Trisangam international refereed journal
Not a member yet
537 research outputs found
Sort by
Vijay Tendulkar\u27s ‘Chup! Adalat Cholche’ : A Reliable Document of Patriarchy/ বিজয় তেন্ডুলকরের ‘চুউপ! আদালত চলছে’ : পুরুষতন্ত্রের এক বিশ্বস্ত দলিল
No full textThe renowned Marathi playwright Vijay Tendulkar has presented the inner voice of women1 in the report of Bengali drama with great skill. A popular play by Vijay Tendulkar, written on the life story of a woman, is ‘Chup! Adalat Cholche’. The play in question establishes the issue of how women have been victims of patriarchy2 for thousands of years, deprivation, disregard and gender discrimination.3 Leela Benare is a shining example of how difficult it is for a highly educated woman to maintain her selfhood, that is, her own identity, in a patriarchal society. Through Leela Benare, the playwright wants to say that patriarchy is pervasive in all levels of society, such as religion, culture, and morality, which has oppressed4 women. Along with this, playwright Vijay Tendulkar has also raised several questions about love, sexuality, marriage and moral values5 prevalent in society. 
A Survey on the Reflection of Public Life in the Traditional folk song Dhamail of Unakoti District, Tripura/ ত্রিপুরা রাজ্যের ঊনকোটি জেলায় প্রচলিত ধামাইল গানে প্রতিফলিত জনজীবন : একটি সমীক্ষা
No full textFolk music is the most popular and widely circulated branch of Bengali folklore. It is difficult to determine the exact number of years since the creation of folk music. Since the dawn of civilization, music has been intricately connected with human life. Music serves as the only refuge for joy, sorrow, and anguish. Like classical music, melody is the main attraction and source of pleasure in folk music. "Folk music" primarily originates from rural life. It carries the essence, fragrance, and true nature of the common people. This music is deeply infused with the traditions, beliefs, and religious practices of rural life, reflecting various colors and aromas of folk culture. Most importantly, the language of folk music is highly regional.
During the Partition of India and the Liberation War, countless people were forced to leave their ancestral homes and move to West Bengal, Tripura, and Assam. These displaced individuals could bring nothing with them except their culture. Literature serves as a mirror of society, and accordingly, the impact of Partition has been meticulously reflected in Bengali literature. Due to this displacement, the refugees who migrated to these regions gradually blended their culture with that of the native population through long-term coexistence. The songs, rhymes, stories, rituals, dramas, proverbs, and sayings brought by the people from East Bengal merged seamlessly with the cultural fabric of both Bengals.
Folk music is dominated by the melody of Bhatiyali. Just as different regions develop their unique characteristics based on natural surroundings, folk music in this country has also evolved by embracing nature. The landscape of Bangladesh is not uniform everywhere—some areas are barren and rocky, some have undulating terrain, some face drought, while others suffer from river erosion. Due to these regional differences, folk music has not attained a universal form but has instead developed distinctive regional variations. For instance, Bhawaiya in the northern part of the country, Bhatiyali in the eastern region, and Baul songs in the southwestern part are prominent examples.
Additionally, the rivers in different regions of Bangladesh have distinct characteristics. For example, the nature of the Padma, Meghna, Surma, and Dhaleshwari rivers is different from that of the Madhumati, Ichamati, and Bhairab rivers. Consequently, the bond between people and rivers varies across regions. As a result, the creation and evolution of folk music in different regions take on unique dimensions, distinct from one another
Environmental Thinking in the Literature of Manindra Gupta) / মণীন্দ্র গুপ্তের সাহিত্যে পরিবেশচিন্তা
No full textManindra Gupta (1926-2018) was one of the Post-independence writers of West Bengal. His contributions as a writer are manifold. Although originally a poet, he has edited magazines, written novels and various types of prose for over fifty years. Manindra Gupta\u27s literature has been discussed in the light of environmental thinking. Manindra Gupta\u27s literature has also spoken out against this environmental crisis. The philosophy of life that he has expressed in his literature is to save the world. He is aware of the fact that human domination has plunged the world into crisis. So he protested against the aggression of the (Hu) man. This world is not just for the human beings. He spoke of the rights of various non-human animals on this earth. He did not draw the line between man and nature, keeping in mind the ecological system. He thought that human beings are also children of nature. So nature has emphasized on the friendly relationship of man with different lives of species. Instead of human-centered thinking, he emphasized nature-centered thinking
Bangla sahitya prakritibadi Bibhutibhushan Bandopadhyay/ বাংলা সাহিত্যের প্রকৃতিবাদী : বিভূতিভূষণ বন্দ্যোপাধ্যায়
No full textBibhutibhushan Bandopadhyay had arrived in Bengali literature with his artistic quality to make simple story extraordinary and it enchanted the reader. He did not say the story to readers rather the showed the story. So the readers are so much enchanted with the mode of his description of story that the can see the image of the story in the mirror of his mind. In the Bengali literature very few writers has given the variety of human characters, Bibhutibhushan is the exception.
Bibhutibhushan Bandopadhyay had his immense love towards nature. So, he had travelled many places surrounded with mountains and jungles in his last 6-7 years of life. He had wrote his experience of his traveling life in his letters to his wife. He had mentioned in his writings many unknown river, dam and fountains. He had described in his writings about small rivers, distance of jungles, classification of trees, many forms of nature not only that he also had described the fear of wild animals, the history of unknown kings and the cultural environment in a great extent. The reason of the effect of nature in the writings of Bibhutibhushan was his childhood and the time of his growing up. In every writing of Bibhutibhushan,the impact of nature is clearing visible. Bengali readers have recognised in new way about \u27Boichir jhap\u27, \u27Bhata ful\u27, the village path etc. He was overwhelmed by the beauty of nature of the village path when he was living there. His attraction towards nature of the village are expressed in his writings. It will not be wrong to say that he is the child of nature. Every forms and fragrance of his writings are taken from the nature and the lives of human being surrounded by the nature.
Bibhutibhushan as an artist is a great lover. In his total literature nature is not only created as nature but also it become a part of human life. The story of family centric Bengali lives are expressed in a lucid mannar in his novels. A renowned critique had said, "There is a mysterious path joy in the writings of Bibhutibhushan. This way is going towards the heaven from the earth. Bibhutibhushan is an exceptional poet with his wide as well as deep fillings towards human lives. He is a great artist who interlinked joy and sorrows and the insignificant stories of men and women with the nature "1(Bibhutibhushan" Man Silpo, Gopikanath Roychowdhury).
Bibhutibhushan, this feelings towards nature is not happened in one day, it is the result of his lifelong worship towards nature. The young Bibhutibhushan always avoid the presence of human being to become United with the nature. In fact Bibhutibhushan relation with the nature is like the relation with his soul
Birendranath Shasmal, the \u27uncrowned king\u27 of Midnapore: The silence of history behind the scenes of independence/ মেদিনীপুরের ‘মুকুটহীন রাজা’ বীরেন্দ্রনাথ শাসমল : স্বাধীনতার অন্তরালে ইতিহাসের নিস্তব্ধতা
No full textIn the history of India\u27s independence movement, during the early phase of Gandhi\u27s era, three prominent leaders emerged in Bengal, Chittaranjan Das, Birendranath Sasmal, and Subhas Chandra Bose. Unfortunately, the historians of the national struggle did not properly acknowledge Birendranath\u27s role and his fundamental contributions. This great leader did not receive the recognition he deserved. Just as Chittaranjan gained widespread public recognition as \u27Deshbandhu\u27 (Friend of the Nation), Birendranath earned the affection of the people and became known as \u27Deshpran\u27 (Heart of the Nation). After the death of Chittaranjan Das in 1925, Gandhiji himself sincerely wished for Birendranath to take charge of the Bengal Provincial Congress Committee. However, due to political circles in Bengal, that responsibility never fell upon him. Had it happened, it is likely that Bengal’s politics could have moved beyond its divisive nature. It can also be said that this might have played a major role in Subhas Chandra Bose’s decision to leave the National Congress later. This article discusses Birendranath Sasmal’s role in the national movement
Prasanggo : Raag prakar/ প্রসঙ্গ : রাগ-প্রকার
No full textIf we try to research the evolution of ragas and ragini by churning out the famous texts of ancient Indian music, we will definitely come to the conclusion that the first song in ancient times was \u27Gandharbo rag\u27 or \u27Marg Raga\u27, and later in the post-Christian era, Desi Raga emerged. The types of Gandharva or Marga ragas are: - 1) Gram-ragas, 2) Upo-ragas, 3) Bhasha-Vibhasha-Antarbhasha ragas. On the other hand, there were different types of regional ragas - \u27raganga\u27, \u27kriyaanga\u27, \u27pure salag-sankirna\u27, etc. The ancient Gandharva ragas were performed in two ways. For example- a) In songs with one object called \u27Dhruba\u27 b) In songs with one to seven objects called \u27Prakaran\u27. But the native ragas were used in songs with \u27Prabandho\u27 or \u27Pada\u27, where there were two to four \u27dhatus\u27 (Udgraha, Melapak, Dhruba and Avoga). Since raga was used in \u27Prabhandagan\u27, \u27alapti\u27 or \u27alap\u27, that is, the unbounded form of raga, was necessarily expressed
Shawkat Osman’s Early Stories: Different Narratives of Poverty, Famine, Riots, and Partition/ শওকত ওসমানের প্রথম পর্বের গল্প: দারিদ্র্য-দুর্ভিক্ষ-দাঙ্গা-দেশভাগের ভিন্ন আখ্যান
No full textIn Bengali literature, Shawkat Osman holds a distinguished position as a storyteller of rare talent. Known for his insightful perspective, satirical humour, profound social awareness, and bold impartial voice, Osman crafted a unique identity. As an astute observer of society, he captured the intricate dynamics of life, the diverse problems plaguing society, and the political turmoil of his time with exceptional skill. His literature seamlessly weaves personal experience with the complexities of social and political structures, creating an artistic reflection of the multifaceted world around him. Shawkat Osman was fearless and honest in his approach, speaking with clarity and a protester’s spirit. His stories reveal a profound understanding of human life, using art to illustrate the evolving society and state. The shifting tides of society, politics, the instability of power, and the tensions between tradition and change are meticulously examined in his work, reflecting the currents of his era.
The core themes of famine, communal violence, and partition characterize his early stories. The social upheavals of this period are vividly depicted in his collections — ‘Pinjarapol’ (1951), ‘Junu Apa and Other Stories’ (1951), ‘Sabek Kahini’ (1953), and ‘Bigoto Kale Galpo’ (1987). As a socially conscious artist, Osman adeptly portrayed the changes and crises within society, particularly in rural settings. His stories highlight the relentless poverty and inequality that plague village communities, where people struggle daily under the weight of social, economic, and religious pressures. Victims of exploitative production relations, these individuals bear the pain of being uprooted and continually face hardship, losing what little they possess to the powerful in society. This sensitivity to the diverse crises of his time is delicately captured in the rich and nuanced narratives of his early short stories
Suchitra Bhattacharya\u27s (Selected) Short Stories in the Light of Globalization and Women\u27s Thought/ বিশ্বায়নের আলোকে ও নারী ভাবনায় সুচিত্রা ভট্টাচার্যের (নির্বাচিত) ছোটগল্প
No full textGlobalization is an international phenomenon that originated in the late 1970\u27s and has spread worldwide. As a result, radical changes can be observed in women\u27s lives. It\u27s influences are observed in Bengali and world literature. One such writer Suchitra Bhattacharya. Her motifs of writing different types of people. They came up in her stories. She is an eye witness to the misery of women\u27s lives and this essay is about their lives influenced by globalization
Folklore and class-consciousness/ লোকসংস্কৃতি ও শ্রেণি-চেতনা
No full textThe word \u27folk\u27 in folklore has a special meaning. The \u27folk\u27 of folklore consists of the common people or more precisely the people of a cohesive society. Folklore cherishes group traditions; But not stagnant. Changes in production systems and social relations affect folk culture. But folk culture has a distinct historical character – which sets it apart from other cultural streams. Folk culture has a universal character – presenting to us a universal pattern of origin, evolution and overall creation of human society. Hence folk culture is called \u27folk science\u27. Civilization is built on the foundation of folk society. The same applies to classic literature. Where is the lump in our folklore studies? It has become necessary to find an answer as to why a collective and spontaneous culture like folklore has gone astray in a tangle of extreme nationalism, religious bigotry, devotion and spirituality without instilling a sense of \u27We the people\u27. I would like to present here a proposal by eminent folklorist Arunkumar Roy on the manner in which folk culture should be practiced. Arunkumar Roy proposed the practice of folk culture in the light of Marxian dialectic and historical materialist consciousness. Beyond religion, gotra, caste, he wants to judge folklore from the point of view of \u27class\u27. So, he goes back to that primitive human society in the judgment of folklore -- to find the link between the present and the future
The topic of postal system in Bengali literature/ বাংলা সাহিত্যে ডাকব্যবস্থার প্রসঙ্গ
No full textThe imagery of Sukanta Bhattacharya\u27s poem ‘Ranar\u27 is now a thing of the past. Times have changed, society has evolved and modern technology has brought radical changes in postal services. Now a day’s postal Service has been fast and versatile. It reflected on Bengali literature. The postal service was mostly improved in India during the British period in 1766 AD. The postal system introduced by the British was called India Post and Telegraph Department, later it has been renamed as India Post. The new system introduced by the Postal Department in 1854 AD is the basic structure of the present postal system in India. Although the postal system was actively introduced in India from the Sultanate period but we find the transmission of letter, messages by pigeons from the very ancient times in our folk and ancient literature. Not only pigeons but Indian postal system from ancient times is moving towards the highest peak of development today based on horse, palanquin, and vehicles etc. The life of the people involved in the work of this postal service which is spread in every corner of the Indian subcontinent. The hardships of life, duties, loyalty, pain, happiness, joy, dignity, etc., can be found in novels, short stories, poetry and drama