ ¹K»‹.) êè´ ê‚èóˆ¬î»‹, êè¬ì ÞŠð®ªò£¼ õ‡®¬ò»‹

êè¬ì, õ‡®, «î˜ «ð£¡ø Þ¿Š¹ õ£èùƒèÀ‹, â¼¶, ÜKñ£, Í…ÅÁ, ñJ™, è¼ì¡, ÜÂñ£˜, Ü¡ù‹ «ð£¡ø É‚° õ£èùƒ èÀñ£ŒŠ ð™½¼‚ ªè£œÀ‹.


°P‚Aø¶ . êèìªñ¡ø ªê£™½‹ êè¬ì¬ò‚ °Pˆî¶. [Þ¡Á ‘êèì‹’ ñ¬ø‰¶ â™ô£«ñ õ‡®ò£ù¶. âˆî¬ù ªê£Ÿè¬÷ ï£‹ îIN™ Þö‚A«ø£‹, ªîK»ñ£? îI›„ªê£Ÿªø£°F ñøŠð¶‹ ï‹I¬ì«ò îIƒèô‹ â¿õîŸ°‚ è£óíñ£°‹.]

â Š ð®‚ « è £J™ Ü®ˆî £ù‹ ð™½ÁŠ¹‚ è¬÷‚ ª è £‡ì«î £ Ü¶«ð £ôˆ î®ˆ î « î ˜ ˆ î†´‹ ð™½ÁŠ¹èœ ªðŸÁ CŸð «õ¬ôŠð£´ Ã®, º¿„êè¬ì»‹ ‘«îó®’ â¡ø ªðò˜ ªè£œÀ‹. «î˜ˆî†®¡ ðKõ†ìŠ (circumference) ðóŠ¹ ð™«õÁ õ£°è¬÷»‹, åJ™è¬÷»ƒ è£†´‹. Þ¶ ê¶óñ£è«õ£ (ï£èó õ¬è), â‡«è£íñ£è«õ£ (Fó£Mì õ¬è), 12, 16 «è£íñ£è«õ£ («õêó õ¬è) Ü¬ñò‚Ã´‹ «î˜ˆî†®¡ î®ñ¡ Þó‡ì£œ àòóƒ Ãì Þ¼‚èô£‹.

F¼õ£Ï˜ ÝNˆ«î¼‹, YM™L¹ˆÉ˜ «î¼‹ IèŠ ªðKî£ù¬õ. «î˜ ªêŒ»‹ î£õF (vîðF = ªð¼‰î„ê¡) ðô¾‹ ªêŒ¶ ð†ìP¾ ªè£‡ìõó£J¡ ̧ µAò CŸð«õ¬ôè÷£™, ðöù„ (=¹ó£í) ªêŒFèœ «î˜„CŸðƒèO™ Mó¾‹.

«î˜ˆî†¬ì„ ²ŸP½‹, Þ´Šð÷MŸ°, M¬ö»òóñ£Œ â¿‹¹‹ ñFŸ²õ˜ ªè£®…C âùŠð´‹. [ªè£´+Þ…C = ªè£®…C, õ¬÷‰î ñFŸ²õ˜. Þ¬î‚ A´ªè¡Á‹ Ü¬öŠð .̃ ªè£®…C™/A´° «ð£¡øõŸø£™ «îK™ GŸ«ð£˜ î‹ Þ´ŠHŸ°‚ W¿œ÷ àì¬ô æ ó÷¾ Ü‹¹i„CL¼‰¶ è£ˆ¶‚ªè£œ÷ º®»‹. «î˜ ªêŒ»‹ ¸†Hò™ å¼Cô Üè¬õ ºF˜‰î î£õFè«÷£´ îƒAŠ «ð£Œ, Þ¡Á «î˜Šð£èƒèœ ðŸPò è¬ô„ªê£ŸèO¡ àÁFò£ù ªð£¼†ð£´ ðô¼‚°‹ ªîKò£¶ «ð£ù¶. Þ¬íòˆF™ Þ¶ ðŸPò ªêŒFèœ îŠ¹‹ îõÁñ£Œ‚ Aì‚A¡øù. îI¿‚°Š ðEªêŒò M¬ö»‹ Ý˜õô˜ ñó¹ ê£˜‰î G¹í˜èOì‹ «ðCˆ ªîOõP‰¶ ÞõŸ¬ø Þ¬ùòˆF™ ÝõíŠ ð´ˆî «õ‡´‹.]

«î˜ˆî†®¡ «ñL¼‚°‹ ï´Šð°F ¶¬íŠdì‹ Ü™ô¶ ð£˜ âùŠð´‹. ÜF™ GŸ°‹ M™ô£OJ¡ ð£˜¬õ, º¡Q¼‚°‹ â¬î»‹ «ï£‚A„ ªêòŸð´‹ õ¬èJ™ î´ŠH¡P Þ¼‚è«õ‡´‹. ¶¬íŠdìˆFŸ°‹ ªè£®…C‚°‹ Þ¬ìJ™ «î«ó£†® GŸð£˜. «î˜ˆî†®¡ ñŸø ÞìƒèO™ «ð£ó£»îƒèœ MóM‚ Aì‚°‹. «î˜ˆî†®¡ W«ö ð£îªñ¡ð¶ ’ªõOˆF†´ CŸð«õ¬ôŠð£´è¬÷‚’ (projected sculptwork) ªè£‡®¼‚°‹. ªè£®…C‚°‹ º¡ù£™ «îó®J™ «î˜¸è‹ H¬í‚èŠ ð†®¼‚°‹.

« î ˜ è œ Üôƒ è £ ó á˜Fò £ è ñ†´ñ™ô£¶, «ð£K½‹ ðò¡ð†ìù. Üôƒè£ó á˜Fèœ èùñ£è¾‹, «ð£˜ á˜Fèœ â¬ì °¬ø‰¶I¼‰îù . ªð£¶õ£è„ êè¬ìèœ ñ£´è÷£™ Þ¿‚èŠð´‹«ð£¶, ñ£‰î˜èœ æ†´‰ «î˜èœ, °F¬óè÷£™ Þ¿‚èŠð´‹. (ÞŸ¬ø‚ «è£JŸ«ø˜èO™ °F¬óŠ

M™ô£OJ¡ ð£˜¬õ, º¡Q¼‚°‹ â¬î»‹ «ï£‚A„ ªêòŸð´‹ õ¬èJ™ î´ŠH¡P Þ¼‚è «õ‡´‹.

27Ýõ¶ îI› Mö£ 2014


ª ð £ ‹¬ ñ èœ Þ¬ î »í˜ ˆ¶ ‹ . ) «î«ó£†´ðõ¡, «î˜Šð£è¡,«î˜õôõ¡ â¡Á‹ Ü¬ö‚èŠð†ì£¡. «î˜„ê‚èóƒèœ ªî£ì‚è è£ôˆF™ º¿ õ†ì ñó à¼¬÷è÷£Œ Þ¼‰îù. ê‚èóƒèÀ‚° Þ¼Š¹Š ð†¬ì õ£˜ˆ¶, Þ¬öˆ¶, ªïKˆ¶, Ü¬í‚°‹ ñ£¬ö (metal) ̧ †ð‹, ªð¼ƒèŸ è£ôˆ«î, ªè£ƒAŸ A¬ìˆî Þ¼Š¹‚ èQñˆî£Ÿ îIö˜‚°ˆ ªîK‰î¶, ï£†´Š¹øªñƒ°‹ ªè£™ô˜ ð†ì¬øèœ (ð†ì¬ì>ð†ì¬ø â¡ø ªê£™ â¿‰î«î «î˜Šð†¬ì «õ¬ô¬ò ¬õˆ¶ˆ î£¡.) õ£œ, «õ™ ñ†´ñ™ô, ð†¬ìèÀ‹ ªêŒ¶ ªè£‡®¼‰îù. ï£÷£õ†ìˆFŸ êƒè è£ôˆF«ô«ò Ýóƒ ªè£‡ìê‚èó Üì¾èœ (spoked wheel design) õ‰¶M†ìù. ê‚èóƒè¬÷ˆ «î˜‚è£™èœ â¡Áƒ °PŠð˜.

ê‚èóƒèÀ‹, ÝóƒèÀ‹, «î˜‚è£™ Ü„²èÀ‹, Ü„ê£EèÀ‹, «î˜ˆî†´‹, ð£¼‹, ªè£®…C/A´°‹, ð£îƒèÀ‹, «î˜¸èº‹ ªè£‡ì «îó® ªñ£ˆîˆF™ æ˜ àÁFò£ù è†ì¬ñˆ ªî£°õ‹ (structural integrity) ªè£‡®¼‚è «õ‡´‹. ÞFŸ ªè£…ê‹ Ý†ìƒ è‡ì£½‹, àÁFJ™ô£¶ «ð£ù£½‹, «îó®«ò£´ «ñŸªè£‡´ êŠðó‹, Mñ£ù‹ âÂ‹ Þó‡´ è†´ñ£ùƒèœ å¡P¬í‰¶ à¼õ£°‰ «î˜ î´ñ£PŠ «ð£°‹.

ï£†´Š¹øƒèO™ «è£J™ F¼Mö£ ïì‚°‹ «ð£¶ êè¬ìèO™ èì¾† F¼«ñQè¬÷ GÁˆF ¬õˆ¶, ñ£´è÷£«ô£, ñ£‰î ÝŸøô£«ô£ Þ¿Šð£˜èœ. (êè¬ìèÀ‚° õìƒ è†®J¿ˆ¶ ï£¡ âƒ°‹ ð£˜ˆîF™¬ô. «î˜èÀ‚«è, àó£Œ¾/Þ¿Š¹/ïè˜„C ªð£Áˆ¶ 2,4 õìƒèœ è†´õ¶‡´.) êè¬ì â¡ð¶ «î˜ Ü÷MŸ°‚ èùñ£è¾‹ I°‰î â¬ì ªè£‡ìî£è¾‹ Þ¼‚è£¶. Ýù£½‹ É‚° ¬õòˆ¬î»‹, Üî¡ «ñL¼‚°‹ á¼ôõ˜ F¼«ñQ¬ò»‹ ¬õˆF¿‚°‹ ÝŸø™ ªè£‡ìî£è«õ Þ¼‚°‹. ÞŠªð£¿ªî™ô£‹êè¬ìèœ ïèó‚ «è£J™èO½‹, I°‰î õPò «è£J™èO½‹ Þ¼ŠðF™¬ô. ï´ˆîó„ ªêNŠ¹œ÷

ï£†´‚ «è£J™èO«ô«ò Þ¼‚A¡øù.

Cô«ð£¶èO™ «è£JŸ êè¬ìJ¡ «ñŸ êŠðóˆ¬î GÁˆF‚ èJÁè÷£Ÿ H¬íˆ¶ˆ F¼«ñQ àô£‚èœ õ¼õ¶‡´. ªê™õ… ªêN‚°‹ «è£J™èO™ êŠðóº‹, êè¬ì»‹ ñó «õ¬ôŠð£†®™ «ê˜‰«î à¼õƒ ªè£‡´, èJŸÁŠ H¬íŠH™ô£¶ Ü¬ñõ¶‹ à‡´. Ü¬î»‹ êŠðó‹ â¡«ø ªê£™õ£˜èœ. Mî‰¶ êŠðó õ‡®ªò¡Á… ª ê £ ™ õ¶‡´ . Þ¿ˆ¶Š«ð£°‹ êŠðóº‹, É‚AŠ«ð£°‹ êŠðóº‹ ðò¡º¬øò£™ «õÁð´‹. êŠðó õ‡®J¡ W›ˆî†´‚ èùñ£è Þ¼‰¶ ñó„CŸð «õ¬ôŠð£´ «ê˜õ¶ î£¡ «îó®ªò¡Á ªê£™ôŠðÁø¶. «îó®, èùñ£è‚ èùñ£è ñ£‰î ÝŸøL™ Þ¿Šð¶ êóõŸð´‹. 2,4 âù õì‹ « ð £ † ´ ð ô ˜ « î ¬ ó Þ¿ ‚ è ˆ ªî£ìƒ°õ£˜èœ.

[ ¹ ¶ ‚ « è £ † ¬ ì , C õ è ƒ ¬ è , Þ ó £ ñ ï £ î ¹ ó ‹ ñ £ õ†ìƒ èO™ «î ˜ˆF¼Mö£‚èœ ªð¼‹ð£½‹ ªêšõ£Œ‚ Aö¬ñ«ò ï¬ìªðÁ‹. Üîù£™ «î˜ˆF¼Mö£¬õ á˜„ªêšõ£Œ â¡«ø Üƒ° ªê£™½õ£˜èœ. á«ó Fó‡´ ªè£‡ì£´‹ Mö£ Þ¶. á˜‚«è£J™ õö¬ñJ™ ê£F„ ê‡¬ìèœ, á˜„ê‡¬ìèœ â¿‹ ÜFó® Üõôº‹ ÞF½‡´. á˜„ªêšõ£J™ å¼«õ¬÷ á«ó Þó‡´ð†´‚ ÃìŠ «ð£èô£‹. âƒèœ á¼‚°Š ð‚èˆF™ àœ÷ è‡ì«îM ÞîŸ«è£˜ â´ˆ¶‚è£†´.]

ªð£¶õ£è «îó®èO¡ W›ˆî†´‚ è†´ñ£ùº‹ CŸð «õ¬ôŠð£´‰ î£¡ ÞŸ¬ø‚ è£ôˆF™ ÜõŸ¬øŠ ð£˜‚è ¬õ‚A¡øù. Þ‰îˆ «îó®èÀ‚° «ñ™ î£¡ Mö£‚ è£ôˆFŸ Ã‹¹èœ [êŠðóˆFŸ° «ñªô¿‹¹‹ ªõ†´‚ Ã‹¹èœ (frustum of a cone; Þ‰î‚ Ã‹¹èO¡ Ü®„²ŸÁ õ†ìñ£Œ Þ¼‚è£¶. Þ¬õ ê¶óñ£è«õ£, ð™«è£íñ£è«õ£ Þ¼‰¶, «î˜ˆî†«ì£´ Þíƒ°‹ õ¬èJ™ Üö° è£†® GŸ°‹.) ªè£´ƒ¬èèœ (Ã‹¹èO¡ ð‚è º¬ùèOŸ ªð£¼ˆîŠð´‹ ñó‚¬èèœ), ÃMó‹ (Ã‹¹èÀ‚° «ñŸ °M‰¶ªð£¼‰¶‹

«î˜ˆ F¼Mö£ ªð¼‹ð£½‹ ªêšõ£Œ‚ Aö¬ñ«ò ï¬ìªðÁ‹. Üîù£™ «î˜ˆ F¼Mö£¬õ á˜„ ªêšõ£Œ â¡«ø Üƒ° ªê£™½ õ£˜èœ.


Ü¬ó‚«è£÷‹), èôê‹ (ÃMóˆFŸ°‹ «ñ™ ªð£¼ˆîŠð´‹ Ã˜¬ñò£ù ð°F; å¼ è£ôˆF™ ñóˆî£ô£ù¶; Þ‰î‚ è£ôˆF™ ñ£¬öò£è«õ ªð£¼ˆîŠðÁø¶. ) «ð£¡øõŸ¬ø àÁŠð£è‚ ªè£‡ì Mñ£ùˆ¬î ðò¡ð£†®Ÿ°ˆ î‚è àò˜ˆF»‹, °¬øˆ¶‹ â¿ŠHˆ «î˜è¬÷ à¼õ£‚°Aø£˜èœ.

Mñ£ùˆFŸ Ã‹¹ è†´‹ «õ¬ôŠð£´ Mñ£ùˆ¶œ«÷ ðô É‡è¬÷»‹, ê†ìƒè¬÷»‹ , à ˆ î óƒ è¬÷»‹ ªè£‡®¼‚Aø¶. (ºŸP½‹ è†ì¬ñŠ ªð£PJò™ - structural engineering - î¿Mò¶ Ã‹¬ð»‹ ÃMóˆ¬î Í®ù£Ÿ «ð£™ «î˜„Y¬ô «õòŠðÁø¶. «î˜„Y¬ôJ™ ðô H¡ù™ «õ¬ôŠð£´èÀ‹ æMò ªñ¼«èŸø½‹ èô‰F¼‚°‹. Mñ£ùˆF¡ ðKõ†ìˆF™ ÜöAò õ‡í‹ b†®ò Ýôõ†ìƒè¬÷»‹, «î£óíƒè¬÷»‹ ªî£ƒèM†´ ÜôƒèKˆF¼Šð£˜èœ. (d´ï¬ì«ò£´ ïè˜‰¶õ¼‹ «îóö° ð£˜ˆ¶Š ð¼è «õ‡®òî£°‹. ‘F¼õ£Ï˜ˆ «îóö°’ â¡ð¶ ªê£ôõ¬ì.)

êè¬ì, êŠðó‹, Mñ£ù‹ ÝAò Í¡Á… «ê˜‰î è†´ñ£ù«ñ ”«î˜” âùŠðÁø¶. (Þ‰î Í¡Á è†´ñ£ùƒèÀ‚°‹ ð£èƒèœ à‡´.) «î˜ âÂ… ªê£™LŸ° ”àò˜‰î¶” â¡ø ªð£¼À‡´. ‘î’èó‹ Þ™ô£î ªê£™½‹ ‘ã™‰¶, ã˜‰¶’ è£íŠð´‹. àò˜‰î å¼õ¬è ñóˆ¬î «î‚° â¡A«ø£«ñ? G¬ù¾ õ¼Aøî£? «î˜‰î¶ à¼õˆF½‹ è¼ˆF½‹ àò˜‰¶ GŸAø¶.

êè´-êè¬ì-êèì‹ â¡ø ªê£™L¬í «ð£ô«õ à¼œ-à¼O-à¼÷‹ â¡ø Þ¬í»‹ à‡´. Þƒ°‹ ºîŸªê£™ ê‚èóˆ¬î»‹, Þó‡ì£‹, Í¡ø£… ªê£Ÿèœ õ‡®¬ò»‹ °Pˆîù. âŠð®„ «ê£÷‹>«ê£ö‹ â¡ð¶ õìAö‚AŸ ªî½ƒA™ «ð£Œ ìèó‹ ÝA («ê£ì‹; ªî½ƒ°„ «ê£ì˜èœ) Þ¡Â‹ õì‚«è «ð£Œˆ îèóñ£Œˆ FKAø«î£, Ü¶ «ð£ô à¼÷‹>à¼ì‹>(à)¼î‹ â¡ø£A àèóªõ£L ñ¬ø‰¶ Üèóªõ£L«òP óî‹ â¡ø£°‹. îIöK™ ðô¼‹ óî‹ - «î˜ «õø£ù¬õ â¡ªø‡µAø£˜èœ . Þó‡´‹ å¼ªð£¼† ªê£Ÿèœî£‹.

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ÞŸ¬øŠ ðø¬ùèÀ‹ î‹º¬ìò Cø°è¬÷ MKˆ¶, õOˆî£¬óèO¡ (jet streams) ÝŸøô£™ ðø‚A¡øù. ÞõŸ¬ø Mñ£ù‹ â¡ð¶ ªð£¼ˆî‰ î£¡. Ü«î ªð£¿¶, ðø¬ù â¡ð¶ âOî£è„ ªê£™½‹ õ¬èJ™ Ü¬ñ‰F¼‚Aø¶. (êŠðó‹ «ð£¡ø Ü¬ñŠHŸø£¡ ÞŠªð£¿¶ ðòù£÷˜ ðòE‚A«ø£‹ . ðòE Þ¼‚¬èèœ ð£˜ /¶¬íŠdìˆFŸ° Þ¬íò£ù¬õ. ªè£®…C‚° Ü¼A™ «î«ó£†®/«î˜õôõ¡ Þ¼‰î¶ «ð£™ Þ¡Á ðø¬ù«ò£†®/ðø¬ù õôõ¡ Þ¼‚Aø£˜. ªè£®…C â¡ø ªê£™ cockpit Ÿ° Þ¬íò£ù¶. «î˜„Y¬ô «ð£ô Þ¡Á ðø¬ù¬ò„ ²ŸP õ¬ù»‹ ñ£¬öˆîè´ / ï£˜ˆîè´ Þ¼‚Aø¶. Mñ£ùˆFŸ°œ àœ÷ ê†ìèƒèœ Þ¡Á‹ è†ì¬ñˆ ªî£°õ‹ ÜO‚A¡øù. Ü‰î‚ è£ôˆ¶‚ ÃMó‹,

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(1845 -& 1914)



Iè„Cø‰î îI›Š ð‡®îó£è¾‹, Cˆî ñ¼ˆ¶õó£è¾‹ M÷ƒAù£˜. õ™ôèˆF ¹ôõ˜ Ü«ò£ˆFî£êKì‹ è™M èŸè„ ªê¡øõ˜, î¡ ÝCKòK¡ð£™ ªè£‡ì Ü¡H¡ è£óíñ£èˆ î¡ ªðò¬ó Ü«ò£ˆFî£ê˜ â¡Á ñ£ŸP‚ªè£‡ì£˜.

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Fó£Mì ñè£üù ê¬ðÜˆ¬õî «õî£‰îˆF™ ß´ð£´ ªè£‡®¼‰î£½‹ ÜîÂ¬ìò Þ¬ø‚ªè£œ¬è,

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ÞóƒÃQ™ ªê™õ„ ªêNŠð£è õ£›‰î£½‹ îINù ñ‚èœ âŠð® ê£Fò£™ å´‚èŠð†ì£˜èœ?, b‡ìŠðì£î ñ‚è÷£è å¶‚èŠð†ì¶ âŠð®?, â¡ð¶ °Pˆ¶‹ Üõ˜èœ M´î¬ô °Pˆ¶‹ C‰Fˆ¶‚ªè£‡«ì Þ¼‰î£˜. ÞóƒÃQL¼‰¶ e‡´‹ °¡Û˜ õ‰¶, î¡, àøMùó£ù ªó†ìñ¬ô YQõ£êQ¡ îƒ¬è îùô†²I¬òˆ F¼ñí‹ ªêŒ¶ªè£‡ì£˜. Üõ˜èÀ‚°‚ ð†ì£Hó£ñ¡, ñ£îõó£‹, ü£ùAó£ñ¡, ó£ü£ó£ñ¡ âù 4 ñè¡èÀ‹, Ü‹Hè£«îM, ñ£ò£«îM âù Þ¼ ñèœèÀ‹ Hø‰îù˜. Üõó¶ °´‹ð‹ ¬õíõ êñò ñó¹è¬÷Š H¡ðŸPò «ïó‹ «ïóªñ¡ðî£™ Üõ¼¬ìò °ö‰¬îèÀ‚° ¬õíõŠ ªðò˜è¬÷«ò Å†®ù£˜. Þ‰«ïóˆF™ á†®‚° æŒõ´‚è õ‰î Ý™è£†¬ì ð‡®î¼‹ ªó†ìñ¬ô YQõêÂ‹ ê‰Fˆ¶Š«ðCù£˜èœ. ð¾ˆî ñî‹ °Pˆ¶ G¬øò Mõ£Fˆîù˜. Þ„ê‰FŠ¹èœ ð‡®î¬ó Þ¡ªù£¼ F¬ê‚° Þ†´„ªê¡ø¶ .

ªê¡¬ùJ™ å´‚èŠð†ì ñ‚èœ è™M èŸðîŸ°Š ðœO å¡¬øˆ ¶õ‚A ïìˆF‚ªè£‡®¼‰î Ü¼†ðEò£÷˜ ü£¡ óˆFù‹ Üõ˜è«÷£´ ð‡®î¼‚° ï†¹ ãŸð†ì¶. åˆî‚è¼ˆ¶ ªè£‡ì Þ¼õ¼‹ «ê˜‰¶ ðEò£ŸPù£˜èœ. ü£¡ óˆFù‹ 1882Þ™ Fó£Mì˜ èöè‹ â¡ø å¼ Ü¬ñŠ¬ð ïìˆFõ‰î£˜. å´‚èŠð†ì ñ‚èœ MNŠ¹í˜¾ ªðø«õ‡´‹ â¡ðîŸè£è 1885 Þ™ “Fó£Mì ð£‡®ò¡” â¡ø Þî¬ö»‹ ¶õ‚Aù£˜. Ü‰î ÞîN¡ ¶¬í ÝCKòó£èŠ ð‡®î˜ ªð£ÁŠ«ðŸø£˜. H¡ù£†èO™ îIö¡ Þî› CøŠð£è ïìˆFòîŸ° Þ‰îŠ H¡¹ô«ñ è£óíñ£è Þ¼‰î¶. °¡ÛK™ å´‚èŠð†«ì£¬ó å¼ƒA¬íˆ¶ˆ “Fó£Mì ñè£üù ê¬ð”¬ò 1890 Þ™ ¶õ‚Aù£˜ .


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Fó£Mì ñè£üù ê¬ðJ¡ ñ£ï£†¬ì 01-.12-.1891 Þ™ àî¬èJ™ ïìˆFù£˜. Þ‹ ñ£ï£†®™ ðô b˜ñ£ùƒèœ G¬ø«õŸøŠ ð†´‚ è£ƒAóv ªêòô£÷¼‚°‹ HK†®w Üó²‚°‹ ÜÂŠð†ì¶.

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à‡¬ñ 1 : ïñ¶ ÅKò ñ‡ìôˆF™ ÅKò¡î£¡ ¬ñòˆF½œ÷¶ (ÅKò¬ù ¬ñòñ£è‚ ªè£‡´ ÌI àœO†ì Aóèƒèœ Üî¬ù„ ²ŸP õ¼A¡øù)

¹¬ù¾ : «ê£Fìˆ¬îŠ ªð£Áˆîõ¬óJ™ ÌIî£¡ ¬ñòˆF™ àœ÷¶. ñŸø A ó è ƒ è œ Ü î ¬ ù „ ² Ÿ P õ¼A¡øù. ÅKò¬ù„ «ê£Fì‹ å¼ Aóèñ£è«õ è¼¶Aø¶.

à‡¬ñ 2 : ÅKò¡ å¼ M‡eù£ °‹. Ü¶ î¡QL¼‰¶ î£ù£è åO¬òŠ ð£Œ„²Aø¶. Gô¾, ÌIJÂ¬ìò å¼ ¶¬í‚«è£÷£°‹. ÌI‚°‹, ÅKòÂ‚°‹ Þ¬ìJ™ Gô¾ õ¼‹«ð£¶ ÅKò Aó è í ‹ ã Ÿ ð ´ A ø ¶ . Ü ¶ «ð£¡«ø Gô¾‚°‹ ÅKòÂ‚°‹ Þ¬ì J™ ÌI õ¼‹ «ð£¶ ê‰FóAóèí‹ ãŸð´ Aø¶. ªêšõ£Œ‚ Aóè«ñ£(F¼ñíˆî¬ì ãŸð´ˆ¶‹ ªêšõ£Œ «î£û‹ ) , êQ‚A ó è « ñ £ ( êQŠªðò ˜ „ C ) â Š « ð £ ¶ « ñ Ì I J Â ¬ ì ò ²ŸÁŠð£¬îJ™ °Á‚A´õ¶I™¬ô â‰î M¬÷¾è¬÷»‹ ãŸð´ˆ¶õ¶I™¬ô.

¹¬ù¾: «ê£FìˆF¡ð® ÅKòÂ‹ Gô¾‹ «è£œè÷£è«õ è¼îŠðÁ¡øù. «ê£Fì‚ è†ìƒèO™ »«óùv, ªïŠ®Î¡, ¹À†«ì£ ÝAò «è£œèœ °PŠHìŠ ð´õF™¬ô. ãªùQ™ Ü¬õ 1900Ý‹ Ý‡´èO™î£¡ è‡ìPòŠð†ìù. ó£°, «è¶ ÝAò Þó‡´‹ è‡µ‚°Š ¹ôŠðì£ î ð £‹¹ èœ (Þ¬õ»‹ «è£œè÷£è‚ è¼îŠðÁ¡øù) â¡Á «ê£FìˆF™ àœ÷ù. Þ¬õ«ò ê‰FóAóèíˆ¬î»‹, ÅKò Aóèíˆ¬î»‹ ãŸð´ˆ¶õî£è¾‹ ï‹ð ¬õ‚èŠðÁø¶.

à‡¬ñ 3 : ÅKòQìI¼‰¶ ÅKò åO ÌI¬ò â†´õîŸ° 8 GIìƒèÀ‹, 20 ªï£®èÀ‹ ÝA¡øù. ñŸø M‡e¡ èOL¼‰¶ åO ÌI¬ò â†´õîŸ° ðô ï £†èÀ‹ , ã¡ õ£ óƒèÀ‹ Ãì ÝA¡øù.

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¹¬ù¾: ñQî˜èO¡ Hø‰î «ïó‹ «ê£FìˆF™ Iè º‚Aòñ£ù î£è‚ è¼îŠ ðÁø¶. ãªùQ™ Ü‰î«ïóˆF™ Ièˆ ¶™Lò ñ£è‚ AóèƒèO¡, ï†êˆFóƒ èO¡ î£‚èƒèœ ñQî õ£›M™ ãŸð†´ˆ ªî£ì˜‰¶ ï¬ìªðÁ õî£è ï‹ðŠðÁø¶.

à‡¬ñ 4 : î£J¡ è¼Š¬ðJ™ è¼¾Ÿø àì«ù å¼ °ö‰¬îJ¡ õ£›‚¬è ªî£ìƒAMÁø¶. å¡ð¶ ñ£îƒèÀ‚° Hø° ðˆ¶ G¬ôè¬÷‚ èì‰¶ î£J¡ õJŸPL¼‰¶ °ö‰¬î Hø‰¶ ªõO«ò õ¼Aø¶. è¬ìCò£è‚ °ö‰¬î Hø‚°‹ «ïó‹ â¡ð¶ 10 ºî™ 12 ñ E « ï ó ‹ õ ¬ ó » œ ÷ è£ôñ£°‹.

¹¬ù¾: «ê£Fì˜èœ î£J¡ õJŸP L¼‰¶ °ö‰¬î º¿õ¶ñ£è ªõO«ò õ ‰ î « ð £¶œ÷ «ïóˆ¬îî£¡ °ö‰¬îJ¡ Hø‰î «ïóñ£è‚ è¼¶Aø£˜èœ. Üõ˜èœ õ£¡ñ‡ìôˆF¡ èF˜èO¡ î£‚èƒè¬÷‚ °ö‰¬î Hø‰î áK¡ «ïóŠð®î£¡ (Local Time) èí‚AÁø£˜è«÷ îMó Þ‰Fò ï£†´ «ïóˆ¬î«ò£ (Indian Standard Time), ð¡ù£†´ «ïóˆ¬î«ò£ (Internation Statndard Time) èí‚A™ ªè£œõF™¬ô.

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¹¬ù¾ : å¼ º¬ø èì¾œ CõÂ‹, Ü‰îè£²óÂ‹ è´¬ñ ò£ù ê‡¬ìJ™ ß´ð†®¼‰î£˜è÷£‹. ÜŠ«ð£¶ CõÂ‚° Iè¾‹ Mò˜ˆ¶ Mò˜¬õˆ ¶O Ì I ˆ î £ J¡ e ¶ M¿ ‰ î î£‹. Üîù£™ õ£v¶ â¡Â‹ èì¾œ Hø‰î£˜ â¡Á ¹ó£í‚ è¬î àœ÷¶. Þšõ£Á Hø‰î õ£v¶ åšªõ£¼ i†®½‹ îù¶ Þ ¼ è £ ™ è ¬ ÷ Ü ‰ î ‰ î ñ£îˆFÂ¬ìò Aóè G¬ô¬ñ‚«èŸð ¬õˆ¶‚ªè£‡´ Üñ˜‰F¼Šðî£è ï‹ðŠðÁø¶. è£™èœ Ü¬ñ‰F¼‰¶‹ F¬ê‚° «ïªóF˜ˆ F¬êJ™ î¬ô Ü¬ñ‰F¼‚ A ø ¶ . Ü õ ¼¬ì ò õ ô ¶ ¬è i†®¡ «ñŸÃ¬ó¬ò «ï£‚A »‹, Þì¶¬è î¬ó¬ò «ï£‚A»‹ Ü¬ñ‰F¼‚°ñ£‹. åšªõ£¼ñ£îˆF Â¬ìò G¬ô¬ñ‚° ãŸð õ £ v ¶ â ¿ ‰ ¶ î¡Â¬ìò G¬ô¬ò ñ£ŸP‚

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à‡¬ñ : î £ J¡ õJ Ÿ P ™ ° ö ‰ ¬ î Þ ¼ ‚ ° ‹ « ð £ ¶ , Ü ¶ à œ ÷ ƒ ¬ è è¬÷ Í´õî£½‹, ñì‚°õî£½‹, Þ Á ‚ ° õ î £ ½ ‹ î £ ¡ «ó¬èèœ à‡ì£A¡øù. å¼ AOJÂ¬ìò Í¬÷J¡ Ü÷¾ ªõÁ‹ 200 Aó£‹ ñ†´«ñ Þ¼‚°‹. Ýù£™, å¼ ñQî Í¬÷ A†ìˆî†ì å¡ø¬ó A«ô£ â¬ìªè£‡ì¶. ÜîŸ° G¬ùõ£Ÿø™, ÜP¾ˆ Fø¡, ÜôC Ýó£»‹ C‰î¬ù„ Fø¡ àœO†ì ðô àò˜ G¬ô„ ªêò™ð£´è¬÷ « ñ Ÿ ª è £ œÀ‹ î¡¬ñ èœ àœ÷ù.

¹ ¬ ù ¾ : à œ ÷ ƒ ¬ è J½œ÷ «ó¬èèœ å¼ ñQîK¡ ªõŸPè¬÷»‹, «î£™Mè¬÷»‹ èE‚A¡øù. ð™«õÁ èì¾œèO¡ ðìƒèœ Ü„ê®‚èŠð†ì Ü†¬ìèO™ ãî£õ¶ å¡¬ø å¼ AO¬ò‚ ªè£‡´ «î˜‰ªî´‚è„

27Ýõ¶ îI› Mö£ 2014


ª è £ œ õ î £ è ï ‹ ð Š ð ´ A ø ¶ . õ£v¶MÂ¬ìò àì™ Ü¬ñ‰F¼‚°‹ MîƒèÀ‚° ãŸð ð´‚¬è Ü¬ø, i†®¡ ï´Ü¬ø , ê¬ñò™ Ü¬ø ÝAò õŸP¡ Ü¬ñŠ¹èœ ãŸð´ˆîŠðì «õ‡´ªñ¡Á ï‹ðŠðÁø¶

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à‡¬ñ: â™ô£ ñQî àJ˜èÀ‹, «ý£«ñ£«êŠHò¡v (Homo Sapiens) â¡ø àJKò™ HKM¡ W› õ¬èŠð´ˆîŠ ð´ A¡øù. å¼ ñQî àJK¡ ªê™L™ 46 °«ó£«ñ£ «ê£‹èœ àœ÷ù. Þóˆî‹ ‘O ‘A’ ‘B’ ‘AB’ â¡Á õ¬èŠð´ˆîŠðÁø¶. Þ‰îŠ HK¾è¬÷ªò™ô£‹ èí‚A™ â´ˆ¶‚ ªè£‡´î£¡ å¼ ñQîKìI¼‰¶ ªðøŠð´‹ Þóˆî‹ «î¬õ‚«èŸð Þ¡ªù£¼ ñQî¼‚°„ ªê½ˆîŠðÁø¶. åšªõ£¼ Üó² ñ¼ˆ¶õ ñ¬ùJ½‹ å¼ ï£¬÷‚°„ êó£êKò£è 20 ºî™ 30 Þóˆî‹ ãŸÁ‹ Gè›¾èœ ï¬ìªðÁA¡øù. Þšõ£Á ªê½ˆîŠð´‹ ÞóˆîˆF™ â™ô£ ê£FèÀ‚°‹, ñîƒèÀ‚°‹ Ü Š ð £ Ÿ ð † ´ â ™ ô £ ñQî˜èÀ¬ìò Þóˆîº‹ èô‰F¼‚Aø

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Þ‰î °†®‚è¬îJ¡ MKõ£ù ê‹ðõƒèœ âFªó£OŠ¹Š ðŸPò ÜöAò Cø£˜ ï£ìèñ£ù¶. Þ‰ï£ìè‚ è†´ñ£ùˆF¡ «ð£¶ åOJ¡ õóô£ŸÁŠ H¡ùE â¡ù? åO¬ò ò£˜ è‡´H®ˆî£˜? âŠð®ªò™ô£‹ è‡´H®ˆî£˜? â®ê¡ âŠð® I¡ê£ó M÷‚°è¬÷ à¼õ£‚Aù£˜? â®êQ¡ ÝCKò˜ ò£˜? âù åOJ¡ HøŠHL¼‰¶ Þ¡¬øò õ÷˜„C õ¬ó îƒèÀ‚«è»Kò ÞòŸ¬è Mù£‚èÀì¡ Þ÷‹ ÜPMò™ «ñ¬îè÷£è«õ Cø£˜èœ ðòEˆî£˜èœ. Þ¶ «ð£¡ø ÜPMò™ ð£ìƒè¬÷ ñ†Í¡P â‰îŠ ð£ìˆ¬î»‹ Cø£˜ ï£ìè‚è¬ô õNò£è âO¬ñò£è‚ èŸH‚èô£‹. Þ¬î õ°Šð¬ø Gè›õ£è«õ£ Ü™ô¶ ð£ìˆF¡ ÜóƒAò™ Gè›õ£è«õ£ «ñŸªè£‡ì£™ ªêò™ ÜÂðõˆ¬îˆ îóõ™ô æ˜ Þ¬íõN‚è™M º¬ø¬ò»‹ ªðøô£‹.

ªñ£NŠð£ì‹ èMˆ¶õ‹ I‚èî£è (FˆF‚°‹ îI›ªñ£N Cø£˜èO¡ ï£® ïó‹¹èO™ åL‚è «õ‡´‹. Ü¶î£«ù «î˜‰î ªñ£NŠðJŸC) ÜPMò™ ð£ì‹ ¹F˜ G¬ø‰î «îìô£è ÜPM¡ ÜóC âùŠð´‹ èEî‹ Üî¡ ê£ˆFòƒèœ º¿¬ñò£è‚ ªè£‡ìî£è‚ êÍèMò™ è£Mò °í‹ IO˜õî£è„ Cø£˜ ï£ìè õ®õ‹ ªðø«õ‡´‹. Üšõ£Á Gè›‰î£™ Cø£˜èœ âšõ÷¾ ñA›„C«ò£´ ð£ì‹ ð®Šð£˜èœ ªîK»ñ£?... CÁõ˜èœ ñA›„Cò£è Þ¼Šð¶ îõø£?...


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CQ ñ £ º î ¡ º î L ™ è‡´H®‚èŠð†ì«ð £¶ Ü¶ ÜPMò™ ÜŸ¹îñ£è«õ Þ¼‰î¶.

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Þô‚Aòˆ¬î‚ è£†Cð´ˆ¶õF™ îI›„ CQñ£M¡ «î˜‰î Þò‚°ï˜èO™ å¼õ˜ ð£½ ñ«è‰Fó£ . å¼ îQò£˜ ªî£¬ô‚è£†C‚°ˆ ªî£ì˜„Cò£è 53 õ£óƒèœ Üõ˜ â´ˆ¶‚ªè£´ˆî °Á‹ðìƒè«÷ ÜîŸ°„ ê£†C. CÁè¬îè¬÷, ¹Fùˆ¬î ðìñ£‚°‹«ð£¶, â¬îªò™ô£‹ è£†CŠð´ˆî «õ‡´‹ â¡Á ªîK‰¶ ¬õˆF¼Šð¬î Mì, â¬îªò™ô£‹ è£†CŠð´ˆî‚ Ãì£¶ â¡ð¬î å¼ Þò‚°ï˜ ªîK‰¶ ¬õˆF¼‚è «õ‡´‹. âv. ó£ñA¼wí¡ Þî¬ùŠ ðŸP î¡Â¬ìò ËL™ °PŠH´¬èJ™, ðoK¡ ñF½èœ ï£õ¬ô F¬óŠðìñ£‚è ÜÇ˜ «è£ð£ôA¼wí¡ Üõ¬ó ÜµAò«ð£¶, ðo˜ ÜõKì‹ å¼ «èœM¬ò‚ «è† ,́ Ü‚«èœM‚° ÜÇ˜ êKò£ù M¬ì ªê£¡ù£™ Ü‰î‚ è¬î¬ò ðìñ£‚è Üõ¼‚°‚ ªè£´ˆ¶M´õî£è õ£‚èO‚Aø£˜. Üõ˜ «è†ì «èœM, “ Þ‰î ï£õL™ ñF½‚° Þ‰îŠ¹øI¼‚°‹ Ý‡, âF˜Š¹øI¼‚°‹ ªð‡¬í ÜõO¡ õ£êˆ¬î ¬õˆ«î è‡´H®‚Aø£¡, Þ¬î cƒèœ âŠð®‚ è£†CŠð´ˆ¶i˜èœ” â¡Á «è†Aø£˜, ÜîŸ° ÜÇ˜, “Þ‰î‚è£†C

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î¡Â¬ìò ªî£Nô£è‚ è¬ô áìèˆ¬îˆ ªîK¾ ªêŒîõ˜èÀ‚° G¬øò«õ ªî£N™ î˜ñƒèœ Þ¼‚Aø¶. °PŠð£è, «è£®‚èí‚è£ùõ˜è¬÷ GIìˆF™ ªê¡Á «êó‚Ã®ò è£†C áìèˆ¬î ªî£Nô£è‚ ªè£‡ìõ˜èœ âŠ«ð£¶‹ ÜøˆF¡ ð£¬îJL¼‰¶ îõø‚Ãì£¶. ð£˜¬õò£÷¬ù Íìù£è G¬ùŠð¶ , â¬îò£õ¶ è£†® ð£˜¬õò£÷¬ù A÷˜„CÎ†® Üõ¬ù ãñ£ŸÁõ¶ «ð£¡ø¬õªò™ô£‹ å¼ ï™ô ð¬ìŠð£Oò£™ å¼ «ð£¶‹ ªêŒò Mòô£î ªêò™èœ. I°‰î «è£ðˆF™ ªõ°üù óê¬ù‚è£è«õ î¡Â¬ìò F¬óŠðì õ®ML¼‰¶ WNøƒA î£¡ â´ˆî F¬óŠðì‹ â¡Á ð£½ ñ«è‰Fó£«õ Ü®‚è® ªê£™½‹, ‘cƒèœ «è†ì¬õ’ F¬óŠðìˆF™ Ãì Üõ˜ Þ‰î Üøˆ¬î îõøM†ì¶ A¬ìò£¶. ‘Hœ¬÷ Gô£’ â¡Aø ð£ì™ º®‰î¶‹, ðìˆF™ õ¼‹ èŸðNŠ¹‚ è£†CJ™ Ãì Üõ˜ î¡Â¬ìò ð£˜¬õò£÷¬ù Iè «ï˜ˆFò£è õNïìˆFJ¼Šð£˜. A÷˜„C‚è£è Ü‰î‚ èŸðNŠ¹‚ è£†C¬ò Üõ˜ I°‰î õ¡ñˆ«î£´‹ Ýð£êˆ«î£´‹ ð ì ‹ H® ˆ F ¼ ‚ è ô £ ‹ . Ýù £ ™ â šM î Ýð£êºI™ô£ñ™ âšMî õ¡º¬ø»I™ô£ñ™ Ü‰î‚ è£†C¬ò ðì‹H®ˆF¼Šð£˜. âšMìˆF½‹ ÜøˆFL¼‰¶ õ¿õ£î ñ£ªð¼‹ è¬ôë¡ ð£½ ñ«è‰Fó£.

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àôA¡ Iè ªðKò ªñ¡ªð£¼œ ¶¬øJ™ ðEò£ŸPò Ü¼‡, ô‡ì¡ ð™è¬ôèöèˆF™ D.F.Tech (Þò‚è‹) ð®ˆ¶, F¬ó‚è¬î ÝŒ¾ ªêŒ¶ îƒèŠðî‚è‹ ªðŸøõ˜. ‘îI› v´®«ò£’ â¡ø Ü¬ñŠH¡ GÁõù˜, îI› v´®«ò£ èì‰î ÝÁ Ý‡´è÷£è ñ£ŸÁ CQñ£ à¼õ£‚èˆF™ ðƒè£ŸP õ¼Aø¶. îI›ï£†®L¼‰¶ Þòƒ°‹ Þšõ¬ñŠ¹ ªî£ì˜„Cò£èˆ F¬óŠðì óê¬ù¬ò õ÷˜ŠðF½‹, è¬ôJ¡ e¶ ªê½ˆîŠð´‹ õEè õ¡º¬ø¬ò °¬øŠðF½‹ Ü‚è¬ø è£†® õ¼Aø¶.

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‘ÜPòŠðì£î îIöè‹’, ‘Üöè˜ «è£J™ ÝŒ¾’, îI›ï£†®™ àœ÷ CÁ ªîŒõƒèœ, ª ð ¼ ‰ ª î Œ õ ƒ èœ ð Ÿ P â¿Fò ‘ªîŒõƒèÀ‹ êÍè ñó¹èÀ‹’ ñŸÁ‹ ‘ªîŒõªñ¡ð«î£˜’ ÝAò Ë™è¬÷ˆ îIö˜èœ ð®ˆ¶Š ªð£‚Aûñ£èŠ «ð£ŸPŠ ð£¶è£‚è «õ‡´‹. îIö˜èœ ò£˜ ?, Üõ˜èO¡ õ£›Mò™ M¿Iòƒèœ â¬õ ? , îIö˜èO¡ ï£èKè‹ âšõ÷¾ àò˜õ£ù¶ ? ÝF„êï™ÖK™ ¹¬î»‡ì îIö˜èO¡ à‡¬ñ õóô£Á â¡ù? â¡ð¬îªò™ô£‹ Þ‰î Ë™è¬÷Š ð®Šðî¡ Íô«ñ îIö˜èœ ÜP‰¶ ªè£œ÷ º®»‹.

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Keerthika M. Subramanian

How the Tamil American Pioneer (“TAP”) Awards Gala was Born

How the Tamil American Pioneer (“TAP”) Awards Gala was Born

G rowing up in the St. Louis suburbs in the late 1990s and early 2000s, I did not have

any role models of Indian or Tamil ori-gin. As the first born child of Indian immigrants who were not completely familiar with the complexities of the American education system, my path to Yale Law School and a career in corpo-rate transactional law can best be char-acterized as one of pure experimentation and trial and error. In the absence of role models I could emulate, I often found myself reading biographies and autobi-ographies of people I admired, searching the Internet for advice and tips, reading The Wall Street Journal, and seeking the advice of wise teachers. As a high school student, I thought my quest for knowl-edge was completely normal – I thought all other high school students did the same thing. It was not until I reached the end of my college career that I realized that students of other minority groups had a key advantage that Tamil Ameri-can students lacked – access to high-profile mentors within their respective ethnic communities.

As a college junior intent on pursuing a career in law, I was eager to spend a summer in Washington, D.C. working for a federal government agency. While doing research on the opportunities and

top positions at some of America’s lead-ing companies, law firms, hospitals and universities. From New York City to Silicon Valley, Tamil Americans have achieved truly remarkable feats. Yet, despite this incredible record of accom-plishment, the Tamil community did not have a central forum to help connect younger members of the community to these exceptional professionals. The lack of a central forum is significant – in to-day’s world, professional networking is extremely important. When my parents told me that my hometown was again playing host to the annual FeTNA con-vention, I thought that this year’s conven-tion would be the perfect forum to intro-duce the inaugural Tamil American Pioneer (“TAP”) Awards Gala.

It is my sincere hope that the inaugu-ral TAP Awards Gala will provide inspi-ration and guidance for Tamil American students and useful professional connec-tions for Tamil American professionals. However, the TAP Awards Gala repre-sents only the first step in cultivating powerful mentorship relationships in our community. I hereby call on all highly accomplished members of the Tamil community to step up and share the se-crets of your success with younger mem-bers of the community.

Let’s lift up our community by lifting each other up.

programs available to me, I stumbled across the International Leadership Foundation (“ILF”), an Asian American foundation committed to increasing the number of Asian Americans in govern-ment and public policy. I decided to apply and was provided a scholarship to attend the ILF summer program. What was remarkable about ILF was that it connected younger generations with high-profile Asian Americans through a formal awards gala. At the 2006 An-nual ILF Gala, I had the opportunity to meet President George W. Bush’s cabi-net member, Secretary of Labor, Ms. Elaine Chao. Meeting Secretary Chao was significant because as a young, im-pressionable 20 year old, I learned that there was room for Asian Americans (and Indian Americans) in all profes-sions and not just traditional professions like medicine and engineering. Eight years later, I still remain grateful to ILF for providing me the opportunity to meet high-profile Asian Americans like Sec-retary Chao.

Ever since attending the 2006 An-nual ILF Gala, I have often wondered why the Tamil community could not have a similar event and help younger members of the community connect with more established members of the com-munity. It is not for lack of talent or achievement – Tamil Americans hold

Soundhra Lakshmanan

27Ýõ¶ îI› Mö£ 2014


W hile growing up in Illinois, I remember attending a few Tamil conferences where I participated in Tamil perfor-

mances and met new friends from across the country. After I graduated from high school, I found myself distanced from FeTNA confer-ences because there wasn’t really anything of interest for my generation. In short, we had be-come the “forgotten generation.”

Flash forward twenty years and I still felt the same way. That is until I realized that FeTNA was coming to St. Louis and this was my opportunity to get more involved by including the second-generation Tamil Americans. When Keerthika Subramanian approached me about the idea of recognizing Tamil Americans who’ve done ex-ceptionally well in their careers, I jumped at the chance to be a part of this inaugural event because I knew it was a great way to get future generations involved. As a mom of a high-school student, I also knew it was important for our youth to have role models like themselves and see how well Tamil Americans have done in the U.S.

Thus began several months of planning for the first-ever Tamil American Pioneer (TAP) Awards Gala. Despite the miles between us, with me in St. Louis and Keerthika on the east coast and then the west coast, we worked tirelessly to make the TAP Awards Gala a memorable event for everyone. We had the good fortune to work with a supportive FeTNA team and St. Louis convention team. Although there was some skepticism if an event such as this could be executed in a few months’ time, Keerthika and I believed in the mission unequivocally. It was this determination that drove us to convince others that such an event is imperative in order to retain our Tamil culture.

The TAP Awards Gala is a wonderful way to inspire our future generations by not only recog-nizing those who have done exceptionally well in their chosen fields but also to establish long-term connections with their culture by instilling a sense of pride in being a Tamil American. There’s more to Tamil than just a language, it’s a connection to our roots. When you know where you’ve come from and what potential you have, the opportuni-ties for where you are going to go are endless.

Soundhra Lakshmanan

How FeTNA Chose to Include its Future Generations

Soundhra Lakshmanan

MIDEAST MARKETLARGEST PAKISTANI, INDIAN AND BANGALADESHI GROCERY STORE IN MIDWEST

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POOCHI CLUB OF ST LOUIS Cordially Welcomes all the Guests and

Participantsof 2014 FeTNA to Saint Louis

Kumar, Sezhian, Chinna, Govindarajan, Mohan, Ramasamy, Mani, Siva, T.S., Guru, Doss, Ponnusamy, Raja, Malar, Krishnan,

Muthukumar, Mathesh

With Best Compliments from


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Ýõ¶ îI› Mö£ 2014


27Ýõ¶ îI› Mö£ 2014


F or over a decade, the music and language of Tamil Nadu, India has been the major focus of my aca-demic studies. My current research

on Tamil popular music in Malaysia extends this passion to a new geographic, socio-cultural, and historical context. Since the mid-90s, Malaysian Tamil youth have embraced hip-hop as a vehicle for expressing the complexity of their diasporic identity and as a way of achieving cultural, eco-nomic, and musical autonomy from India. Rather than passively sample and consume popular me-dia from the Indian homeland, Malaysian Tamil rappers draw on multiple sonic sources of Indian, Malay, Chinese, and American origin. In the realm of language, Tamil hip-hop is equally hy-brid. Malaysian Tamils have developed an oral aesthetic that mixes styles of modern Tamil po-litical oratory, ancient literary Tamil, and collo-quial Malaysian Tamil, with Malay, Black Eng-lish vernaculars, and several dialects of Chinese. Through close examination of musical and lin-guistic code-switching and the dynamics of intra- and inter-cultural musical collaboration, this project explores how Malaysian-Tamil rappers and their fans articulate multiple and fluid racial, national, and transnational identities. Research on Malaysian Tamils has generally framed this dias-pora as a culturally circumscribed and dislocated socio-cultural community, forever oriented to-wards the Indian homeland. While this model of diaspora is useful for illustrating the experiences of older generation Tamils who migrated from

India and grew up in segregated plantation com-munities, it fails to recognize the ways in which contemporary Malaysian Tamils, especially youth, feel at home in Malaysia. Analysis of hip-hop as an intercaste, interracial, and interclass phenomenon suggests that diaspora is not solely about displacement and alienation, but is equally about emplacement and belonging.

Although Malaysia hosts one of the largest Indian diasporas in the world, ethno musicological research in this area remains marginal, limited to two master’s theses on Indian classical music. To date, no work has theorized or explored the rela-tionship between popular music and Malaysian Tamil identity. My dissertation brings a much-needed Tamil dimension to ethno musicological discourse in Southeast Asia and contributes to an emerging body of literature on the localization and indigenization of hip-hop in contexts outside of the USA and Europe.

My dissertation project is based on 14 months of Fulbright funded fieldwork in Malaysia. To date, I have completed 11 months of research in the field and have returned to Malaysia for an ad-ditional 3-4 months. Since my arrival in Malaysia in January 2012, I have conducted extensive ar-chival research at the National Library, Malaysian National Archive, the University of Malaya In-dian studies library, Uma Tamil publishing house, and several presses including the Star (English), New Straits Times (English), Berita Harian (Ma-lay), Malaysian Nanban (Tamil) and Tamil Nesan (Tamil). Research at these sites has yielded hun-

Aaron Paige

From Kuala Lumpur to Kollywood

Music, Language and Identity in Malaysian-Tamil Hip-Hop

Aaron Paige

27Ýõ¶ îI› Mö£ 2014

With Best Compliments fromThe Hindu Temple of St. Louis

725 Weidman Road, St. Louis MO – 63011

With Best Compliments fromIndia Association of St. Louis

www.iastlouis.org

dreds of journalistic writings addressing Tamil music performance, institutions and broadcast. While I have found relevant articles from as early as the mid-1950s, the majority of my col-lected data focuses on writings published between the 1980s and the present. Of the non-English language sources collected, I have translated over half. I have also accumulated a number of impor-tant administrative documents including radio station content codes, government policies re-garding censorship of radio and television, and reports discussing the establishment of vernacu-lar media networks including the Communica-tions and Multimedia Act of 1998. Informal in-terviews and research in the sound archives at Radio Television Malaysia-Kuala Lumpur, Ra-dio Television Malaysia-Penang, and THR-Raaga (a private Tamil radio station) have not only helped me to develop a better understanding of how Malaysian-Tamil music has been pro-foundly shaped by the history of broadcasting, but also have given me access to in-house Tamil music productions not available elsewhere.

My ethnographic work, so far, has included 68 formal interviews and dozens of informal conversations with Tamil musicians, rappers, producers, composers, and lyricists. After surveying much of the popular Tamil music scene during my first few months in Kuala Lumpur, I finally settled on three studios - all of which specialize to varying degrees in Tamil language music production - where I have conducted regular and sustained ethnographic in-quiry. I have attended and recorded over 60 Tamil folk, rock, and rap music performances (i.e. album launches, concerts, underground gigs) at clubs, re-ligious festivals, government functions and other private, usually Tamil-owned, establishments and am a regular participant at Malaysian Indian Artist Society (attended primarily by young rap and rock artists), Malaysian Tamil Artists Welfare Group (for veteran Tamil musicians) and Malaysian Indian Creative Content Action Force meetings.

To get a better sense of the transnational networks and affinities that bind Malaysia Tamil rappers to Tamil hip-hop enthusiasts elsewhere, I have conducted several short (1-2 week) fieldwork trips to Singapore, Colombo-Sri Lanka, and Chennai-India. Chapter 6 of my dissertation will draw upon the data collected in these sites. Finally, over the last two years I have com-pleted transcriptions and translations of lyrics for approximately 150 Ma-laysian, as well as some Singaporean, Sri Lankan, and Indian Tamil hip hop tracks which will be analyzed in Chapters 3, 4, and 5. I intend to translate another 50 by the end of my research.


Kannappan, Shanthi, Suresh and Sindhu

Wishing FeTNA very successful 2014 convention

in Saint Louis, MO


101õì ÜªñK‚èˆ îI›„êƒèŠ «ðó¬õ www.fetna.org 101õì ÜªñK‚èˆ îI›„êƒèŠ «ðó¬õ www.fetna.org 101õì ÜªñK‚èˆ îI›„êƒèŠ «ðó¬õ www.fetna.org

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â¡ð¬î àí˜‰¶ ªè£‡«ì¡. è‰î™ ¶E «ð£¡ø ²è£î£óñŸø º¬ø‚°Š ðFô£è ²è£î£óñ£ù ê£Q†ìK ï£ŠA¡è¬÷Š ðò¡ð´ˆîô£«ñ â¡Á «è†«ì¡. ï£¡ à†ðì ï‹ i†®½œ÷ ªð‡èœ â™ô£‹ ê£QìK ï£ŠA¡è¬÷Š ðò¡ð´ˆFù£™ ïñ¶ i†®™ õ£ƒ°‹ ð£L¡ Ü÷¬õ‚ °¬ø‚è «õ‡´ªñ¡Á ÃPù£˜. ê£QìK ï£ŠA¡èœ Üšõ÷¾ M¬ô¾ò˜‰î¬õ â¡Á Ü¡Áî£¡ àí˜«î¡. â¡ ñ¬ùM‚°‚ °¬ø‰î M¬ôJ™ ê£QìK ï£ŠA¡è¬÷ˆ îò£K‚°‹ ºòŸCJ™ Ü¡Á ºî™ ß´ð†«ì¡

4. Þ‰Fò£M™ °PŠð£è Þ‰Fò Aó£ñƒèO™ ªð‡èœ ñ£îMì£Œ è£ôƒèO™ âšõ¬èò£ù º¬øè¬÷‚ ¬èò£ÀA¡øù˜ ?

Þ‰Fò£M™ ªõÁ‹ 10 M¿‚è£†´Š ªð‡è«÷ ²è£î£óñ£ù º¬øè¬÷‚ ¬èò£ÀA¡øù˜. Aó£ñŠ¹øƒèO™ Þ¶ 2 M¿‚è£†®Ÿ°‹ W›î£¡. ªð¼‹ð£ô£ùõ˜èœ è‰î™ ¶Eè¬÷»‹, «îƒè£Œ ï£˜è¬÷»‹, ñóˆÉœ, ªêŒFˆî£œèœ «ð£¡ø ²è£î£óñŸø º¬øè¬÷«ò ¬èò£ÀA¡øù˜.

5. ²è£î£ó ¬ñòƒèœ «ð£¡ø Üó² ñŸÁ‹ Üó² ê£ó£ GÁõùƒèœ Aó£ñƒèœ «î£Á‹ G¬ø‰F¼‰î£½‹ ÜŠªð‡èO™ ÜPò£¬ñ‚° â¡ù è£óí‹ ?

“Motherly Government” â¡Á ªê£™ôŠðì‚Ã®ò î£Œ¬ñ»¬ìò Üó²è÷£™ ñ†´«ñ Þ¶ «ð£¡ø ªêò™èO™ ªõŸP ªðø º®»‹. Üó²èœ Üˆî£Œ¬ñ G¬ô¬ò «ï£‚AŠ ðòíŠðì «õ‡´‹.

6. î£ƒèœ Þ‰î ºòŸC¬òˆ ªî£ìƒAò«ð£¶ ê‰Fˆî î¬ìèœ ñŸÁ‹ Hó„ê¬ùèœ â¡ù ?

ªðKò î¬ì â¡ð¶ Þ‰î Ýó£Œ„C¬ò‚ Aó£ñˆF™ ªêŒî¶ î£¡. Þó‡ì£õ¶; Þî¬ùŠ ðŸPŠ ªð‡èœ ªð£¶õ£è ªõO«ò «ð²õ¶ A¬ìò£¶. ïè˜Š¹øŠ ªð‡è«÷ Üšõ£Á Þ¼‚°‹«ð£¶, Aó£ñƒèO™ Þ¼‚°‹ ªð‡è¬÷Š ðŸP„ ªê£™ô«õ «î¬õJ™¬ô. â¡Â¬ìò Þ‰î ºòŸC‚° G¬øò ªð‡ î¡ù£˜õ˜èœ (Volunteers) «î¬õŠð†ì£˜èœ.

Üõ˜è¬÷ â¡Â¬ìò è‡´H®Šð£ù ê£QìK ï£ŠA¡è¬÷Š ðò¡ð´ˆî„ ªêŒõ¶ ªð¼‹ êõ£ô£è Þ¼‰î¶. Þ‰î Ýó£Œ„CJ™ ï£¡ Í›AM†ì «ð£¶ , ªð‡èœ H¡ù£™ ²Ÿø¾‹, Üõ˜èœ ðò¡ð´ˆF‚ °Š¬ðJ™ iCò ê£QìK

ï£ŠA¡è¬÷ Ýó£Œ„C ªêŒò¾‹ «ï˜‰î¶. ÜŠ«ð£¶ â¡Â¬ìò ñ¬ùM»‹, î£»‹ â¡¬ù ñùG¬ô ð£F‚èŠð†ìõù£èŠ ð£˜‚èˆ ¶õƒA M†ìù˜. ÞîŸªè™ô£‹ «ñô£è, ï£«ù «è£N Þóˆîˆ¬î å¼ ð‰F™ Ü¬ìˆ¶ Üî¬ù å¼ ®ÎH¡ õN â¡Â¬ìò àœ÷£¬ì‚°œ ªê½ˆF â¡Â¬ìò îò£KŠ¹è¬÷„ «ê£î¬ù„ ªêŒò «ïK†ì¶. ï£¡ Þƒ«è ªê£™Lò¬õ Iè¾‹ °¬ø¾, ê‰Fˆî î¬ìèœ ãó£÷‹.

7. Þ‰îŠ Hó„ê¬ùè¬÷ , î¬ìè¬÷ âšõ£Á î£‡® õ‰b˜èœ ? ò£ó£õ¶ îƒèÀ‚° àÁ¶¬íò£è, ñùõL¬ñ î¼ðõ˜è÷£è Þ¼‰îùó£ ?

º¼è£ù‰î‹. Ý‹ ; âù‚° ï£¡ ñ†´«ñ àÁ¶¬íò£è Þ¼‰«î¡.

8. îƒèÀ¬ìò è‡´H®Š¹ Þ‰Fò£ ñŸÁ‹ àôè Ü÷M™ âšõ÷¾ Éó‹ ªê¡ø¬ì‰F¼‚Aø¶ ? õ¼ƒè£ôƒèO™ Üî¬ù âšõ£Á MK¾ð´ˆî F†ìI†®¼‚Al˜èœ ?

â¡Â¬ìò Þ‰î ê£QìK ï£ŠA¡ îò£K‚°‹ Þò‰Fóˆ¬î Þ¶õ¬ó Þ‰Fò£M™ 23 ñ£GôƒèÀ‚°ˆ î‰F¼‚A«ø¡. 6 ªõOï£´èÀ‚°ˆ î‰F¼‚A«ø¡. 106 ï£´èœ ÞF™ Ý˜õ‹ ªîKMˆF¼‚A¡øù , ÜõŸPŸ°‹ Þî¬ù ÜÂŠ¹‹ ºòŸCJ™ Þ¼‚A«ø¡.

9. îƒèO¡ Þ‰î ºòŸC Þˆî¬èò ªõŸP ªðÁ‹ â¡Á ªî£ì‚èˆF«ô«ò èEˆb˜è÷£ ?

ï£¡ º¡ù«ó ªê£¡ù¶ «ð£™, Þî¬ù â¡Â¬ìò ñ¬ùM‚è£è«õ îò£K‚è ªî£ìƒA«ù¡. ÝƒAôˆF™ Co-Creation â¡Á ªê£™õ£˜èœ. Ýè«õ ÞîŸ°



Þšõ÷¾ ºîh†®™ âšõ÷¾ Þô£ðe†ì «õ‡´‹ â¡Á â‰î Ü÷¾«è£¬ô»‹ ¬õ‚èM™¬ô. ÜŠð® ¬õˆî£™ Ü¶ Corporate Greed «ð£ô£AM´‹, ÞóJ™ è‡´H®ˆî «ð£«î£, Mñ£ù‹ è‡´H®ˆî «ð£«î£ Þ¶ «ð£ô Þô‚°èœ â¶¾‹ ¬õˆF¼‚è ñ£†ì£˜èœ.

10. îƒèO¡ ªõŸP‚°‹, Þ‰î ºòŸCJ¡ «ï£‚èˆFŸ°‹ G¬øò ð£ó£†´è¬÷Š ªðŸP¼Šd˜èœ. ÜF™ ñø‚è º®ò£î ð£ó£†´ â¡Á ã«îÂ‹ àœ÷î£ ?

Þ‰Fò£M¡ °®òó²ˆ î¬ôõ˜ â¡¬ùŠ ð£ó£†®ò «ð£¶ å¼ ªð‡ ðˆFK¬èò£÷˜ àƒèÀ‚° ñA›„Cò£ â¡Á «è†ì£˜. ï£¡ Þ™¬ô â¡«ø¡. Ü¶ î£¡ à‡¬ñ. Þ¡Á õ¬ó G¬øò àœï£†´, ªõOï£†´ ðˆFK¬èèœ ‘«è£¬õJ¡ ¬õó‹’ â¡ªø™ô£‹ â¡¬ù ð£ó£†®ò õ‡í‹ Þ¼‚A¡øù˜. àˆFóè‡† ñ£GôˆF™ è¿¬îJ¡ «ñ™ ãŸP å¼ ñ¬ô «ñ½œ÷ Aó£ñˆF™ â¡Â¬ìò Þò‰Fóˆ¬î GÁM«ù£‹. Ü¶ «ð£¡ø ºòŸCè«÷ âù‚° ñù G¬ø¬õˆ î¼‹.

11. îƒèÀ¬ìò è‡´H®Š¹ ªõŸPò¬ì‰î H¡ù˜ , î£ƒèœ «è£®è¬÷ «ï£‚AŠ ðòE‚è£ñ™ Aó£ñŠ¹øŠ ªð‡èœ ïô¡ «ï£‚AŠ ðòE‚°‹ â‡íˆ¬îˆ îƒèÀ‚°ˆ î‰î¶ â¶ ?

â¡Â¬ìò Þô‚° «è£®èœ Ü™ô. ²è£î£óñ£ù õ£›Mò¬ôŠ ªð‡èÀ‚°ˆ î¼õ¶ î£¡. CÁõòF™ â¡Â¬ìò î‰¬î ñ¬ø‰î «ð£¶ âù¶ î£Œ õ¼ñ£ùe†ì âšõ÷¾ èwìŠð†ì£˜ â¡ð¬î ï£¡ ï¡° ÜP«õ¡ ; Ýè«õ â¡ î£¬òŠ «ð£¡ø ªð‡èÀ‚° «õ¬ôõ£ŒŠ¹ î¼õ¶ â¡Â¬ìò ñŸªø£¼ Þô‚°. ðˆ¶ Þô†ê‹ ñèO¼‚° «õ¬ôõ£ŒŠ¹ î¼õ¬î «ï£‚AŠ ðòE‚A«ø¡.

12. Þ¡¬øò Þ¬÷ë˜èOì‹ êÍè‹ ê£˜‰î MNŠ¹í˜¾ Þ¼‚Aøî£? Üõ˜èÀ‚°ˆ î£ƒèœ ã«îÂ‹ ÜP¾¬ó ªê£™ô M¬öAl˜è÷£ ?

G„êòñ£è Þ™¬ô; ÜîŸ° ºîŸ è£óí‹ Üõ˜èO¡ ªðŸ«ø£˜.Þó‡ì£õ¶ è£óí‹ ïñ¶ è™M º¬ø. ð®ˆ¶ º®ˆî¶‹ «õ¬ôõ£ŒŠ¹è¬÷ «ï£‚A ðòE‚è£ñ™, êÍèˆF½œ÷ Hó„ê¬ùè¬÷„ C‰F»ƒèœ. ÜõŸPŸè£ù b˜¾è¬÷ «ò£Cˆ¶ Üî¬ù «ï£‚AŠ ðòE»ƒèœ â¡ð«î ï£¡ Üõ˜èÀ‚°ˆ î¼‹ ÜP¾¬ó.



æ˜ ÞùˆF¡ Ü¬ìò£÷‹ ªñ£N. Ü‹ªñ£N æKùˆF¡ àJ¼‚° Gèó£ù¶. âù«õ ªñ£N Þ¡«ø™ Þù Ü¬ìò£÷I™¬ô. ªñ£NJ¡ áì£è«õ ð‡ð£´‹ ÜPòŠðÁø¶. àôA¡ ðô

ï£´èO½‹ îIö˜ ðó‰¶ õ£›Aø£˜èœ. 18 Ý‹ ËŸø£‡®L¼‰¶ îIö˜ ¹ôŠªðò˜„C Þì‹ªðŸÁ‚ªè£‡«ì õ¼Aø¶. 18 Ý‹ 19 Ý‹ ËŸø£‡´èO™ ÝƒA«ôò˜è÷£™ HT. ªñ£KCòv, ªî¡ù£HK‚è£ ºîô£ù ÞìƒèÀ‚°ˆ ªî£Nô£èó£è Ü¬öˆ¶„ ªê™ôŠð†ì îIö˜ ÞŠ«ð£¶ îI¬ö ñø‰¶M†ìù˜. 1980 èÀ‚°Š H¡ù˜ IèŠ ªð¼‰ªî£¬èò£ù ñ‚èœ ßöˆFL¼‰¶ ÜèFè÷£è¾‹, ï™ô õ£›¬õŠ ªðÁõîŸè£è¾‹ àôA¡ ðô ï£´èÀ‚°‹ ¹ô‹ªðò˜‰îù˜. îIöèˆFL¼‰¶‹ ð™«õÁ «ï£‚°èO™ îIö˜ ¹ôŠªðò˜„C ï¬ìªðŸÁ õ‰¶œ÷¶. Þšõ£ø£èŠ ¹ô‹ªðò˜‰î îIöó¶ ªî£¬è Ü‡í÷õ£è å¼ «è£®¬òˆ î£‡Áø¶ âù‚ ÃÁõ˜. ä«ó£ŠHò - ÜªñK‚è ï£´èO™ õ£¿‹ ñ‚èœ Üšõ‰ï£†´ ªñ£NèO™ è™M èŸÁ, ªî£N™ õ£ŒŠ¹è¬÷Š ªðŸÁ, ¹Fòªî£¼ êºî£òñ£è ñ£Ÿø‹ ªðŸÁ õ¼A¡øù˜ â¡ð¬îŠ ¹ô‹ªðò˜ îIö˜è÷£Aò ï£‹ ºîL™ è¼ˆÉ¡P «ï£‚°î™ «õ‡´‹.

Þ¡¬øò Þ¬÷«ò£˜ Ü´ˆî î¬ôº¬øJù˜ Ýõ˜. “îIö˜ â¡ø Ü¬ìò£÷‹” C¬îò£ õ‡í‹, îI›ªñ£N¬ò»‹ îIö˜ ð‡ð£†¬ì»‹ «ðE‚è£ˆ¶, Ü´ˆî î¬ôº¬øJù¼‚° â´ˆ¶„ ªê™ô «õ‡®òõ˜èœ Þõ˜è«÷. Þ‰ï£´èO«ô õ£¿‹ Þ¬÷ò î¬ôº¬øJùK™ 95 iîñ£«ù£˜ Ü‰Gò ï£´èO«ô Hø‰¶ Ü‰Gòªñ£N áì£è Ýó‹ð‚ è™M¬òŠ ªðŸøõ˜è÷£õ˜. Þõ˜èO™ 50 iîñ£«ù£¼‚°«ñ™ îI› â¿î õ£C‚èˆ ªîKò£¶ â¡ð¬î îI› èŸH‚°‹ ÝCKò˜ â¡ø Ü®Šð¬ìJ™ ¶E‰¶ ÃÁ«õ¡.

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â¡Á, ð¡ªñ£Nèœ ÜP‰î ñè£èM ð£óFò£«ó ð£®ù£˜, îQï£òè Ü®èœ ð‚F‚°Kò îQªñ£N îI› âùŠ ð£ó£†®ù£˜. Þˆî° CøŠ¹ õ£Œ‰î î£Œªñ£öò£‹ îI›ªñ£N ªîKò£¶, ð‡ð£´ ñø‰¶ õ£¿‹ G¬ô¬ñ âñ‚° õó«õ Ãì£¶. “ï£ññ¶ îIöªóù‚ ªè£‡´ Þƒ° õ£›‰F´î™ ï¡«ø£ ªê£™h˜;” ;âùŠ ð£óFò£˜ â‹¬ñŠ ð£˜ˆ¶‚ «è†°‹ «èœM‚° ï£‹ âšõ£Á ¶E‰¶ M¬ì ðè˜«õ£‹?. «ñ½‹, îIö˜ îIö«ó£´ îIN™ à¬óò£´õ¶î£«ù º¬ø! Üšõ£P¼‚è ã¡ ï£‹ ÝƒAô‹, Hó…². ì„; ºîô£ù ªñ£NèO™ Ü‰Gò˜ «ð£™ îIö«ó£´ à¬óò£Á¡«ø£‹?. Yù˜, üŠð£Qò˜, ä«ó£ŠHò ªñ£Nè¬÷ˆ î£Œªñ£Nò£‚ªè£‡«ì£˜, õìÞ‰Fò ªñ£NJù˜, ÝŠ HK‚è ªñ£Nèœ «ð²«õ£˜; Ü¬ùõ¼‹ îˆî‹ î£Œªñ£NJ«ô«ò à¬óò£Á¡øù˜.

«ðó£CKò˜ Þ.ð£ô²‰îó‹ îI›ˆ¶¬øˆ î¬ôõ˜, Ü‡íñ£ñ¬ôŠ ð™è¬ô‚èöè‹, èùì£ õ÷£è‹.

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Þ¬÷ò î¬ôº¬øJù˜ îI› «ðê¾‹ õ£C‚è¾‹ î‚è õ¬èJ™ îI› ªñ£NJ™ ðJŸC; ªðÁî™ ÜõCò‹. ÝƒAôªñ£N «ð²‹ ï£´èO™ õ£¿‹ îI›Š Hœ¬÷èœ, ÝƒAô‹ «ðê£î Høï£†´ˆ îI› àøMù¼ì¡ à¬óò£´õîŸ° ªð£¶ˆ ªî£ì˜¹ªñ£Nò£èˆ îI› ªñ£N¬òŠ ðò¡ð´ˆî «õ‡®ò «î¬õ G„êòñ£è àœ÷¶. â´ˆ¶‚è£†ì£è ÝƒAô‹ ñ†´‹ «ð²‹ îI›;Š Hœ¬÷èœ, «ü˜ñQJ™ õ£¿‹ ÝƒAô‹ ªîKò£î îI› àøMù¼ì¡ à¬óò£´õîŸ°Š ªð£¶ªñ£Nò£èˆ îI› ªñ£N¬ò ¬õˆ¶‚ªè£‡ì£™, ªñ£N„ C‚èL¡P à¬óò£ì½ì¡ àøõ£ì¬ô»‹ ï¡° «ðE‚ªè£œ÷ô£‹. îIö˜ Ü¬ùõ¼‹ å¼õ¼ì¡ å¼õ˜ êó÷ñ£è¾‹ àí˜«õ£´‹ àK¬ñ«ò£´‹

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îI› ªñ£N âñ¶ ð‡ð£†¬ì‚ è£M„ ªê™½‹ áìèñ£è Ü¬ñ‰¶œ÷¶. îI›ªñ£N áì£è«õ êñò Þô‚Aòƒèœ, è¬ôèœ, Þô‚Aò‹, Üó², ðö‚è õö‚èƒèœ, ªð£¿¶ «ð£‚°èœ. ï‹H‚¬èèœ â¡ðù Ü¬ñòô£Jù. îIö˜ ð‡ð£´ êñòòŠ H¡ùEJ™ õ÷˜‰¶ õ‰î¶‹ à‡¬ñ«ò. âñ¶ êñòˆ¬î, êñò GÁõùƒè¬÷ , êñò Þô‚Aòƒè¬÷ îI› ªñ£NÎì£è«õ ï£‹ ÜPA«ø£‹; ªêòŸðÁ¡«ø£‹. ïìù‹, Þ¬ê;, M™½Šð£†´, «è£ô£†ì‹, èóè‹, è£õ®, ºîô£ù è¬ôèÀ‹ îI› ªñ£NÎì£è«õ «ðíŠðÁ¡øù. ¹ô‹ªðò˜‰î ï£ìèO™ ÝJó‚ èí‚è£ù ñ£íõ˜ ÞŠ«ð£¶ ðóî‚è¬ô, Þ¬ê‚è¬ô ðJ™Aø£˜èœ. Þ‹ñ£íõ˜, îñ¶ è¬ô‚ è™M‚;°Kò ð£ì™, î£÷‹, Þó£è‹ â¡ðùõŸ¬ø ï¡° ð®ŠðîŸ°‚ è¬ôòP¾‹ îI› ÜP¾‹ ÜõCòñ£A¡øù. âù«õ Þ¬÷«ò£˜ îI› èŸøL¡ ÜõCò‹ «ñ½‹ àíóŠðÁ¡ø¶.

îIö˜ ð‡ð£†´ Ü¬ìò£÷ˆ¬îŠ «ðµ‹ ºòŸC¬ò êñòˆFÛì£è º¡ªù´ˆ¶„ ªê¡øõ˜ F¼ë£ùê‹êð‰î˜. îI› ªñ£N¬ò»‹ îIN¬ê¬ò»‹ ¬êõ êñòˆ¬î»‹ è¼Mè÷£è‚ ªè£‡´ êñò Þò‚è‹ â¡ø Ü®Šð¬ìJ™ îI›ªñ£N‚° ãŸøº‹ ð£¶è£Š¹‹ ªè£´ˆîõ˜èœ F¼ë£ùê‹ð‰î¼‹ F¼ï£¾‚èóê¼‹.ñ‚èO¬ì«ò â¿„C¬ò ãŸð´ˆ¶‹ õ¬èJ™ Þ¼õ¼‹ á˜ áó£è„ ªê¡Á ñ‚èÀ‚° îIN¡ ÝŸø¬ô»‹ ªð¼¬ñ¬ò»‹, ÜîŸ°‹ «ñô£è, Üõ˜èO¡ á˜èO¡ ñA¬ñ¬ò»‹ ðFèƒè÷£èŠ ð£®, á˜ŠðŸ¬ø»‹ îI›ªñ£N eî£ù Ý˜õˆ¬î»‹ ñ‚èÀ‚° ãŸð´ˆFò àˆîñ˜èœ â¡ð¶ à‡¬ñò£°‹. Üõ˜èÀ‚°Š H¡ù˜ 13Ý‹ ËŸø‡ì÷M™ îI›ªñ£N‚°‹ îIöŠð‡ð£†´‚°‹ ãŸø‹ ªè£´‚°‹ õ¬èJ™ ð£´ð†ì 63 ï£ò¡ñ£˜èO¡ õóô£Ÿ¬øˆ ªî£°ˆ¶, Üõ˜èÀ‚° ãŸø‹ ÜOˆ¶Š ð£´õî¡ Íôñ£èŠ, ªðKò¹ó£íˆ¬îˆ îI› ð‡ð£†´Š ðFõ£è¾‹ ð¬ìˆ¶œ÷¬ñ Üî¬ùŠ ªð£¼÷£ö‹ è‡´ ðJ™«õ£˜ àí˜‰¶ ªè£œõ˜.

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ð‡ð£†®™ Þì‹ªðŸPó£î ê£Fò‹ õ¬óòÁ‚èŠð† ,́ îI› ñ‚èœ ÃÁ«ð£ìŠð†;ì è£ôº‹ ÜîŸ°Kò êÍèŠ H¡ùEèÀ‹ ÜPë˜è÷£™ ï¡° ªõOŠð´ˆîðŠ†´œ÷ù. ÜîŸ°Š HŸð†ì è£ôƒèO™ õ£›‰î Cˆî˜ ð£ì™èO™ ê£Fòˆ¶‚° âFó£ù °ó™èœ õ½õ£è åLŠð¬î»‹, ê£Fò‹ èì‰î îIö˜ ð‡ð£†´ Ü¬ìò£÷‹ «ðêŠð´õ¬î»‹ Cˆî˜ ð£ì™èOô è‡´ªè£œ÷ô£‹. êƒèŠ ¹ôõ¡ èEò¡ Ìƒ°¡øù£˜ è£†®ò “ò£¶‹ á«ó ò£õ¼‹ «èO˜” â¡ð¶ «ð£ô¾‹, F¼Íô˜ °Pˆî “å¡«ø °ô‹ å¼õ«ù «îõ¡” â¡ø Ü®Šð¬ìJ½‹ îI›˜ ð‡ð£´ iÁï¬ì «ð£´‹ õ¬èJ™ ð£óFò£˜ - ð£óFî£ê¡ ºîô£«ù£˜ º¡ªù´ˆî Þò‚èƒèœ, îIö˜ ð‡ð£†¬ì Ü¬ìò£÷Šð´ˆFù. îIö˜ ð‡ð£´ C¬îò£ õ‡í‹ «ðµ‹ ºòŸCèœ 20 Ý‹ ËŸø£‡®™ ð™«õÁ ð‡ð£†´ Ü¬ñŠ¹‚è÷£™ º¡ªù´‚èð†´ õ¼î½‹, Üîù®Š;ð¬ìJ™ õìÜªñK‚èˆ îI›„ êƒè‹ èì‰î 27 Ý‡´è÷£è„ ª ê ò Ÿ ð†´ õ¼õ¶‹ ß‡´‚ °PŠHìˆ î‚èùõ£°‹.

ð£ªóƒ°‹ ðó‰¶ õ£¿‹ â†´‚ «è£®ˆ îIö˜ Ü¬ùõ¼‹ “ï£‹ â™«ô£¼‹ îIö˜” â¡ø Ü¬ìò£÷ˆ¶ì¡ àôA™ àò˜‰¶ GŸ°‹ Þùñ£è àò˜«õ£‹ â¡ø º¬ùŠ¹ì¡ ªêòŸðì «õ‡´‹. “å¡Áð†ì£™ à‡´ õ£›¾”, “åŸÁ¬ñ«ò ðô‹”, “Üì‹ðƒªè£®»‹ Fó‡ì£™ I´‚°” â¡Â‹ Ý¡«ø£˜ ªñ£Nèœ è‡ñE«ð£™ â‹ñ£™ «ð£Ÿøˆ î‚è¬õ.

îIö˜ õóô£ŸP™ º®»¬ì Í«õ‰îó£ù «êó & «ê£ö -& ð£‡®ò ñ¡ù˜; îI›ï£†¬ì„ Y¼ìÂ‹ CøŠ¹ìÂ‹ Ý†C ¹K‰îùó£JÂ‹, Üõ˜èO¬ì«ò åŸÁ¬ñ GôMòî£è„ ê£¡P™¬ô. Üõ˜èœ î‹ºœ Ü®‚è® «ð£K†ìù˜. Üîù£™ ï£†´ õ÷º‹, ñ‚èœ ðôº‹ è£ôŠ«ð£‚A™ °¡P è÷ŠHó˜ ºîô£«ù£ó£™ îIöè‹ Å¬øò£ìŠð†ì¬ñ õóô£ø£°‹. ê£¡ø£è, «ê£ö¡ ªï´ƒAœOe¶ ð ¬ ì ª ò ´ ˆ ¶ , « ê £ ö ¡ ï ô ¡ A œO¬ ò ºŸÁ¬èJ†ì£¡. å«ó °ôˆFŸ Hø‰î ÜšM¼ ñ¡ù¼‹ «ð£˜ ªêŒî™ Ü‚°ôˆFŸ«è ÜN¬õ»‹ ªð¼‹ ðN¬ò»‹ î¼õ«î£´, Üõ˜èœ ñ‚èO¡ ï¬èŠ¹‚°‹ Ý÷£õ˜ â¡ð¬î àí˜ˆ¶‹ ªð£¼†´, «è£×˜‚Aö£˜ â¡Â‹ ¹ôõ˜ Þ¼õKìº‹ ªê¡Á ÜõŸ¬ø â´ˆ¶¬óˆ¶, «ð£¬óˆ î´ˆ¶, Üõ˜è¬÷ åŸÁ¬ñŠð´ˆFù£˜ â¡ð¶ ¹øï£ËÁ ÃÁ‹ ªêŒF. Þ¡ªù£¼ ê‰î˜ŠðˆF™ «êóï£†®¡e¶ °÷ºŸøˆ¶ˆ

¶…Cò AœOõ÷õ¡ «ð£˜ ªî£´ˆî«ð£¶, ÝôˆÉ˜‚Aö£˜ â¡Â‹ ¹ôõ˜ Ü‹ñ¡ùÂ‚° ÜP¾¬ó ÃPŠ «ð£¬óˆ î´ˆ¶œ÷£˜ (¹øï£ÛÁ (36 ) . «è£Šªð¼…«ê£ö¡ î¡ ¹î™õ˜e¶ ð¬ìªò´ˆ¶„ ªê¡ø«ð£¶, ¹™ô£ŸÚ˜ âJŸPòù£˜ â¡Â‹ ¹ôõ˜, «ê£öÂ‚° õ¼ñ£Á ÜP¾¬ó ÃP «ð£¬óˆ î´ˆ¶, åŸÁ¬ñ ãŸð´ˆFù£˜. “ÞŠ«ð£K™ àù¶ ñ‚è¬÷ c ªè£¡ø£™ àù‚°Š H¡ à¡ ªê™õƒè¬÷ ò£¼‚°‚ ªè£´Šð£Œ? c «ð£K™ «î£Ÿø£™ à¡¬ùŠ àô«è£˜ ðNÉŸøõ˜ Ü™ôõ£! Ýîô£™ «ð£¬ó GÁˆ¶õ£Œ” âù õ¼ñ£Á ð£®ù£˜:

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Üîù£™ åNèF™ Üˆ¬î G¡ñø«ù.” (¹øï£ËÁ: 213: 14-19)

èƒ¬è ºî™ èì£ó‹ õ¬ó «ðóó² GÁMò «ê£öŠ «ðóó²ì¡ ÜŠ«ð£¶ G¬ôˆF¼‰î «êó - ð£‡®ò °ÁGô ñ¡ù˜ åŸÁ¬ñò£èˆ îI›ˆ «îCò àí˜¾ì¡ Ý†C ªêŒF¼‰î£™, Þ‰Fò õóô£«ø ñ£Ÿø‹ ªðŸP¼‚°‹. 18 Ý‹ ËŸø£‡®™ ióð£‡®ò è†ìŠªð£‹ñ¡ õóô£ŸP½‹ îI› ÜFè£KèOì‹ åŸÁ¬ñ»‹ ï £†´Š ðŸÁ‹ , ÞùŠðŸÁ‹ G¬ôˆF¼ˆî£™ Þ‰Fò ÜóCò™ õóô£ŸP™ îIö˜ G¬ôò£ù ºˆF¬ó ðFŠðî£è Ü¬ñ‰F¼‚°‹.

Þ¡¬øò G¬ôJ™ îIö˜ âƒ° õ£›;‰î£½‹ ï‹I¬ì«ò åŸÁ¬ñ Iè¾‹ ÜõCòñ£Aø¶. ï£‹ ÜóCò™, ªð£¼Oò™, ð‡ð£´ â¡ðõŸP™ Þ¡Â‹ ðô ð®èœ î£‡® º¡«ùŸø‹ ªðø «õ‡®»œ÷¶. îIö˜ â™«ô£¼‹ “ï£¡ - âù¶” â¡ø â™¬ô¬ò‚ èì‰¶, “ï£‹ - âñ¶’ â¡ø î£óè ñ‰Fóˆ¬îˆ î¿Mòõ˜è÷£è„ ªêòŸðì «õ‡®ò Iè ªï¼‚è®ò£ù Åö™ âƒ°‹ è£íŠðÁø¶. îIö˜ ð‡ð£†´ Ü¬ìò£÷ˆ¬î ï£‹ ï¡° ¹K‰¶ ªêòŸð´«õ£«ñò£ù£™ àÁFò£è ï£‹ àôA™ àò˜‰¶ GŸ«ð£‹. â‹I¬ì«ò àí˜‰î è™Mò£÷˜, ªð£¼œõ÷‹ I‚«è£˜, è¬ô¸†ð‹ Cø‰îõ˜èœ «ñ½‹ «ñ½‹ õ÷˜„C ªðŸÁ õ¼Aø£˜èœ. Þ‰G¬ôJ™; “îIö˜ Ü¬ìò£÷‹ ¹Qîñ£ù¶ – Ü¶ â‹Iùˆ¬î àô°‚° àò˜ˆF‚ è£†´õ¶” â¡ð¬î îIö˜ Ü¬ùõ¼ñ àí˜‰¶ ªêòŸð†ì£™; 21 Ý‹ ËŸø£‡´ îIö˜ ËŸø£‡ì£°‹ â¡ð¶ àÁFò£°‹.


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VIT is a top ranked Indian university with sprawling green campuses in Vellore and Chennai;

18 bachelors and 35 masters and doctoral programs with 20100 students; Articulation with US

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India Today has ranked VIT among the top engineering institutions in India. Its programs are accredited by national and international agencies. 95% of VIT graduates receive employment offers before graduation.

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ABET accreditation and specific articulation agreements enable VIT students to transfer their B.Tech. credits to US partner universities. Students may get B.S. in the USA with 2 years in India and 2 years in the US. They may also opt for B.Tech. at VIT and M.S. or M.B.A. in the USA with 3 years in India and 2 years in the US.

US partner universities include State University of New York, Purdue, Cornell, Princeton, MIT, Clarkson, Rochester, Clemson, Massachusetts, Mississippi, Michigan, Hartford, West Virginia, Maryland, RIT and others.

Please contact: [email protected] ; +91-416-220-2921 (Tel ); Visit: www.vit.ac.in

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