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dhooL.com

Topic started by bb (@ 24.4.254.104) on Tue Feb 20 03:21:22 EST 2001.
All times in EST +10:30 for IST.

Hi! We've made a major addition to newtfmpage, and that is a big song bank. Dhool features thousands of songs for your listening pleasure. This site is a part of the newtfmpage.com - swara.com group. Together with newtfmpage, we wish to make this the best place to listen to tamil film songs online and know about tamil film music. Our collection includes old, new, famous, rare and unheard of songs. We are still fine tuning and fixing the database errors, so please bear with us. We value your feedback, and this will help us build the site better. Please post your comments below or mail to comments@newtfmpage.com.
This work was done by us (bb and RR) with MS and swara.com ravi.

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Responses:

• Old responses
  
• From: Saravanan (@ 213.42.2.7) on: Sat Jun 14 15:03:48 EDT 2003
  
  oops- this time typo in my name itself--I am going to sleep!
  
  
• From: dhana (@ 128.148.68.57) on: Sat Jun 14 16:41:05 EDT 2003
  
  dhool.com is not updating our request songs and also new songs.
  
  
• From: Naaz (@ 24.87.30.219) on: Sat Jun 14 20:34:11 EDT 2003
  
  Three women approaching:
  
  Ganga: Contrary to all readerly expectations, Ganga is emboldened in the aftermath of the assault. Once you have faced up to the reality of it, announced and admitted to the factuality of it physically - in flesh and blood - the concept of the "sacred" becomes more and more provisional. Circumstantial - Sila Nerangalil.
  But for this to happen, this journey from physical abuse to philosophic consciousness, she has to endure another shattering of trust - this time from within. Mama is the conduit through which this complete loss of post-assault dignity is explored. The father-figure betrayal. All those beach walks and serious talks reveal themselves to be curtain-raisers to subjugation - yet again. Ganga's eventual recognition that she might be looking at a life on her own, alone, and that it can't be all that bad, is the first feminist opening in the novel. Her logic is clear and her cynicism utterly justified.
  At this juncture, it would be valid to point out that the "men" enter Ganga's life, upto this point - she has no agency in any of the things that happen to and around her. (This is important in the later exchange with her mother after the short-story is published.)
  To be gender-specific then:
  He stops the car. He offers the lift.
  He accepts his niece's predicament. He offers her a place to gather herself (before he can gather her.)
  He watches Ganga get into the Car. He takes her story. His story about her (but not her) leads her back to him. He in turn offers -
  
  A good many years later ---
  
  Ganga reconnects with S/R through the Writer. He who sees and knows everything about her. The book builds up to this "reunion" with attraction and revulsion intermingled on the reader's part, curiosity mixed with trepedition on Ganga's part and a casual listlessness on S/R part (this vein is his character arc.)
  Earlier, in a need to understand, Ganga asks her mother (who has also read the short-story) why she did not have the good sense like the fictional matriarch who enacts erasure through a symbolic cleansing, her mother rebutts: If you think you're such a know-it-all why don't you track down the man who raped you and restore your self-esteem yourself? This taunt, which is the final outcome of a fictional reworking of a real incident, is also the key that unlocks the second half of the novel.
  
  I will pick up on this a bit later, but for now, it should suffice to bear two things: Who is the agent of change -the writer or Ganga? And why should she really trace back her rapist and what could that possibly achieve? It is here that JK shifts gears, moving the novel into some very suspicious and troubling waters.
  
  
  
• From: Naaz (@ 24.87.30.219) on: Sun Jun 15 00:17:43 EDT 2003
  
  The Wife/Rajasulochana: Hers is a life that could have easily been Ganga's had she not been raped: Married to man who was not involved ever in the marriage, having his children, running the household (If I remember correctly she had brought in her own wealth into the marriage, and her hands were the ones that controlled the pursestrings,) and turning bitter with the whole, joyless drudgery of it all. The Wife is not a stupid woman. She has the maturity and courage to tolerate the entry of her husband's "new best friend" (old rape victim,) suddenly inserted into their ho-hum lives out of nowhere. She even wonders why Ganga bothered in the first place. She is merely dis-engaged - a trait she possibly picked up from her husband. She is only available to her children.
  
  Amma/Sundari Bai: Was she tactless or merely truthful to her understanding of what rape could mean to a girl's - not just her daughter's, still more so because it was - life? Was her fit and frenzy around the incident an overreaction or merely a manifestation of her socialisation within her community? Does her horror not rise from the implicit understanding of what an institutionalised and sexist world order could do to a woman (she should know, what did she have to look forward to as a widow?) This character is not as much of a stereotype mami that she is made out to be. She is the only realist in the novel.
  
  
• From: Naaz (@ 24.87.30.219) on: Sun Jun 15 00:47:19 EDT 2003
  
  As the men represent class (in economic order,) the women in the novel represent three stages in their life as defined by and in relation to that economic/male order. Waiting to be Married to a Man. Married to a Man. Widow of a Man. Their identities are defined by unquestioned and predetermined roles.
  The neither-nor location of Ganga as the result of the rape begins as an emancipatory project. But this proves to be a mere veneer (albeit in persuasive prose) for a project that is both audacious for its political abdication and emblamatic of an equally fettered masculine imagination.
  
  (I'll sum up as quickly as possible, and then proceed to a close reading of the SOTD. If that does not happen by tomorrow, I'll post the song analysis in the context of the novel in the VJ thread.)
  
  Coming soon:
  
  THE RAPIST'S THERAPIST :-)
  
  
  
• From: OISG (@ 193.188.97.152) on: Sun Jun 15 02:53:05 EDT 2003
  
  Naaz
  
  Real good writeup.As mentioned earlier I would like to see the movie again with your write up as backdrop.1978-1984-1991 I have seen this movie thrice.With additional exposure and age the movie looked better every time.
  
  JK, always critical about TF directors of melodramas of 1960s chose the "King" Bhimsingh for this movie.Could the choice be due to JK s leftist leaning at that time with BS being a known cardholder?
  
  (Analysis complete aaga pie chart onnuthan illa!Seendi paarpathil sugame thanee!)
  
  
• From: bb (@ 12.234.176.52) on: Sun Jun 15 03:53:06 EDT 2003
  
  Naaz, Srikanth's character in the novel is Prabhu. I don't remember the movie well, but I do have the novels and will write on it soon.
  
  
• From: GT (@ 132.205.7.51) on: Sun Jun 15 04:54:12 EDT 2003
  
  I HAVE A REQUEST
  
  Can All these SONGS be ARRANGED chronologically. Year wise categorising movie songs will be better. So, that people interested in songs during a paritcular period, can choose to listen to those songs in that period. So, I would like to request for arranging songs, according to the Music directors and yearwise listing.
  
  Thankx.
  GT
  
  
• From: bb (@ 12.234.176.52) on: Sun Jun 15 06:00:40 EDT 2003
  
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  ¸üÀÆ¢ô¨À ÓÊó¾ ´ýÚ ±ýÚ ¿¢¨É측¾¾¡ø, ºã¸ò¾¢ý «ÅÄô À¡÷¨ÅìÌ ¯ûÇ¡¸¢, ¸í¸¡Å¢ý Å¡ú쨸§Â À¡¾¢ì¸ôÀθ¢ÈÐ. ¿¡Åø ¬ÃõÀ¢ìÌõ§À¡Ð, «Åû ¿¡üÀÐ ÅÂÐô ¦Àñ. ¬ñ¸¨Ç ²È¢ðÎô À¡÷측Áø, ¸¡Á ¯½÷§Å þøÄ¡Áø, ²§¾¡ «ÖÅĸõ ¦ºýÚ, ¾¢ÕõÀ¢ ÅóÐ, þÂó¾¢Ãò ¾ÉÁ¡É, ¾ý þ¸¨Çô â÷ò¾¢ ¦ºö¡¾ Å¡ú쨸 Å¡ú¸¢È¡û ¸í¸¡. ¸É¸Óõ ¸í¸¡×õ ¾¡ý ´ÕÅÕ즸¡ÕÅ÷ Ш½. ¬É¡ø, «õÁ¡ ±ýÚ ÀýÉ¢ÃñÎ ÅÕ¼í¸¡Ç¡¸ ¸í¸¡ ÜôÀ¢¼Å¢ø¨Ä. «Å÷¸Ç¢¨¼§Â ´Õ ¦º¡øĦšñ½¡ þ¨¼¦ÅÇ¢ Å¢ØóÐÅ¢ð¼Ð. ¸í¸¡¨Å ÅÇ÷ò¾Ð, ¸É¸ò¾¢ý «ñ½¡, ¦ÅíÌ Á¡Á¡. ÅÇ÷ò¾¾üÌ ÜĢ¡¸ ¸í¸¡¨Å ¸¡Áô¦À¡ÕÇ¡¸ô À¡÷ìÌõ Ó¾¢÷ó¾ ¸¢Æõ. þó¾ ±ØÀРž¢Öõ ¸í¸¡¨Å ¾ýÛ¨¼Â ¸¡Ó¸¢Â¡¸ ¨ÅòÐ즸¡ûÇ ¿¢¨ÉòÐ º¸ƒÁ¡¸ ÓШ¸ò ¾¼Å¢ì¦¸¡ÎìÌõ Á¡Á¡. ¸í¸¡ ¸üÀÆ¢ì¸ôÀð¼Åû ±ýÀ¾¡ø «ÅÙìÌ ¸ø¡½¦ÁøÄ¡õ ¦ºö ¿¢¨É측Áø, þ¨Ã¨Âò §¾Îõ ¸¢Æô ÒÄ¢. «Åû ¸üÀÆ¢ô¨Àò ¾ý Áɾ¢ø ¬Â¢Ãõ ¾¼¨Å Á£ñÎõ Á£ñÎõ ¿¢¨ÉòÐ Áɾ¡§Ä§Â «Å¨Çì ¦¸ÎìÌõ À÷Å÷ð.
  
  ¸í¸¡ ¾ü¦ºÂÄ¡¸ «ì¸¢É¢ôÀ¢Ã§Åºõ ¸¨¾¨Â ´Õ Àò¾¢Ã¢¨¸Â¢ø ÀÊ츢ȡû. ¬÷.§¸.Å¢ ±ýÈ ´ÕÅ÷ ±Ø¾¢Âì ¸¨¾ «ÅÙ¨¼Âì ¸¨¾¨Âô §À¡Ä§Å þÕ츢ÈÐ, ÓʨÅò ¾Å¢Ã. «Å¨Çì ¦¸Îò¾Åý ¡¦ÃýÚ «ÅÙìÌò ¦¾Ã¢Â¡Ð. ¦¾Ã¢óÐ즸¡ûÇ §ÅñÊ «Åº¢ÂÁ¢Õó¾¾¢ø¨Ä. ¬É¡ø, þô§À¡Ð, «¾ü¸¡É ÅÆ¢ þÕôÀÐ §À¡ø ¦¾Ã¢¸¢ÈÐ. Á¡Á¡Å¢¼Á¢ÕóÐ ¾ôÀ¢ôÀ¾ü¸¡¸Å¡ÅÐ. ´Õ ÅƢ¡¸ ¬÷.§¸.Å¢¨Âì ¸ñÎÀ¢ÊòÐ, À¢ÃÒÅ¢ý §À¡ý ¿õÀ¨Ã Å¡í̸¢È¡û ¸í¸¡. «Å¨Éì ÜôÀ¢ðÎô §À͸¢È¡û ¸í¸¡. «ÅÛìÌ «Åû »¡À¸õ º¢È¢Ðõ þø¨Ä. ¾¡ý ¸í¸¡ ±ýÚ «È¢Ó¸ôÀÎò¾¢ÂÀ¢ý, «Åý ¬îºÃ¢ÂÓõ, ÌÆôÀÓõ ¿¢¨ÈóÐô §À¡¸¢È¡ý. ¸í¸¡ «Å¨Éô ¦À¡Õò¾Å¨Ã §À¡É ¦ƒýÁòÐ »¡À¸õ. þô§À¡Ð, «Åý ¸í¸¡ §À¡ýÈ ¦Àñ¦½¡Õò¾¢ìÌò ¾¸ôÀý. ¾¡ý ¦ºö¾ ¦ºÂÄ¢ý ¾¡ì¸ò¨¾ «È¢Â¡¾Åý. ¸í¸¡Å¢¼õ, "¯ÉìÌ ¸ø¡½Á¡îº¡, ±ùÅÇ× ÌÆ󨾸û" ±ýÚ º¡Å¸¡ºÁ¡¸ Å¢º¡Ã¢ìÌõ §ÅÚ ¬û. ¸í¸¡ «ýÚ ¿¼ó¾¨¾ »¡À¸òмý ¦º¡øÖõ §À¡Ð, «Ð «ÅÛìÌ «Ð ÓüÈ¢Öõ ÁÈóÐÅ¢ð¼Ð §À¡ø §¾¡ýÚ¸¢ÈÐ. þôÀÊôÀð¼ô ¦Àñ¨½ì ¦¸Îò§¾¡õ ±ýÚì ܼ ¿¢¨ÉÅ¢ø¨Ä «ÅÛìÌ. «ýÚ ¸í¸¡ «ÅÛ¼ý ´òШÆò¾¡û ±ý§È¡, «Åý «Å¨Çì ¦¸Îì¸Å¢ø¨Ä ±ý§È¡ ¿¢¨É츢ȡý.
  
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  ¿¡Åø þÐ Ó¾ø §Å¸Á¡¸î ¦ºø¸¢ÈÐ. ÀÊì¸ Å¢ÕõÒÀÅ÷¸Ç¢ý «ÛÀÅò¨¾ì ¦¸Îì¸ Å¢ÕõÀ¡¾Ä¡ø §ÁÖõ Å¢ÅÃ¢ì¸ Å¢ÕõÀÅ¢ø¨Ä ¿¡ý. ´Õ ¿¡û ºõÀÅò¨¾ ¨ÅòÐô À¢ýɢ¢ÕìÌõ þó¾ ŨÄ¢ø, ÀÄ §¸ûÅ¢¸Ùõ ¬¾í¸í¸Ùõ ±Ø¸¢ýÈÉ. «ýÚ ¿¼ó¾Ð ±ýÉ? À¢ÃÒÅ¢ý À¢ü¸¡Ä ¸¾¡À¡ò¾¢Ãò¨¾ ¨ÅòÐô À¡÷ìÌõ§À¡Ð, «ýÚ ¿¼ó¾Ð ¿ò¾¢í. ´Õ ¿¡û ÜòÐ. ¬É¡ø, ¸í¸¡×ìÌ «ôÀÊ þø¨Ä. ´Õ §Å¨Ç «ì¸¢É¢ôÀ¢Ã§Åºò¾¢ý ÓÊ× §À¡ø ¸É¸õ ¦ºÂø ÀðÊÕó¾¡ø «ôÀÊ þÕó¾¢Õì̧Á¡ ±ýɧš. ÀÄ ÅÕ¼í¸û µÊ À¢ý, «ôÀÊôÀð¼ ºõÀÅò¨¾ À¢ÃÒ×õ ¸í¸¡×õ «¨º §À¡ÎÅÐ ¦¸Îò¾Åý-«ôÀ¡Å¢ô¦Àñ ±ýÈì §¸¡ðÀ¡Î¸¨Ç ¯¨¼òÐ, ´Õ ÌÆôÀÁ¡É ÁÉ¿¢¨ÄìÌì ¦¸¡ñÎ ¦ºø¸¢ÈÐ. À¢ÃҨŠ¦ÅÚòÐ ´Ðì¸×õ ÓÊÂÅ¢ø¨Ä. «¾ü¸¡¸ «Å¨É ¸í¸¡Å¢ý ¿¡Â¸É¡¸×õ À¡÷ì¸ ÓÊÂÅ¢ø¨Ä («Åý Á¸û Áïͧš ¸í¸¡¨Å Å¢¼ º¢Ä ÅÕ¼í¸û ¾¡ý þ¨ÇÂÅû). ºÓ¾¡Âò¾¢ø «Åý ±í§¸¡ þÕ츢ȡý. ¸í¸¡ ±í§¸¡ þÕ츢ȡû. ¿¼ó¾Ð «Å÷¸û ¬Ôû ÓØÅÐõ àìÌõ º¢Ö¨Å¡¸ þÕ츢ÈÐ.
  
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  - À¡Ä¡ƒ¢.
  
  
• From: Naaz (@ 24.87.30.219) on: Sun Jun 15 08:14:22 EDT 2003
  
  OISG -
  
  This exercise I've set for myself is hurried and disjointed (I've been racing with the 48 hour SOTD time frame) and far from comprehensive. However, my intention, as I said, is to nudge not foist MY reading on anyone else. It is only ONE way of reading the novel in interpretive and ideological terms. If it makes sense, if it reveals the concealed underbelly of the the work, then it would have achieved its purpose. I'll settle for a good prompt that takes one back to a serious rexamination. Something like a "mind-lift" :-)
  
  bb-
  I am unable to read the post above as my tamizh font function has been an irritant for the past few months. I've haven't figured out why this seems to be the case - but the amudham font does not load automatically, and even if I select it specifically and try again it proves useless. All I can distinguish from the above is that it is an "interview" - it has two different sizes of font and the questions are italicised? I have no idea what it says, and I wish I could read it without any of this font hassle as I am sure it is relevant...but,alas!
  
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  I'll take a quick look at my hasty notes for the next section and attempt to sum up in the next few minutes.
  
  

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