Tirunelveli

Financial market has been dramatically changing after the economic reforms in India after 1991 onwards. It has been offering several opportunities not only to the investors but also for the corporate. Recent financial services are becoming more accessible, financial market offers myriad of products with intricate features and services, leaving many people ill equipped to cope up with the sophisticated financial desires. The economies around the world have increasingly considered financial literacy as a key pillar for the development of financial system. Financial education has grown a lot from its pre liberalization starting to the present day conditions of post liberalization corporate era. Financial literacy plays a vital role in the efficient allocation of household savings and the ability of individuals to meet their financial goals. People can able to learn the different kinds of financial products offers and features. Financial literacy is a process through which an individual (or a family) gains a basic understanding of banking, savings, and the importance of good credit. Financial literacy thus goes beyond the provision of financial information and advice. It is again a major issue for finance markets as it both drives and distorts investment behavior. It empowers the common person and thus reduces the burden of protecting the common person from the elements of market failure from a regulatory perspective. The study main objective is to measure the level of financial literacy in Tirunelveli district of tamilnadu using the quota sampling method in scientific criteria.

ABSTRACT: The convention among art historians is to begin Naṭarāja studies with Citamparam. Historically and mythologically, this is a misconception. The earliest mention of Kūttaṉ/Naṭarāja appears in a fifth- or sixth-century ce literary work, the Ālaṅkāṭṭumuttatiruppatikam of [Kāraikkāl]-Ammaiyār, and the theme continued to persist through the ages, being particularly exalted in the hymns of the Tēvāram, the first seven compilations of the Śaiva canon. The Cidambaramāhātmya is a work of the fourteenth century ce or later. Scholarly research has depended more on Sanskritic sources (e.g. Sivaramamurti 1974; Smith 1998) than on the earlier Tamil material. This article says why studies pertaining to Naṭarāja should begin with Ālaṅkāṭu, the earliest sthala extolled in the Tamil hymns, considered the original base of the Naṭarāja tradition. It cursorily reflects on the available epigraphical sources. The other dancing venues of the Lord, Tillai/Citamparam, Ālavāy/Maturai, Nelvēli and Kuṟṟālam, were added in due course, making with Ālaṅkāttu a list of five dancing halls (pañcanṛtyasabhā). The article examines a group of five stucco images that appear in the frontal projection of the maṇḍapa to the Ālaṅkāṭu temple.

Birds present everywhere and are important ecological indicators. The study area Tenkasi (8.97°N 77.3°E) and Ambasumudram (8.7°N 77.47°E) region of Tirunelveli district, Tamilnadu state is at the foothills of Southern Western Ghats. Studies on distribution of birds in this part have been recorded from the yester years but due to various reasons it had been confine towards aquatic ecosystem. To fulfill this lacuna, present study was carried out. A total of 100 species of land birds were documented that belongs to 36 orders and 48 families. Study on nesting pattern, breeding pattern was also carried out. 30% of the birds had their breeding periods during rainy season and 50% of the birds had their breeding periods during harvesting time. Insectivores breeds during rainy season and granivores breeds during harvest season which supports ‘food availability-breeding time’ hypothesis.

ABSTRACT The convention among art historians is that they begin Naṭarāja studies with Citamparam as its base. Historically and mythologically, this is a far-fetched idea. In fact the earliest idea of the Kūttaṉ/Naṭarāja appears in a 5th-6th century CE literary work, called Ālaṅkāṭṭumuttatiruppatikam [added with the prefix tiru] of [Kāraikkāl]-Ammaiyār and it continued to persist through the ages, particularly exalted in the hymns of the Tēvāram, the first seven compilations of the Śaiva canon. The Cidambaramāhātmya is a later work of the post-14th century CE. Scholarly research has depended more on Sanskritic sources (e.g. C. Sivaramamurti 1974 and David Smith 1998) and not the earlier Tamil thought. This article says why studies pertaining to Naṭarāja should begin with Ālaṅkāṭu, the earliest sthala extolled in the Tamil hymns, considered the original base of the Naṭarāja tradition. It cursorily reflects on the available epigraphical sources. The other dancing venues of the Lord were added in due course; they being Tillai/Citamparam, Ālavāy/Maturai, Nelvēli and Kuṟṟālam, called pañcantyasabhās. The article takes for examination a group of five stucco images that appear in the frontal projection of the maṇḍapa to the Ālaṅkāṭu temple. Bronzes of the temples reflect the local cultural ethos and professional limbo behind the type of dance-karaṇas performed.

The recent self-immolation of a family in Tamil Nadu drew widespread attention to the issue of usury prevalent in the state. Following a hearing on the depositions of 60 borrower victims at a people’s tribunal in Tirunelveli district, an attempt has been made to examine the nature of the issue, profile the borrower victims, the perpetrators, government apathy and the failure of law enforcement.