martin wickramasinghe essay grade 10

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උගත මනා ශිල්පයමයි මතු රැකෙනා...!

Tuesday, May 31, 2016

• මාර්ටින් වික්‍රමසිංහ මහතා / martin wickramasinghe

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අප සමග එකතු ‍වෙන්න.

• ආදි කාලින ඓතිහාසික තොරතුරු
• දිස්ත්‍රීක්ක හා ප්‍රධාන නගර.
• දේශීය ගත්කතුවරු
• ලංකාවේ වන ජීවී තොරතුරු
• විජයාගමනයෙන් පසු ඓතිහාසික තොරතුරු.
• විදේශීය ගත්කතුවරු
• ශ්‍රී ලංකාවේ ආර්ථික තොරතුරු.
• ශ්‍රී ලංකාවේ කර්මාන්ත.
• ශ්‍රී ලංකාවේ ගමනාගමනය.
• ශ්‍රී ලංකාවේ ජාතිකත්වය
• ශ්‍රී ලංකාවේ දේශපාලන තොරතුරු
• ශ්‍රී ලංකාවේ පළාත්
• ශ්‍රී ලංකාවේ පිහිටීම
• ශ්‍රී ලංකාවේ ප්‍රධාන අපනයන බෝග
• ශ්‍රී ලංකාවේ වනාන්තර
• ශ්‍රී ලංකාවේ වැව් හා ජලාශ.
• ශ්‍රී ලංකාවේ විදුලි බලාගාර.
• ශ්‍රී ලංකාවේ විවිධ ආගම්
• ශ්‍රී ලංකාවේ ශ්‍රේෂ්ඨ චරිත

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• කුමාරතුංග මුනිදාස / kumaratunga munidasa
• ඩබ්ලිව්. ඒ සිල්වා / W.A Silva
• පියදාස සිරිසේන. / Piyadasa Sirisena
• ආනන්ද කුමාරස්වාමි / ananda coomaraswamy
• හතරවෙනි පණ්ඩිත පරාක්‍රමබාහු රජු.
• දෙවැනි පණ්ඩිත පරාක්‍රමබාහු රජු.
• සේන සලමෙවන් රජු. / King Sena Salamewan
• අලගියවන්න මුකවැටි. / Alagiyawenna Mukaveti
• වැලිවිට සරණංකර සංඝරාජ හිමි. / weliwita saranankara...
• විල්ගම්මුල මාහිමි. Wlgammula Mahimi
• පතිරාජ පිරුවන් හිමි
• ධර්මසේන හිමි.
• විද්‍යා චක්‍රවර්තී
• මයුරපාද හිමි. / Maurapada Himi
• ගුරුළුගෝමී පඬිතුමා. / gurulugomi Padituma
• වීදාගම මෛත්‍රී හිමි. / weedagama maithree thero
• ශ්‍රී ලංකාවේ ජාතිකත්වය. / Nationality of Sri Lanka.
• තොටගමුවේ ශ්‍රී රාහුල හිමි. / Thotagamuwe Sri Rahul...
• සංචාරක ව්‍යාපාරය. / Tourism.
• ලංකාවේ ධීවර කර්මාන්තය. / Sri Lankan fisheries indu...
• කෘෂි කර්මාන්තය. / Agriculture.
• ►  April (15)

වැදගත් වෙබ් අඩවි

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• ටිබෙට් ඇස්. මහින්ද හිමි. / Tibet S.Mahinda Himi
• ජී.බී සේනානායක / G.B Senanayake
• රබීන්ද්‍රනාත් තාගෝර් / rabindranath tagore
• වැලිවිට සරණංකර සංඝරාජ හිමි. / weliwita saranankara thero
• තොටගමුවේ ශ්‍රී රාහුල හිමි. / Thotagamuwe Sri Rahula thero
• ශ්‍රී ලංකාවේ පළාත්, දිස්ත්‍රීක්ක හා ප්‍රධාන නගර. / Provinces, Districts and main cities of Sri Lanka.
• මහගම සේකර / Mahagama Sekara
• ශ්‍රී ලංකාවේ පිහිටීම. /Location of Sri Lanka.

වෙලාව

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A city named Venice

Venice is a city with a hundred and seventeen islands. These islands are connected with four canals. The Grand Canal is bordered by many places and churches. There are no motor vehicles, horse drawn carts, buses or trains, in Venice. The reason is that there are no streets, roads, high ways or railways. Transportation within Venice is mainly by water. Every type of water transport can be seen plying the Venetian Canals. There are water taxis, buses and police speed boats. The 'Gondola' is the Venetian Taxi, which looks like a long dark bird with a sharp beak. The boatmen make peculiar bird-like cries when moving. He makes this sound to avoid accidents. Venice is a picturesque city. I hope I can visit Venice in the future.

Verona Vaz Good Shepherd Convent, Kotahena

Kite-flying

The kite is a toy. It is made with a frame of bamboo. It is covered with colourful paper. For flying a kite a good wind is necessary. Kite-flying is a favourite hobby of some boys as well as adults.

There are some kite-flying contests in our country. Japan, China and India also hold kite-flying contests. In the month of August kite-flying is very popular in our country. I too love it very much.

Kites are made in different shapes like bats, fish, peacock, snakes and butterflies etc. We do need strings to fly kites.

When the kite is in the air it looks like a bird. Kite-flying is a very interesting hobby.

Sajana Perera Vidura College

There was an old man

There was an old man I knew Who loved to see water and dew So each morning he ran out, And gave a great shout, Crying, "Look at this wonderful view."

Anuranie S. Hettiarachchi (13 years) Holy Family Convent, Bambalapitiya

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The Aesthetic through and beyond Capital: Speculations on Martin Wickramasinghe's Gamperaliya and Viragaya

2019, Postcolonial Text

This article addresses the question of how one may historicize aesthetic change, especially in the context of the third-world novel, by conceiving the aesthetic as a historically contingent category that mediates between the singularity of form and the particularity of content. This question is supplemented by a discussion of the aesthetic modes of two Sinhala novels: Martin Wickramasinghe’s Gamperaḷiya (1944) and Virāgaya (1956). The method of historicizing that is proposed involves two interpretative levels that follow the contours of Dipesh Chakrabarty’s categories of History 1, or history posited by capital, and History 2, or histories outside the life processes of capital. While History 1 enables a totalizing interpretation which allows Gamperaḷiya and Virāgaya to be thought of as embodying a narrative/realist aesthetic and affective/modernist aesthetic respectively, History 2 enables a close scrutiny of specific aspects of aesthetic mediation and play which complicate History 1’s totalizing and often Eurocentric thrust.

Related Papers

Rajendran Chettiarthodi

Transcending psychological inhibitions caused by colonial encounter in the comprehension of the past is a daunting task in aesthetic discourses, given the fact that colonial paradigms are difficult to erase and contemporary public spaces of art like Museums, as argued by Edward Said are colonial projects. India's perceptions related to the creation, nature, and evaluation of arts has gone a sea change in the colonial period which created a sort of alienation towards the manifestation of indigenous culture among the colonial subjects. Apart from this, the nature of performance, display, patronage venue, audience and space all underwent far reaching transformations in the process. Leela Gandhi demonstrates that in its reflexive modality, post colonialism holds out the possibility of thinking our way through and out of the historical imbalances and cultural imbalances produced by the colonial encounter.1However, in the retrieval of traditional discourses, distortions are bound to happen when using modern terminology , especially as Aesthetics itself happens to be a non indigenous discipline. Despite these severe methodological constraints, the present paper proposes to explore the relationship between the aesthetic theory formulated by thinkers like Abhinavagupta and praxis related to the creation, experience and evaluation of art forms like the performance arts , painting and sculpture in Precolonial India. The paper will focus on the extant and limitations of the inter relatedness with a view to bring to the fore the tensions involved and the insights they could yield in contemporary attempt to make sense of theory and praxis.Apart from the theoretical works, the sources which are being consulted would comprise self reflexive statements of multi faceted artists like Kalidasa who have occasion to deal with art in its various manifestation in the representation of life. It is hoped that such an exercise will be of some use in the comprehension of tradition and for some sort of self reflexivity in contemporary times especially in addressing issues of identity of Indian art. Needless to say, the paper distances itself from any type of exhortations to 'return to the past' as the present writer feels that tradition in its most creative phase is always dynamic and experimental. Tradition is only one of the resources for the creative spirit.. It is indeed a daunting task to locate the conventional precolonial discourse which could be the exact counterpart of modern aesthetics which would discuss problems related to theory and praxis. Natyasastra , the seminal and iconic text of performing arts of India is virtually an encyclopedia of Indian arts in which the center piece is dramatic performance, but which incidentally discusses allied arts like music and dance. In one way, it is the edifice on which the entire aesthetic thought of India is built. Texts like 1 1 Leela Gandhi, Post Colonial Theory, p.176.

Arthur Dudney

Published in A Sense of Place: Essays in Post-Colonial Literature, ed. Britta Olinder, Gothenburg: Gothenburg University, 1984: 142-50.s

John Thieme

Katherine Butler Schofield

How do we write histories of the ephemeral: of affective and sensory experience, of devotional states and journeys, of the live performance of music and dance—of the tangible yet transient texture of the experiential moment? More critically, how do we write such histories when the moment has long passed into silence? Can emotion, devotion and the arts tell us critical things about the harder-edged worlds of political, economic and social history that we couldn't otherwise access? What is the relationship between the aesthetic, the affective, the ethical and the political in South Asian history? These are some of the questions these three important volumes of essays raise and begin to answer. I say begin, because all three are pioneering, and while they open wide the gates onto ill-explored country, there are many miles left to tread before we will be able to see even the extent of the terrain spread out before us.

Jagath Weerasinghe

positions: east asia cultures critique

Jenson Joseph

For the earliest attempts in Malayalam cinema seeking to evolve a poetic aesthetic, the paradoxical relation toward urban modernity that emerged among the middle class by the middle of the twentieth century—defined by antagonism as well as fascination—operated as the axis around which new spectatorial relations could be maneuvered. This article takes up for discussion two Malayalam films from the mid-1950s—Newspaper Boy (dir. P. Ramadas, 1955) and Rarichan enna powran (Citizen Rarichan, dir. P. Bhaskaran, 1956)—as cinematic experiments in conceiving the urban space from two influential ideological positions, and as attempts in adapting to modernist idioms of international cinema. Modalities of imagining the urban space, the author argues, attained crucial historical significance in aesthetics and politics: it enabled the cultural producers to aesthetically situate the films within global cultures of cinema, thus invoking and molding the contemplative viewer; politically, these films mark the earliest attempts to conceive the region's relation to modernity through the grids of imagining the urban.

Sharad Deshpande

Balirano, G. 2008. Indian Diasporic Aesthetics as a Form of Translation. In Ciocca, R. / Laudando, M. (eds), Indiascapes: Images and Words from Globalised India. Anglistica AION: An Interdisciplinary Journal 12(2) [Special Issue]: 87-96.

Giuseppe Balirano

Indian diasporic creativity, although exclusively produced in one “source” language, English, seems to rely on some techniques typically used in translation. Translation studies have indeed recognized that in every act of translation the source text is inevitably transformed. This form of transformation in postcolonial productions is mainly realised by the employment of specific linguistic devices with the aim of representingthe lives and adventures of diasporic characters who, rather than speaking English, are portrayed as dubbed or translated into English. Therefore, new questions are inevitably raised about the original and the adapted version, the source and the target, the text and the context, the content and form of Indian diasporic aesthetics. The paper focuses on some Desi creative features employed to de-colonize culture from both the Western ex-colonizers and the more ‘traditional’, national or even post-national cultures which deny the importance of hybrid productions by marginalizing them. A multimodal analysis of Jhumpa Lahiri’s The Namesake (2003) and its homonymous filmic translation by Mira Nair (2007), is aimed at decoding typical Desi media practices and discourse(s) as new forms of narration in diasporic representations.

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The Modern Novel

The world-wide literary novel from early 20th century onwards, martin wickramasinghe.

Home » Sri Lanka » Martin Wickramasinghe

Martin Wickramasinghe was born in Koggala, in the South of Sri Lanka, in 1890. He studied Sinhalese as a young child but later learned English, in which he became fluent. When his father died when he was eleven he returned to the Sinhalese school. He left school aged sixteen and worked as a book-keeper. After his mother’s death, he took up writing, publishing his first novel in his early twenties. He subsequently worked as a journalist and later became a newspaper editor. His best-known novel, ගම්පෙරළිය (The Uprooted) Part 1: (The Village) was published in 1944 and is considered the first serious Sri Lankan novel. He continued to write, published literary criticism, novels and poetry. He travelled extensively, visiting the United Kingdom, India, China, Cuba and the Soviet Union. He died in 1976.

Other links

His official website Martin Wickramasinghe Martin Wickramasinghe Martin Wickramasinghe Martin Wickramasinghe Martin Wickramasinghe Folk Museum, Koggala

Bibliography

[Only books translated into/written in English]

1940 අපේ ගම (Lay Bare the Roots) 1944 ගම්පෙරළිය (The Uprooted) Part 1: (The Village) 1947 මඩොල් දූව (Madol Doova) 1950 Sinhalese Literature 1951 The Mysticism of Lawrence 1952 Aspects of Sinhalese Culture 1956 The Buddhist: Jataka Stories and the Russian Novel 1956 විරාගය (The Way of the Lotus Viragaya) 1963 Landmarks of Sinhalese Literature 1964 Buddhism and Culture 1970 Selected Short Stories 1971 Revolution and Evolution 1972 Buddhism and Art 1975 Sinhala Language and Culture

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Martin Wickramasinghe, a nationalist sans prejudice - W.A. Abesinghe

Sri Lanka's foremost writer Martin Wickramasinghe's 44th death anniversary falls on July 23. The Sunday Observer spoke to veteran writer and senior counsel, W.A. Abesinghe to discuss Martin Wickramasinghe's literary endeavour as well as his personal relationship with the author. Upon the death of Wickramsinghe, he has taken on the role of editing the late authors' archives and produced biographies and critical essays on the subject.

Q. How did you meet Martin Wickramasinghe?

A. It was in 1963. At that time, I was teaching at the Kuliyapitiya Central College. My friend Dissanayake who was also a teacher there and I started a school magazine called 'Pratibhana' (‘’). During that time, Wickramasinghe launched his book 'Soviet Deshaye Nageem' ('Resurrection of Soviet Union'). I wrote a review on the book to the 'Veemansa' magazine which was one of the main magazines in Sri Lanka. Wickramasinghe had read the review and sent me a copy of 'Soviet Deshaye Nageem' to our school, which was a great honour to me.

I wrote a letter inviting him to write an article to our school magazine. He obliged and wrote an article titled 'Nawa Sahityaartha' to 'Pratibhana'.

Around this time, I quit my teaching profession and joined the 'Dinamina' (‘n™pñj’) at Lake House. There, I wrote a letter to him asking an appointment. He agreed, and we met at his home at Nawala, Kirimandala Road. Afterwards, we met often, even after I left Lake House. We were constantly exchanging correspondence at the time. I have secured over 30 letters by him. I wrote him in English, and he wrote back to me in English. His letters are long and intellectually rich.

Q. How do you think about him?

A. He was a great man. He didn't hesitate to give his books to anybody. After I resigned from Lake House, I worked as a teacher at a Pirivena in Delgoda. Even at the time, he used to send me copies of his newly published books through his driver. As a result, I have got a number of his autographed books.

Q. Could you remember specific incidents between you and him?

A. I remember one incident. I met Ven. Udakendawala Saranankara Thera, a stalwart in Communist movement in Sri Lanka. He was a central committee member of the party and edited its official newspaper, 'Nawa Lokaya' .

Though I was not a member of the party, I worked with him, especially the 'Nawa Lokaya'. Then, I found that Ven. Udakendawala Saranankara Thera was a friend of Martin Wickramasinghe. Thereafter, I sometimes went to meet Wickramasinghe with Ven. Saranankara Thera.

I joined the 'Attha' (‘R¥l‰l’) newspaper edited by B.A. Siriwardhane and received the membership of the Communist Party. When I worked there, I visited Wickramasinghe a number of times, especially to get interviews for the paper. Wickramasinghe had a close relationship with the Communist Party and the 'Attha' was close to him.

In 1965, Ven' Saranankara Thera wanted to establish a writers' association in Sri Lanka. He convened writers and set up the 'Samastha Lanka Lekhaka Sanwidanaya' ’ - All Ceylon Writers' Association). Wickramasinghe was its president and K.M. Sirisena, a journalist at the Lakadeepa, was the Secretary. I was the Assistant Secretary.

When the America - Vietnam war started, the Soviet Union opposed to America's military occupation in Vietnam. They began to rally around the writers to condemn the attack. They formed an association called Afro-Asian Writers' Association. The association held conferences and one was to be held at Bakur in Azerbaijan. They invited our association too for the conference.

As the convener of the writers' association, Ven. Saranankara Thera discussed with Martin Wickramasinghe as to who would take part in the conference. Wickramasighe had suggested to Ven. Saranankara Thera to go with me to the conference.

I took part in the conference with Ven. Saranankara Thera. I got this opportunity because of Wickramasinghe. It was my first foreign tour and Ven. Saranankara's last foreign tour, because the Thera passed away the following year.

The All Ceylon Writers' Association received another Afro-Asian Association invitation. It was to be held in Beirut, Lebanon. Wickramasinghe was to decide as to who would attend the conference, and he told me, "You should go, but who is the other who should go with you?" I proposed K. Jayathilake. Though Wickramasinghe and Jayathilake were not in friendly terms at the time, he said, "Oh, yes. You go with him." Wickramasinghe did not cross any person forever. When I became the Features Editor of the 'Sirilaka' (‘’) newspaper, launched by Sirimavo Bandaranaike, I contacted Wickramasinghe when I needed a serious article. He was my main source.

Q. Could you remember the time when 'Bhawa Tharanaya' (‘ ) novel came about?

A. Yes. All the bhikkus came up against him at the time. Even Ven. Yakkaduwe Pragnarama Thera wrote three volumes and criticised him severely. We, as writers, defended him and wrote articles on the issue. Though all the people around him roared against him, he didn't panic. He was cool all the time and didn't take any attack seriously.

Q. I heard that there was an interesting incident when Wickramasinghe participated in your wedding?

A. It was 1972. There were no sufficient food and other items in shops. Though we organised the wedding, we didn't offer lunch with rice for visitors. We offered short meals with liquor. Wickramasinghe was not well at the time. He couldn't go to Kuliyapitiya where the wedding was held, straight away from Colombo. He was coming to the wedding with his wife, Prema Wickramasinghe.

He came to Negombo the previous day and spent the night at a hotel there and attended the wedding the next day. I had invited K. Jayathilake and Gunasena Withana too, from Colombo.

When they met at the wedding hall, Wickramasinghe invited them to have meals from the hotel he spent the previous night as they couldn't take lunch. On their way back to Colombo, they had their meals at the Negambo hotel. K. Jayathilake wrote about this incident in his autobiography, 'Punchi Pele Gasa Wena' (‘’). These tales attest to his greatness and kindness. He helped writers throughout his life.

Q. You refered to the 1960s. It was the time that the Peradeniya School was most powerful. You may have personal experiences with him on the Peradeniya School?

A. Wickramasinghe attacked the Peradeniya School. Though it was highlighted in his books, he didn't accept its ideologies. He wrote a book titled 'Japan Kama Katha Sevanella' (‘’) in condemning the Peradeniya School. I wrote an article on the book to the 'Poda Attha' (‘’). He liked it very much. The debate on the book went on, and we supported this.

Q. How did you feel when he died in 1976?

A. I felt it was a great loss for the country. He lived a well-planned, complete and full life. He engaged in most of the genres in literature. He wrote short stories, novels, trilogies, poetry, reviews and translations. He did all things a writer could do. He with his brilliant ideas was an enlightened man. He wrote progressive books.

Q. How about his political ideas?

A. Throughout his life, he remained a nationalist, but he hadn't racial prejudices. He admired the socialist movement and detested capitalism. He politely declined the Magsaysay award as it was an American award.

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A Literary Discussion to mark the 75 years of Martin Wickramasinghe’s Sinhala Sahithye Naegima - 10th Sept

A Literary Discussion to mark the 75 years of Martin Wickramasinghe’s Sinhala Sahithye Naegima – 10th Sept

A Literary Discussion to mark the 75 years of Martin Wickramasinghe’s  Sinhala Sahithye Naegima  (The Rise of Sinhala Literature) organized by the Department of Sinhala | University of Colombo

10 th  September 2021 @ 5.00 pm via zoom

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My favourite author is Mr. Martin Wickramasinhe. He is known as the greatest writer of Sri Lanka.

He was born in 1890. He was the only boy of his family. He studied at Bounavista College in Galle. He became a famous writer by reading books.

He has written more than one hundred books. His first book was Leela, Madoldoova is a famous children’s novel written by him. He died in 1976.

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