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Madhusudaner Sonete Ramayan, Mohabharat, Mongalkabbo o sakto podabalir provab prosongo/ মধুসূদনের সনেটে রামায়ণ, মহাভারত, মঙ্গলকাব্য ও শাক্ত পদাবলীর প্রভাব প্রসঙ্গ
No full textMadhusudan wrote the first sonnets in Bengali and perhaps his sonnets are still considered to be the best sonnets written in Bengali. His Chaturdaspadi Kavitavali was published in Granthkara in 1866. The book contains more than 100 sonnets and the sonnets describe different subjects. The sonnets are filled with strange and multifarious themes as the memory of Madhusudan\u27s lost days unfolds. There are rivers, villages, Ramayana, Mahabharata, Kalidasa, Kavikankan, Bharatachandra, Vidyasagar through which the identity of his native soul can be found. Several of his sonnets have references to Ramayana, such as Kirtivas, Sita Devi, Sita - Banvase, Valmiki etc. Notable among his sonnets in which the context of Mahabharata appears are Kashiramdas, Mahabharata, Subhadraharan, Gogriha-rane, Gada Yudha, Subhadra, Urvashi etc. Besides, Mukundaram Chakraborty\u27s Chandimangal poetry is influenced in his Kamale Kamini, Srimant\u27s Topar sonnets and Bharatchandra\u27s Annadamangal poetry is influenced in Annapurna\u27s Jhampi and Ishwari Patni sonnets. Shaktpadavali is influenced by his Vijaya Dasami and Ashwin mas sonnets. As Madhusudan has portrayed mythological stories and characters through these sonnets, we can easily understand the special pull of his heart towards mythological stories by reading his sonnets
Kana Basu Mishra’s storytelling : A Discussion/ কণা বসু মিশ্রের গল্পভুবন : একটি আলোচনা
No full textKona Basu Mishra has been writing literature since the seventies, yet she remains in the background of the Bengali readership. He entered the world of Bengali literature by writing short stories. She wrote three hundred short story and many novels. Woman are the centre of she story writing. A woman writer, she feels, can’t talk about girls the way male writers can. Countless woman have flocked to she novel and short stories. Those Woman have a different-difficulties in life and suffering. Even though women’s words are predominant in the writer pen, Kana Basu Mishra cannot be called a feminist writer; Rather she is a woman-loving writer. The woman in her stories are modern but do not cross the boundaries of social reform beliefs. Her story is an unheard story of the tireless woman solders suffering from the war called duty in the helpless, deprived, degraded world of woman. Besides, he has revealed various problems of society in her story. Social ill like superstition, religion are the subject of her story. Her stories are romantic at the beginning of creation. But with mature age there is a change in the romantic mind. Even under the same roof, the aspects of love, complications, bitterness, conflict of married in an educated civil society is depicted in her stories. Also she wrote stories for children. Basically, he created juvenile literature. The adventures of the teenage mind, the curiosity to unravel the detective-like mystery, the reckless mentality aspects come out her stories. Kana Basu Mishra’s varied story dynamics will be discussed in detail below.  
Abul Fazal\u27s short stories: Social portraits/ আবুল ফজলের ছোটগল্প : সমাজচিত্র
No full textLiterature speaks of society, it speaks of people. Because a writer is the most emotional person in the society. Therefore, any special emotion, crisis, conflict in the life of the society, country, people makes the writer think. Abul Fazal, one of the great 20th century factionalists. He believed that only a writer could be able to express truth in society through his writings. Abul Fazal as a writer has explored various aspects of modern life reality in his short stories such as various crises of society, poverty, mental turmoil, fluctuations of hope and despair. In his short stories, the author depicts the reality of the obstacles that the subtle events of the society create in the way of individual life. On the other hand, short stories are the special medium of expression in literature where fragmentary images of social life are presented in terms of reality. Abul Fazal is a unique genius in drawing this picture
Subalterns, Sundarbans and Bengali Novels: An Upstream Journey of Literature/ নিম্নবর্গীয় জীবন, সুন্দরবন ও বাংলা উপন্যাস : সাহিত্যের এক উজান যাত্রা
No full textAntonio Gramsci first coined the term ‘Subaltern’ in order to address economic disparity. However, the terminology ‘Nimno borgo’ (synonymous as ‘Subaltern’) clearly indicates the disparity in class, caste, language and culture. In the era of globalization, ‘Nimno borgo’ are those who are “marginalized and oppressed people(s) specifically struggling against hegemonic globalization” (Sousa Santos). Cultural imperialism and subalternism are antagonistic with each other as the latter is “a space of difference” (Spivak). However, the subalterns as ‘minority groups’ play a crucial role to re-define the ‘self’ of the ‘majority group’ as Homi K. Bhaba asserts, “Subaltern groups as oppressed minority groups whose presence was crucial to the self-definition of the majority groups”. This paper has explored the life of those ‘Nimno borgo’ in the Sundarbans.
The Sundarbans, comprising 19 blocks with 54 inhabited islands and an area of 9630 km2, is home to a diverse population in India. This population includes communities from Medinipur; tribal groups from Bihar, Manbhum, and Singhbhum; refugees from East Bengal (now Bangladesh) and the marginalized lower-caste Poundra and Muslim communities. The religious harmony, cultural exchanges and diversity of thought of these four groups have transformed the Sundarbans into a unique field of mixed culture. These four groups are known as ‘Nimno Borgo’ and their life stories have started to reflect in literature from the 20th century onwards. The lives and struggles, bitterness, beliefs, folk cultures and rituals, and blend of the mundane and the supernatural among the marginalized people residing under the dominion of deities like Bonbibi, Shah Jongoli, Narayani, and Dakshin Ray revealed a new dimension of the subaltern perspectives in Sundarbans-centered novels, beginning in the 1950s with Manoj Basu’s novel Jal Jangal (1951) that shows the emergence of the marginalized people of the delta - bauley (wood-cutters), mouley (honey-collectors), bahardar, saidar, crab-catchers and fishermen. Subsequently, writers like Shibshankar Mitra in Sundarbone Arjan Sardar (1955), Bonbibi (1966) and Bede Baule (1985), Baren Ganguly in Bonbibir Upakhyan and Bagda; Shyamal Gangopadhyay in Kuberer Bishoy Ashoy, Shachin Das in Ondho Nodir Upakhyan and Nun Dariya; Tapan Bandopadhyay in Nodi Mati Aranya (three volumes), and Jhareswar Chattopadhyay in Rampadar Ashon-Byason; Char Purnima and Samudra Duyar followed this tradition. Authors like Sunil Gangopadhyay in Jal Jangoler Kabya; Amar Mitra in Dhonpoti’r Chor, Sadhan Chattopadhyay in Gohin Gang and Joltimir; and Amitav Ghosh in The Hungry Tide have also touched upon the Sundarbans through their literary brushes. In the twenty-first century, local writers of the Sundarbans like Soharab Hossain, Utpalendu Mondal, Niranjan Mondal, Bibhu Nageshwar, and Adam Safi have woven the lives of marginalized fishermen, bauley and mouley from the Sundarbans into literature. Through vivid portrayals of such representatives of a simple life centered around water and forests, Bengali novels have found a distinct new direction that marks the beginning of an upstream journey. 
The socio-economic impact of river erosion in post-independence Bengali novels/ স্বাধীনতা-পরবর্তী বাংলা উপন্যাসে নদী-ভাঙনের আর্থ-সামাজিক প্রভাব
No full textThe relationship of rivers with humans is eternal. Since the era of ancientcivilization, people have been worshipping riversas gods. They settledalong its banks and earned a living for themselves. Sometimes the river appeared as a blessing, and at times it flooded both the banks and destroyed villages. An amazing combinationof life running with the flow of the river. If we look at the history of Bengali novels, just as we find river-centric novels, we also come across the socio-economicalimpact of river erosion as the context of many novels. Although the interrelationship between rivers and people is observed in the novels of Bankim Chandra, Rabindranath or Kazi Abdul Odud, the story oferosion and braid bar-centric people have come up in the novels of Amarendra Ghosh, Narayan Gangopadhyay, Amiyabhusen Majumdar, Abdul Jabbar, SadhanChattopadhyay and Abul Bashar
Sexual consciousness in some of Tarashankar\u27s novels/ কামনার কালীদহ ও তারাশঙ্করের কয়েকটি উপন্যাস
No full textTarashankar Bandyopadhyay is a bright star in the post-Rabindra-Sharat Bengali literature in the first half of the 20th century. His name is pronounced along with Bibhutibhushan and Manik. Although Tarashankar is ahead of both of them in terms of composition. However, his longer life than the other two writers can also be identified in this context. Tarashankar is mainly referred to as the commentator of ‘Rarhbangla’. He himself was a representative of the evolving feudal society. But he saw all classes of people from landlords to crowd, rich to poor; He understood their life, society, love, relationship, nature and instinct with his heart. The people of Rangamati in Birbhum, Tarashankar\u27s paradise, Came to life in his pen. Tarashankar\u27s literature is a candid picture of marginalized life, Norit is world of hypocrisy of the rich affluent society. Their anger - violence-hatred is as obvious as the expression of sexuality is clear, undisguised. All these become vivid and lively or alive in his work. From Novel ‘Ganadevata’ Durga, the prostitute, to Padma the housewife--there is an expression of desire in all; Someone is clear in someone\u27s signal-consonant-form. Drunken Aniruddha leaves an unhappy childless marriage and seeks release through sex. Although Chiru Pal wants to be a gentleman, his children bear the mark of his unbridled sexuality. In the novel \u27Kobi\u27, Basanta, she too had become accustomed to the indulgent life. She sought to be freed by sheltering Nitai Kabial, but was not saved in the end. Basanta\u27s libertine life had a tragic end in death. In \u27Hansuli Banker Upaktha\u27, the Kahar-Kanyas of Banshbadi village leave the house because of desire. They left their sick husband and remarried a man. Due to physical dissatisfaction, Kaloshashi stalks her pre-marriage lover Banwari. Seeing the example of the dead lover, the old Banwari brought the young girl Subasi at home, but could not keep her to herself. In fact, not the house, not the family, not the children, -- girls easily leave the house and run to the new guy. And men\u27s polygamy adultery is in their holes--Banwari, from Param to Karali, no one is satisfied from one woman, mens\u27 instinct of polygamy and adultery has switched from genaration after genaration. In the novel \u27Naginikanyar Kahini\u27, the author has highlighted two forms of passion centered on Shabala Pingala. Men who are the head of the Vedic community, how they turn women into objects of lust is highlighted here. In the novel \u27Radha\u27, along with the dialectics of Vaishnava theory, the image of the decadent society of the 18th century has emerged. Although it is not very long, the boy of Vaishnava descent is supposed to run wildly after dark barbarian girls. It is in the context of these few novels that the subject of sexuality has been discussed in the works of Tarashankar
A field-based Analysis of linguistic features of the spoken language of Raidighi region of Sundarbans/ সুন্দরবনের রায়দিঘি অঞ্চলের কথ্যভাষার ভাষাতাত্ত্বিক বৈশিষ্ট্য-ক্ষেত্রসমীক্ষা ভিত্তিক পর্যালোচনা
No full textThe Sundarbans, a unique cultural and ecological region, exhibits a rich linguistic diversity. Among the various linguistic group, four primary language communities dominate the region. They are the Poundra kshatriyas and other lower caste, the spoken language of Mahishya and Kaibarta community from south-west frontier Bengal, the language of tribes and the spoken language of Muslim community. Notably, the language of Poundra kshatriyas and other lower castes is the most widespread and prominent spoken language in the region, influencing the linguistic landscape of the Sundarbans. The focus of the paper is primarily to understand the spoken language of the Raidighi region, located in the Mathurapur-II block, a part of the Sundarbans. It should be noted that the language here is not different from the linguistic tendency of the Sundarbans. The central objective of the paper is to map the linguistic features of the region, emphasizing both the morphological and phonological characteristics of the dialects spoken in this area. This would help in illustrating how local variations interact with the larger dialectal patterns of Sundarbans. In addition to the structural aspects of the language, the paper also explores socio-linguistics perspective, particularly language contact and language extinction. The paper will discuss how language contact has shaped the evolution of the spoken dialects and highlight the risk of language extinction as younger generations may shift to more dominant regional languages, leading to a gradual loss of indigenous dialects.  
Indigenous society, culture and struggle reflected in Tarashankar Bandyopadhyay\u27s novel \u27Kalindi\u27/ তারাশঙ্কর বন্দ্যোপাধ্যায় ‘কালিন্দী’ উপন্যাসে প্রতিফলিত আদিবাসী সমাজ, সংস্কৃতি ও সংগ্রাম
No full textTarashankar was born on July 24, 1898. Growing up in the Lavpur area of Birbhum district, he developed a close connection with rural nature. Being the son of a landlord family, the landlord system is mentioned in his novels and stories. At one time, people of the Rajbangshi, Jele, Het, Bhalla, Sadgop, Kora, Kahar, Bhuimali, Mochi, Methar, Chamar, and Santal tribes lived in Birbhum along with the Hari, Dom, Bagdi, and Bauri communities.
He closely observed the various reforms in village life, the various folk activities of the society, the diversity of the language of the rural people, the conflict between the declining landlord system and the newly created merchant system. The social, political and economic conditions of the rural villages during this period are highlighted in his stories and novels.
Tarashankar\u27s novels can be divided into three periods.
Early period 1930-38
Middle period 1939-1947
Final period 1948-1971.
The novels of the first period are "Chaitali Vyurvi", Nilkanth, Pashan Puri, Raikamal, Agun. The novels written in the middle period are Dhatridevata, Kalindi, Tinshunya, Ganadevata, Manvantar, Panchagram, Kabi, Sandipan Pathshala, Abhiyan. The novels written in the last period are - Hasuli Baker Upakatha, Nagini Kanyar Kahini, Arogya Niketan, Chapa Dangaar Bau, Kalantar, Saptapadi, Aranyabahni, Ganna Begum, Radha.
Our topic of discussion: Indigenous society, culture, and struggle as reflected in the novel Kalindi. In our discussion, we have tried to analyze and highlight the life of indigenous people during that time as depicted in the novel
The Art of Prose in Kamalkumar Majumdar’s ‘Antarjali Yatra’/ ‘অন্তর্জলী যাত্রা’য় কমলকুমার মজুমদারের গদ্যশৈলী
No full textKamalkumar Majumdar (1914-1979) is almost unanimously known as well as famed as one of the most unintelligible writers in the vast and varied mosaic of Bengali literatures. From his first novel, ‘Antarjali Yatra’, Kamalkumar adopted an almost unprecedented style of story-telling to which the average Bengali readers were not accustomed yet. This strangeness and unintelligibility went on to the extent of making the readers, at least the ones who were ready for something else in a more docile way of presentation, avoid him altogether, though he got a small group of readers who were fascinated with his works.
Kamalkumar Majumdar started novel writing at a relatively later part of his career. Actually he did his spadework quite thoroughly by educating and readying himself for the field he was going to explore. His education, though, was not confined to the conventional framework of any academic curriculum. Kamalkumar Majumdar was into painting without any formal knowledge from any specific school of art. He was an extensive reader and almost gobbled whatever was written in Bengali in his time. Besides, he learnt the French language well enough to enrich and enlighten his mental fabric.
Before Independence, during the World War II, he made money through maritime export-import, pisciculture and spent a life of luxury which was in sharp contrast to the life of penury he led and accepted nonchalantly in the post-Independence time. He had no source of permanent or stable income at that time which led him to take up a variety of temporary jobs associated with arts and craft. This was followed by a somewhat settled and secured job of a teacher of arts and craft in South Point School. In the meanwhile, he got an opportunity to come on contact with and study the rural life and culture of Bengal from close quarters owing to his involvement in the census of Bengal on a reference from ICS Ashok Mitra.
Where Kamalkumar started writing his masterpiece ‘Antarjali Yatra’, he had already accumulated and enriched himself with a host of versatile knowledge of art, music, folk art and culture, French, English and Sanskrit literature, sculpture etc. Thus, ‘Antarjali Yatra’ is a reflection as well as an outcome of his versatile character, his multidimensional personality and genius. In the article in question, we shall try to delve into the enigma of his words, the intricacies of his sentences that were liberated from the chains, from the bondage of meaning what they were supposed to mean, until then! 
Dual Conflicts of Women and Society : In the Pen of Taslima Nasreen/ নারী ও সমাজের দ্বিবিধ দ্বন্দ্ব : তসলিমা নাসরিনের কলমে
No full textIn Bengali literature, female poets and writers have always raised their voices for the freedom of the women against various Social Prejudices and evil customs. Varions incidents of real life have emerged in their writings. One such feminist writer is Taslima Nasreen who has pointed out the decaying Social system of the dark Society. Taslima Nasreen written a lot for the marginalized people and the people of the third gender. Women’s equality have found a permanent Place in her works. Her criticism on women oppression, religious, religious fundamentalism is remarkable and she Made a vociferous protest against all traditions fearlessly. For this she had to endure many insults and humiliations. A man’s forcible access to a women’s body treating them as a Commodity tormented Taslima Vehemently. The rationalistic Taslima wanted women to create their own life history. Women’s their thoughts, their dress habbits, their life style and even their food will be their own. Taslima wanted that like Mother Earth a women will be all enduring and all powerful. Over the rotten Sores that pervade every Stratum of Society, women will march forward fearlessly as Goddesses. Taslima’s sharp eriticism makes her writing style lively and vibrant, which is enough to unmasu the disguised future Society. Her work is a living document in exposing the hypocrisy of the Society and So-called civilized Society along women centric issues. Instead of Moving towards entertaining the readers her pen repeatedly finds the way to build a perfect Society through the emancipation of women