Littérature scientifique sur le sujet « Malayalam Poets »

Human population who were straggling in the forest, started living as a society. This society of people disclosed their ascent identities such as lifestyle, Culture, rituals, belief, work, food habits, dress, language, arts, worship and etc. when we look over the Pazhanthamizh community, Sangham literature plays a major role in them. The Biological aspects of early people have been established through poets, Royal poets, Feminine poets and etc., when we see on the cultural aspects, women’s have separate place in their land in which they haved shaped their lifestyles for generations. In the changing environmental community, there are many changes in Political, Economical and Cultural elements. In order to reveal them creators have established their analysis through voices to the human community. However, until the gender difference of male and female is taught, just like the two sides of a win struggles for women’s rights and feminist voices will not rest up. In the life of women who were taught about virtuosity, the code of life in the sangham period have been desalted and imposed their morals. By Manoj Kurur’s creations we can come to know about the young generations of oppressed sangham women’s who broke their social customs and restrictions. This article examine’s the control x restraint in the opposition of the Novel in Malayalam “Nilam Poothu Malarntha Nall” in which a femine voice is brought through a male voice.

Preservation of precious knowledge present in Malayalam literature is a tedious task because of the presence of a huge amount of degradations in historical documents. One way to save these documents is to enhance the Malayalam manuscripts and storing them electronically. Here we are using historical Malayalam documents like poems, agreement copies and palm leaves as experimental dataset. In our proposed work is a novel binarization model which is based on modified Wellner’s algorithm. The degraded input image is converted into an integral image and then a modified version of Wellner’s algorithm is applied to it. This would enable us to enhance the document and further proceed with remaining phases of OCR. In binarization mainly we are focusing on the challenges from degraded documents like Non-uniform Background Illumination, Stains, bleed through etc. In our work we are developing a model which effectively binarizes the degraded Malayalam documents, especially the challenges like oil stain, smudge, and uneven illuminations. Finally, we will be able to validate and check the accuracy of the proposed model effectively. The proposed algorithm yielded an accuracy of 92%.

Los mundos post-coloniales de América Latina y de India, incluso a pesar de sus diferencias, comparten puntos históricos, sociológicos, politicos y culturales en común, los cuales parecen haber creado condiciones favorables para el intercambio y la recepción literaria intercultural. Pablo Neruda ha sido considerado en la India como un sensible poeta del amor y, al mismo tiempo, un marxista políticamente comprometido, casi reverenciado por los literatos de izquierda de todo el subcontinente. Su obra Veinte poemas de amor ha sido traducida a muchos idiomas locales y ha sido interpretada, cantada y recitada a lo largo del país junto con poemas de la última etapa de Neruda. En el mundo literario hindi es sin duda el poeta más famoso del mundo de habla hispana. El autor colombiano Gabriel García Márquez también ha dejado una profunda impresión, especialmente en el cine y en la literatura malayalam. El premio Nobel mexicano Octavio Paz, que fue embajador de su país en la India durante casi seis años, estableció un intercambio artístico con muchos poetas y artistas hindis. Con el objetivo de contribuir con la investigación actual en este campo, el presente artículo ofrece un panorama de los ámbitos y agentes no académicos que han facilitado la recepción de los escritos latinoamericanos en la India.

I am what I am, declares Kamala Das at the outset of her essay. The poetess asserts that she is uninterested in politics yet claims to be familiar with every leader since Nehru. She seems to be saying that she cannot help but have things imprinted in her. One of the most well-known feminists of the postcolonial era was Kamala Das. She wrote in both English and Malayalam, her native language. She wrote under the pen names Madhavi Kutty and Kamala Das for her Malayalam and English readers, respectively. She was dubbed "The Mother of Modern Indian English Poetry" for her enormous contributions to poetry in our nation. Because of the confessional nature of her writing, she has also been compared to literary giants like Sylvia Plath. We examine this literary icon's amazing life on the anniversary of her birth. One of the most important voices in Indian English poetry is Kamala Das. She is regarded as one of the key inspirations on Indian English poetry, and in 2009, The Times dubbed her "the mother of modern English Indian poetry" (www.timesonline.co.uk) in honor of her efforts. She received numerous honors for her writing, including the Asian Poetry Prize in 1998, the Kent Award for English Writing from Asian Countries in 1999, the Asian World Prize in 2000, the Ezhuthachan Award in 2009, the Sahitya Academy Award in 2003, the Vayalar Award in 2001, and the Kerala Sahitya Academy Award in 2005. Three poems she has written are By stating that she can recite these as quickly as she can identify the days of the week or the months, she is implying that these politicians were stuck in a cycle of time that repeats itself without regard for uniqueness. Time defined them rather than the other way around. Her contribution to Indian English poetry is the main topic of the paper.

IntroductionIndian Literature with its multiplicity of languages and the plurality of cultures dates back to 3000 years ago, comprising Vedas, Upanishads, Puranas and Epics like Ramayana and Mahabharata. India has a strong literary tradition in various Indian regional languages like Sanskrit, Prakrit, Pali, Hindi, Marathi, Bengali, Oriya, Tamil, Kannada, Telugu, Malayalam and so on. Indian writers share oral tradition, indigenous experiences and reflect on the history, culture and society in regional languages as well as in English. The first Indian novel in English is Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Indian Writing in English can be viewed in three phases - Imitative, First and Second poets’ phases. The 20th century marks the matrix of indigenous novels. The novels such as Mulk Raj Anand’s Untouchable (1935), Anita Nair’s Ladies Coupé (2001), and Khuswant Singh’s Memories of Madness: Stories of 1947 (2002) depict social issues, vices and crises (discrimination, injustice, violence against women) in India. Indian writers, and their contribution to world literature, are popular in India and abroad.Researchers are keen on analysing the works of Indian writers from historical, cultural, social perspectives and on literary theories (Post-Colonialism, Postmodernity, Cultural Studies). The enormity of the cultural diversity in India is reflected in Indian novels, plays, dramas, short stories and poems. This collection of articles attempts to capture the diversity of the Indian land/culture/landscape. It focuses on the history of India, partition, women’s voices, culture and society, and science and technology in Indian narratives, documentaries and movies.Special Issue: An Overview“Whatever has happened, has happened for goodWhatever is happening, is also for goodWhatever will happen, shall also be good.”- The Bhagavad-Gita.In the Mahabharata’s Kurukshetra battlefield, Lord Krishna counsels Arjuna on how everything that happens, regardless of whether it is good or bad, happens for a reason.Indian Literature: Past, Present and Future portrays the glorious/not-so-glorious times in history, the ever-changing crisis/peace of contemporary and hope for an unpredictable future through India’s literary and visual narratives. It focuses on comparison across cultures, technological advancements and diverse perspectives or approaches through the work of art produced in/on India. It projects India’s flora, fauna, historical monuments and rich cultural heritage. It illustrates how certain beliefs and practices come into existence – origin, evolution and present structure from a historical perspective. Indian Literature: Past, Present and Future gives a moment to recall, rectify and raise to make a promising future. This collection attempts to interpret various literary and visual narratives which are relevant at present.The Epics Reinterpreted: Highlighting Feminist Issues While Sustaining Deep Motif, examines the Women characters in the Epics – Ramayana and Mahabharata. It links the present setting to the violence against women described in the Epics Carl Jung’s archetypes are highlighted in a few chosen characters (Sita, Amba, Draupati). On one note, it emphasises the need for women to rise and fight for their rights.Fictive Testimony and Genre Tension: A Study of ‘Functionality’ of Genre in Manto’s Toba Tek Singh, analyses the story as a testimony and Manto as a witness. It discusses the ‘Testimony and Fictive Testimony’ in Literature. It explains how the works are segregated into a particular genre. The authors conclude that the testimony is to be used to understand or identify with the terror.Tangible Heritage and Intangible Memory: (Coping) Precarity in the select Partition writings by Muslim Women, explores the predicament of women during the Partition of India through Mumtaz Shah Nawaz’s The Heart Divided (1990) and Attia Hosain’s Sunlight on a Broken Column (2009). It addresses ‘Feminist Geography’ to escape precarity. It depicts a woman who is cut off from her own ethnic or religious group and tries to conjure up her memories as a means of coping with loneliness and insecurity.Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan, analyses the post-Partition trauma in the fictional village, Mano Majra. It illustrates the cultural and spiritual bond between Mano Majrans — the inhabitants of Mano Majra — and nature (the land and river). It demonstrates how the media constructs broad myths about culture, religion, and nation. According to the authors, Mano Majrans place a high value on the environment, whilst the other boundaries are more concerned with nationalism and religion.Pain and Hopelessness among Indian Farmers: An Analysis of Deepa Bhatia’s Nero’s Guests documents the farmers’ suicides in India as a result of debt and decreased crop yield. The travels of Sainath and his encounters with the relatives of missing farmers have been chronicled in the documentary Nero’s Guests. It uses the Three Step Theory developed by David Klonsky and Alexis May and discusses suicide as a significant social issue. The authors conclude that farmers are the foundation of the Indian economy and that without them, India’s economy would collapse. It is therefore everyone’s responsibility—the people and the government—to give farmers hope so that they can overcome suicidal thoughts.The link between animals and children in various cultures is discussed in The New Sociology of Childhood: Animal Representations in Leslie Marmon Silko’s Garden in the Dunes, Amazon’s Oh My Dog, and Netflix’s Mughizh: A Cross-Cultural Analysis. It examines the chosen works from the perspectives of cross-cultural psychology and the New Sociology of Childhood. It emphasises kids as self-sufficient, engaged, and future members of society. It emphasises universal traits that apply to all people, regardless of culture. It acknowledges anthropomorphized cartoons create a bond between kids and animals.Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan, explores the issues sparked by their writings. It draws attention to the aggression and concerns that were forced on them by the particular sect of society. It explains the writers’ experiences with the fatwa, court case, exile, and trauma.Female Body as the ‘Other’: Rituals and Biotechnical Approach using Perumal Murugan’s One Part Woman and Matrubhoomi: A Nation Without Women, questions the society that limits female bodies for procreation and objectification. It talks about how men and women are regarded differently, as well as the cultural ideals that apply to women. It explains infertility, which is attributed to women, as well as people’s ignorance and refusal to seek medical help in favour of adhering to traditional customs and engaging in numerous rituals for procreation.Life and (non) Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25, explores how cyborgs and people will inevitably interact in the Malayalam film Android Kunjappan Version 5.25. It demonstrates the advantages, adaptability, and drawbacks of cyborgs in daily life. It emphasises how the cyborg absorbs cultural and religious notions. The authors argue that cyborgs are an inevitable development in the world and that until the flaws are fixed, humans must approach cyborgs with caution. The Challenges of Using Machine Translation While Translating Polysemous Words, discusses the difficulty of using machine translation to translate polysemous words from French to English (Google Translate). It serves as an example of how the machine chooses the formal or often-used meaning rather than the pragmatic meaning and applies it in every situation. It demonstrates how Machine Translation is unable to understand the pragmatic meaning of Polysemous terms because it is ignorant of the cultures of the source and target languages. It implies that Machine Translation will become extremely beneficial and user-friendly if the flaws are fixed.This collection of articles progresses through the literary and visual narratives of India that range from historical events to contemporary situations. It aims to record the stories that are silenced and untold through writing, film, and other forms of art. India’s artistic output was influenced by factors such as independence, partition, the Kashmir crisis, the Northeast Insurgency, marginalisation, religious disputes, environmental awareness, technical breakthroughs, Bollywood, and the Indian film industry. India now reflects a multitude of cultures and customs as a result of these occurrences. As we examine the Indian narratives produced to date, we can draw the conclusion that India has a vast array of tales to share with the rest of the world.Guest Editorial BoardGuest Editor-in-ChiefDr. Bhuvaneswari R, Associate Professor, School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. She has pursued her master’s at the University of Madras, Chennai and doctoral research at HNB Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in National and International Journals.Guest EditorsCynthiya Rose J S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. Her research interests are Children’s Literature, Indian Literature and Graphic Novels.Maria Baptist S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. His research interests include Crime/Detective fiction and Indian Literature.MembersDr. Sufina K, School of Science and Humanities, Sathyabama Institute of Science and Technology, Chennai, IndiaDr. Narendiran S, Department of Science and Humanities, St. Joseph’s Institute of Technology, Chennai, India

<p><strong>Resumen</strong></p><p>La escritora mejicana Rosario Castellanos (1925-1974) ansiaba otro modo de ser mujer y libre en la sociedad en la que le tocó vivir, convirtiéndose este deseo en el <em>leitmotiv</em> de su obra. En cuanto al amor, se dice que Castellanos estaba convencida de que no podría vivir sin que su marido la amara tanto como ella a él, tal y como ella misma parece indicar en <em>Cartas a Ricardo</em> (1994). La autora concluye uno de sus poemas más conocidos, “Meditación en el umbral”, con versos que incitan a la búsqueda de otros modos de ser, siendo mi propósito el de redireccionar ese registro a otros modos de amar. Para ello recurriré a la teoría postestructural de Luce Irigaray, quien hace que nos cuestionemos, al igual que hiciera Castellanos, nuestra identidad, pero que, a diferencia de la escritora mejicana, huye de buscar una respuesta definitoria y, en lo referente al amor, profundiza en la búsqueda de una cultura que modifique la condición de las relaciones amorosas. Y es que otros modos de ser y de amar son posibles.</p><p> </p><p><strong>Abstract</strong></p><p>Mexican writer Rosario Castellanos knew that other ways of being a woman and a free subject were possible, and it was this very desire that became the <em>leitmotiv</em> of her work. Regarding love, it has been said that Castellanos was convinced that it was impossible for her to live without the love of her husband, as she seems to underline in <em>Cartas a Ricardo</em> (1994). She concludes one of her well-known poems, “Meditación en el umbral”, with lines that encourage us to claim new ways of being. It is my purpose to redirect this aim towards new ways of loving within a romantic relationship. To do so I will use Luce Irigaray’s poststructuralist theoretical framework on love. This critic makes us question, as Castellanos did, our identity, but differs from the Mexican writer in trying to find an answer and, regarding love, deeply encourages us to deconstruct a culture which should modify romantic relationship stereotypes, since other ways of being and loving are possible.</p><br /><div id="SLG_balloon_obj" style="display: block;"><div id="SLG_button" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png'); display: none; opacity: 1;"> </div><div id="SLG_shadow_translation_result2" style="display: none;"> </div><div id="SLG_shadow_translator" style="display: none;"><div id="SLG_planshet" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg2.png') #f4f5f5;"><div id="SLG_arrow_up" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/up.png');"> </div><div id="SLG_providers" style="visibility: 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value="la">Latín</option><option value="lv">Letón</option><option value="lt">Lituano</option><option value="mk">Macedonio</option><option value="ml">Malayalam</option><option value="ms">Malayo</option><option value="mg">Malgache</option><option value="mt">Maltés</option><option value="mi">Maorí</option><option value="mr">Maratí</option><option value="mn">Mongol</option><option value="ne">Nepalí</option><option value="no">Noruego</option><option value="fa">Persa</option><option value="pl">Polaco</option><option value="pt">Portugués</option><option value="pa">Punjabí</option><option value="ro">Rumano</option><option value="ru">Ruso</option><option value="sr">Serbio</option><option value="st">Sesoto</option><option value="so">Somalí</option><option value="sw">Suajili</option><option value="sv">Sueco</option><option value="su">Sundanés</option><option value="tl">Tagalo</option><option value="th">Tailandés</option><option value="ta">Tamil</option><option value="tg">Tayiko</option><option 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Haiku, the Japanese mini poems set in three lines, following a 5,7,5 syllable structure, had enchanted the Malayalee from the 90’s onwards but none had successfully mastered the craft of achieving the poignant precision of Haiku, until Ashitha tried to use the form for her poetical expression. This paper tries to look at the intricacies of crafting Haiku in Malayalam and analyses select Haiku poems of Ashitha.

Poems written in Tribal languages are a notable presence in contemporary Malayalam poetry. As there is no script for those endangered tribal languages, they are written in Malayalam script. They are being translated into Malayalam. These poems become a declaration of the aboriginal community and of the aesthetics that obscure mainstream aesthetic concept. Tribal communities in Kerala lives in the forest areas of Idukki, Wayanad, Palakkad, Kasaragod, Trissur, Cochin, Trivandrum and Kollam districts. These marginalized people are facing a crisis of survival. The neglect of the main stream society and the Government and the destruction of the habitat have made their lives miserable. Indigenous tribal languages are endangered. It is in this context that the new generation of educated Adivasis seek to document their survival problem through poetry in the tribal language itself. Poems are written in tribal languages such as Irula, Rawla, Malavettuva, Paniya, Mavila and Muthuvan appearing in social media and in print and book form, they symbolize a different sensibility. The aim of this paper is to findout the political attitudes, aesthetic concepts and features of languages of the aboriginal community by studying these poems.

The explosive beauty of contemporary Malayalam Feminist Poetry is due to its aesthetic and intellectual openness about lust, body and love. These poems validate the prophecies made by Helen Cixous in Laugh of Medusa about creative wonders that are going to be performed in female imaginary writings. Contemporary women’s poetry dispels all preconceived notions that men have made about women. This paper try to find out the poems that express extreme levels of writing about women’s life and thoughts. The aim of this paper is to mark the heights achieved by contemporary Malayalam feminist poetry.

Text To Speech Synthesis(TTS) is an active area of research to generate synthetic speech from the underlying text. Compared to English and many European languages, TTS is yet to mature in Malayalam, the principal language of the South Indian state of Kerala. A syllable has to be uttered with proper durational and prosodic characteristics to emulate natural speech. When it comes to poems in Malayalam, many of them have an inherent rhythm attached to them. In Malayalam, this property is characterized by the Vruta [28] in which the poem is written. Vruta decides the meter of narration of the poem. Therefore it is only consequential that Vruta can give away vital cues about the durational and prosodic characteristics of the poem verses recited. This study intends to identify the features that determine the durational characteristics of a poem written in a particular Vruta and develop an algorithm to extract those features required to build a dataset to model the duration of syllable utterances for tuneful TTS in Malayalam. Poems written in three Vrutas namely Kakali, Manjari , and Keka are considered in this study. Nineteen extractible features from the orthographic representation of a poem are identified for this purpose. A standard dataset is built using these extracted features. Later, Support Vector Machine(SVM) and Feed Forward Neural Network (FFNN) based estimators are proposed to model the duration of Malayalam poem syllables for tuneful speech synthesis. The hyperparameters are optimized using the GridsearchCV algorithm from the Scikit-learn machine learning library.[15]

Kamala Das is one of the best-known contemporary Indian women writers, albeit largely for the controversy that her candid, confessional writing has sparked in the relatively traditional context of Indian academia. Since the publication of her first collection of poetry, Summer in Calcutta (1965), Das has been considered an important voice of her generation. Her provocative poems are known for their unflinchingly honest explorations of the self and female sexuality, urban life, and women’s roles in traditional Indian society. Critics have expressed a range of opinions on her work: some laud her boldness, compelling sincerity and striking originality, while others dismiss her work as sensationalist, limited in scope and unsophisticated. In this dissertation, issues of selfhood represented in the poetry of Kamala Das will be analysed with regard to various aspects of her identity, such as those of a housewife, a lover, an Indian, a female writer, and a confessional poet. Selected theories on identity formation posited by Erik Erikson and Norman Holland will be explored, as will relevant hypotheses on female identity by Nancy Chodorow and Judith Gardiner. I propose that selected aspects of these theories shed light on the themes, tones and subject matter of Das’s verse. Almost all of her poems are personal and are fuelled by an intense need for emotional fulfilment. I suggest that the poet’s search for love is central to her identity and I aim to show how this (largely unsuccessful) quest, as reflected in Das’ poems, stems from various expectations by and on her. The recurring theme of expectations and the resulting tones of despair (the ‘hopes and fears’) in her work will be traced and analysed. This research is valuable in that there has been little exploration into identity and expectations in Das’ work and there is almost no research on her emanating from Africa. Through close textual analysis I also aim to highlight how useful insights into identity formation and female writing can enable a more in-depth understanding of Das’s poetry. Both female identity and women’s writing are increasingly significant fields in academia today, and there has been a rise in autobiographical writing in recent years; thus this research will contribute to debates about these issues in contemporary poetry. A portfolio of my own creative writing will accompany the essay. Like Kamala Das, I am also a Malayalee woman (from the province of Kerala in India) and I identify with some of her concerns with regard to the roles of women. Although my writing is not confessional or as personal as Das’s, our shared experience of the socio-cultural expectations placed upon us (due to our gender and ethnic background) links this mini-dissertation to my poetry portfolio.<br>Dissertation (MA)--University of Pretoria, 2010.<br>English<br>unrestricted