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Nature’s adherence in the Santhali Maghsim festival : A Field study/ সাঁওতালি মাঘসিম উৎসবে প্রকৃতির অনুষঙ্গ : একটি ক্ষেত্রসমীক্ষা
No full textIn the present time, discussions on the anthropology of different languages, ethnic groups, and tribes are very important in the practice of culture. However, our reluctance to engage with the languages and cultures of specific tribes creates a significant gap in understanding. The cultures of various tribes in India are on the verge of extinction, primarily due to excessive modernization and ecological imbalance. In this essay, I have discussed the Maghsim festival, celebrated by the Santhali tribe as a tribute to nature. According to the Bengali calendar, this festival is observed in the month of Magh (Bengali Month), while in the Santhali calendar, this month marks the beginning of their new year. Santhali people do not engage in any daily activities before performing the Maghsim worship, which takes place the day after Poush Sankranti. Through interviews with members of this tribal community, it has been revealed how this nature-centric festival, is gradually being forgotten. This essay also explores how, the influence of Christianity during the colonial period and the gradual assimilation with Hinduism in the present day have contributed to the erosion of their unique cultural identity. And also, I have provided a detailed description of the Maghsim festival and examined its deep-rooted connection with nature
Two creators of modern Bengali music: Dilip Kumar Roy and Kazi Nazrul Islam/ বাংলা আধুনিক গানের দুই স্রষ্টা : দিলীপকুমার রায় ও কাজী নজরুল ইসলাম
No full textবাংলা গানের আঙিনায় বহু অচর্চিত প্রসঙ্গের মধ্যে দিয়ে গবেষণার বিজয়রথ গতি পায়। আবার তথ্যাভাবে বা ইচ্ছার অভাবেও হয়ে পড়ে বিস্মৃত। হারিয়ে যায় বিশিষ্ট ব্যক্তিত্বের কৃতিত্ব, সৃষ্টির ঐতিহাসিক ক্ষণ। আজ ১২৫ বছর অতিক্রম করার পর পিছনের দিকে তাকালে দেখা যায় এমন কিছু তথ্য যা আড়ালেই থেকে গেছে বা বিস্মৃত আবার কোনোটা ক্রমশ বিলুপ্তির পথে। কিন্তু সেই সমস্ত তথ্য থেকে উন্মোচিত হয় সেকালের কিছু শিল্পকর্মের পিছনের ইতিহাস আবার সাহিত্য-সৃষ্টির নথী। এমনই দুই সংগীত-মহারথীর পারস্পরিক সম্বন্ধ ও সৃজন আধুনিক বাংলা সংগীতের মঞ্চ থেকে প্রায় নির্বাসিত হয়েছে। তাঁরা হলেন, রবীন্দ্র-সমসাময়িক তথা রবীন্দ্রোত্তর এই দুইযুগের সফলতম ‘গীতকার’ ― দ্বিজেন্দ্রলাল রায়ের সুপুত্র ‘সুরসুধাকর’ দিলীপকুমার রায় (১৮৯৭-১৯৮০) ও কাজী নজরুল ইসলাম (১৮৯৯-১৯৭৬) এবং তাঁদের পারস্পরিক সম্বন্ধ ও শিল্প-সৃজন।
বাংলা গানের জগতে নজরুল সংগীতের বা নজরুলগীতির গবেষণার তবুও সন্ধান মেলে কিন্তু ‘দৈলিপী’ সংগীত বড়ই দুষ্প্রাপ্য। অথচ ভাবতে আশ্চর্য লাগে এই দু’জনের কাছেই রবীন্দ্রোত্তর বাংলা গান, রেকর্ড সংগীত ঋণী। শুধু তাই নয় আমরা জানি বিংশ-শতকের বাংলা গানে মধ্যপ্রাচ্যের যে প্রধান দুটি সাংগীতিক রূপের নান্দনিক মিশ্রণ ঘটে তা হল— ঠুংরি ও গজল। এই দ্বিধারার প্রণয়ন করেন দুই সঙ্গীত-মহারথী। একজন রবীন্দ্র-সমসাময়িক গীতকার অতুলপ্রসাদ সেন, যার সার্ধশতবর্ষ চার বছর আগে নীরবে পেরিয়ে গেছে এবং অন্যজন রবীন্দ্রোত্তর-ধারার সফল সংগীতবেত্তা কাজী নজরুল ইসলাম।
তবে, নতুনধারার প্রণয়ন তো শিল্পকলার বিকাশ নয়। এর জন্য প্রয়োজন উপযুক্ত রূপকার, আধার। যিনি সৃষ্টির বিকাশকে পৌঁছে দেবেন শ্রোতার মনের মাঝে। এই আধার ছিলেন দিলীপকুমার রায়, যাঁর ১২৫তম বছর নিয়মরক্ষার্থে লোকচক্ষুর প্রায় আড়ালেই পালিত হয়েছে। তিনিই সেই আধার ও রূপকার যিনি বাংলা গানের জগতে নজরুলের গানকে নিয়ে আসেন, স্বরলিপি প্রণয়ন করেন। প্রকৃতপক্ষে এই দুই বাগ্গেয়কারের প্রভায় বাংলা গান নব-সুরাভরণে সেজে উঠেছিল, যা প্রকৃত অর্থেই বিস্ময় জাগায়। তাই এই দু’জনের বিস্মৃত যোগসূত্র হয়ে উঠুক আলোচনার মূলকথা
The Role of Death in the Development of Patriotism: A Discussion in the Context of Jatindranath Das\u27s (1904-1929) Renunciation/ দেশাত্মবোধের উন্মেষে মৃত্যুর ভূমিকা : যতীন্দ্রনাথ দাসের (১৯০৪-১৯২৯) আত্মোৎসর্গের প্রেক্ষিতে একটি আলোচনা
No full textIndia\u27s freedom struggle has witnessed the fearless self-sacrifice of revolutionaries. Revolutionary ideologies spread rapidly in Bengal from the early 20th century. The secret assassinations, robberies, and weapons looting programs of the revolutionaries were a cause of concern for the British government. The government took a strict stance to suppress all these revolutionary programs. The police could not stop them in any way, even with lathi charge, firing, imprisonment, and hanging. Rather, the revolutionary movement intensified despite police repression. The death of the revolutionaries greatly inspired the country\u27s youth. Jatindranath Das set a unique example in this regard. His hunger strike demanding the dignity of a political prisoner had a huge impact on the public. His unwavering willpower became an ideal for the youth. His death brought a surge of patriotism across the country. He wanted to do this at the cost of his own life. Jatin Das\u27 death brought temporary relief to the factional politics of Bengal. The leaders of Bengal paid their last respects to him together, Putting aside all disputes. In the Puranas, Rishi Dadhichi voluntarily sacrificed his life to kill the Vritrasur. A weapon to kill the demon was prepared from his bones. Here Jatindranath Das laid the foundation for the national movement at the cost of his life. The main topic of this article is the impact of Jatindranath Das\u27 death
Tilottama Majumdarer Chotogolpo: Pung-Tontro Biruddhotay Sroshta O Srishtir Protibadi Konthoswo/ তিলোত্তমা মজুমদারের ছোটগল্প : পুং-তন্ত্র বিরুদ্ধতায় স্রষ্টা ও সৃষ্টির প্রতিবাদী কন্ঠস্বর
No full textTilottama Majumdar is a renowned writer in Bengali literature in recent times. She is a novelist, short story writer, poet, essayist. However, her main identity and popularity is as the author of the first two literary works. She was born in North Bengal and spent her childhood in the Kalchini tea garden of Alipurduar district of North Bengal. She studied at Union Academy School there. Later, in 1985, she came to Kolkata to study at the undergraduate level at the Scottish Church College. Her writing began in 1993. One of the subjects of her writing is women. Women\u27s characters usually occupy a large part in her writing. Their rights, self-reliance etc. are integrally involved in her writing. Since the beginning of civilization, society has been male-centric. Women are defined by the definition given by men. Their appearance, beauty, intelligence, and rights all are determined by the standards given by men. Times have changed - society has entered the third decade of the 21st century, but the position of women has not changed. Women are still the property of men, and men are the absolute masters of society. Despite various women-centric movements and theoretical discussions to protect women\u27s rights, women\u27s place in society has remained unchanged. The attempt to blunt women\u27s brains with the tricks of saying that women are great, omnipotent, etc. has existed throughout the country. It is in this context that Tilottama Majumdar\u27s women-centric stories have gained status in opposition to patriarchy and in a spirit of protest. In her stories the women try to strike a powerful blow at the patriarchal mentality of society. They are brave, financially strong, and possess modern thinking. This distinction is not imposed on them; they are like the story-writer’s own entity. The writer\u27s own mentality towards establishing women\u27s rights seems to be embedded in the characters. And in this way, the stories become a text of a special statement beyond the limits of the story. In the present article, an attempt will be made to recognize the uniqueness of women in the light of some such stories
‘Shabarcharit’ upanyase adibasi narider karmajiban o samajjiban/ ‘শবরচরিত’ উপন্যাসে আদিবাসী নারীদের কর্মজীবন ও সমাজজীবন
No full textTribal communities can be observed living on the southwestern border of west bengal. The social life of these tribals is deeply connected with the natural environment. Fiction writer Nalini Bera has published many works in the Bengali literary world, focusing on the so-called non-Aryan Bharatvarsha, i.e. the unexplored marginal regions. The novel \u27Shabarcharit\u27 is written around the daily events of that marginal region. The novel can be called the history of the Lodha Shabar nation. In this novel, just as the identity of the lives of tribal women is found, so too is the picture of their constant struggle to survive with their own society and the outside society. They simultaneously fight for gender, caste, education and food. These women who survive by working constantly suffer from self-criticism and job-criticism. They are determined to break the traditional social customs that deprive tribal women of their freedom. Various elements related to the multidimensional life of tribal women are seen in the novel. Women of the Lodha Shabar caste continue to handle the overall responsibility of the family throughout their lives. Therefore, while collecting various necessary materials in the forest and jungle, girls and old people can be seen in groups. In this society, women of all ages have equal responsibilities. This class of people, who are not used to farming, depend on the forest and jungle for their livelihood. Therefore, they enter the deep forest in groups in rows to search for vegetables, mahul, chhatus, etc. But there they have to be oppressed by the guards. When their rights over the forest and jungle are reduced due to the Forest Act, they become helpless and go east to work. There too, the evil eye of the outside world falls on the Lodha Shabar women, resulting in the downfall of the \u27trees\u27 of the society, i.e. the girls. Even in educational institutions, lower class girls have to suffer various kinds of harassment. A Lodha girl has tried to reach the source of light from this dark society. The hope of the entire Lodha society is on her. It remains to be seen how far this stubborn, courageous girl can take their society forward. This article is written keeping in mind the daily incidents that happen to Lodha, Shabar, and Santal women. The issues mentioned in the novel are the main basis of this article
Bibhutibhushan Bondhyopadhyay : Aranyakathyay Aronyok/ বিভূতিভূষণ বন্দ্যোপাধ্যায় : অরণ্যকথায় ‘আরণ্যক’
No full textBibhutibhushan Bandyopadhyay is one of the best nature-loving writers in Bengali literature. One of the examples of his love for nature is \u27Aranyak\u27. \u27Aranyak\u27 is written on the besis of his experience living in Bihar. This novel satisfies the author’s hunger for love of nature. Along with nature, the people of here, their culture, religion, food and drink, sorrows and hardships all appear before us as a living document. By reading \u27Aranyak\u27, we can reach the remote forest land of Ismailpur, fifteen miles away from Bhagalpur, Bihar. It depicts the landscape of Ismailpur, Narha, Boihar-Lobtulia, Mohanpura of hundred years ago. The first part of the essay has tried to talk about the culture there. The second part has highlighted the socio-economic context and the last part has tried to portray the nature, visualised by the author
Bibhutibhushan Bandyopadhyayer anudyane Aranyak: Prokriti o Aranyachari manus/ বিভূতিভূষণ বন্দ্যোপাধ্যায়ের অনুধ্যানে আরণ্যক : প্রকৃতি ও অরণ্যচারী মানুষ
No full textIn Bibhutibhushan Bandyopadhyay novel Aranyak nature and men are standing side by side. If the hero of this novel Satyacharan, then the heroine must be nature. The extraordinary description of day and night there against the background of secluded nature surely fascinated the reader. Although the author himself describes that the beauty of fullmoon night in forest cannot be described in pen and few words. Must be seen to enjoy. The picture of an extraordinary beauty of nature has been thoroughly described by the author in every chapter of Aranyak novel. Bibhutibhushan’s nature consciousness is so deep that while describing him form, he has developed the forest as a living human form. He realised that this is not the world, this is the Dreamland that I knew so far, this horizon-wide astrological beings come here let at night. We find such a description in most of Bibhutibhushan’s works. In the beautiful green sea we saw a floating sailor Satyacharan. On the one hand, Nada Boihara on the other hand, the impression of Mohanpura forest is in the novel detailed up to the vague blue boundary line.
In the novel I Arañyak, the characters of aranyachari are introduced to the narrator through simple yet strange mysterious each one like nature. Aranyachari Dhawtal Sahu is as simple and innocent as the forest or nature. The people of Bibhutibhushan in the novel Aranyak come from the simple environment of the village. And his natural sympathy towards them is a little more prejúdiced then that of the educated gentry of the city. These ordinary people have become an invitable part of the forest. Dhawtal Sahu, Raju pade, Ganu Mahato, Ganori, Jugal Prasad, Dobru Panna, Bhanumati are half forest and half human. The secret of their words is like the language of the forest. Out of the forest Kunta, Manchi, Dhaturia, Matuknath pade, Rajput, Ras bihari Singh is character is glowing with self-glory. The vastness of nature deeply affects the human mind, benevolent. So it can be said that in this novel nature and forest people Compliment each other
The evolution theory in the poems of Jibanananda Das/ জীবনানন্দ দাশের কাব্যে বিবর্তনবাদ
No full textJibanananda Das was a modern poet who followed western esthetics deeply. He used evolution theory of Darwin in many of his poems. But any critic doesn’t explain him according to evolution theory. I have found him as an evolutionist poet in this article. My research is qualitative research and all information are collected by secondary sources. In his poems Jibanananda Das supported that mankind is the result of evolution. At first, life being produced in water of sea as bacteria then they increased themselves as amoeba. Poet feels that he was lived in the water of sea that time. In course of time amoeba toke visible body. Poet and his darling were stayed as two pearls in the belly of mother oyster. He saw the horse of Neolithic age in field of present earth. Thus he applied the evolution theory in his poems. It makes a new area in history of Bangla literature
Internationalism of Bengali Poetry in the Context of Shankha GhOsh’s Poetry / শঙ্খ ঘোষের কবিতা ও বাংলা কবিতার আন্তর্জাতিকতা
No full textRegardless of the era in which the term cosmopolitan is used, the people of the modern world increasingly want to transcend the geographical boundaries of a limited country and reach out to the court of the world. A special level of internationalism can be seen in the goodwill of all in accepting people from all over the world. Due to the improvement of communication system and internet system, the whole world has become a bog country today. Language or literature is reaching the people of the world very quickly across the borders of the country. Through translation and public relation, we are getting the literature of any country within our limits.
Rabindranath Tagore is the main representative of international consciousness in Bengali poetry and literature. As a man of subjugated India, he did not think only about the people of India or Bengal, but thought about the present and future of the people of the whole world, about their crisis and solution. In the context of the global circulation of Bengali language and poetry, the international sense in the poetry of Shankha Ghosh, a prominent poet of fifties, demands a special introduction
The theme of death in Shakti Chatterjee\u27s poetry/ শক্তি চট্টোপাধ্যায়ের কবিতায় মৃত্যু প্রসঙ্গ
No full textThe poet of the 50th century, shakti chattapadhyay. Though he was the poet of 50th century but his poetic genius blossomed in the 60s and 70s. He was a highly acclaimed and well known poet. He was born in 1933 in bohudu near jaynagar, south 24 pargana district. In childhood he lost his father so he was raised under the care of his grandfather. After dwelling in bohudu, in his childhood, he came to kolkata as a young man and began a new chapter of his life. He studied there. He was a very intelligent student. while studying honors in bengali at presidency college, his career path gradually changed. He entered the literary word not through any small piece but with a whole novel. then inspired by his friends he composed a sonnet sequence. Which he named ‘yam’. After that he wrote enormous number of poetry and poems. his first published poetry collections were ‘he prem he noishabda’ (1961), ‘Dharme acho jirafeo acho’ (1965), ‘Hemanter aranye ami postman’ (1969), ‘Jete pari kintu keno jabo’ (1982), etc. However he received sahitya academy award for his poetry collection ‘Jete pari kintu keno jabo’.
The seed of death was embedded in from his incipience. So perhaps the description of death has come back again and again in his poetry in various ways. In his first poem ‘yam’ he portrayed death as krishnarupmoyee, revealing his love for death. The dual portrayal of life and death is seen in shakti chattapadhyay’s poetry after jibananda Das. we have never before witnessed such a poignant celebration of death by any other poet. He used extraordinary symbolism, imaginary and metaphor in his poetry to depict the various aspect of death. he was a playful poet so he didn’t want to die, or yet go alone or untimely. That’s why we hear him to say ‘not to go alone untimely’. Expressing his complex views on death sometimes fearing it, sometimes accepting it as forthcoming. Sometimes ha has seen death in a playful way and sometimes, as a pilgrim on the path. There is a detail description in the main topic. My discussion topic is ‘the notion of death in the poem and poetry of shakti chatttapadhay’. But we cannot say that he only wrote about death. Infact he established with great honor in the branches of bengali literature and will remain so.