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Silence in Sri Lankan Cinema from 1990 to 2010
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright SILENCE IN SRI LANKAN CINEMA FROM 1990 TO 2010 S.L. Priyantha Fonseka FACULTY OF ARTS AND SOCIAL SCIENCES THE UNIVERSITY OF SYDNEY A thesis submitted in total fulfilment of requirements for the degree of Master of Philosophy at the University of Sydney 2014 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement has been made in the text. -
Caste in the Same Mold Again: Artisans and the Indignities of Inheritance in Sri Lanka
CASTE IN THE SAME MOLD AGAIN: ARTISANS AND THE INDIGNITIES OF INHERITANCE IN SRI LANKA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aimée Catherine Douglas December 2017 ©2017 Aimée Catherine Douglas CASTE IN THE SAME MOLD AGAIN: ARTISANS AND THE INDIGNITIES OF INHERITANCE IN SRI LANKA Aimée Catherine Douglas, Ph.D. Cornell University 2017 In a context of transforming expectations regarding the who, how, and what of heritage stewardship around the world, this dissertation examines caste’s revitalization through boundary work carried out by a variety of actors and across a range of practical and discursive moments. Through a wide selection of ethnographic vignettes, it analyzes such boundary work around caste from multiple vantage points to illustrate how this category of identification is reproduced in tension with and in the service of neoliberal processes that have shaped Sri Lanka’s “traditional craft industries” since the 1977 implementation of an “open economy policy.” Grounded in two years of ethnographic fieldwork in the country’s central province, the dissertation offers anthropological insight into what happens at the level of everyday experience when the logics of neoliberal economics and democratic egalitarianism become entangled with nationalist investments in heritage on the one hand, and the apparent specters of pre-modern preoccupations with hierarchy and honor on the other. In this majority Buddhist island country, caste among the Sinhalese has long been popularly rejected as an anachronistic and lamentable artifact of pre- colonial society, its public discussion generally avoided to an extreme (Silva and Hettihewage 2001:63). -
An Overview About Different Sources of Popular Sinhala Songs
AN OVERVIEW ABOUT DIFFERENT SOURCES OF POPULAR SINHALA SONGS Nishadi Meddegoda Abstract Music is considered to be one of the most complex among the fine arts. Although various scholars have given different opinions about the origin of music, the historical perspectives reveal that this art, made by mankind on account of various social needs and occasions, has gradually developed along with every community. It is a well-known fact that any fine art, whether it is painting, sculpture, dance or music, is interrelated with communal life and its history starts with society. Art is forever changing and that change comes along with the change in those societies. This paper looks into the different sources of contemporary popular Sinhala songs without implying a strict border between Sinhala and non-Sinhala beyond the language used. Sources, created throughout history, deliver not only a steady stream of ideas. They are also often converted into labels and icons for specific features within a given society. The consideration of popularity as an economic reasoning and popularity as an aesthetic pattern makes it possible to look at the different important sources using multiple perspectives and initiating a wider discussion that overcomes narrow national definitions. It delivers an overview which should not be taken as an absolute repertoire of sources but as an open pathway for further explorations. Keywords Popular song, Sinhala culture, Nurthi, Nadagam, Sarala Gee INTRODUCTION Previous studies of music have revealed that first serious discussions and analyses of music emerged in Sri Lanka with the focus on so-called tribal tunes. The tunes of tribes who lived in stone caves of Sri Lanka have got special attention of scholars worldwide since they were believed of being some of the few “unchanged original” tunes. -
Tourist Drivers / Assistants Who Obtained the Covid-19 Tourism
Tourist Drivers / Assistants who Obtained the Covid-19 Tourism Operational Guidelines Awareness and Knowledge under the Supervision of Sri Lanka Tourism Development Authority Published by Sri Lanka Tourism Development Authority Serial No. Name. Category Contact Number 1 SLTDA/CAS/1427 W.Prabagaran Tourist Driver O77 6 676 338 2 SLTDA/CAS/2308 G.H.Janaka Saman Tourist Driver 0785 947 538 3 SLTDA/CAS/2053 S D Gamini Senarath Tourist Driver 078 9 568 862 4 SLTDA/CAS/1296 S.M.J.N.Suriyagoda Tourist Driver 078 8 882 727 5 SLTDA/CAS/2482 Weerasingha Arachchige Ranesh Lakmal Tourist Driver 078 8 765 392 6 SLTDA/CAS/2498 W.K.S.Fernando Tourist Driver 078 8 015 003 7 SLTDA/CAS/2395 M.P.champika Janadara Van Driver 078 7 064 026 8 SLTDA/CAS/1615 R.M.C.T.Ratnayake Tourist Driver 078 7 050 777 9 SLTDA/CAS/3387 M.F.M.Ruhaib Tourist Driver 078 6 432 303 10 SLTDA/CAS/2256 S.V.L Senavirathna. Tourist Driver 078 6 293 632 11 SLTDA/CAS/2655 W.W.Prasanna Pathmakumara Mendis Tourist Driver 078 5 701 701 12 SLTDA/CAS/3247 Mohamed Riyas Tourist Driver 078 5 628 648 13 SLTDA/CAS/2667 Ross Pereira Tourist Driver 078 5 624 327 14 SLTDA/CAS/3038 P.P.E.Wijayaweera Tourist Driver 078 5 365 827 15 SLTDA/CAS/2010 Anthonidura Prasal Nilujpriya De Silva Tourist Driver 078 5 014 088 16 SLTDA/CAS/2798 A.W.R.S.D.M.R. Upali Baminiwatta Tourist Driver 078 4 977 373 17 SLTDA/CAS/2169 D.V.Dewin De Silva Tourist Driver 078 4 451396 18 SLTDA/CAS/1125 R.P.S.Priyantha Tourist Driver 078 3 565 371 19 SLTDA/CAS/1382 B.G.S.Jayatissa Tourist Driver 078 1 784 651 20 SLTDA/CAS/3141 -
Historicizing Virāgaya As a Novel on Postcolonial Subjectivity
The Sri Lanka Journal of the Humanities (2018) 42: 1-2, 54-85 DOI: http://doi.org/10.4038/sljh.v42i1-2.7255 Published online: 28 November 2019 University of Peradeniya Location of Cultural Value: Historicizing Virāgaya as a Novel on Postcolonial Subjectivity LIYANAGE AMARAKEERTHI 1 1 Department of Sinhala, University of Peradeniya 1 [email protected] 1 https://orcid.org/0000-0002-5744-4484 ABSTRACT Martin Wickramasinghe’s Virāgaya (1956), a novel considered a modern classic is often understood be a text that exclusively focuses on the inner psyche of the central character. Thus, it was criticized for the lack of socio-political meaning. Amarasekara, a renowned writer and critic, maintained that the novel represents a certain weakening of socio-political dialogue in the country after achieving independence from the British. Compared to Wickramasinghe’s famous trilogy, which is explicitly ‘social’ since it deals with an evolution of a certain capitalist class, Virāgaya is understood to be a work that deals more with the psychological than with the social. This paper argues that when read as a postcolonial novel, contextualizing it in its specific postcolonial condition, Viragya appears to be much more ‘social’ and ‘political’ than any other novel 54 SLJH 42 (1&2) The Sri Lanka Journal of the Humanities (2018) 42: 1-2, 54-85 that appears to be so. Aravinda (the literal meaning of the name being ‘the lotus’), the central character of the novel, is a man who embodies detachment, which is an important Buddhist value. His detachment is shown by the way he maintains a certain aloofness vis-à-vis the accepted social norms, which is often interpreted as a legacy of his Buddhist upbringing. -
Rukmani Devi and Her Talents Groups Within the Agricultural Sector Should Be Introduced
The Island Opinion Saturday 29th October, 2011 9 Potgul Statue Water scarcity - reply in Seeduwa eply to Siri Gunasinghe’s ’m writing this to report to you of a ‘Interpreting problem that has risen due to an R the Past: A look Iincreased number of illicit water back at the Potgul pumping plants in Seeduwa and sur- Statue’, The Island rounding areas. As a result of this exer- 26 and 27 October. cise the ground water availability has The only way of reduced to dangerous levels leaving the Don’t ruin identifying an area residents in a very bad predica- ancient religious ment. statue is by a con- Our hometown is Seeduwa, which is a sideration of its highly residential area very close to the he audio visual media in the Parakrama ings of thousands of school chil- iconographic attrib- Katunayake Airport and the Export utes, which are Processing Zone. Over the past few recent past highlighted some dren and spectators. How disap- detailed in texts to years a large number of illegal busi- Tdistressing and depressing pointing it would have been for the enable devotees to recognize them. nesses that extract water for industrial happennings over the thoughtless spectators to see the game being I have (Digging into the Past, 2005), washing plants and other various pur- actions of some individuals abusing Samudra disrupted for several hours and given reasons why Siri Gunasinghe’s poses through high-powered pumps have authority. One TV channel showed then being abandoned. (1958) rejection of the statue having sprung up like mushroom. They dig people who are earning their liveli- In the wake of such unexpected alienate farmers and fishermen. -
Survey of Fishing Effort for Sri Lankan Blue Swimming Crab in the Northwest and Northern Coast of Sri Lanka and Development of a Management Plan
ii BOBLME-2015-Ecology-62 The designations employed and the presentation of material in this publication do not imply the expression of any opinion whatsoever on the part of Food and Agriculture Organization of the United Nations concerning the legal and development status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The BOBLME Project encourages the use of this report for study, research, news reporting, criticism or review. Selected passages, tables or diagrams may be reproduced for such purposes provided acknowledgment of the source is included. Major extracts or the entire document may not be reproduced by any process without the written permission of the BOBLME Project Regional Coordinator. BOBLME contract: LOA/RAP/2015/06 For bibliographic purposes, please reference this publication as: BOBLME (2015) Survey of fishing effort for Sri Lankan blue swimming crab and development of a management plan. BOBLME-2015-Ecology-62 ii Technical report on Survey of fishing effort for Sri Lankan blue swimming crab in the Northwest and Northern coast of Sri Lanka and development of a management plan November 2015 Department of Fisheries and Aquatic Resources New Secretariat, Maligawatte, Colombo 10, Sri Lanka iii Survey of fishing effort for Sri Lankan blue swimming crab and development of a management plan Table of contents 1. Introduction ................................................................................................................................. -
Western Music
Western Music Grade - 13 Teacher’s Instructional Manual (This syllabus would be implemented from 2010) Department of Aesthetic Education National Institute of Education Maharagama FOREWORD Curriculum developers of the NIE were able to introduce Competency Based Learning and Teaching curricula for grades 6 and 10 in 2007 and were also able to extend it to 7,8 and 11 progressively every year and even to GCE (A/L) classes in 2009. In the same manner syllabi and Teacher's Instructional Manuals for grades 12 and 13 for different subjects with competencies and competency levels that should be developed in students are presented descriptively. Information given on each subject will immensely help the teachers to prepare for the Learning - Teaching situations. I would like to mention that curriculum developers have followed a different approach when preparing Teacher's Instructional Manuals for Advanced Level subjects when compared to the approaches they followed in preparing Junior Secondary and Senior Secondary curricula. (Grades 10,11) In grades 6, 7, 8, 9, 10 and 11 teachers were oriented to a given format as to how they should handel the subject matter in the Learning - Teaching process, but in designing AL syllabi and Teacher's Instructional Manuals freedom is given to the teachres to work as they wish. At this level we expect teachers to use a suitable learning method form the suggested learning methods given in the Teacher's Instructional Manuals to develop competencies and competency levels relevant to each lesson or lesson unit. Whatever the trarning approach the teacher uses it should be done effectively and satisfactorily to realize the expected competencies and competency levels. -
Construction Craftsman(Masonry).Pdf
TEMPARARY REGISTRATION OF CONSTRUCTION CRAFTSMAN AS AT 27.11.2020-NON NVQ SE. NO. DISTRICT NIC NO. NAME ADDRESS TELEPHONE CIDA HOME MOBILE REFERANCE NO. AMPARA 1 195709503478 K.UTHAYAKUMAR K.UTHAYAKUMAR PILLAIYAR KOVIL ROAD NATPIDDIMUNAIKALMUNAI - 01 0765358150 CIDA/SCC/8785 2 196114703184 T. PADMANATHAN NO. 305D PILLAIYAR KOVIL ROAD NATPIDDIMUNAIKALMUANAI - 02 1C 0771173851 CIDA/SCC/6908 3 196701204258 U.D.DHARMASENA 27/06,KETHSIRIGAMA KOKNAHARA AMPARA 0714902769 CIDA/SCC/2864 4 196711301487 S.M.ABERATHNA NO.108E NAWINNA PADIYATHALAWA 0722955400 CIDA/SCC/2500 5 196800503502 A.NITHIYANANTHARAJA A.NITHIYANANTHARAJA G.P.S.ROAD KALMUNAI - 1D 0777858145 CIDA/SCC/10103 6 196936510014 K.P.A.NANDASIRI DA SILVA233/C 50 MILE POST KEHELULLA PADIYATHALAWA 0779404148 CIDA/SCC/2488 7 19711320279 S. THASLEEN NO. 715A NEW THOMPAR ROADSAINTHAMARUTHU 17 0778327935 CIDA/SCC/6897 8 197113202795 S.THASLEAN NO.715A NEW THOMPAR ROAD SAINTHAMARUDHU - 17 0778327935 CIDA/SCC/8743 9 197320702730 S.MOWRUP NO.101/B KOVIL ROAD NINTHAVUR - 07 0754835426 CIDA/SCC/10027 10 197327402524 Y.T.M.ANSHAR NO.85A AL MASLAM ROAD NINTHAVUR - 07 0776144303 CIDA/SCC/10028 11 197331901449 M.SURESH NO.130/1A THOMPUTHAR ROAD PANDIYIRUPPU - 01KALMUNAI 0756807132 CIDA/SCC/8790 12 197412204402 M.NASAR NO.167/A G.M.M.S.ROAD SAINTHAMARUTHU - 10 0775152545 CIDA/SCC/10036 13 197534503520 R.D.GUNARATHNA 291,GALKANDA DEWALAHIDA AMPARA 0756389922 CIDA/SCC/2469 14 197626004086 NO126, LAKPADURA, DEHIATHTHAKANDIYA 0711078091 CIDA/SCC/7723 15 197713410035 V. ARUMUGAM B5/F/7 ISLAMIC RELEEF APPERTMENT PERIYANEELAVANAIKALMUNAI 1B 0757519782 CIDA/SCC/6933 16 197815803456 H A CHAMINDA KUMARA NO.966/72/1 DIYAWIDDAGAMA HAWAMEDAGAMA 0762154320 CIDA/SCC/12231 17 197825501116 N.KARUNAHARAN N.KARUNAHARAN SILAGURU ROAD PERIYANEELAVANAI - 01A CIDA/SCC/8823 18 197833601833 H.M.AJITH BANDARA NO.50/A KEHELULLA PADIYATHALAWA 0713169951 CIDA/SCC/2493 19 197836304040 A. -
The Regional Nationalism of Rapiyel Tennakoon's Bat Language and Sunil Santa's "Song for the Mother Tongue"
Commonalities of Creative Resistance Commonalities of Creative Resistance: The Regional Nationalism of Rapiyel Tennakoon's Bat Language and Sunil Santa's "Song for the Mother Tongue" Abstract This article highlights commonalities of regional nationalism between the poetry and song of two Hela Havula (The Pure Sinhala Fraternity) members: Rapiyel Tennakoon and Sunil Santha. I reveal how their creative works advocated indigenous empowerment in opposition to Indian cultural hegemony, and against state solicitations for foreign consultation about Sinhala language planning and Sinhalese music development. Tennakoon challenged the negative portrayal of Sri Lankan characters in the Indian epic, the Ramayana, and Santa fashioned a Sri Lankan form of song that could stand autonomous from Indian musical influence. Tennakoon lashed out against the Sinhala-language dictionary office's hire of German professor Wilhelm Geiger as consultant, and Santa quit Radio Ceylon in 1953 when the station appealed to Professor S.N. Ratanjankar, from North India, for advice on designing a national form of Sri Lankan music. Such dissent betrays an effort to define the nation not in relation to the West, but to explicitly position it in relation to India. A study of Tennekoon's and Santa's careers and compositions supplement the many works that focus on how native elite in South Asia fashioned a modern national culture in relation to the West, with an awareness of the regional nationalist, non-elite communities—who also had a stake in defining the nation— that were struggling against inter-South Asian cultural hegemony. Keywords: Regional nationalism; Sinhala poetry; Sinhala music; Linguistic politics; Song text; Modernist reforms. -
Asian-European Music Research
ASIAN-EUROPEAN MUSIC RESEARCH E-JOURNAL No. 3 (Summer 2019) ISSN 2625-378X COTTBUS/BERLIN: WENDISCHER VERLAG ASIAN-EUROPEAN MUSIC RESEARCH E-JOURNAL SPECIAL PRINT No. 3 (Summer 2019) ISSN 2625-378X COTTBUS/BERLIN: WENDISCHER VERLAG AEMR-EJ Editor Xiao Mei, Shanghai Conservatory of Music, [email protected] Reviews Editors Tan Hwee San, SOAS, [email protected] Chuen-Fung Wong, Macalester College, [email protected] Send books, films, links and other materials for review to: Tan Hwee San, Chuen-Fung Wong, Gisa Jähnichen, Xiao Mei Co-Editor Gisa Jähnichen, Shanghai Conservatory of Music [email protected] Editorial Board • Ako Mashino (Dr., Tokyo University of the Arts, Japan) [email protected] • Alexander Djumaev (Dr., Union of Composers of Uzbekistan) [email protected] • Chinthaka P. Meddegoda (Dr., UVPA, Colombo, Sri Lanka) [email protected] • Chow Ow Wei (Dr., Putra University, Malaysia) [email protected] • Earl Jimenez (MA, Philippine Women’s University, Philippines) [email protected] • Esbjörn Wettermark (Dr., Office for Cultural Development Gävleborg, Sweden) [email protected] • Helen Rees (Prof. Dr., UCLA, USA) [email protected] • Liu Hong (Dr., Shanghai Conservatory of Music, China) [email protected] • Xu Xin (Dr., China Conservatory of Music, Beijing, China) [email protected] • Razia Sultanova (Dr., Cambridge University, UK) [email protected] • Tan Shzr Ee (Dr., Royal Holloway, University of London, UK) [email protected] Asian-European Music Research Journal is a peer-reviewed academic journal that publishes scholarship on traditional and popular musics and field work research, and on recent issues and debates in Asian and European communities. -
The Politics and Poetics of Authenticity: a Cultural Genealogy of Sinhala Nationalism
The Politics and Poetics of Authenticity of and Poetics The Politics ‘This is a refreshing contribution to the growing body of scholarly literature on Sri Lanka’s Sinhalese nationalism, its politics and intellectual strands. Its value is enhanced by the marshalling of sources available in the Sinhalese language that are usually ignored in scholarly work on contemporary Sri Lanka.’ Harshana Rambukwella – Professor Jayadeva Uyangoda, formerly University of Colombo ‘This is an impressive work that guides the reader with compassion through the cultural and political whirlwind of colonial and postcolonial Sri Lanka. Rambukwella breathes fresh air into old debates, probing the ironies of authenticity and inauthenticity through the lives and works of three leading nationalist thinkers. Timely and inspiring.’ – Professor Nira Wickramasinghe, Leiden University What is the role of cultural authenticity in the making of nations? Much scholarly and popular commentary on nationalism dismisses authenticity as a romantic fantasy or, worse, a deliberately constructed mythology used for political manipulation. The Politics and Poetics of Authenticity places authenticity at the heart of Sinhala nationalism in late nineteenth and twentieth-century Sri Lanka. It argues that the passion for the ‘real’ or the ‘authentic’ has played a signifi cant role in shaping nationalist thinking and argues for an empathetic yet critical engagement with the idea of authenticity. The Politics Through a series of fi ne-grained and historically grounded analyses of the writings of individual fi gures central to the making of Sinhala nationalist ideology the book demonstrates authenticity’s rich and varied presence in Sri Lankan public life and its key role in understanding post-colonial nationalism in Sri Lanka and elsewhere in South Asia and and Poetics the world.