TAMIḺ ILAKKIYAṄKAḶIL TOṈMAM [MYTH IN TAMIL LITERATURE]

This article is about the use of Myth in Tamil literature. The stories and philosophical sayings of the inevitable god are termed as “MYTH". The antiquity of language is based on the diversity of myths used in that language. Myth is considered the spirit of the literature. In foreign countries, myth plays a unique and professional role. The author applies the idea of myth to make his work efficient. The beliefs of the end of the world and thoughts beyond the reach of human beings are seen in myths. The roots of myth have been gowned dup from the ancient Tamil literature to revival poetry of the 20th century. Myth is even present in secular literature works as the Sangam literature Heritage period went to its peak. Myth played a diverse role in Tamil literature. Library research was made for this study and an explanatory method was used to write this article. The findings of this article are Culture and Tradition of Race are influencing myth and how the myth was seen in the literature. This study summarizes the uses of myths and ideology in Tamil literature.

An effective matrix model for dynamical end of the world branes in Jackiw-Teitelboim gravity

We study Jackiw-Teitelboim gravity with dynamical end of the world branes in asymptotically nearly AdS2 spacetimes. We quantize this theory in Lorentz signature, and compute the Euclidean path integral summing over topologies including dynamical branes. The latter will be seen to exactly match with a modification of the SSS matrix model. The resolution of UV divergences in the gravitational instantons involving the branes will lead us to understand the matrix model interpretation of the Wilsonian effective theory perspective on the gravitational theory. We complete this modified SSS matrix model nonperturbatively by extending the integration contour of eigenvalues into the complex plane. Furthermore, we give a new interpretation of other phases in such matrix models. We derive an effective W(Φ) dilaton gravity, which exhibits similar physics semiclassically. In the limit of a large number of flavors of branes, the effective extremal entropy S0,eff has the form of counting the states of these branes.

THE FEMINIST HUNGARIAN FOLKTALE AS POSTMODERN COMBINATORICS – THE ANALYSIS OF CSENGE VIRÁG ZALKA'S STORY-BOOK TITLED RIBIZLI A VILÁG VÉGÉN [CURRANT AT THE END OF THE WORLD]

In this paper we analyze the first story-book of the internationally renowned contemporary Hungarian storyteller, Csenge Virág Zalka. In the first section we investigate the differences between folktale and literary tale, storyteller and story writer, further-/retold heritage and own creation as well as how the boundaries between them destabilize if we note down the folktale originally living in the oral traditional form. Furthermore, we will be discussing the female horizon prevalent in the Zalkaian tale-variants as well as the all-time topicality of the stories by putting the contemporary social and psychological analogies and taboo-breaking procedures of the tales in the foreground. In the focus of our investigation the Ribizli a világ végén [Currant at the End of the World] stands as a literary creation, which although we (also) analyze with an approach coming from the relevant literature of folktales and remade fairy tales, we do this all the way through the analysis in light of the postmodern text-organizing strategies.

Najambitniejszy film Wima Wendersa [Wim Wenders’ Most Ambitious Film]

Wim Wenders’ Most Ambitious FilmUntil the End of the World by Wim Wenders was a large project. This essay discusses the slow process of the film’s creation, its distribution, its content and critical response, in order to point at failure as the question key to each of those topics. Purpose, success, resolution, ending, the end of the world – those notions appear either irrelevant or impossible in the context of this film. The research material consists mainly of reviews and director’s comments. Content analysis displays many references to classic film genres, references which, however, prove dysfunctional. An important theme of the movie is wandering. This is a recurring motif in Wenders’s work, which some interpretations derive from the identity-seeking typical of his generation. In his case, this search is often expressed by crossing state borders. Central Europe is nevertheless poorly represented in his work.Najambitniejszy film Wima WendersaAż na koniec świata w reżyserii Wima Wendersa to wielkie filmowe przedsięwzięcie. Tekst omawia powolny proces powstawania filmu, historię jego dystrybucji, treść i recepcję, by wskazać na niepowodzenie jako kwestię kluczową dla każdej z tych sfer. Celowość, sukces, rozwiązanie akcji, zakończenie, koniec świata – te pojęcia w kontekście omawianego filmu jawią się jako nieistotne lub niemożliwe. Główny materiał badawczy stanowią recenzje oraz wypowiedzi reżysera. Analiza treści wykazuje obecność licznych odniesień do klasycznych gatunków filmowych, które jednak okazują się dysfunkcyjne. Ważnym tematem filmu jest błądzenie, tułaczka. To motywy powracające w twórczości Wendersa, co czasem interpretuje się jako efekt poszukiwań tożsamości właściwych jego pokoleniu. W przypadku reżysera poszukiwania te wiążą się z częstym przekraczaniem państwowych granic. Nieliczne są jednak w jego twórczości i refleksji odniesienia do Europy Środkowej.