Diwan (film)

Diwan is a Tamil film from South India, released in 2003. The film stars Sarathkumar, Kiran, Vadivelu. It was directed by Surya Prakash, who previously directed Maayi with Sarathkumar. S. A. Rajkumar composed the music. Its Hindi dubbed version was released under the title "Mahabali". This flim is a "Failure" at box office.

Plot

Raghavan (Sarathkumar) and Velu (Vadivelu) work as cooks in a non-veg hotel. Raghavan loves Geetha (Kiran) who is the daughter of a rich man (Vijayan), but her father is against this love and insults him as a poor man. Raghavan challenges that he will be rich in a year. There is a subplot in the story, for Meenakshi (Sharmili), a daughter from a rich family; she is the apple of the eye of the family. Meenakshi ran home with her lover Raju, who worked as a driver to her house. He tells that his friend Dinesh will help them. However, Raju escaped because he saw a bad dream where he is killed by her family as if it will happen in reality. Due to that he vanishes. Raghavan understood her plight and helps her.

Diwan

Dewan, Diwaan or Divan may refer to:

Diwan (poetry)

A Diwan (Persian: دیوان‎‎, divân, Arabic: ديوان‎, dīwān) is a collection of poems of one author, usually excluding his or her long poems (mathnawī). These poems were often composed and collected in the imperial courts of various sultanates and were very well known for their ability to inspire.

Etymology

The English usage of the phrase "diwan poetry" comes from the Arabic word diwan (دیوان), which is loaned from Persian means designated a list or register. The Persian word derived from the Persian dibir meaning writer or scribe. Diwan was also borrowed into Armenian, Arabic, Urdu, Turkish. In Persian, Turkish and other languages the term diwan came to mean a collection of poems by a single author, as in selected works, or the whole body of work of a poet. Thus Diwan-e Mir would be the Collected works of Mir Taqi Mir and so on. The first use of the term in this sense is attributed to Rudaki.

The term divan was used in titles of poetic works in French, beginning in 1697, but was a rare and didactic usage, though one that was revived by its famous appearance in Goethe's West–östlicher Divan (Poems of West and East), a work published in 1819 that reflected the poet's abiding interest in Middle Eastern and specifically Persian literature.

Diwan (Nasir Khusraw)

The Diwan, or Divan (Persian: دیوان‎‎), is a collection of poems written and compiled by Nasir Khusraw (1004–1088 AD). Khusraw composed most of his poems in the Valley of Yumgan, a remote mountainous region in Badakhshan (now in present-day Afghanistan). The Divan contains around 11,000 verses of Khusraw's own poetry, reflecting philosophical, religious, and personal themes.

Poetry

The majority of poems contained in the Divan are odes composed in the traditional Persian qasida (a structured form of poetry with an elaborate metre). The qasida consists of a single rhyme carried throughout the entirety of the poem. In terms of rhythm, each line (bayt) of the qasida consists of two equal parts. The Divan also contains quatrains and shorter poems (as qasidas can be relatively long).

Khusraw, in his Divan, employs sophisticated rhetorical and poetic devices characteristic of Persian poetry. Su’al u javab, or question and answer, is used frequently.Antanaclasis is also employed, often with words that denote both places and things. In her book, Make A Shield From Wisdom : Selected Verses from Nasir-i Khusraw's Divan, Annemarie Schimmel gives the example of the play on Sham meaning Syria, and sham denoting the 'evening', that occurs throughout the Divan. The combination of prescribed structure and varied peotic devices adds to the elegance and sophistication of his poetry, making this collection one of the greatest in Persian literature.

Film (Iranian magazine)

Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.

References

External links

Film (film)

Film is a 1965 film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a forty-leaf shooting script followed thereafter. It was filmed in New York in July 1964.

Beckett’s original choice for the lead – referred to only as “O” – was Charlie Chaplin, but his script never reached him. Both Beckett and the director Alan Schneider were interested in Zero Mostel and Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a "Hollywood epic." Beckett then suggested Buster Keaton. Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with "a handsome fee for less than three weeks' work."James Karen, who was to have a small part in the film, also encouraged Schneider to contact Keaton.

The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States. The script printed in Collected Shorter Plays of Samuel Beckett (Faber and Faber, 1984) states:

Lubrication theory

In fluid dynamics, lubrication theory describes the flow of fluids (liquids or gases) in a geometry in which one dimension is significantly smaller than the others. An example is the flow above air hockey tables, where the thickness of the air layer beneath the puck is much smaller than the dimensions of the puck itself.

Internal flows are those where the fluid is fully bounded. Internal flow lubrication theory has many industrial applications because of its role in the design of fluid bearings. Here a key goal of lubrication theory is to determine the pressure distribution in the fluid volume, and hence the forces on the bearing components. The working fluid in this case is often termed a lubricant.

Free film lubrication theory is concerned with the case in which one of the surfaces containing the fluid is a free surface. In that case the position of the free surface is itself unknown, and one goal of lubrication theory is then to determine this. Surface tension may then be significant, or even dominant. Issues of wetting and dewetting then arise. For very thin films (thickness less than one micrometre), additional intermolecular forces, such as Van der Waals forces or disjoining forces, may become significant.