Tuesday, April 22, 2025

Rise Of Private Television Channels In Sri Lanka __đŸ“ē🔆

The term television was first introduced to the World by Constantine Percy on August 25 in 1900. At the International Electrotechnical Congress At The World Fair In France, in reference to the beginnings of Television media.After that, Scotsman John Logie Baird held the first public demonstration of television on March 25, 1926, in London,That Jhon Logie Baird successfully introduced a television system on the world.

Later, through various research, by the year 1930, television had spread rapidly in a large number of countries such as the United Kingdom,  the United States, Canada, France, Germany,the Soviet Union and Japan.Thus although television was a common tool in many countries of the world by 1970,  it was not so in Sri Lanka. During the period of Dudley Senanayake in (1965-1970), efforts were made to obtain a television service for Sri Lanka with Germany, but it was not successful.Then,the young Shan Wickramasinghe,who had studied television technology in London, together with a few friends, launched the first television broadcast in Sri Lanka.Covering the Non-Aligned Nations conference in August 1976.visible for a distance of 10 miles around Colombo.As a result on August 13,1979.The Independent Television Network (ITN) was launched as the first television service in the country. but it was not an official service.

Two years later, as a result of the live broadcast of Queen Elizabeth's visit to Sri Lanka in 1981, the Sri Lankan National Television Corperation was officially established under the television Corperation Act.no 6 on 13th February in 1982.Under this many political,economic,social and cultural changes took place in Sri Lanka in the next few years. Accordingly the first television channel to  emerge in Sri Lanka is called the Independent Television Network service (ITN).It was initially called TV Sri Lanka and later became  known as ITN.The three leaders who took lead in the establishment of the Independent Television service were Shan Wickramasinghe,Anil Wijewardhana,Bob Crist and it's existence was limited to only 52 days.due to various reasons the ITN service was taken over by the government on June 5, 1979. after the television service was suspended for more than 24 hours and was handed over to the Sri Lanka Broadcasting Corperation.

There after, the national television channel emerged as a state television channel and was introduced under the National Television Act.No 23 of January 1982 and established on February 15,1982.This channel was received as a gift from Japan during the J.R.Jayawardhane regime and the programs launched.Through the Independent Television service with forign orientation have been used for local processes such as Education,Information provision and Entertainment through this channel.This channel,which started as a state Channel,operates it's service in the three official languages of Sinhala,Tamil and English. Later,the National Television channel started broadcasting programs in English and Tamil language through Channel EYE in August 2000.


Thus,during the period when there was a control authority over to state-run channels,the first private television channel in Sri Lanka, the TNL was launched on 21 June 1993. It was also started by the founder of the Independent Television service,Mr Shan Wikramasinghe.The channel,which was thus established became such as news,political discussions.

After that many television channels such as TV 1 in 1992,E-TV in 1995,Art television in 1996,Swarnavahini in 1997,Shakti TV in 1998,Channel EYE in 1999,Derana in 2005,Sri TV in 2006,City Hitz TV in 2007,Siyatha TV in 2009,Vasantham TV in 2009 and Hiru TV in 2012 were channels. since then more than 40 private television channels are currently operating in Sri Lanka.


Private Channels Introduced Divers Programming And Competition...

With the emergence of private channels,the procedures implemented on state channels began to broadcast programs on various teames and competitive programs in the form of songs and answers for these private channels have taken steps to promote their channels by providing opportunities for the public to connect for example the early political programs broadcast on private channels.The private channels started Political Programms,funny programms,Dubbing of foreign teledramas and News broadcast.In addition Sirasa TV channel starts with Sirasa Super star,a music reality program to highlight competition,has created competitors and created a sense of competition among the public,and  efforts have been made to instill competition among young children.

These programs were broadcast early on and private channels have surpassed State channels by around 2015 due to factors such as the introduction of a daily news broadcast on private channels,the introduction of various programs that can be connected to the public,and the coverage of every  field.

With the start of private channels as mentioned earlier,alternative ideas emerged among the people,news came forward in a new form as daily news broadcast,and at the same time,investigative news reporting  began and private channels became closer to the people.Moreover,political discourse was brought to the forefront of the media,political debates and discussions were born through this,and froud,corruption and irregularities in every existing state were exposed through this.Also,during the rule of the two State- Controlled channels,media Freedom,which was not implemented and the people were prevented from using the media as the wished.

Through investigative news reports,there was an interest in enforcing the law against those who misused the media.Also,through the introduction of Citizen journalists through these channels,every citizen was given the opportunity to provide news to the people,that is,to become a citizen journalist.Private channels further restricted the media freedom of citizen and promoted their channels and a person was contined to one frame.Many political discussion programs that started and developed on private channels are now broadcast on every private Channels.

Through this,discussing issues,problems and current political situations that are very close to the people was a strong reason for the promotion of private channels.Since private channels provide new information with a news methodology and political face that has not been seen before,it is currently deen that many viewers are leaving State channels and joining private channels and different opinions, alternative proposals,etc.are beginning of being presented throught these private channels.


Influence On Local Culture And Entertainment Trends...

The private Channels that gradually grew in this way introduced more reality programs around 2010-2012 which gave the youth and opportunity to join the media and showcase their talents.Which promoted their channels by giving opportunities to the talents of the youth,and by giving large prize money to the winners through these programs,a large number of young people join them.Futhermore, various programs for the entertainment of the people,such as songs were also broadcast throat private channels.

Private channels that didn't stop at this took steps to touch on International programs and present them in a Sri Lankan format through their channels.Thus is Sri Lanka was brought closer to globalization through private channels.Also,many local teledramas and films,productions related to local culture were broadcast through private channels.The fact the most of these productions had cultural and traditional characteristics that were very close to the people was a strong reason for keeping the audience on private channels.These private channels brought a lot of dubbed Indian teledramas and Korean TV series to the masses.Private channels also produced a lot of entertaining teledramas and programs to keep the people on their channels.

These channels implemented welfare programs.More over,these channels also had special programs for festival seasons.The attention of the audience was largely drawn to the private channels.Private channels use them as key factors to retain the audience.These private channels began broadcasting children's programs very quickly and through the launch of cartoons and educational programs.Young children and young teenagers turned to these channels.In addition,private channels are turning to retain their audience by introducing new Creations and providing the public with the opportunity to watch interesting things.

Monday, April 21, 2025

___ CULTURAL PROXIMITY THEORY ( ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē)__📄✍

āļą්‍āļēාāļēāļš් āļŊෙ⎃ ⎄āļŗුāļą්⎀āļąු āļŊāļļāļą්āļąේ,

                         āļēāļ¸āļš් āļ´ැ⎄ැāļ¯ිāļŊි āļšිāļģීāļ¸ේ āļ¯ී āļ‹āļ´āļēෝāļœී āļšāļģāļœāļąු āļŊāļļāļą āļ…āļ¯āˇ„āˇƒ් ⎃āļ¸ූ⎄āļēāļš āļ‘āļšāļ­ු⎀āļšි. āļ‘āˇƒේāļ¸ āļ‘āļē āļ‰āļ­ාāļ¸āļ­් āļ­ිāļēුāļĢු āļŊෙ⎃ āˇƒāˇ„ ⎃ූāļš්‍⎂āļ¸āˇ€ ⎀ිāļ¸āˇƒා āļļැāļŊිāļē āļēුāļ­ු āļ­ේāļ¸ා⎀āļšි. āļą්‍āļēාāļēāļš් āļēāļąු āļšුāļ¸āļš්āļ¯ැāļēි āļ­āˇ€āļ¯ුāļģāļ§āļ­් āļ¯āļš්⎀āļą්āļąේ āļąāļ¸් āļ‘āļē āļēāļ¸් āļšි⎃ි āļ¯ෙāļēāļš් āļ´ි⎅ිāļļāļŗāˇ€ āļ…āļ´ āļšāļģāļąු āļŊāļļāļą āˇ„ැāļ¯ෑāļģීāļ¸ āˇ„ෝ āļ…āļ°්‍āļēāļēāļąāļē ⎀ෙāļ­ āļēොāļ¸ු⎀ීāļ¸āļ§ āļ…āļ¯ා⎅ āļąි⎁්āļ ිāļ­ āļģාāļ¸ු⎀āļš āˇƒිāļ§ āļ’ āļ´ි⎅ිāļļāļŗāˇ€ āļ…āļ°්‍āļēāļēāļąāļē āļšිāļģීāļ¸ āļŊෙ⎃ āļ¯ැāļš්⎀ිāļē ⎄ැāļšිāļē.āļą්‍āļēාāļēāļą් āļ´ි⎅ිāļļāļŗāˇ€ āļ…āļ°්‍āļēāļēāļąāļēේāļ¯ී āļ…āļ´āļ§ āˇ€ි⎀ිāļ°ාāļšාāļģāļēෙāļą් āļą්‍āļēාāļē ⎀āļģ්āļœ āˇƒāˇ„ ⎃්⎀āļģූāļ´āļēāļą් āļ¯ැāļšāļœැāļąීāļ¸āļ§ āˇ„ැāļšි āļ…āļ­āļģ āļą්‍āļēාāļēāļą් ⎀āļģ්āļœ āļšිāļģීāļ¸ āļ´ි⎅ිāļļāļŗāˇ€ ⎀ිāļ¸āˇƒීāļ¸ේāļ¯ී āļ’⎀ා, ⎃āļ¸ාāļĸ ⎀ිāļ¯්‍āļēාāļ­්āļ¸āļš āļą්‍āļēාāļē, āļ¯ේ⎁āļ´ාāļŊāļą āļą්‍āļēාāļē, āļ†āļģ්āļŽිāļš āļą්‍āļēාāļē, ⎀ිāļ¯්‍āļēාāļ­්āļ¸āļš āļą්‍āļēාāļē, ⎃āļą්āļąි⎀ේāļ¯āļą āļą්‍āļēාāļē, ⎃ං⎃්āļšෘāļ­ිāļš āļą්‍āļēාāļē āˇƒāˇ„ āļ…āļ°්‍āļēාāļ´āļą āļą්‍āļēාāļē ⎀ැāļąි āļą්‍āļēාāļēāļą් āļ”āˇƒ්⎃ේ ⎀ිāļœ්‍āļģ⎄ āļšāˇ… ⎄ැāļšිāļē. 


āļ‘āļš් āļ‘āļš් ⎀ි⎂āļēාāļąුāļšූāļŊ āˇƒāˇ„ āļ‘āļš් āļ‘āļš් ⎃ිāļ¯්āļ°ි āļ¯ාāļ¸āļēāļą්āļ§ āļ…āļąුāļšූāļŊ⎀ ⎀ිāļ¯්‍āļēාāļĨāļēāļą් āļ¸ෙāļą්āļ¸ āˇ€ි⎀ිāļ° āˇ€ිāļ¯්⎀āļ­ුāļą් ⎀ි⎃ිāļą් āļ‰āļ¯ිāļģිāļ´āļ­් āļšāļģ āļ‡āļ­ි āļą්‍āļēාāļēāļą් āļšි⎄ිāļ´āļēāļš් āļ‡āļ­ි āļ…āļ­āļģ āļ’⎀ා ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē, āļąි⎄āļŦ āļ¯āļŸāļģ āļą්‍āļēාāļē, āļ¯ෙāļ´ිāļē⎀āļģ āļą්‍āļēාāļē, āļąāˇ€ෝāļ­්āļ´ාāļ¯āļą āļą්‍āļēාāļē,āļˇා⎀ිāļ­āļēāļą් āˇƒāˇ„ āļ­ෘāļ´්āļ­ි āļ­ෘāļ´්āļ­ිāļ¸āļ­් āļšිāļģීāļ¸ේ āļą්‍āļēාāļē, āļą්‍āļēාāļē āļ´āļ­්‍āļģ ⎃ැāļšāˇƒීāļ¸ේ āļą්‍āļēාāļē āļ†āļ¯ී ⎀⎁āļēෙāļą් āļ¯ැāļš්⎀ිāļē ⎄ැāļšිāļē .


Cultural Proximity Theory (⎃ං⎃්āļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē)__

⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē āļēāļąු āļļ⎄ුāļ¸ාāļą āˇƒංāļšāļŊ්āļ´āļēāļš් āļŊෙ⎃ ⎄ැāļŗිāļą්⎀ේ. āļļො⎄ෝ ⎀ිāļ§ āļ¸ෙāļē āļĸාāļ­ිāļš āˇƒීāļ¸ා⎀āļą් ⎄āļģ⎄ා āļ¸ාāļ°්‍āļē āļ¸āļąාāļ´āļēāļą් āļ´ැ⎄ැāļ¯ිāļŊි āļšිāļģීāļ¸ āˇƒāļŗāˇ„ා āļˇා⎀ිāļ­ා āļšāļģāļēි. āļ‘āˇƒේāļ¸ āļ¸ෙāļ¸ āˇƒංāļšāļŊ්āļ´āļē ⎃ං⎃්āļšෘāļ­ිāļš āˇ€āˇāļēෙāļą් āļ¸ිāļąි⎃ුāļą්āļœේ ⎄ුāļģුāļ´ුāļģුāļ¯ු āˇƒāˇ„ āļ”⎀ුāļą් ⎃ාāļ´ේāļš්⎂⎀ āļ¸ාāļ°්‍āļē āļ…āļą්āļ­āļģ්āļœāļ­āļēāļ§ āļšැāļ¸āļ­ි ⎀āļą්āļąේ āļšෙ⎃ේāļ¯ āļēāļą්āļą āļ´ි⎅ිāļļāļŗāˇ€ āļąිāļœāļ¸āļąāļēāļšāļ§ āļ‘⎅āļšීāļ¸ āˇƒāļŗāˇ„ා āļ‰āļ­ාāļ¸āļ­් āļ´්‍āļģāļēෝāļĸāļąāˇ€āļ­් ⎀ේ.āļ¸ෙāļ¸ āļą්‍āļēාāļē āļ”āˇƒ්⎃ේ āļēෝāļĸāļąා āļšāļģāļą්āļąේ āļ´ුāļ¯්āļœāļŊāļēāļą් āļ­āļ¸āļą්āļœේāļ¸ āˇƒං⎃්āļšෘāļ­ිāļš āˇ€āļ§ිāļąාāļšāļ¸් āˇƒāˇ„ āļˇāˇ‚ා⎀ āļ´ි⎅ිāļļිāļšු āļšāļģāļą āļ¸ාāļ°්‍āļē ⎃āļ¸āļŸිāļą් ⎃āļ¸්āļļāļą්āļ° āˇ€ීāļ¸āļ§ āˇ€ැāļŠි āļ‰āļŠāļš් āļ‡āļ­ි āļļ⎀āļēි. ⎀āļģ්āļ­āļ¸ාāļąāļēේāļ¯ී āļ‘āļē āļˇා⎀ිāļ­ා āļšāļģāļąු āļŊāļļāļą්āļąේ āļļ⎄ු ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ාāļĸāļēāļš් āļ­ු⎅ āļ´්‍āļģේāļš්⎂āļš āļ¸āļąාāļ´āļē āļ´ැ⎄ැāļ¯ිāļŊි⎀ ⎄ෙ⎅ිāļ¯āļģ⎀් āļšāļģ āļœැāļąීāļ¸ āˇƒāļŗāˇ„ාāļē.⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­්⎀āļē āļŊෙ⎃ ⎄āļŗුāļą්⎀āļą්āļąේ āļ¸ිāļąි⎃ුāļą් āļ­āļ¸ āˇƒං⎃්āļšෘāļ­ිāļē āļ†āˇ්‍āļģāļēෙāļą් āļ¸ාāļ°්‍āļē ⎀ෙāļ­ āļ†āļšāļģ්⎂āļĢāļē ⎀ීāļ¸āļēි. ⎀ි⎀ිāļ° āļ´්‍āļģේāļš්⎂āļš āļ¸āļ­ිāļ¸āļ­ාāļą්āļ­āļģ ⎀ි⎀ිāļ° āļˇා⎂ා ⎁ෛāļŊීāļą් āˇƒāˇ„ ⎃ං⎃්āļšෘāļ­ීāļą් āļ´āˇ€āļ­ිāļą āļŊෝāļšāļēāļš āļ´්‍āļģේāļš්⎂āļš āˇ„ැ⎃ිāļģීāļ¸ āļ´ැ⎄ැāļ¯ිāļŊි āļšිāļģීāļ¸ āˇƒāļŗāˇ„ා āļ¸ෙāļ¸ āˇƒං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē ⎀ැāļ¯āļœāļ­් ⎀ේ.


āļ¸ෙāļ¸ āˇƒං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē 1991  āˇ€āˇƒāļģේ āļ¯ී JOSEPH STRAUBHAAR  ⎀ි⎃ිāļą්  ⎃ොāļēාāļœැāļąීāļ¸ āˇƒිāļ¯ුāļšāˇ… āļ…āļ­āļģ āļ‘⎄ිāļ¯ී āļ”⎄ු āļ´්‍āļģāļšා⎁ āļšāˇ…ේ āļ´්‍āļģේāļš්⎂āļšāļēāļą් āļ”⎀ුāļą්āļœේ āļšැāļ¸āļ­ි āļ¸ාāļ°්‍āļē āļąි⎂්āļ´ාāļ¯āļą āļ­ෝāļģා āļœැāļąීāļ¸ේāļ¯ී ⎃ං⎃්āļšෘāļ­ිāļš āļ´āˇƒුāļļිāļ¸්⎀āļŊ ⎃āļ¸ාāļąāļšāļ¸් ⎀ි⎁ාāļŊāļ¸ āˇƒාāļ°āļšāļēāļš් ⎀āļą āļļ⎀āļēි.āļ‘āˇƒේāļ¸ āˇƒං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­්⎀āļē āļˇා⎂ා⎀, āļĸāļąāˇ€ාāļģ්āļœිāļšāļ­්⎀āļē ,āļ‰āļ­ි⎄ා⎃āļē āˇƒāˇ„ āļˇූāļœෝāļŊීāļē ⎃ාāļ°āļš āˇ€ැāļąි ⎃ං⎃āļą්āļ¯āļąාāļ­්āļ¸āļš āļ…ංāļœāļēāļą් āļ¸ෙāļ¸āļœිāļą් āļąිāļģ්⎀āļ āļąāļē āļšāļģāļą āļļ⎀āļ­්  ⎀ි⎃ිāļą් āļ¯āļš්⎀āļēි. āļ”⎄ු āļ¸ෙāļ¸ āļą්‍āļēාāļē āļ‰āļ¯ිāļģිāļ´āļ­් āļšāļģāļą්āļąේ Beyond Media Im-Peralism:Asymmetrical Interdependent And Cultural Proximity(āļ¸ාāļ°්‍āļē āļ…āļ°ිāļģාāļĸ්‍āļē⎀ාāļ¯āļēෙāļą් āļ”āļļ්āļļāļ§ āļ…āˇƒāļ¸āļ¸ිāļ­ිāļš āļ…āļą්āļ­āļģ් āļģāļŗා āļ´ැ⎀ැāļ­්āļ¸ āˇƒāˇ„ ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­්⎀āļē-1991) āļēāļą āļŊිāļ´ිāļē āļ¸āļŸිāļąි.

Josep Sraubhaar āļ”āˇƒ්āļ§āļą්⎄ි āļ§ෙāļš්⎃ා⎃් ⎀්⎁්⎀ ⎀ිāļ¯්‍āļēාāļŊāļēේ āļĸāļą āļ¸ාāļ°්‍āļē āļ´ා⎃āļŊේ ⎃āļą්āļąි⎀ේāļ¯āļąāļē āļ´ි⎅ිāļļāļŗ āļ¸āˇ„ාāļ ාāļģ්āļē⎀āļģāļēෙāļšි.āļ”⎄ු Moodly College Of Communication ⎄ි āļ‡āļ¸ෙāļģිāļšාāļąු āļ…āļ°්‍āļēāļēāļą āˇ€ැāļŠāˇƒāļ§āˇ„āļąේ ⎀āļģ්āļ­āļ¸ාāļą āļ…āļ°්‍āļēāļš්⎂āļšāˇ€āļģāļēා ⎀āļą āļ…āļ­āļģ (2003-2006) āļ…āļ­āļģ āļšාāļŊāļēේ āļŊāļ­ිāļą් āļ‡āļ¸ෙāļģිāļšාāļąු ⎀āļģ්āļ°āļąāļē ⎃āļŗāˇ„ා ⎀āļą Cozano Long Insttute ⎄ී āļļ්‍āļģ⎃ීāļŊිāļēාāļąු āļ…āļ°්‍āļēāļēāļą āļ¸āļ°්‍āļē⎃්āļŽාāļąāļēේ āļ…āļ°්‍āļēāļš්⎂āļšāˇ€āļģāļēාāļ¯ āˇ€ේ.āļ¸ො⎄ුāļœේ āļ‰āļœැāļą්⎀ීāļ¸් āļ­ු⎅ āļļ්‍āļģ⎃ීāļŊිāļēාāļąු āˇƒāˇ„ āļŊāļ­ිāļą් āļ…āļ¸ෙāļģිāļšාāļąු āļģූāļ´āˇ€ා⎄ිāļąිāļē, āļ¸ාāļ°්‍āļē āˇƒāˇ„ āļœෝāļŊීāļē āļģූāļ´āˇ€ා⎄ිāļąී āļąි⎂්āļ´ාāļ¯āļą āļ†āļ¯ිāļē āļ‡āļ­ු⎅āļ­් ⎀āļą āļ…āļ­āļģ āļ´්‍āļģāļ°ාāļą āˇ€āˇāļēෙāļą්āļ¸ āļ”⎄ු āļ¸ාāļ°්‍āļē āļ…āļ°්‍āļēāļēāļąāļē āļ´ි⎅ිāļļāļŗāˇ€ āļ…⎀āļ°ාāļąāļē āļēොāļ¸ු āļšāļģ āļ‡āļ­ āļ¸ො⎄ු āļŊāļ­ිāļą් āļ‡āļ¸ෙāļģිāļšා⎀, āļēුāļģෝāļ´āļē, āļ†āˇƒිāļēා⎀ āˇƒāˇ„ āļ…āļ´්‍āļģිāļšා⎀ ⎀ැāļąි āļģāļ§āˇ€āļŊ āļ´āļģ්āļēේ⎂āļĢ āˇƒිāļ¯ු āļšāļģ āļ‡āļ­ි āļ…āļ­āļģ  āļŊāļ­ිāļą් āļ‡āļ¸āļģිāļšා⎀ āˇƒāˇ„ āļ†āˇƒිāļēා⎀āļ§ āˇි⎂්‍āļē āļšāļĢ්āļŠාāļēāļ¸් āļģැāļœෙāļą āļœො⎃් āļ­ිāļļේ. āļ‘āˇƒේāļ¸ āļ¸ො⎄ු ⎀ි⎃ිāļą්,                                    

  1. Television In Latin America
  2. world Television from global to local
                               āˇ€ැāļąි āļšෘāļ­ි āļģāļ āļąා āļšāļģ āļ‡āļ­ි āļ…āļ­āļģ āļŠāļ§ āļ…āļ¸āļ­āļģ⎀

  1. Communication Media In The Information Society
  2. Media Now: Communications Media In The Information Age 
                                                            ⎀ැāļąි āļŊිāļ´ිāļ¯ āļģāļ āļąා āļšāļģ āļ­ිāļļේ.


āļ‘āˇƒේāļ¸ āļ¸ො⎄ු ⎀ි⎃ිāļą් āļ¸ෙāļ¸ āļą්‍āļēාāļē āļ‰āļ¯ිāļģිāļ´āļ­් āļšāļģāļąු āļŊැāļļු⎀ේ āļŊāļ­ිāļą් āļ‡āļ¸ෙāļģිāļšා⎀ේ āļ¸ාāļ°්‍āļē ⎃āļŗāˇ„ා āļ´්‍āļģේāļš්⎂āļšāļēāļą් ⎃ං⎃්āļšෘāļ­ිāļš āˇ€āˇāļēෙāļą් ⎃āļ¸ීāļ´ āˇ€āļą āļ¸ූāļŊා⎁්‍āļģ ⎄āļģ⎄ා āļ¸ාāļ°්‍āļē āļ…āļą්āļ­āļģ්āļœāļ­āļēāļ§ āļ´āˇ€āļ­ිāļą āļģුāļ ිāļšāļ­්⎀āļē āļ´ි⎅ිāļļāļŗāˇ€ āļ´ැ⎄ැāļ¯ිāļŊි āļšිāļģීāļ¸ āˇƒāļŗāˇ„ාāļē. āļ¸ෙāļē āļœෝāļŊීāļē āļ¸ාāļ°්‍āļēāļēāļą් ⎃āļ¸්āļļāļą්āļ°āļēෙāļą් ⎀ැāļŠි ⎀⎁āļēෙāļą් āļ…āļ¯ා⎅ ⎀āļą āļ…āļ­āļģ āļ¸ිāļąි⎃ුāļą් āļļො⎄ෝ ⎀ිāļ§ āļ¯ුāļģ⎃්āļŽ āˇ„ෝ āļąුāļ´ුāļģුāļ¯ු ⎃ං⎃්āļšෘāļ­ීāļą්āļ§ āˇ€āļŠා āļ­āļ¸ āˇƒං⎃්āļšෘāļ­ිāļēāļ§ āˇƒāļ¸ීāļ´ āļŊෙ⎃ āļąිāļģ්āļ¸ාāļĢāļē ⎀ී āļ‡āļ­ි āļģāļ§āˇ€āļŊ්⎀āļŊ āļ¸ාāļ°්‍āļē ⎀ෙāļ­ āļ†āļšāļģ්⎂āļĢāļē ⎀ෙāļēි.
    
  
āļ­āˇ€āļ¯ුāļģāļ§āļ­් Straubhaar āļ­āļģ්āļš āļšāˇ…ේ ⎃ං⎃්āļšෘāļ­ිāļš āˇ€āˇāļēෙāļą් ⎃āļ¸ීāļ´ āˇƒāļ¸ාāļĸāļēāļš āļ¸ාāļ°්‍āļē āļ…āļą්āļ­āļģ්āļœāļ­āļē ⎃āļ¸āļŸ āļ´්‍āļģේāļš්⎂āļšāļēāļą් ⎀ැāļŠි ⎀⎁āļēෙāļą් āˇƒāˇ„āˇƒāļ¸්āļļāļą්āļ° āˇ€āļą āļļැ⎀ිāļą් āļ‘āļē āļ´ි⎅ිāļœැāļąීāļ¸āļ§ āļ¸ෙāļą්āļ¸ āļ…⎀āļļෝāļ° āļšāļģāļœැāļąීāļ¸āļ§ āļ´්‍āļģේāļš්⎂āļšāļēāļą්āļ§ āļ´āˇ„āˇƒු⎀āļą āļ…āļ­āļģ āļ‘āļē āļ”⎀ුāļą්āļœේ āļ…āļąāļą්‍āļēāļ­ා⎀āļē ⎃āļ¸āļŸ āˇƒāļ¸ීāļ´āˇ€ āļ´āˇ€āļ­ිāļą āļļ⎀āļēි. āļŊāļ­ිāļą් āļ‡āļ¸ෙāļģිāļšා⎀ේ āļ´්‍āļģේāļš්⎂āļšāļēāļą් āļ‘āļš්⎃āļ­් āļĸāļąāļ´āļ¯āļēේ āļ¸ාāļ°්‍āļēāļēāļą්āļœේ āļ´āˇ€āļ­ිāļą āļˇා⎂ා āļ…āļą්āļ­āļģ්āļœāļ­āļēāļ§ āˇ€āļŠා āļ¸ෙāļš්⎃ිāļšෝ⎀ ⎄ෝ āļ†āļĸāļą්āļ§ිāļąා ⎀ැāļąි āļģāļ§āˇ€āļŊ ⎃්āļ´ාāļ¤්āļ¤ āļˇා⎂ා āļ…āļą්āļ­āļģ්āļœāļ­āļēāļš් āˇƒāˇ„ිāļ­ āļ¸ාāļ°්‍āļē ⎀ැāļŠāˇƒāļ§āˇ„āļą් ⎃āļŗāˇ„ා ⎀ැāļŠි āļąැāļšුāļģුāļ­ා⎀āļēāļš් āļ¯ැāļš්⎀ීāļ¸ āļ¸ෙ⎄ිāļ¯ී āļąිāļ¯āˇƒුāļąāļš් āļŊෙ⎃ āļ´ෙāļą්⎀ිāļē ⎄ැāļšිāļē.


āļ­āˇ€āļ¯ āļ¸ො⎄ු ⎀ි⎃ිāļą් 2003 āļ¯ී āļ´්‍āļģāļšා⎁ āļšāļģ ⎃ිāļ§ිāļēේ āļ¸ාāļ°්‍āļē āļąි⎂්āļ´ාāļ¯āļąāļēāļą් āļ´āļģිāļˇෝāļĸāļąāļē āļšිāļģීāļ¸ේāļ¯ී āļ´්‍āļģේāļš්⎂āļšāļēāļą්āļœේ āļ¸āļąාāļ´āļē āļ­ීāļģāļĢāļē ⎀āļą්āļąේ āļ¸ාāļ°්‍āļē āļˇා⎀ිāļ­ා āļšāļģāļą āļˇා⎂ා⎀ āļ¸āļ­ āļļ⎀āļēි. 2004 āˇ€āˇƒāļģේ āļ¯ී Kim  ⎀ි⎃ිāļą් Hallyu āˇƒāˇ„ Cultural Proximity Theory āļ…āļ­āļģ āļ´āˇ€āļ­ිāļą āˇƒāļ¸්āļļāļą්āļ°āļē āļ´ි⎅ිāļļāļŗāˇ€ āļ…āļ°්‍āļēāļēāļąāļēāļš් āļšāˇ… āļ…āļ­āļģ āļ‘⎄ිāļ¯ී āļ”⎄ුāļœේ āļąිāļœāļ¸āļąāļē ⎀ූāļēේ āļ¯āļšුāļĢු āļšොāļģිāļēාāļąු āļ¸ාāļ°්‍āļē ⎀ැāļŠāˇƒāļ§āˇ„āļą් āļąැāļģāļšීāļ¸ේ āˇƒāˇ„ āļ´āļģිāļˇෝāļĸāļąāļē āļšිāļģීāļ¸ෙāļą් āļ´්‍āļģේāļš්⎂āļšāļēāļą් āļ­ෘāļ´්āļ­ිāļ¸āļ­් āļˇා⎀āļēāļˇා⎀āļēāļšāļ§ āļ´āļ­්⎀āļą āļļ⎀āļēි.
 



āļ‘āˇƒේāļ¸ āļ¸ෙāļ¸ āˇƒං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē āļ”āˇƒ්⎃ේ āļ¯āļš්⎀āļąු āļŊāļļāļą්āļąේ āļ´ුāļ¯්āļœāļŊāļēāļą් āļ­āļ¸āļą්āļ§ āˇƒāļ¸ාāļą āˇ„ෝ ⎄ුāļģුāļ´ුāļģුāļ¯ු ⎃ං⎃්āļšෘāļ­ීāļą්āļœෙāļą් āļ¸ාāļ°්‍āļē ⎃āļ¸āļŸ āˇƒāļ¸්āļļāļą්āļ° āˇ€ීāļ¸āļ§ āˇƒāˇ„ āļ‘āļē āļˇා⎀ිāļ­ා āļšිāļģීāļ¸āļ§ āˇ€ැāļŠි ⎃ැāļŊāļšිāļŊ්āļŊāļš් āļ¯āļš්⎀āļą āļļ⎀āļ­්, āļˇා⎂ා⎀ āļ“āļ­ි⎄ා⎃ිāļš āˇ„ෝ ⎃āļ¸ාāļĸāļ¸āļē āļŊāļš්⎂āļĢ āļ­āļ¸āļą්āļœේāļ¸ āˇƒං⎃්āļšෘāļ­ීāļą්āļœේ āļŊāļš්⎂āļĢ āˇƒāļ¸āļœ āļļෙāļ¯ාāļœāļą්āļąා ⎃ං⎃්āļšෘāļ­ීāļą්āļœෙāļą් āļ‘āļą  āļ ිāļ­්‍āļģāļ´āļ§, ⎃ංāļœීāļ­āļē, āļģූāļ´āˇ€ා⎄ිāļąී ⎀ැāļŠāˇƒāļ§āˇ„āļą් āļœු⎀āļą්⎀ිāļ¯ුāļŊි ⎀ැāļŠāˇƒāļ§āˇ„āļą් āļļැ⎀ිāļą් ⎃ං⎃්āļšෘāļ­ිāļš āļąි⎂්āļ´ාāļ¯āļą āˇƒāļŗāˇ„ා āļ¸ිāļąි⎃ුāļą්āļ§ āļ¸āļąාāļ´āļēāļš් āļ‡āļ­ි āļļ⎀āļēි.

  

  • ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļēේ āļ´්‍āļģāļ°ාāļą āļ…ංāļœ.....
                     01.⎃ං⎃්āļšෘāļ­ිāļš āˇ„ුāļģුāļ´ුāļģුāļ¯ුāļšāļ¸ āˇƒāļŗāˇ„ා āļ‡āļ­ි āļšැāļ¸ැāļ­්āļ­.
                            02.āļˇා⎂ා⎀ āļ´්‍āļģāļ°ාāļą āˇƒාāļ°āļšāļēāļš් ⎀ීāļ¸.
                            03.⎃ං⎃්āļšෘāļ­ිāļš āˇ€āļ§ිāļąාāļšāļ¸් āˇƒāˇ„ āļ…āļąāļą්‍āļēāļ­ා⎀āļē.
                            04.āļ´්‍āļģාāļ¯ේ⎁ීāļē,āļšāļŊාāļ´ීāļē ⎄ෝ āļ¯ේ⎁ීāļē āļ¸ාāļ°්‍āļē ⎃āļŗāˇ„ා ⎀ූ āļģුāļ ිāļšāļ­්⎀āļē.
                            05.⎀ි⎀ිāļ° āļ´්‍āļģේāļš්⎂āļš āļ­ේāļģීāļ¸්.

  • ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļē āļˇා⎀ිāļ­āļēෙāļą් āļŊෝāļšāļēේ āļ†āļģ්āļŽිāļš āˇ€āˇāļēෙāļą් āļ¯ිāļēුāļĢු ⎀ූ āļ…ංāļœ..
                      01.āļļොāļŊි⎀ුāļŠāļēේ āļœෝāļŊීāļē ⎃ාāļģ්āļŽāļšāļ­්⎀āļē
                           02.āļŊāļ­ිāļą් āļ‡āļ¸āļģිāļšා⎀ āˇƒāˇ„ āļ’ āļ†āˇ්‍āļģිāļ­ āļ§ෙāļŊිāļąාāļ§්‍āļē
                           03.K-Dramas and K-Pop
                           04.Netflix
                           05.āļ´්‍āļģාāļ¯ේ⎁ීāļē āļ´ු⎀āļ­් āˇƒāˇ„ āļģූāļ´āˇ€ා⎄ිāļąී āļąාāļŊිāļšා 

  • ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļēේ ⎀ා⎃ි...
                      01.⎃ං⎃්āļšෘāļ­ිāļš āļ…āļąāļą්‍āļēāļ­ා⎀āļē āļ´්‍āļģ⎀āļģ්āļ°āļąāļē āļšිāļģීāļ¸.
                           02.āļ´්‍āļģේāļš්⎂āļšāļēāļą් āļ‡āļŗ āļļැāļŗ āļ­āļļා āļœැāļąීāļ¸ේ ⎄ැāļšිāļēා⎀āļš් āļ´ැ⎀āļ­ීāļ¸.
                           03.āļ¯ේ⎁ීāļē āļ¸ාāļ°්‍āļē āļšāļģ්āļ¸ාāļą්āļ­āļēāļą් ⎃āļŗāˇ„ා āˇƒāˇ„āļē āļ¯ැāļš්⎀ීāļ¸.
                           04.āļ¸ාāļ°්‍āļē āļ‹āļ´ාāļē āļ¸ාāļģ්āļœ āļ¯ැāļąුāļ¸් āļ¯ීāļ¸.

  • ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ීāļ´āļ­ා āļą්‍āļēාāļēේ āļ…⎀ා⎃ි...
                     01.āļ¯ේ⎁ීāļē āļ¸ාāļ°්‍āļē ⎃āļŗāˇ„ා āļ†āļģ්āļŽිāļš āļ…āļˇිāļēෝāļœ āļ‘āļŊ්āļŊ ⎀ීāļ¸.
                         02.⎃ීāļ¸ිāļ­ āļ´්‍āļģේāļš්⎂āļš āļ…⎀āļ°ාāļąāļēāļš් āļēොāļ¸ු⎀ීāļ¸.
                         03.⎃ං⎃්āļšෘāļ­ිāļē ⎃ීāļ¸ිāļ­ āļšිāļģීāļ¸.
                         04.āļļ⎄ු ⎃ං⎃්āļšෘāļ­ිāļš āˇƒāļ¸ාāļĸ ⎀āļŊිāļą් āļ…āļˇිāļēෝāļœ āļ‘āļŊ්āļŊ ⎀ීāļ¸. 




⎃āļ§āˇ„āļą-  Sanduni Sithara
             Mass communication
             Undergraduate
             University Of  Kelaniya
                      

Sunday, April 20, 2025

___ How the Big six model used for studies___ 📖 🖊... (BIG 6 MODEL)

 āļ­ොāļģāļ­ුāļģු āļēāļąු,

    āļ…āļģ්āļŽāļēāļš් āˇƒāˇ„ිāļ­āˇ€ āļŊāļļāļą්āļąා āļ­ු⎅ āļšි⎃ිāļēāļ¸් āļ…āļ¯āˇ„āˇƒāļš්,āļ¯ැāļąුāļ¸āļš්,āļ…⎀āļļෝāļ°āļēāļš් āļ‡āļ­ි āļšāļģ⎀ීāļ¸āļ§ āˇ„ැāļšි ⎃ු⎀ි⎁ේ⎂ී ⎀āļ§ිāļąාāļšāļ¸āļšිāļą් āļēුāļš්āļ­ āˇ€ූ⎀āļšි.⎀āļģ්āļ­āļ¸ාāļą āļ­ාāļš්⎂āļĢāļēāļ§ āļ…āļąුāļģූāļ´āˇ€ āļ¸ිāļąි⎃ාāļœේ āļ¯ැāļąුāļ¸් āļ´āļģා⎃āļēāļ¯ āļ´ුāļŊුāļŊ් ⎀ීāļ¸ āˇƒāˇ„ āļ…⎀⎁්‍āļēāļ­ා⎀āļēāļą්āļ¯ āˇƒංāļšීāļģ්āļĢ āļ¸āļ§්āļ§āļ¸āļšāļ§ āļ´ැāļ¸ිāļĢ āļ‡āļ­ි āļ…āļ­āļģ āļģූāļ´āˇ€ා⎄ිāļąී,āļœු⎀āļą්⎀ිāļ¯ුāļŊි,āļ´ු⎀āļ­්āļ´āļ­් ⎀ැāļąි āļ¸ාāļģ්āļœāļēāļą්āļœෙāļą් āļ¸ෙāļą්āļ¸ āļ…āļą්āļ­āļģ්āļĸාāļŊāļē ⎀ැāļąි āļ¸ාāļģ්āļœāļœāļ­ āļš්‍āļģāļ¸ āļ”āˇƒ්⎃ේāļ¯ āļ´ුāļ¯්āļœāļŊāļēා āļ­ොāļģāļ­ුāļģු ⎀āļŊ āļ…⎀⎁්‍āļēāļ­ා⎀āļē ⎃āļ´ුāļģා āļœැāļąීāļ¸āļ§ āļ´ෙ⎅āļšුāļĢි.āļ‘āˇƒේ āļ‡āļ­ි ⎀ූ āļ¸ෙāļ¸ āļ­āļ­්āļ­්⎀āļē āļ­ොāļģāļ­ුāļģු ⎀ිāļ´්āļŊ⎀āļēāļš් āļŊෙ⎃ ⎄āļŗුāļą්⎀āļēි.

āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා⎀ āļēāļąු,

         āļēāļ¸් āļ…āˇ€āˇƒ්āļŽා⎀ā āļ­ොāļģāļ­ුāļģුāļ¸āļē āļœැāļ§āļŊු⎀āļš් āļ´āļ´ැāļą āļąැāļœුāļąු ⎀ිāļ§ āļ‘āļē ⎀ි⎃āļŗා āļœැāļąීāļ¸ේ āļ…āļ´ේāļš්⎂ා⎀ෙāļą් āļēāļ¸් āļēāļ¸් āļ­ොāļģāļ­ුāļģු āļ¸ූāļŊා⎁්‍āļģ āļœāˇ€ේ⎂āļĢāļē āļšāļģ āļ‘āļ¸ āļœැāļ§āļŊු⎀ ⎃āļŗāˇ„ා ⎀ි⎃āļ¯ුāļ¸් ⎃ොāļēා āļœැāļąීāļ¸āļ§ āļ‡āļ­ි ⎁ිāļŊ්āļ´ීāļē āļšු⎃āļŊāļ­ා⎀āļē āļēි.āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා ⎃ංāļšāļŊ්āļ´āļē 1974 āļ¯ී PAUL ZURKOWSKI ⎀ි⎃ිāļą් āļ´්‍āļģāļŽāļ¸ āˇ€āļģāļ§ āļˇා⎀ිāļ­ා āļšāļģ āļ‡āļ­

                          

 āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා⎀āļē āļ´ි⎅ිāļļāļŗ āļ‰āļ¯ිāļģිāļ´āļ­් ⎀ී āļ‡āļ­ි āļ…āļ¯āˇ„āˇƒ්...

"āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා⎀āļē āļēāļąු āļ…āļģ්āļŽāˇ€āļ­් āļŊෙ⎃ āˇƒāˇ„ āļĩāļŊāļ¯ාāļēී āļŊෙ⎃ āļ­ොāļģāļ­ුāļģු āļˇා⎀ිāļ­āļēāļ§ āļ‡āļ­ි ⎄ැāļšිāļēා⎀ āļēි."

                                                                                                ( āļģෝ⎃් āļ§ොāļŠ්)

"⎀ි⎀ිāļ° āļ¸ූāļŊා⎁්‍āļģ⎀āļŊිāļą් āļ­ොāļģāļ­ුāļģු ⎀ෙāļ­ āļ´ි⎀ි⎃ āļ’⎀ා āļ…āļœāļēāļ¸ිāļą් āļˇා⎀ිāļ­āļēāļ§ āļœැāļąීāļ¸āļ§ āļ‡āļ­ි ⎄ැāļšිāļēා⎀āļēි"

                                                                                                 (āļš්‍āļģි⎃්āļ§ිāļąා āļŠොāļēිāļŊ්)

"āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා⎀āļē āˇƒāˇ„ිāļ­ āļ´ුāļ¯්āļœāļŊāļēා āļēāļąු , āļ­ොāļģāļ­ුāļģු āļ…⎀⎁්‍āļē ⎀ූ ⎀ිāļ§ āļ‘āļē ⎄āļŗුāļąා āļœැāļąීāļ¸āļ§ āļ…⎀⎁්‍āļē āļ­ොāļģāļ­ුāļģු ⎃ොāļēා āļœැāļąීāļ¸āļ§ , āļ‡āļœāļēීāļ¸āļ§ āˇ„ා āļĩāļŊāļ¯ාāļēී āļŊෙ⎃ āļˇා⎀ිāļ­āļēāļ§ āļ‡āļ­ි āļ´ුāļ¯්āļœāļŊāļēෙāļšි.āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා⎀āļēෙāļą් āļēුāļ­ු āļ´ුāļ¯්āļœāļŊāļēāļą් āļŊෙ⎃ ⎄āļŗුāļą්⎀āļą්āļąේ āļ‰āļœෙāļąීāļ¸āļ§ āļ‹āļœāļ­් āļ´ුāļ¯්āļœāļŊāļēāļą් āļē."

                                                                                              (American Library Association)


                                                             BIG  SIX  MODEL...

āļ¸ෙāļ¸ āļ¸ොāļŠිāļēුāļŊāļē Syracuse ⎀ි⎁්⎀⎀ිāļ¯්‍āļēාāļŊāļēේ āļ­ොāļģāļ­ුāļģු ⎀ිāļ¯්‍āļēා⎀ āļ´ි⎅ිāļļāļŗ āļ¸āˇ„ාāļ ාāļģ්āļē Mike Eisenberg āˇƒāˇ„ 2000 ⎀āļģ්⎂āļēේāļ¯ී New York ⎄ි Syracuse ⎄ි āļ´ු⎃්āļ­āļšාāļŊ āļ¸ාāļ°්‍āļē ⎀ෘāļ­්āļ­ිāļšāļēෙāļšු ⎀āļą Bob Berkowitz ⎀ි⎃ිāļą් āļ­ොāļģāļ­ුāļģු ⎃ොāļēා āļēෑāļ¸ේ āļ¯ී āļ•āļąෑāļ¸ āļ´ුāļ¯්āļœāļŊāļēෙāļšු āļ´āˇƒු āļšāļģāļą āļ…āˇ€āˇƒ්āļ­ා 06 āļš් āļ´ි⎅ිāļļāļŗāˇ€ BIG SIX MODEL āļ¸āļŸිāļą් āļ‰āļ¯ිāļģිāļ´āļ­් āļšāļģ āļ‡āļ­.    

  1. āļ­ොāļģāļ­ුāļģු āļ…⎀⎁්‍āļēāļ­ා⎀āļē ⎄āļŗුāļąාāļœැāļąීāļ¸.(Task Definition)
  2. āļ­ොāļģāļ­ුāļģු ⎃ෙ⎀ීāļ¸ේ āļ‹āļ´ාāļē āļ¸ාāļģ්āļœ āˇƒෙ⎀ීāļ¸.(Information Seeking Strategies)
  3. āļ­ොāļģāļ­ුāļģු āļ­ිāļļෙāļą āˇƒ්āļŽාāļąāļē ⎃ොāļēා āļœැāļąීāļ¸.(Location and Accsess)
  4. āļ­ොāļģāļ­ුāļģු āļˇා⎀්āļ­āļē.(Use Of Information)
  5. āļ­ොāļģāļ­ුāļģු ⎃ං⎃්āļŊේ⎁āļĢāļē.(Synthesis)
  6. āļ‡āļœāļēීāļ¸.(Evaluation)

                                            
                                             āļ­ොāļģāļ­ුāļģු ⎃ාāļš්⎂āļģāļ­ා āļ†āļšෘāļ­ිāļē...







Big Six Model āļ…āļ°්‍āļēāļēāļą āļšāļ§āļēුāļ­්āļ­āļš් ⎃āļŗāˇ„ා āļˇා⎀ිāļ­ා āļšāļģāļą āļ†āļšාāļģāļē....
  1.   āļ­ොāļģāļ­ුāļģු āļ…⎀⎁්‍āļēāļ­ා⎀āļē ⎄āļŗුāļąාāļœැāļąීāļ¸.
                     āļ¸ෙ⎄ිāļ¯ී āļ´්‍āļģāļŽāļ¸āˇ€ āļ­ොāļģāļ­ුāļģු āļ…⎀⎁්‍āļē ⎀āļą්āļąේ āļšුāļ¸āļš් ⎃āļŗāˇ„ාāļ¯,āļšුāļ¸āļą āļ­ොāļģāļ­ුāļģුāļ¯,āļ­ොāļģāļ­ුāļģු āļ…⎀⎁්‍āļē āļ¸ාāļ­ෘāļšා⎀ ⎄ෝ āļœැāļ§āļŊු⎀ āļšුāļ¸āļš්āļ¯ āļēāļą්āļą āļ´ි⎅ිāļļāļŗāˇ€ āļ¸ෙāļą්āļ¸ āļ’ āˇƒāļ¸්āļļāļą්āļ°āļēෙāļą්  āļ­āļ¸āļą් ⎃āļ­ු⎀ āļ´āˇ€āļ­ිāļą āļ­ොāļģāļ­ුāļģු āļ¸ොāļąāˇ€ාāļ¯ āļēāļą්āļą āļ´ි⎅ිāļļāļŗāˇ€ āļ´ැ⎄ැāļ¯ිāļŊි āļ…⎀āļļෝāļ°āļēāļš් āļ­ිāļļිāļē āļēුāļ­ු āļē. āļ­ොāļģāļ­ුāļģු āļ…⎀⎁්‍āļēāļ­ා⎀āļēේ ්⎀āļˇා⎀āļē āļ…āļąු⎀ āļ¸ාāļ­ෘāļšා⎀ ⎄ෝ āļœැāļ§āļŊු⎀ āļ…āļąු⎀ āļ­āļ¸āļą්āļ§ āļ…⎀⎁්‍āļē āļšුāļ¸āļą āļ†āļšාāļģāļēāļš āļ­ොāļģāļ­ුāļģුāļ¯ āļēāļą්āļą āļ­ීāļģāļĢāļē āļšāˇ… ⎄ැāļšිāļē.

     2. āļ­ොāļģāļ­ුāļģු ⎃ෙ⎀ීāļ¸ේ āļ‹āļ´ාāļē āļ¸ාāļģ්āļœ āļēෙāļ¯ීāļ¸
                      
                     āļ¸ෙ⎄ිāļ¯ී āļ­ොāļģāļ­ුāļģු ⎃ෙ⎀ීāļ¸ේāļ¯ී āļ´්‍āļģāļŽāļ¸āˇ€ āļ­ොāļģāļ­ුāļģු āļŊāļļාāļœැāļąීāļ¸āļ§ āˇƒāˇ„ ⎃ොāļēා āļœැāļąීāļ¸āļ§ āˇ„ැāļšි ⎃ිāļēāļŊු āļ¸ූāļŊා⎁්‍āļģ āļąිāļģ්āļĢāļē āļšිāļģීāļ¸ āˇƒāˇ„ ⎄ොāļŗāļ¸ āļ¸ූāļŊා⎁්‍āļģ āļ­ෝāļģා āļœැāļąීāļ¸ āˇƒිāļ¯ුāļšāˇ… āļēුāļ­ුāļē. āļ´āˇƒු⎀ āļ”āļļāļ§ āˇ„ොāļŗāļ¸ āļ¸ූāļŊා⎁්‍āļģāļē āļ­ෝāļģා āļœෙāļą āļ’ āļ”āˇƒ්⎃ේ āļ­āļ¸āļą්āļ§ āļ…⎀⎁්‍āļē āļ­ොāļģāļ­ුāļģු ⎃ෙ⎀ීāļ¸ āˇƒිāļ¯ුāļšāļģāļœāļ­ āļēුāļ­ුāļē.āļ­āļ¸āļą්āļ§ āļ­ොāļģāļ­ුāļģු ⎃ොāļēා āļœැāļąීāļ¸ āˇƒāļŗāˇ„ා ⎃ුāļ¯ු⎃ුāļ¸ āļ¸ාāļ°්‍āļē āļģූāļ´āˇ€ා⎄ිāļąිāļēāļ¯, āļœු⎀āļą් ⎀ිāļ¯ුāļŊිāļē āļ¯ ,āļ´ු⎀āļ­්āļ´āļ­ āļ¯ āļąැāļ­āˇ„ොāļ­් āļ…āļą්āļ­āļģ්āļĸාāļŊāļēāļ¯ āļēāļą්āļą āļ´ි⎅ිāļļāļŗāˇ€ āļ´ැ⎄ැāļ¯ිāļŊි āļ…⎀āļļෝāļ°āļēāļš් āļ­ිāļļීāļ¸ āļ‰āļ­ා ⎀ැāļ¯āļœāļ­් ⎀ේ.

     3. āļ­ොāļģāļ­ුāļģු āļ­ිāļļෙāļą āˇƒ්āļŽාāļąāļē ⎃ොāļēා āļœැāļąීāļ¸
 
                     āļ­āļ¸āļą්āļ§ āļ…⎀⎁්‍āļē āļ­ොāļģāļ­ුāļģු āļ­ිāļļෙāļą්āļąේ āļšුāļ¸āļą āˇƒ්āļŽාāļąāļēේāļ¯ āļēāļą්āļą āˇƒොāļēා āļœැāļąීāļ¸, āļ­ොāļģāļ­ුāļģු āļ¸ූāļŊා⎁්‍āļģ ⎃ොāļēා āļœැāļąීāļ¸, āļ´ු⎃්āļ­āļšාāļŊāļē ⎄ෝ āļ…āļąෙāļšුāļ­් āļ´ොāļ­āļ´āļ­ āļˇා⎀ිāļ­ා āļšāļģāļ¸ිāļą් āļ­ොāļģāļ­ුāļģු āļŊāļļා āļœැāļąීāļ¸ේ ⎄ැāļšිāļēා⎀, ⎁්‍āļģා⎀්‍āļē āļ¯ෘ⎂්‍āļē ⎄ෝ āļ…āļą්āļ­āļģ්āļĸාāļŊāļē ⎀ැāļąි āļ¸ූāļŊා⎁්‍āļģ⎀āļŊ āļ‡āļ­ි āļ­ොāļģāļ­ුāļģු ⎃ොāļēා āļœැāļąීāļ¸ේ ⎄ැāļšිāļēා⎀ āļ†āļ¯ී ⎀ූ ⎀ි⎀ිāļ° āˇ„ැāļšිāļēා⎀āļą් āļ¸ෙ⎄ිāļ¯ී ⎀āļģ්āļ°āļąāļē āļšāļģāļœāļ­ āļēුāļ­ුāļē. 

     4.āļ­ොāļģāļ­ුāļģු āļˇා⎀ිāļ­āļē
 
                    āļĩāļŊāļ¯ාāļēී⎀ āļ­ොāļģāļ­ුāļģු āļˇා⎀ිāļ­ා āļšිāļģීāļ¸āļ§ āļ…⎀⎁්‍āļē āļšු⎃āļŊāļ­ා āļ¸ෙ⎄ිāļ¯ී āļ´්‍āļģāļœුāļĢ āļšāˇ… ⎄ැāļšිāļē. āļ‘⎄ිāļ¯ී āļšිāļē⎀ීāļ¸, ⎃āļ§āˇ„āļą් āļšāļģ āļœැāļąීāļ¸, ⎃ාāļģාං⎁ āļœāļ­ āļšිāļģීāļ¸ ,āļąි⎀ැāļģāļ¯ි⎀ āļ´්‍āļģāļ¸ුāļ› āļ´āļ¯ āļˇා⎀ිāļ­ා āļšāļģ āļœāˇ€ේ⎂āļĢāļē āļšිāļģීāļ¸ āˇ€ැāļąි āļšāļģුāļĢු āļ´ි⎅ිāļļāļŗāˇ€ ⎃ැāļŊāļšිāļŊිāļ¸āļ­් ⎀ිāļē āļēුāļ­ුāļē .āļ‰āļą් āļ´āˇƒු⎀ ⎃ොāļēා āļœāļ­් āļ­ොāļģāļ­ුāļģු āļąි⎀ැāļģāļ¯ි⎀ āļŊේāļ›āļąāļœāļ­ āļšොāļ§ āļ´්‍āļģāļ°ාāļąāļ¸ āˇ€āļ āļą āˇ„ෙ⎀āļ­් āļ´ාāļģිāļˇා⎂ිāļ­ āˇ€āļ āļą āļēොāļ¯ා āļ’ āļ’ āļ¸ාāļ­ෘāļšා⎀āļą්āļ§ āļ…āļ¯ාāļŊ⎀ āļ­āļ¸āļą්āļ§ āļ…⎀⎁්‍āļē āļ­ොāļģāļ­ුāļģු āļ´ි⎅ිāļļāļŗ āļģූāļ´āˇƒāļ§āˇ„āļą් āļ‡āļ­ු⎅āļ­් āļšොāļ§ āļąිāļģ්āļ¸ාāļĢාāļ­්āļ¸āļšāˇ€ āļ¸ුāļŊ ⎃ිāļ§ āļ…āļąුāļ´ි⎅ි⎀ෙāļŊිāļą් āļēුāļš්āļ­āˇ€ āļ­āļ¸āļą්āļœේ āļ­ොāļģāļ­ුāļģු āļ´āļ¯්āļ°āļ­ිāļē ⎃āļšāˇƒ් āļšāļģāļœāļ­ āļēුāļ­ුāļē.

    5. āļ­ොāļģāļ­ුāļģු ⎃ං⎃්āļŊේ⎂āļĢāļē
                  
                    ⎃ං⎃්āļŊේ⎂āļĢāļē āļ¸āļœිāļą් ⎃ොāļēාāļœāļ­් āļ­ොāļģāļ­ුāļģු ⎃ං⎀ිāļ°ාāļąාāļ­්āļ¸āļš āļ†āļšාāļģāļēāļ§ āļ‰āļ¯ිāļģිāļ´āļ­් āļšිāļģීāļ¸ āļ…āļ´ේāļš්⎂ා āļšෙāļģේ. āļ‘⎄ිāļ¯ී āļ´ිāļ§ු āļ…ංāļš āļšිāļģීāļ¸, ⎀āļœු āˇƒāˇ„ āļ´්‍āļģ⎃්āļŽාāļģ āļēෙāļ¯ීāļ¸, ⎄ැāļŗිāļą්⎀ීāļ¸, āļ´āļ§ුāļą, āļ´ිāļ§ු ⎃ැāļšāˇƒීāļ¸ āˇƒāˇ„ āļ†āˇ්‍āļģිāļ­ āļœ්‍āļģāļą්āļŽ āļąාāļ¸ා⎀āļŊිāļē āļ¯ැāļš්⎀ීāļ¸ āˇƒිāļ¯ුāļšāˇ… āļēුāļ­ුāļē.

    6.āļ‡āļœāļēීāļ¸
    
                     āļ¸ෙ⎄ිāļ¯ී ⎃ිāļ¯ු āļšāļģāļą්āļąේ āļ‰āˇ„āļ­ිāļą් āļ¯ැāļš්⎀ූ ⎃ිāļēāļŊු āļ´ිāļē⎀āļģāļēāļą්āļ§ āļ…āļąු⎀ āļ‘āļšāļ­ු āļšāļģāļœāļ­් āļ­ොāļģāļ­ුāļģු⎀āļŊ āļœුāļĢාāļ­්āļ¸āļš āļˇා⎀āļē āļ´ි⎅ිāļļāļŗāˇ€ āļ…āļ°්‍āļēāļēāļąāļē āļšිāļģීāļ¸āļēි. āļ‘āļąāļ¸් āļšාāļŊීāļą āļļ⎀, ⎃ාāļ°ිāļšාāļģිāļ­්⎀āļē, ⎀ි⎁්⎀ා⎃āļąීāļēāļ­්⎀āļē āļēāļą āļšāļģුāļĢු āļ‹āļ´āļēෝāļœී āļšāļģāļœāļ­ āļēුāļ­ුāļē. āļ’ āļ…āļąු⎀ āļ­ෝāļģා āļœāļ­් āļ¸ාāļ­ෘāļšා⎀āļŊāļ§ āļ…āļ¯ාāļŊ⎀ āļ­ොāļģāļ­ුāļģු āļ‰āļ¯ිāļģිāļ´āļ­් āļšිāļģීāļ¸, ⎃ාāļģ්āļŽāļš āļ­ොāļģāļ­ුāļģු āļąි⎀ැāļģāļ¯ිāļ¯ි⎀ āļ‰āļ¯ිāļģිāļ´āļ­් āļšිāļģීāļ¸ āļ†āļ¯ිāļē āļ´ි⎅ිāļļāļŗāˇ€ āļ‡āļœැāļēීāļ¸āļ§ āļŊāļš් āļšāˇ… āļēුāļ­ුāļē.  


1818 āˇƒāˇ„ 1848 āļąිāļ¯āˇ„āˇƒ් ⎃āļ§āļą__📜⚔

  1818 āļąිāļ¯āˇ„āˇƒ් ⎃āļ§āļą... āļŊංāļšා āļ‰āļ­ි⎄ා⎃āļēේ ⎃āļą්āļ°ි⎃්āļŽාāļąාāļ­්āļ¸āļš āļ…āˇ€āˇƒ්āļŽා⎀āļš් āļŊෙ⎃ 1818 āļ´්‍āļģāļŽāļ¸ āļąිāļ¯āˇ„āˇƒ් ⎃āļ§āļą āˇ„āļŗුāļą්⎀ා āļ¯ිāļē ⎄ැāļšිāļē.āļļ්‍āļģිāļ­ාāļą්‍āļē āļ´ාāļŊāļąāļē ⎄āļ¸ු⎀ේ āļąැāļ­ි ⎀ී āļœි...