“Rajpart Rangathurai” – Sivaji Ganesan

By Swathika.

Sivaji Ganesan, also known as “Nadigar Thilagam”, is one the best artists Tamil cinema has ever seen until this day. His contributions to Tamil cinema are endless, and he has acted in 283 films in Tamil, Telugu, Kannada, Malayalam and Hindi. His versatility and photographic memory are still the talk of the town even today!

“Rajpart Rangathurai” is a classic Tamil movie that talks about a group of theater artists who play moral ancient stories and are disrespected by the modern audience. The story line moves on to further tell us about the struggles that they face in order to keep up with the expectations of  the modern audience.

This film not only depicts the battles that a theater artist faces in his life but also teaches the audience how to overcome the greatest struggles of our life. Sivaji Ganesan who plays the role of “Rajpart Rangathurai” is the protagonist and he is supported by other great film actors of Tamil cinema industry such as Monarama, M.N Nambiar and V.K Ramaswamy. This movie not only captures the audiences’ attention throughout, but carries its momentum till the end. The versatile nature of Sivaji Ganesan, that the Tamil industry talks about even today can be witnessed by the audience very clearly in this film through the different roles he is seen to play within just the two hours and a half of the film. This film is a must-watch for all, particularly music lovers as all nine songs of this film are simply superb! So why wait? Watch the movie straightaway if you haven’t yet!


Necropolis: The Tale of the Third Sword

By Sitara.

Jake Wyatt’s story of the Third Sword began in 2012, when he was working on character design for Wooden Teeth and one of his sketches evolved into a girl with a sword and a coat. Jake was so intrigued by these sketches that he decided the girl needed her own story. In the months that followed, he produced three test pages of the Third Sword walking through the eponymous Necropolis, battling unnamed horrors. In May 2013, he began publishing serialised pages of the comic, starting with a prologue detailing the thousand-year-old lore of Hyberia, the mythical landscape of Necropolis.


Necropolis follows the tale of its unnamed protagonist, a young girl from the Hinterlands. After she witnesses the destruction of her village at the hands of bandits, she sells her soul to a trader of the Night Market in exchange for a sword of unimaginable power. Wielding her massive sword, she exacts revenge on the murdering bandits and begins a killing spree in the Hinterlands until a pair of imperial wardens pay her a visit.

Despite the generic theme of a young girl with a sword in a medieval setting, Jake’s art and writing set it apart. The Third Sword’s world is intricate, with its implications of sorcery and hedge magic, and its matriarchal political system, and its geography and landscape. Necropolis is drawn in scratchy lines and muted colours, with Jake’s characteristic attention to detail.


The published comic is still at an early stage, but Jake has already mapped out its course for the future. “The first big arc is probably about 300 pages, and can stand on its own,” he says. “There’s a bunch of middle adventures I’d like to tell after that, and then another 150-300 page story to wrap it all up.” He works with his wife Kathryn, who helps with the writing and sometimes with the comics’ colouring process. Each page takes about eight to sixteen hours to finish, and they’re published online at the rate of at least two pages a month. Jake thinks he might take the next year off to work full-time on the first arc.

The creators intend to release the finished comic in print some day, but until then you can read it in its webcomic form.

A submission.

Consider this.

Why did we have to create a universal father figure or mother figure and spend all our energy weaving tales around them, creating abodes for them and seeking to find them there, and hoping to lead us to our very end? Why do we need gods? Is it not enough to be a believer, believing that we have roles to play, be they trivial or precious, and being acutely aware of this and seeking a place to fit in?

The universe is the playground and magic is the game. Some try performing the magic. Others watch it unfold. A few reveal the magic. The magicians and the spectators both are equally precious for the act to continue.

The Rhyming Cockney Accent of Britain

By Swathika.

Cockney, originally used as a pejorative term for all city-dwellers, is now used to refer to all the working-class people in London’s East End. It traditionally refers to the accent of English spoken by the working-class population of London, and it became known as Estuary English. Some of the common features of this accent are the glottal stop, substituting a /w/ for /l/, dropping the /h/ for the /a/ in words, and the rhyming slang.

However, studies have now shown that in London’s East End some traditional features of cockney have been displaced by a Jamaican Creole-influenced variety popular among young Londoners known as ‘Jafaican’, also referred to as Multi-Cultural London English.  But features of the cockney such as the double negatives, rhyming slang, and the glottal stop are still in use. Other features of cockney also include: the raised vowel in words like ‘trap’ and ‘cat’ so these sound like ‘trep’ and ‘cet’; non-rhoticity, meaning the ‘r’ at the end of words isn’t pronounced; trap-bath split, meaning that certain ‘a’ words like ‘bath’, ‘can’t’, ‘dance’, are pronounced with the broad-a in ‘father’; and th-fronting.

These videos from the British TV show “Mind Your Language” provide some examples of cockney rhyming slang.

This is a cockney slang speech example:

Norman Fairclough on the Rhetorical Style of Tony Blair

By Swathika.

The book New Labour, New Language by Norman Fairclough talks about how political leaders present themselves, and how the language used by a politician is different from that used by an ordinary man. And as you go on to read the book, you will also find that the power and position of a person, the occupation, age etc. influences the kind of language used by that person. One important part of this book is about how Tony Blair, the former British Prime Minister, creates a character he wishes to present using his unique style of language, that is different from that of most other politicians and specific to him. Norman Fairclough tells us that Tony Blair presents himself as a ‘normal person’ as well as a ‘political leader’ via the rhetorical style he employs in his speeches. The main examples quoted in the book are as follows:

If you want to read the whole speech then click on this link: Tony Blair 1997 Labour Party speech. Here is a short clip:

In 1997 after the Labour Party had came to power, the newly-elected Labour PM Tony Blair summarized his objectives at the first Labour Conference in Brighton: (the conference’s slogan was “new Labour, new Britain”)

Today I want to set out an ambitious course for this country: to be nothing less than the model 21st century nation, a beacon to the world.

Norman Fairclough goes on to tell the readers that ‘Blair’s rhetorical style is not purely a matter of language. It is a matter of his total bodily performance, of which what he says is just a part. It is a matter of how he sounds, how he looks, the shifting expressions on his face, the way he moves his head and other parts of his body.’ So it’s not just the kind of words that Tony Blair uses in his speech. His body language also contributes to his political identity.

As you turn the pages, you will also see that Fairclough has talked about how Blair uses everyday English in his political speeches, presenting himself as a ‘normal person’, like any other person in the audience/public. In fact, Fairclough says that Blair himself wrote:

I feel like a perfectly normal person. I look at politicians who are older than me and I wonder when was the last time they had their own thoughts to themselves in their own way without feeling they had to programme their thoughts to get across a message … I don’t feel much like a politician.

Moreover, Tony Blair’s speech on the death of Princess Diana in 1997 is also a good example, showing how he reflects himself to be a ‘normal person’. In the speech, he says:

I feel like everyone else in the country today—utterly devastated. Our thoughts and prayers are with Princess Diana’s family—in particular her two sons, two boys—our hearts go out to them. We are today a nation, in Britain, in a state of shock, in mourning, in grief that is so deeply painful for us.

As Fairclough has written in his book, “Tony Blair combines an everyday emotional language (‘utterly devastated’, ‘in the state of shock’) with formal ceremonial expressions of regret (‘we are today a nation in mourning’) in a way which brings his emotional reaction as a ‘normal person’ (as he puts it, ‘like everyone else’) into his official task as Prime Minister”.

The following is an extract from a Guardian article, “Blair’s Rhetorical Style“:

This is the conventional sort of language that leaders use to speak on behalf of the nation on such occasions. Blair uses the first person plural (‘we’), and predictable, pre-constructed expressions (cliches)—’thoughts and prayers’, ‘our hearts go out to them’, ‘a nation in mourning’ (once you hear ‘our hearts’ for instance on this sort of occasion, you can predict ‘go out’). But threaded into this conventional public language is a more personal language (Blair begins speaking for himself, in the first person singular, and about his own feelings) and a more vernacular language. It is as if Blair (with his advisers—the speech has been attributed to Alistair Campbell) had started with the official form of words, then personalised and informalised it. He uses a vernacular language of affect as well as a public one—’utterly devastated’, ‘in a state of shock’. Notice also the way he re-words ‘her two sons’ as ‘two boys’, which again is a shift between a more formal way of referring to them in terms of their relationship to Diana and a more intimate, family way. Blair says he feels ‘like everyone else’—he is not only speaking formally for ‘the nation’, he is also speaking informally for ordinary people; and part of the power of his style is his ability to combine formality and informality, ceremony and feeling, publicness and privateness.

Finally, Fairclough also says that Blair uses vernacular expressions like “quit whilst I’m ahead” as a way of claiming his ‘normalness’, although the usage of ‘whilst’ rather than ‘while’ makes him sound more middle-class and ‘whilst’ is now considered to be archaic. And he also writes that Blair uses several conversational features such as repetition, incomplete utterances, fillers etc. suggesting that he is responding in a thoughtful way rather than reeling off prepared answers, which most politicians are expected to do.

Thus, politics has a very different and unique connection with the English language, and the language used by politicians is intertwined and linked with several other factors, reflecting the identity of the person. People should understand this interconnection and must not be just blinded with the sophisticated lexis used.