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\u27Pragati\u27 magazine on Buddhadeb Bose\u27s memoirs/ বুদ্ধদেব বসুর স্মৃতিকথায় ‘প্রগতি’ পত্রিকা
No full textBuddhadev Basu himself became an \u27institution\u27, and the reason behind this \u27institution\u27 was editing the magazine. Although he had been involved in magazine editing since childhood, it was \u27Pragati\u27 magazine that gave him a different world in literature. This magazine became a field for his own literary practice as well as a place for young writers of that time. Buddhadev Basu found Jibanananda Das here. Buddhadev, fascinated by Jibanananda\u27s poetry, waged a kind of war in \u27Pragati\u27 to establish him in the literary community. Buddhadev also discovered not only Jibanananda, but Vishnu Dey here. In a word, Pragati magazine is an important chapter in Buddhadev Basu\u27s life. And he looks back on this chapter in the twilight of his life, and has retained it in his memoirs for future readers
Cremation, cremation music and literature in the light of myth, history and Brahmanism: Philosophy of life of the deceased/ মিথ, ইতিহাস ও ব্রাহ্মণ্যতন্ত্রের আলোকে শ্মশান, শ্মশানসঙ্গীত ও সাহিত্য : অন্ত্যজ মানুষের জীবনদর্শন
No full text‘শিবপুরাণম’ গ্রন্থে উল্লিখিত দেবাদিদেব মহেশ্বরের প্রিয়তম স্থান শ্মশানভূমি। শ্মশান মানুষের অন্তিম বাসস্থান। ভূত-প্রেত, শৃগাল-শকুন, মৃতের মস্তিষ্ক, হাড়-গোড়ে বড়ই দুর্গম এই স্থান। শিবপত্নী পার্বতীও স্বামীর মতই শ্মশানে-মশানে ফেরেন। শ্মশানের মধ্য দিয়েই মোক্ষ ও মুক্তি পিপাসু হিন্দু স্বর্গগমন করেন। সংসারের বন্ধন থেকে মানুষ মুক্তিলাভ করেন। শ্মশান বন্ধুরা মৃত স্বজনের স্বর্গযাত্রার পথ সুগম করার জন্য দেবতার উদ্দেশ্যে প্রার্থনা করেন। গঙ্গাতীর শ্মশানভূমির উপযুক্ত স্থান। গঙ্গার স্পর্শে পাপ বিনষ্ট হয়। ব্রাহ্মণ্যতন্ত্র নিম্নবর্গীয় অন্ত্যজ চণ্ডাল সম্প্রদায়কে শ্মশান রক্ষার দায়িত্ব সমর্পণ করেছেন। মহর্ষি মনু অন্ত্যজ চণ্ডাল সম্প্রদায়কে মনুষ্যজাতির অধম বলে বর্ণনা করেছেন। নিম্নবর্গীয় মানুষের জীবনদর্শনের প্রকাশ ঘটেছে শ্মশানসঙ্গীতে। এমন সঙ্গীতে মানব জীবনের অসারতা প্রতিফলিত। কেমন আছেন শ্মশান চণ্ডালেরা? না তারা ভালো নেই। বাংলা সাহিত্যে শ্মশান বিচিত্র রূপে উপস্থাপিত। চর্যাপদের ৫০ সংখ্যক পদে শ্মশানের উল্লেখ আছে। বড়ু চণ্ডীদাসের ‘শ্রীকৃষ্ণকীর্তন’ কাব্যে ‘চাণ্ডাল’ শব্দটির উল্লেখ পাওয়া যাচ্ছে। বঙ্কিমচন্দ্রের ‘কপালকুণ্ডলা’ উপন্যাসে নদী তীরবর্তী শ্মশানভূমির উল্লেখ আছে। হিন্দুরা মৃতদেহকে আগুনে পুড়িয়ে ফেলেন। হিন্দু বৈষ্ণবেরা মৃতদেহকে মাটিতে সমাধিস্থ করেন। রামায়ণ মহাভারতের কালে চিতায় মৃতদেহের দাহকার্য সম্পন্ন করা হত। মাদ্রী পাণ্ডুর সঙ্গে অগ্নি প্রজ্জ্বলিত চিতাতেই অনুমৃতা হয়েছিলেন। দেবীভাগবত পুরাণে উল্লিখিত আছে, ঋষি বিশ্বামিত্রের অভিশাপে রাজা হরিশ্চন্দ্র কাশীর মহাশ্মশানে চণ্ডালের কাজ করেছিলেন। শরৎচন্দ্র চট্টোপাধ্যায়ের ‘দেবদাস’ উপন্যাসে দেবদাস অনাথ শব রূপেই পরিগণিত। কমলকুমার মজুমদারের ‘অন্তর্জলী যাত্রা’ উপন্যাসে শ্মশান চণ্ডাল হলেন বৈজু। শরৎচন্দ্রের ‘অভাগীর স্বর্গ’, ‘শ্রীকান্ত’ প্রভৃতি উপন্যাসে শ্মশানের উল্লেখ আছে। রবীন্দ্রনাথের ‘বনফুল’ কাব্যগ্রন্থে ‘শ্মশান’ নামের একটি সুদীর্ঘ কবিতা রয়েছে। মধুসূদন দত্ত তাঁর ‘চতুর্দ্দশপদী কবিতাবলী’র ‘শ্মশান’ কবিতায় পাঠককে বিষণ্ণতার সামসঙ্গীত উপহার দিয়েছেন। ব্রাহ্মণ্যতন্ত্রের সংস্কার, সতীদাহ প্রথা প্রভৃতি শ্মশানকে কেন্দ্র করেই আবর্তিত হয়েছে। শ্মশানসঙ্গীত হয়ে উঠেছে নিম্নবর্গীয় মৃত ব্যক্তির আত্ম প্রতিরূপ। শ্মশান ও মৃত্যু সমার্থক। মৃত্যুর স্থির সমুদ্রে জীবনের অর্জিত গৌরবরাশি বৃথা হয়ে যায়। অর্থ-সম্পদ-খ্যাতি-প্রতিপত্তি সবই যায়। শ্মশানের চিতার আগুনে ইহজগতের দেনাপাওনা সব চুকে যায়। শ্মশান কেন্দ্রিক সঙ্গীত ও সাহিত্য ভারতীয় জাতির গৌরব বৃদ্ধি করেছে। 
\u27World\u27 in Wittgenstein\u27s philosophy/ ভিটগেনস্টাইনের দর্শনে ‘জগত’
No full textWittgenstein is a famous philosopher of language. Philosophers of language believed that people talk about the world and worldly objects through the use of language, so the only way to know the structure of thought or experience related to the world and worldly objects is to know the structure of language. And the way to know this structure of language is to analyze language. Language analysis is possible only through the inherent logic of language. This logic of language is inherent in the nature of language. Therefore, to understand the logic of language, one must understand the nature of language. According to Wittgenstein, it is possible to describe the world only through language, so to understand language, one must understand the nature of the world. In this context, Wittgenstein explained the nature of the world in his book ‘Tractetus: Logico Philosophicus’. ‘World is the totality of facts, not of things.’ - Based on this principle, an attempt will be made to have a complete discussion about the world in this series
The Manasamangal Kavya from the feminine psychological perspective (In respect of the co-wife problems, self-establishment, condemnations for husbands, Baromasya and taking disguises/ নারীমনস্তত্ত্বের আলোকে মনসামঙ্গল কাব্য : প্রসঙ্গ – সতীন সমস্যা, আত্মপ্র
No full textIn our society women have been defined with certain words and terms which are used as the opposites to that of the men. A woman resides as a daughter, wife and mother, completely unaware of her own individuality. A society where woman is not allowed to know her own personality, it is quite normal that her deep feelings, her emotions are made to remain veiled forever. Moreover the patriarchy has termed her enchantress (‘Mayabini’, ‘kuhokini’) to avoid any reflection on the hidden core of her heart. Women have failed to transform their thoughts into works unlike men. But the condition of women was not the same right from the beginning in our Indian society. In the Vedic era women like Gargi, Maitreyee were ranked with the greatest of the menfolk in society. Towards the end of the Vedic period, in the age of the Ramayana and the Mahabharata women were allowed to exercise their freedom in selecting their husbands which was called the ‘Swayambar Pratha,’ and had their chances in widow remarriage. But the system changed with time. Women have lost their freedom and the perversion of men has made them to turn into their property. Society has not lend its ear to the heart- touching stories of these women. But in literature the poets despite being male, have always come out of their society defined roles and as human beings they have sung the minds of women. Later these hidden aspects of the minds of the female characters have come to be interpreted as feminine psychology. The poets of the medieval Bengali literature are not an exception. The works of the medieval Bengali literature especially the Mangalkavyas are the soulful accounts which are like the undercurrents in the main narratives of self establishment of the Gods and Goddesses. The hidden aspects of women psychology and the conflicts of their minds have been centered round the co-wife problems due to the polygamy system and their establishment of ‘self’. The poets have opened up the complex sides of the feminine psychology in themes of ‘Baromasya’, the narration of twelve months and the condemnations for their husbands. This article tries to analyse how the poets of the Manasamangal Kavya have depicted the thoughts and the inner conflicts of the feminine psychology through various activities of the female characters.  
The Impact of ‘Professor Shanku’ on the development of Adolescent mind: An Analytical Study/ কিশোর মনের বিকাশে ‘প্রোফেসর শঙ্কু’ : একটি বিশ্লেষণাত্মক অধ্যয়ন
No full textAdolescence Psychology which deals with Pragmatic and theoretical aspects of a man at this stage is a common subject is various branches of literature. Adolescent period is generally considered as a transitional period of childhood and youthfulness. Adolescence is regarded as the beginning of human psychology leading to behavioral patterns of human beings. This stage deals with psychological, social, emotional and intellectual development and as a result a person during this period of his life becomes anxious about various incidents and happening around them. Therefore the development during the adolescent period should be directed properly by the appropriate society, environment, advisees and knowledge, so that this stage can provide peace, joy and tranquility. In this regard, literature always plays a pivotal role as a great source to provide happiness and education to them. This research paper intends to discuss how Satyajit Ray’s selected collection of stories of ‘Professor Shanku’ offers a remarkable stage to the development of adolescent mind.  
Evolved Infantry Subhash Mukhopadhyay/ বিবর্তিত পদাতিক সুভাষ মুখোপাধ্যায়
No full textWhen the present moves towards the future, leaving the past as a witness, it changes itself and reaches its end. In this change, even if the external structure changes, the ideological infrastructure remains intact. Then we do not call it change, but evolution. However, this evolution is not only an evolution of spatial geography and temporal dimensions; it is also an evolution of the mind and mood of the evolved person. Subhash Mukherjee is no exception of this thinking. He is a real example of such evolution. Not only in his political philosophy of life, but also in his literary-centered meditations, poet Subhash Mukhopadhyay did not follow a set path. He changed his opinion, but remained steadfast in his goal. He moved away from leftism ideology and joined hands
with Gandhism. That is true. However, he did not abandon communism. Evolution is the law of the ideological universe. But we must see to it that, that evolved consciousness does not hurt the collective convictions. Subhash Mukhopadhyay is a skilled thinker-artist in this work.
Therefore, in the article under discussion, the primary intention of the author will be to create an outline of evolution in terms of Subhash Mukhopadhyay’s criticism of life, social consciousness, political thought, poetic thought, poetic justice, linguistic thought, aesthetic sense etc. It is to be noted that more examples will be provided from the poet\u27s various poems to authenticate the logical tradition of the discussion. However, for the purpose of presenting the subject matter of the article, various literary forms such as novels, letters or songs will also be used in addition to the poet\u27s poems. And by the end of the article, following these steps, we will reach the evolved consciousness of poet Subhash Mukhopadhyay
Prabhatkumar Mukhopadhyay’s Short Story ‘Debi’ : A Study in the Society and Culture of the Nineteenth-Century Bengal/ প্রভাতকুমার মুখোপাধ্যায়ের ছোটগল্প ‘দেবী’ : ঊনিশ শতকীয় বাঙলার সমাজ ও সংস্কৃতিতে স্বপ্নের উপস্থাপনের একটি বিশ্লেষণ
No full textThoughts and studies about dreams have been a concern in almost every culture, regional, national or international, in almost every nation. In Bengali culture also, dreams have undergone various levels of discussions since the inception of this culture. Until the publication and popularity of Freud’s ground-breaking book The Interpretation of Dreams in 1900, Bengali literature, starting from our epics, has incorporated dreams, especially the prophetic ones. Previously dreams were chiefly taken as mediums of divine beings to send messages about morality or future events to the mortals on the earth. This was largely the same in British literature and culture as well until Freud published his study on dreams. Some pro-psychological studies about dreams had been initiated in Britain from the beginning of the nineteenth century, growing towards its end, ultimately culminating in Freud’s book. But such psychological studies about human minds and dreams were yet to appear in the British India even in the beginning of the twentieth century. Therefore, the superstitious, irrational and prophetic dreams encompassed Bengali literature and culture, canonical or popular. In this context, this article makes a study of Prabhat kumar Mukhopadhyay’s story, ‘Debi’ (‘The Goddess’), which makes a use of the cultural practice of divine dreams. The story was published around the same time of Freud’s observations on dreams and became famous after Satyajit Ray had adapted it into a film in 1960. This paper intends to investigate Prabhat kumar’s representation of such a dream in this story and its reception by the characters, both upper class and lower class. It also makes a query, from the feminist angle, of how the characters, both male and female, receive the divine aspect of dreams and react to this. By doing this, this paper attempts to observe Prabhat kumar’s approach to prophetic or supernatural dreams and thereby note whether there is any representational differences between a Bengali writer’s approach to dreams and that of the British literary masters around the same time. Finally, this paper seeks to see, with respect to Prabhat kumar’s stance on dreams, whether British literature holds its crown of being an iconic tool of their cultural hegemony over colonies, as the colonial masters had claimed to be
The construction of Shakuntala from spoken sources/ অন্তবর্তী তদন্তের পরে : উপন্যাসে থ্রিলার ভাবনা
No full textOne of the most popular poets of the modern era is Raudra Goswami. He is currently a very famous writer in the world of writing. Raudra Goswami’s poems are like Nitol. The touch of clear stylistic expression is evident. The language in his poems is simple but heartwarming. A combination of deep feelings is found in the poems. The special aspect of love, separation and loneliness is the light of poetry, especially he is writing on the topics of romanticism, love, deep feelings, sensitivity, humanity, feeling, etc. Raudra Goswami always likes to bring the very best to the fore. He used to read and love poetry from a very young age and he liked to call poetry a feeling. Just as he liked to write poetry, he also started creating a world in novels. After his popular novel, Inclusion of Danta, the poet himself said that what cannot be said in poetry, he said in novels. A novel that gives a glimpse of new horizons becomes a thriller in its thinking. Thriller novels are a type of story-based novel where mystery, fear, excitement, unknown events and tension play a major role. The main goal of a thriller novel is to keep the reader in an atmosphere of invisible fear, restless curiosity and intense attraction to the next event from the beginning to the end. The atmosphere of mystery is maintained from the beginning to the end of the story. It always keeps the reader uneasy, creating a fog about what is going to happen. The story moves faster than a normal novel. The plot changes suddenly, which surprises the reader. Thriller novels often contain murder, crime, mysterious conspiracies or secret plots. There is a force, person or group in the story around which fear and tension are created. The main character is usually intelligent, brave and able to handle difficult situations
Tarashankarer ‘Kalindi’ uponyase santal jibon o songram/ তারাশঙ্করের ‘কালিন্দী’ উপন্যাসে সাঁওতাল জীবন ও সংগ্রাম
No full textThe central theme of Tarashankar Bandyopadhyay’s novel Kalindi (1940) revolves around the conflict between the feudal zamindari system and emerging mercantile capitalism. In the process, the novel also touches upon the rich tradition of tantric practices in Birbhum and the historic Santal Rebellion of 1855. Alongside, it vividly portrays the customs, beliefs, festivals, marriage systems, and worldview of the Santal community. Being born into a zamindar family himself, Tarashankar approaches the Santals with deep empathy. While highlighting their rebellious spirit, he also describes the Santal society and culture with rare sensitivity, breaking away from the typical upper-caste gaze. Particularly captivating is the section where the Santal myths about the creation of the earth and the nature of their community are explored. This simple and innocent community has repeatedly been displaced from their homeland in the name of "development," pushing them towards an uncertain future. As a result, they remain marginalized to this day. According to the author, the root cause of this plight lies in people like Indra Ray (the zamindar), Shreebas Pal (the moneylender), and Bimal Mukherjee (the factory owner) — who have historically exploited the tribal Santals for their own selfish interests. Tarashankar expresses strong condemnation toward such ruthless and self-serving individuals throughout the novel
History in stories, stories in history: Historical consciousness in the works of Pramathanath Bishi/ গল্পে ইতিহাস, ইতিহাসে গল্প : প্রমথনাথ বিশীর রচনায় ঐতিহাসিক চেতনা
No full textOne of the most well-known names in Bengali literature is Promothnath Bishī. In addition to writing essays, plays, and novels, he made a significant contribution to the field of short tales. A distinctive synthesis of politics, society, history, culture, and psychology could be found in his literary works. He added a distinctive element to Bengali literature\u27s historical fiction heritage. His historical fiction serves as a means of understanding a specific era, culture, character, and age in addition to being a source of literary enjoyment.
Through an analysis of a few historical short stories, this essay will try to comprehend his historical consciousness, the impact of imagination, intentions, and his inquisitive approach to the human mind. Following Sharadindu Bandyopadhyay and Bankimchandra Chattopadhyay, Promoth nath Bishī contributed a unique perspective to the historical fiction genre. History is not only a backdrop in the short stories of his kind but rather it serves as a vehicle for exposing character psychology, self-criticism, and societal and personal crises.
He never condoned social or personal injustice. Through satire and irony, he boldly voiced his protest against all wrongs. His historical short stories, however, showed an attempt to uphold traditional practices. This essay will seek to highlight his historical awareness, creative uniqueness and significance, through a study of his (selected) historical short stories