The period between 2000
and 2024 can be referred to as the period in which many changes took place in
school education. This is a period of almost a quarter of a century. And
especially in elementary education, there are drastic changes. This time
interval can also be defined as the length of time in which one change is
understood before the next change intervenes.
This change which
started as 'Katralil Inimai' has undergone many changes like ‘Seyal Vazhi
Katral’, ‘Padaippatral Kalvi’, ‘Ennum Ezhuththum’, and ‘Kannum Karuththum’.
Educators are confused between these changes, whether to emphasize textbooks or
these methods.
A new generation of
illiterate and lack of basic numeracy is being created instead of quality education
in changing systems. It is true that change is not the only change, but the
learners change without knowing the basics because of frequent changes,
thinking that if they change the method, everything will change. Amidst these
changes is the learning gap of the Corona period, and the situation of learners
is facing a lot of setbacks.
Are any problems with
the methods? There is no problem with methods. The problem here is that when
teachers understand and prepare for one method, they immediately introduce the
next method. The tragedy is that the teaching method is more important than the
learners.
Generally, no one likes
to undergo a change from the routine. But the teachers were ready for that too.
But if it's frequent and immediate, they're stuck.
That and a new system
every time there is a change of regime means that a teaching system is rotated
every five years.
It is strange that the
educators are also ready to develop a new teaching method according to the
mindset of the rulers.
While the textbook
itself has all the flexible and innovative features, they are creating
innovative manuals that differ from the textbook. The textbook also contains so
many subjects that it becomes overwhelming. Meanwhile, these manuals add
another burden, leaving teachers confused about which burden to carry. They
carry on with their work with such distress that they cannot express their
confusion.
At the top of the
spectrum of education systems that is curriculums are tested by practicing
teachers (B.Ed. students) instead of being reviewed by qualitative teams. You
have heard of B.Ed. students coming to
schools for training. You have just heard that they are coming to inspect.
If a trainee teacher
cannot become an inspector, he can gain experience as a teacher and become an
inspector. What is the attitude of the teachers who give them observation
training and teaching training in schools if they are inspectors during their
training period?
An academic system that
is unable to properly select and appoint inspectors can have strange
consequences. Determining the appropriate units of study and examiners is
critical to measurement in education. If the scale is wrong, what if the
measured is right?
We proudly say 'He
studied in a government school', 'She studied in a government school'. At that
time there were mostly government schools. Henceforth they will come from
private schools with such pride.
Schools are a catalyst
for talent. That's it. Schools alone cannot produce talent. It cannot be said
that all talented people are emerging only from schools. There are geniuses who
never went to school.
We cannot ignore
schooling for that. Which school is for education? Government school? A private
school? That is the question.
Those with money tend
to go to private schools. Those who don't, resort to government schools. This
is the current reality.
People with money
always need a satisfaction. They believe that private schools will provide that
satisfaction. In a sense, education has become a business. That is where
customer satisfaction comes first. Besides, they have no choice but to
prioritize customer satisfaction. Customers will flock to them only if they are
satisfied.
All educational institutions
have become full-fledged business organizations and therefore put customer
satisfaction first. Parents are the customers of private schools. It is a
contradiction in terms for a society that buys whatever is given free, that is,
to buy education from private individuals. Perhaps if the satisfaction they get
in private schools can also be found in government schools, they will seek
government schools as well.
People are not willing
to buy anything that is given for free. 'Education' is an example where they
expect a higher standard. That is, when the relief money is provided, the poor
and the rich wait in the front line to buy it. This is because the quality of
the money given as relief does not vary. The government should bring such a
standard in government schools as well.
The government should
ensure that 'education' should be of the same standard whether in government or
private schools. 7.5 per cent reservation for students studying in government
schools creates a unique path to quality and degradation. This quota is meant
to ensure that the remaining 92.5 per cent of the 7.5 per cent is for private
school students.
We can no longer
increase the number of students by telling them to come and seek government
schools only with the image pride of government school students who have
achieved in the past. The number of students in government schools can be
increased only if government pay attention of the subtle psychological and
sociological background behind the choice of private schools instead of government
schools.
Government bodies
should consider that increasing the number of students in government schools is
not only an attempt to make 'Education for All' possible, but also a social
justice movement that brings the oppressed and disadvantaged people to the fore
in the society. Spending on improving the quality of government schools should
not be viewed as mere expenditure by the government. It is the government's
capitalization of its enormous wealth of knowledge. Ensuring equality in
education and the quality of government schools is necessary to create an
egalitarian society where everything is available to all.
Ku.Pa.Rajagopalan Short Stories – A Simple Introduction!
Ku.Pa.Rajagopalan is an
indispensable writer in the world of Tamil short stories next to the
Puthumaipiththan. He was one of the pioneers who systematically experimented
with Tamil short stories in various genres. One of the prominent writers of
Manikodi period.
Ku. Pa. Rajagopalan born
in 1902, dead In 1944. Lived forty-two years. In which he wrote only the last
decade. That is the decade from 1934 to 1944. He has written over a hundred
short stories in ten years. Ku. Pa. Rajagopalan’ short stories are simple
background with minimal characters and normal incidents. Each fictional short
story is unique in its own way.
His first short story
was Visalakshi. The final short story is Mohana sirippu.
With family-style
dialogues, his story behind the beauty can be close to reality. There are many
stories told by him as a character through the stories. Most of Ku. Pa.
Rajagopalan's short stories dare to speak about intimate feelings of
male-female relationship.
Short stories like Kanakaambaram,
Vidiyumaa?, Sirithu velichcham, Aatraamai are the signature stories of Ku. Pa.
Rajagopalan.
The crux of the short
story Kanakambaram is the dilemma of how to face men other than the husband as
a wife, a family woman, without breaking its structure and at the same time
keeping up with the modern times. Problems and knots that a woman faces with a
man even after entering the family system and attaining the status of a family
woman are present among men and women in today's modern age. Through this
story, he speaks with only three characters. Within the three characters of
husband, wife and husband's friend, the scope and dialogue that this story
creates are deep and subtle. Through the unique story knot of how a woman
confronts a man who comes home when she is alone, in this short story.
The short story 'Vidiyumaa?'
can be said as a short story that can be interpreted as a proof of the genius
of Ku. Pa. Rajagopalan. In this short story he has shown the fear and
temptation caused by a telegraph and the subsequent train journey so
wonderfully. The short story talks about the state of mind and emotions of a
person visiting an emergency in modern times. This short story seems to show
that the emotional states of human minds remain unchanged from time to time.
Every night there is dawn, even though there is a dilemma about whether it will
dawn. In the middle of a trip for an urgent message, will the dawn break as
expected? Did it turn out differently than expected? It is that anguish and
hope that makes this short story 'Vidiyumaa?' read with a sense of dread.
Contrary to expectations, the dawn breaks in the short story of Ku. Pa.
Rajagopalan. But it dawns. In this dawn it dawns, revealing what it has hidden.
This story ends with sad news. The reader is left with the thought that perhaps
it would have been better if their train journey had been longer before dawn
that night. From the time they set out for the train journey until the train
journey takes place, everything is auspicious. The result is a shocker. The
omens and events that promise that this will not happen are disappointing at
the end of dawn, giving this short story a tragic epic character.
One of Ku. Pa.
Rajagopalan 's most striking short stories is 'Sirithu velichcham'. He has used
the strategy of three characters in this story as well. Those three characters
represent the three great worlds. The following short story raises many questions
over time. The center of this story is the problem that occurs when a man who
lives in that house intervenes in the problem of husband and wife. This is a
story about how much a stranger steps in and fixes the problem of a husband and
wife. How will the husband's mind face it when a strange man speaks on behalf
of his wife? How will the patriarchal mentality inherent in man and the
misogynistic mentality inherent in woman react then? What can a man humanely do
for a woman? Can you do what you want to do with humanity? Do the social
environments we construct accommodate them all? Many questions cannot be
avoided after reading this short story. Standing on a progressive platform, He
creates this short story.
'Aatraamai' is one of
the selected stories of Ku. Pa. Rajagopalan. It can also be said that the
grammar tells the story that the structure of a short story should be set
neutrally. A story that frees up a character's backstory and emotional baggage
without building it up negatively. A woman separated from her husband. A woman
enjoying her youth with her husband. A separated woman naturally becomes
jealous of a woman who is united with her husband. Ku. Pa. Rajagopalan has
written this short story with the title of 'Poraamai' focusing on that jealousy.
Karichan Gunju has changed that title and given it the title of 'Aatraamai'.
The very title of 'Aatraamai' takes this short story to a different level. The
title ‘Poraamai’ would make this short story seem ordinary. A estranged woman
gets an opportunity to distract the relationship of united husband and wife.
She got that kind of chance. In the end, her mind is struggling. She is worried
about what she did. When she is troubled, we feel compassion for the woman. It
is a testament to the excellent short story work of Ku. Pa. Rajagopalan.
We can go on talking
about each of his stories like this. This introduction is enough to leave room
for the reader to read his other stories. It is well to conclude this
introduction with a note on a few other short stories of him.
Short stories like 'Pen
Manam' and 'Thirai' are testaments to Ku. Pa. Rajagopalan 's story weaving and
writing adventure. The strangeness of a woman's mind that emerges beyond that
in her stories that seem to be trapped in family relationships push the readers
towards a new world.
The style of
storytelling through Brahmin families is that of Ku. Pa. Rajagopalan. He has
subtly addressed other castes in the background of that time in stories like
'Adimai Payal', 'Pannai Chengaan', 'Minnakalai' and 'Vaalkkai Kaatchi'.
Influenced by
Bharathi's poetry, he has also written short stories with titles such as
'Ninaivu Mugam Marakkalaamo?' and 'Manam Velukka'. He has also written a short
story titled 'Kaadhale Saadal' inspired by Bharathi's lyrics.
In his short stories
like 'Irulilirunthu', 'Amrapaali', 'Vibareetha Kaadhal', 'Kavi Vendiya Parisu'
which he has written in the historical background, he has captured the
subtleties of human emotions so beautifully.
It cannot be denied
that some of the short stories of Ku. Pa. Rajagopalan, written in the
historical background, seem to promote the concepts of Hindu Dharma and Hindu
Rajjiyam. It is best for readers to think and come to their own conclusions as
to how to take that stories.
Ku. Pa. Rajagopalan's
writing was an ideal and precursor to Thi. Jaanagiraaman and Naaraayanasaamy.
In his novel Mogamul, Thi. Jaanagiraaman praised Ku. Pa. Rajagopalan as a great
creator. Narayanasamy adopted his nickname of Karichan as Karichan Gunju.
Short stories of
Manikodi era writers like Pudhumaipitthan, Ku. Pa. Rajagopalan, Mouni always
lead to a new world of short stories. Despite the passage of time, the novelty
of the story does not diminish. In structure and presentation, readers can
learn new lessons and techniques. No matter how many times it is read, it
creates new visual images like a kaleidoscope. Above all, the short stories of
Ku. Pa. Rajagopalan can be mentioned as a kaleidoscope of male and female
relationships. All the wonders of the kaleidoscope can be seen in many of his
short stories which are made up of three characters like a kaleidoscope of
three mirrors.
Today many gamblings
have come. Online rummy apps, cricket prediction apps and gambling apps that
are popping up every day do not count.
Three crore people are
addicted to gambling in India. Ninety percent of them are youths.
We live in a world of
predictions. These gambling attractions are in the form of making money by
making those predictions correctly.
If your predictions are
correct you can make money through gambling. If it goes wrong, you can lose the
money you have and become even more debtors.
Gambling has been
around in some form since that time. Its existing forms like goat-tiger game
and card game have changed to technical forms today.
At that time, they were
playing these games by giving bribes. Now there are more and more gambling
companies that pay taxes to the government.
Early success in
gambling will boost your confidence. These games will boost your confidence
that even if you lose money, you will still be able to make it back. The trick
of gambling is to take yourself to a point where you can't stop even if you
don't want to.
Perhaps with so much
determination you feel like you've lost something, even if you think about relieving
from gambling. Gambling that can get you into that much addiction.
At some point, you will
leave your job, career, family and everything else to take up gambling. Even if
you win the games, you can't quit. Play and play and lose, lose and lose and
see if you catch the lost money and you will be stuck in it until you can't get
out.
After losing the money
in your hand, you gamble with the loan in the hope that you can recover the
lost money anyway. Once you fall into the gambling trap, it is not uncommon to
recover from it. Its results are mostly negative.
There are more losers
than winners in gambling. It is also significant that the lost means those who
have lost themselves. That is why when Tiruvalluvar mentions gambling,
"Don’t gamble even
if you win. To love gambling is like that a fish love a worm in a golden bait.”
in Thirukural, 931.
What Thiruvalluvar is
trying to say in this Kural is that even if you win, you should not like
gambling. Because to like that is like a fish like a worm in a fish bait.
So not liking gambling
is the best way to avoid it.
லியோ,
கோட் இரண்டும் விஜய் நடித்து அடுத்தடுத்து வெளிவந்த படங்கள்.
இந்த
இரண்டு படங்களுக்கும் ஒற்றுமை - வேற்றுமைகள் இருக்கின்றன.
இரண்டு
படங்களும் அப்பா – மகன் பகைமையை உள்ளடக்கியதாக இருக்கிறது.
இரண்டுமே
அப்பா – மகன் கொலையில் போய் முடிகிறது.
வேற்றுமையான
ஒற்றுமை என்னவென்றால்
லியோவில்
மகன் அப்பனைக் கொல்கிறான்
கோட்டில்
அப்பன் மகனைக் கொல்கிறான்.
இரண்டுமே
கொலைகார படங்களின் வரிசையில் வருகிறது.
இரண்டு
படங்களிலுமே விஜய் அமைதியான குடும்பத்தைத் தக்க வைக்க அல்லாடுகிறார்.
ரஜினிக்கும்
ஜெயிலர் படத்தில் இதே பிரச்சனைதான்.
கமலுக்கும்
இந்தியன் படத்தில் இதே பிரச்சனைதான். இந்தியன் – 2 படத்தில் இதை விட அதிகப் பிரச்சனைகள்.
இந்த
விவாதத்தில் இப்படி எல்லாரையும் கொண்டு வந்து விட்டு, தலையை (தல) விட்டு விட முடியுமா?
வில்லன் படத்தில் அஜித்தும் இதற்கான முயற்சியில் இறங்கியிருக்கிறார்.
பிள்ளைக்கறி
கேட்ட இறைவைனை விட இந்தத் தலைவன்கள் பெற்ற பிள்ளைகளைப் போட்டுத் தள்ளுவதில் ரொம்ப ஆர்வமாக
இருக்கிறார்கள்.
பலவித
நாயக – எதிர் நாயக பிம்பங்களைக் காட்டி விட்ட தமிழ்த் திரையுலகம் மேலும் புதிய புதிய
வடிவங்களைத் தேடுகிறது. அப்பா – மகன் வடிவம் அதற்குப் புதியது போலத் தோன்றினாலும் இந்த
மொந்தை ரொம்பவே பழையது என்பதைக் கூறத் தேவையில்லை.
இவர்கள்
இப்படியொரு சகாப்தத்தைத் தொடங்குவதற்கு முன்பே தங்கப்பதக்கத்தில் சிவாஜி சௌத்ரியாக
இதை செய்து விட்டார் என்றாலும் இவர்கள் பலவித வடிவமைப்புகள் எனும் டிசைன்களில் செய்கிறார்கள்,
செய்கிறார்கள், நன்றாகவே வைத்துச் செய்கிறார்கள்.
முன்பு
காவலன் – திருடன் என்று இருந்த களத்தை உளவுத்துறை, புலனாய்வுத் துறை, போதைத்தடுப்புத்
துறை என்று உயர்த்தியதைத் தவிர, உயர்த்தியதும் என்று கூற முடியாது, மாற்றியதைத் தவிர
வேறு எதையும் இவர்கள் செய்யவில்லை.
எனக்கென்னவோ
தமிழ்த் திரையுலகின் உச்ச நாயகர்கள் கொலைக்களத்தை மையமாகக் கொண்டே கதையாடுகிறார்களோ
என்று தோன்றுகிறது. இவர்களின் கொலை எங்கு போய் முடியுமோ?
ஓரளவுக்கு
எங்குப் போய் முடியும் என்பதையும் கணிக்கவே முடிகிறது.
நீங்கள்
இந்தச் செய்தியைக் கேள்விபட்டிருக்கலாம். தமிழின் உச்சபட்ச நட்சத்திர நடிகரை வைத்து
இயக்கிய இயக்குநரின் மனைவி அரசியல் தலைவர் ஒருவரின் கொலை விசாரணையில் தொடர்புபடுத்தப்பட்டிருக்கிறார்.
மற்றத்
திரைக்கொலைக் காதலர்களையும் இது தொற்றாமல் இருந்தால் தேவலாம். பொறுத்திருந்துதான் அதைப்
பார்க்க வேண்டும்.
ஆனாலும்
ஒன்றை மாற்ற முடியாது. அது என்னவென்றால், அவர்கள் எதை விதைக்கிறார்களோ அதையே அவர்கள்
அறுவடை செய்கிறார்கள்!
