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Ekaler konthe, sekaler kothon : ramkumar mukhopadhyayer ‘Dhonopotir singhol jatra’/ একালের কণ্ঠে, সেকালের কথন : রামকুমার মুখোপাধ্যায়ের ধনপতির সিংহল যাত্রা
No full textThe trend of reconstruction or renewal in literature and art is something new. No It is possible to break the boundaries of any subject through innovation. This is a natural tendency of any culture. This trend has started in Bengali literature long ago. An attempt has been made to break the conventional meditation concept and tradition of \u27Charyagiti\u27 or \u27Mangalkabhya\u27 and show it in a new light. Which has been reflected in various branches of literature. For example, drama, poetry, novels, short stories. The style or form of literature has been written in new ways. In keeping with the times, people have tried to grasp tradition in the light of thought and consciousness. The trend of innovation is flowing in Bengali literature from natural interest, desire and the need for pleasure. After the 19th century, the 20th century and even after the 21st century, that trend has not stopped. Keeping the literary elements of ancient and medieval times in front, he analyzed and explored the individual\u27s own thoughts. One such novelist in 21st century Bengali literature is \u27Ramkumar Mukhopadhyay\u27.
He has made the elements of past history special by breaking them up with his artistic vision. He has written novels like \u27Dhanpati\u27s Singhal Yatra\u27 and \u27Har-Parvati Katha\u27, focusing on the medieval theme, \u27Mangalkavya\u27, which is ingrained in the Bengali consciousness and mind two. We will shed light on these characteristics of the author\u27s innovation and modern thinking in the article \u27In the Voice of a Time, When in Ramkumar Mukherjee\u27s Novels of a Time Selected\u27. 
Jaya Gowala\u27s novel ‘Deyal’: A description of the inner self/ জয়া গোয়ালার ‘দেয়াল’ উপন্যাস : অন্তজ জীবনের প্রতিবেদন
No full textJaya Gowala is a renowned writer from Tripura. The background of most of her works is the tea gardens. She has written about the laughter and tears of these people, their lives and livelihoods. Being one of them, she has continuously brought their life stories into her writings. One such inner character is Ranjit in her novel \u27Deyal\u27. How he sees his life through his inner world is the story of the novel. How he sees his life through his mental world is the story of the novel. The novel is written in the style of an autobiography. Ranjit Munda is the son of a tea garden. He goes to the city to study and writes poetry. Just as there is a son, a father, a friend, a husband, there is also an \u27I\u27 entity. How Ranjit Munda, who comes from the lower class, has tried to adapt and organize himself in the city, how he has become Ranjit Mandal from Ranjit Munda under the pressure of his wife without his knowledge, he himself does not understand. At the end of the novel, he starts burning in self-immolation. He wants to come out of the world made of steel. He again wants to go back to the garden with his parents, to his childhood. Where there is nothing but joy. How his life\u27s pain has been highlighted through reminiscence and how he tried to get out of there will be discussed in this context
Modern Urban Life and Marital Relationships: A Study of Two Selected Twenty-First Century Novels/ আধুনিক নগর জীবন ও দাম্পত্য সম্পর্ক : একুশ শতকের নির্বাচিত দুটি উপন্যাস
No full textThe journey of twenty-first-century Bengali novels continues a long literary tradition while reflecting the profound transformations of contemporary society. In this century, the multifaceted impact of globalization has deeply affected every layer of social and cultural life. Alongside changes in the external world, the inner lives of individuals have also undergone rapid transformation. Human relationships increasingly appear mechanical and fragmented, shaped by the complex, multidimensional networks of the digital age. Just as the internet can instantly connect the entire world, it simultaneously immerses human existence in intricate patterns of tension and contradiction.
Contemporary Bengali writers capture this changing reality through their stories. Their novels explore new social attitudes, work culture, ideas of love, moral and ethical concerns, and the subtle workings of the human mind. These narratives show how modern life brings both challenges and possibilities. Marital and gender relationships, in particular, are no longer fixed. Concepts of marriage, mutual expectations, relational breakdowns, and reconstructions are constantly changing.
Traditionally, women’s roles in marriage were mostly limited to household responsibilities and raising children, while men provided economic security. This created male dominance in society. Women had little scope to express their personal desires, largely due to their lack of economic independence. Over time, especially under the influence of globalization, these relationships have undergone significant changes. Marriages once considered lifelong bonds are now renegotiated; women assert their sexual and personal agency, and couples making decisions such as divorce without social hesitation if mutual compatibility is absent.
Understanding how contemporary Bengali fiction represents these transformations requires examining specific works. This study focuses on two selected novels: Pracheta Gupta’s ‘Dhulo Balir Jibon’ and Sukanta Gangopadhyay’s ‘Tista Jabei’. Both novels reflect the evolving nature of personal relationships, the negotiation of autonomy within partnerships, and the broader cultural shifts influencing modern love, marriage, and intimacy. Through these narratives, readers gain insight into how twenty-first-century Bengali literature engages with the complexities of marriage, gender roles, and emotional life in an era of rapid social change
Bengali Children And Adolescent Literary Practices In The North-East India: A Report/ উত্তর-পূর্বাঞ্চলে বাংলা শিশু-কিশোর সাহিত্য চর্চা : একটি প্রতিবেদন
No full textChildhood is a very important stage of human life. The literature suitable for the minds of these children and teenagers is simply called children\u27s literature. And we know the north east india or north eastern region, is the easternmost region of india representing both a geographic and political administrative division of the country. It comprises eight states- Arunachal Pradesh, Assam, Manipur, Mizoram, Nagaland and Tripura. This genre of children\u27s and adolescent literature in the North-East is apparently not very popular, but with a little research we can be aware of its scope. As the children\u27s literary practice has been going on in the North-East centered on various magazines, the books published by individual initiatives are also making a special contribution to this literature. In the present article, we will proceed to the Bengali children\u27s literature of the North-Eastern region in a very short range.  
Women\u27s Individuality in the Literature of Premchand and Saratchandra: A Comparative Study/ প্রেমচন্দ এবং শরৎচন্দ্রের সাহিত্যে নারীর ব্যক্তিস্বাতন্ত্র্য : একটি তুলনামূলক অধ্যয়ন
No full textThis study undertakes a comparative analysis of female characterization in the works of Premchand (1880–1936) and Sarat Chandra Chattopadhyay (1876–1938), two seminal figures in early 20th-century Indian literature. Despite their shared humanistic sensibilities, the authors differ significantly in thematic focus, socio-economic setting, and narrative treatment.
Premchand’s fictional women—Suman (Sevasadan), Dhaniya (Godan), and Gayatri (Premashram)—are rooted in agrarian and labouring milieus, confronting systemic poverty, illiteracy, and patriarchal oppression. Their agency often extends beyond the domestic sphere into social reform and nationalist engagement, reflecting Premchand’s conviction that women’s liberation is intrinsically bound to broader struggles for political sovereignty and socio-economic justice.
Conversely, Sarat Chandra’s heroines—Sumitra (Pather Dabi), Kamal (Sesh Prashna), and Madhabi (Barodidi)—emerge primarily from urban or semi-urban, middle-class contexts. They prioritize personal autonomy, emotional fulfilment, and moral resistance to regressive traditions. While their involvement in nationalist politics is indirect, their assertiveness signals a political consciousness embedded in individual self-determination.
Economically, Premchand’s women endure the rigors of manual labour while maintaining dignity and self-respect, symbolizing rural resilience. Sarat Chandra’s women display domestic economic acumen, though their narratives seldom intersect with agrarian realities. Familiarly, Premchand adopts a realist approach—women fulfil conventional responsibilities yet function as agents of change—whereas Sarat Chandra foregrounds emotional bonds, often privileging moral integrity over social conformity.
Taken together, the two authors construct a composite, multidimensional portrait of Indian womanhood, balancing collective rural struggles with individual urban assertions. This synthesis offers enduring insights into the intersections of gender, class, and socio-political transformation in colonial India
Rabindranath Tagore’s Philosophy of nature : An analysis/ রবীন্দ্রনাথের প্রকৃতি ভাবনা : একটি পর্যালোচনা
No full textRabindranath Tagore was a 20th-century Indian thinker who discussed many subjects in his writings, including the environment. This essay will focus on the relationship between nature and humanity in Tagore\u27s philosophy and will discuss the ideal role for humans in this relationship. Although he extensively discussed nature in his stories, novels, essays, plays and songs, this essay will primarily limit its discussion to his environmental essays due to space constraints. The discussion will explore the extent to which his views on environmental issues align with those of environmental ethicists, as well as whether the environmental philosophy found in Vedic literature had any influence on him. Furthermore, it will shed light on how Tagore\u27s ideas about the environment can guide us in solving the environmental problems the entire world faces today.  
Promoter of Equality and Humanism : Kazi Nazrul islam/ সাম্য মানবতাবাদের প্রচারক : কাজী নজরুল ইসলাম
No full textকাজী নজরুল ইসলাম সম্পর্কে সুকুমার সেন লিখেছেন—
“অসহযোগ আন্দোলন বাঙ্গালা সাহিত্যের ক্ষেত্রে যতটুকু আলো, যতটুকু ভালো, যতটুকু মুক্তি আনিয়াছিল তাহা নজরুলের কবিতা গানের দ্বারা অনেক অংশে সম্ভাবিত হইয়াছিল।”১
বাংলা সাহিত্যের আকাশে কালজয়ী এক উজ্জ্বল নক্ষত্র হলেন বিদ্রোহী কবি কাজী নজরুল ইসলাম। তাঁর কবিতায় যে বিদ্রোহী মনোভাব ফুটে উঠেছে তা শুধু ইংরেজদের বিরুদ্ধে নয়, ধর্ম, সমাজ, রাষ্ট্র কিংবা পরাধীনতার গোঁড়ামির বিরুদ্ধেও। যার প্রতিফলন আমরা তাঁর বিভিন্ন কবিতার মধ্যে লক্ষ করতে পারি। প্রকৃতপক্ষে কাজী নজরুল ইসলাম ছিলেন এক মানবদরদী কবি। এই মানবদরদী কবির জন্ম ভারতের পশ্চিমবঙ্গের বর্ধমান জেলার আসানসোল মহকুমার জামুরিয়া থানার অন্তর্গত চুরুলিয়া গ্রামে ১৮৯৯ সালে ২৪শে মে। তাঁর জন্ম হয় এক শিক্ষিত মুসলিম নিন্মবিত্ত পরিবারে এবং অভাব ছিল তাঁদের নিত্যসঙ্গী। আর এই অভাবকে সঙ্গে করেই তিনি ইসলামী শিক্ষায় শিক্ষিত হয়ে বড় হয়েছিলেন এক ধর্মনিরপেক্ষ সত্তা নিয়ে। কবির পিতা কাজী ফকির আহমেদ এবং মাতা জাহেদা খাতুন। কাজী ফকির আহমেদের চার পুত্রের অকাল মৃত্যুর পর নজরুলের জন্ম। এই জন্যই নজরুলের ডাক নাম রাখা হয় দুখুমিঞা। এই দুখুমিঞাই একদিন হয়ে উঠেন বাংলা সাহিত্যের এক অমর প্রতিভাশালী কবিসাহিত্যিক। 
Narayan Sanyal er deshbhagkerndrik uponyas ‘Balmik’ : shishu-kishor charitra/ নারায়ণ সান্যালের দেশভাগ কেন্দ্রিক উপন্যাস ‘বল্মীক’ : শিশু-কিশোর চরিত্র
No full textPartition is an important chapter in the history of India. The year 1947 brings to mind India’s independence and also the partition of the country. The partition had a direct impact on Bengali literature. Several novels have been written in Bengali literature about the partition of the country. Among those, Balmik, written by Narayan Sanyal, is important. This novel is about refugee life. The life struggles, hardships and despair of uprooted refugees are the subject of this novel. This novel shows the reality of chaotic independent India. This novel also shows the suffering of children and teenagers who got emigrated. The nature of those children is highlighted in this article
NANDINI GHUMBHANGANIA/ নন্দিনী : ঘুমভাঙানিয়া
No full textRaktakarabi is the drama that Rabindranath rewrote many times. Along with that, the name of the drama have been changed into the name of the heroine several times. Nandini is the lifeblood of this drama. Kishor, Bishu, Raja and Ranjan are all in love with her. The chemistry of her relationship with the professor is also mysterious. It is good to say that she has impressed the entire Yakshapuri. Of course, leader and chief are different. There is a lot of doubt in everyone’s mind about why Nandini was brought to Yokeshapuri. She adoms herself in the guise of Raktakarabi. She just shows off her beauty around all the time and waits for Ranjan. She is not at all afraid of Makar Raja of Yakshapuri. Rather indulges. Nandini has absolutely no fear. She believes in Ranjan’s hymn. In Yokshapuri, she has brought about a completely different atmosphere. But not only does she indulge the king, but the king also indulges her. Is it because the king feels helpless to go against his system? Can’t look at the image of wanting to leave reign of terror created so far? The truth is mysterious why Nandini was brought by the king. When Ranjan died, Nandini ran with the king to break the prison. She was followed by Nandini’s followers at Yakshapuri. Nandini was able to being in a new era by breaking the mechanical discipline in Yakshapuri
The Resonance of Surrealism in Mohit Chatterjee’s Theatrical Language/ মোহিত চট্টোপাধ্যায়ের নাট্যভাষায় পরাবাস্তববাদের অনুরণন
No full textSurrealism emerged as a rebellious art movement in the early 20th century in response to the protests, disappointments, and spiritual crises that spread in European art and literature after the First World War. Surrealism highlighted the overall danger of the external and internal worlds in a kind of surrealistic expression. It emerged with the revolutionary consciousness of radical changes in art, society and politics. Surrealism became a wonderful expression of the subconscious mind, dreams, and imagination through a kind of \u27Psychic Automatism\u27. On the other hand, Mohit Chatterjee emerged in Bengali literature with a completely exceptional poetic dramatic language. He brought an existential, surrealistic, deep political consciousness to the Bengali stage. This article attempts to establish the internal relationship and connection between Mohit Chatterjee\u27s exceptional dramatic language and surrealism. This article uses various examples to show that the relationship between Mohit Chatterjee\u27s plays and surrealism is not just a visual or superficial resemblance, but rather a fundamental and existential connection between Mohit Chatterjee\u27s dramatic world and the deeper concept of surrealism. Like surrealism, Mohit Chatterjee\u27s plays become a creative protest against the cruel reality of the external world and the inner turmoil