Trisangam international refereed journal
Not a member yet
537 research outputs found
Sort by
\u27Titas akti Nadir nam\u27 in folkloric thought: novel vs. film/ লোকায়ত ভাবনায় ‘তিতাস একটি নদীর নাম’ : উপন্যাস বনাম চলচ্চিত্র
No full textThe Titas River, originating from and merging back into the Meghna River, is a culturally and historically significant river in Bangladesh. Flowing through Brahmanbaria in Bangladesh and Tripura in India, the Titas River served as the central theme of Advaita Mallabarman\u27s renowned novel ‘Titas Ekti Nadir Naam’, which depicts the lives of the Malo community. Their livelihood, festivals, music, and folk beliefs form the core of the novel. Based on this literary work, Ritwik Ghatak created a film of the same name.
The Malo community depends on fishing in the Titas River for their sustenance. They observe various traditional customs and beliefs, such as rituals after childbirth, writing fortunes with Chitragupta’s ink, and offering special foods for the deceased. Their vibrant festivals include playing with colors and music during Dol Purnima. Music is an integral part of their lives, reflected in genres like Murshidi, Sari, and Baromasi songs, which express their joys, sorrows, and cultural identity.
The Malo community\u27s lifestyle is rich in diversity, including unique dietary habits and proverbs reflecting societal realities and humor. The Titas River symbolizes more than just a river; it represents the life, history, and cultural identity of a community.
This essay delves into how Ritwik Ghatak\u27s film portrays the life of the Malo community as depicted in the novel. It examines which aspects the director excluded, which he added, and provides reasons for these creative choices
An Extinct Folk Culture of Murshidabad District: Muslim Wedding Songs/ মুর্শিদাবাদ জেলার এক বিলুপ্তপ্রায় লোকসংস্কৃতি : মুসলিম বিবাহ গীতি
No full textAn ancient tradition of the Murhidabad district is the Muslim wedding songs. Since time immemorial, Muslim wedding songs have been enriching the folklore and folk culture of this district as well as entire Bengal. The main feature of the Muslim wedding songs in Murshidabad is a special type of folk music conducted and sung by the rural Muslim women of the villages. The singing programme continues for 6-7 consecutive days from ‘Gaye Halud to Iburo Bhat’. Once, Muslim wedding songs were the main means of expression of the minds of rural Muslim women folk. Muslim women use to perform different types of songs for spending their leisure time and for entertainment on the occasion of marriages. Rural illiterate Muslim women of the Murshidabad district generally play a one-sided role in promoting and spreading the practice of Muslim wedding songs. Even the listeners of these songs are women. On this occasion, the entry of the men folk of the house are strictly forbidden. Muslim wedding songs are not only melodious, but also reflect the laughter, tears, sorrows, pains and joy that happen in our daily lives. Once, Muslim wedding songs were literally meant the wedding ceremonies and the songs about the bride and the groom. But nowadays Muslim wedding songs are not only limited to wedding related talks and accompaniments, rather this culture of Muslim wedding songs has also been constantly changing over time and according to geographical locations. In keeping with the wedding ceremony, the style of Muslim wedding songs has also changed in different places of the Murshidabad district. Muslim wedding songs of this district are actually one of the mirrors of society and culture. These songs highlight the various sporadic incidents that happen in daily human life. The happiness, sorrow, pain and suffering, social customs, various types of diseases, marital life of girls, social status of women, child marriage and ill effects of child marriage, widowhood, problem of old husband, polygamy of men, extramarital affairs, domestic violence against women, the negative impact of not getting polio vaccination in rural areas, the ill effects of not receiving proper education are skillfully and beautifully portrayed through the Muslim wedding songs
\u27Kalpbishwa\u27 web magazine and new scope and publishing practices of science fiction practice in Bengali literature/ ‘কল্পবিশ্ব’ ওয়েব ম্যাগাজিন এবং বাংলা সাহিত্যে কল্পবিজ্ঞান চর্চার নতুন পরিসর ও প্রকাশরীতি
No full textWhen the period is twenty-first century, changes can be seen in all aspects of language-composition-style of communicating literature whereas the relationship between literature, society and contemporary time is has always been eternal. Now a days, the reader can get the scope to invest in literature reading instantly on his digital devices without having to wait in the book market in search of books or magazines. One suitable example could be of this system is the recent \u27webzine\u27; That is, \u27web magazine\u27. Reading through new technology with apps like Kindle, Google Play Book etc. has become easy. It can be said that electronic voice is one of the contemporary literature publishing mediums. People\u27s opportunity to read is in the blink of an eye, and this has contributed in part to the advancement of science in the modern era. To know the influence of science in literature, the genre of science-fiction has served the thread of Bengali literature from late 19th century.
‘Kalpabiswa\u27 magazine has played a special role in the practice of Bengali science fiction literature in the form of webzine. As a result, this year the representative of \u27Kalpabiswa\u27 got the first invitation from India at the \u27World Science Fiction Convention\u27 (81st).
In the discussion, an attempt has been made to shed light on the development and expansion of Bengali science fiction literature as well as the mainstream of literature and at the same time the use of new technology in Bengali literature as a new direction in literary practice through this particular webzine
Unish Shotoker Vromonsahitye Bangali Narir Swodesh Chetona : Prosonge ‘Inglonde Bongomohila’/ উনিশ শতকের ভ্রমণসাহিত্যে বাঙালি নারীর স্বদেশ চেতনা : প্রসঙ্গে ‘ইংলণ্ডে বঙ্গমহিলা’
No full textThe 19th century was the period of Renaissance. It had brought about a great impact on Bengali literature and society under the influence of Western education. Rammohan Roy, Vidyasagar and others were the forerunners of this change. Renaissance spirit awakened a new consciousness in the minds of the Bengalee sin the 19th century. Travelling to abroad in the 19th century was an adventure. At that time, many obstacles had to be overcome to travel abroad. When Ram Mohan Roy, Dwarakanth Thakur went to England, the society was steeped in superstition. Ignoring many obstacles, they had to go abroad. Later many had to endure different social atrocities for going abroad. They used to be motivated by patriotism by travelling abroad. The Bengalees love to travel. Travelling from one end of the country to the other, they try to get to know the way of life of those places in detail. They brought from abroad the oriental way of life and sympathy for the oppressed countries. Travel - literature began to be published as a result of these travelling in the 19th century. Here, the contribution of women as well as men were in no way less. For women\u27s education, women\u27s progress, Krishna Bhavini Das had contributed much. She also made attempts to educate girls, standing by them. She went to England with her husband Devendranath Das, leaving her only child daughter Tilottama. There in 1885, she published ‘Englande Banga Mahila’ under the pseudonym ‘Banga Mahila’. Feelings for homeland of a 19th century Bengalee woman is revealed in the book. In this book, she praised the English people for the liberation and improvement of her country. The discussion about the good and bad of the English nation, customs and policies of it, brought up the sorrows and sufferings of our own country. A deep love for the country has emerged in this book. The book has total twenty chapters. Each chapter has feelings and deep respect for the country. The patriotism of the Bengalee women in the 19th century is really commendable in this book
Assembly of Rabindra Sangeet In Selected Rabindra Ballad/ নির্বাচিত রবীন্দ্র গীতিনাট্যে সঙ্গীতের সমাবেশ
No full textRabindranath Tagore was a Bengali poet, writer, composer, philosopher, social reformer who wrote in many literary genres. He was the first poet who wrote successfully in all areas of literature. His poetry, Novel, songs, dance, drama has made the Bengali literature rich. Among Tagore\u27s popular works the geetimalya or opera plays an important role in Bengali literature where Rabindra Sangeet has acquired a valuable place. Songs written by Tagore have added an immense beauty to the musical operas. Geetinatya rooted in India\u27s history is a theatrical performance or musical play that emerged during the period of cultural fusion between Bengali and western traditions. Rabindranath Tagore exemplified Geeti Natya in his own writings, highlighting it\u27s significance in the cultural landscape. Rabindra Sangeet is a wide range of songs that cover a variety of themes and are influenced by music from various styles around the world. Some songs have been taken from folk origin and some songs are being composed of folk tunes. Tagore\u27s compositions include topics like humanism, structuralism, introspection, psychology, romance, yearning, nostalgia, reflection and modernism, offering melody for every season and every season and every aspect of Bengali life. During his travel to foreign Countries he came into contact with different musicians of west and south part of the world. As a result the western style has been incorporated into Rabindra Sangeet. Afrer returning home he has written the first Geetinatya Balmiki Pratibha and after that kaal mrigaya and mayar khela. In these operas he has played several songs which belong to the western origin. Apart from these Tagore has composed many songs from folk music. So in this chapter our endeavour will be to focus on the songs that are sung in geetinatya
THE THOUGHTS OF RABINDRANATH TAGORE AND THE UPANISHADS ON BRAHMANISM: A COMPARATIVE ANALYSIS/ ব্রহ্মবাদ প্রসঙ্গে উপনিষদ ও রবীন্দ্রনাথের ধারণা : একটি তুলনামূলক পর্যালোচনা
No full textRabindranath Tagore was familiar with the Upanishads from his childhood. The main theme of the Upanishads is Brahman. We find the concept of Brahmanism (Brahmabāda) in Rabindranath\u27s thought which was influenced by the Upanishads. Sometimes Rabindranath explained Brahman as in the Upanishads and sometimes he also presented the concept of Brahman in a new way with his own thoughts. Like the Upanishads, Rabindranath searched for a hidden entity in Nature. Through a deep love relationship he found that the entity in his ownself is called ‘Jivan Devata’. According to Tagore, the universal entity can be manifested in two stages: firsty the entity is the all-pervasive hidden governing power, the manifestation of the actions of it. Secondly, it is revealed through the love relationship with the individual, like the Jivan Devata of the souls. The Manifestation of the work of universal entity means to act for others by being humane towards the universe. From these Rabindranath developed the theory of Humanism. There is a difference between the thoughts of Rabindranath and the Upanishads on the Jivan Devata. We find the concept of Jivan devata in the thoughts of Rabindranath, where we cannot find that in the Upanishads. Rabindranath pays more importance to the path of devotion (bhakti Marg), where the Upanishads pays the path of knowledge (gyan Marg). We will also find more importance of dualism than monism in Rabindra Darshan. In this context Dualism he gave much importance to the mind in composing the external world. Like the Upanishads, Rabindranath believed that Nirguna Brahma created the world in order to get pleasure. In this way, we will try to present that Rabindranath\u27s Brahmanism is not completely like that of the Upanishads and also not like the theories of Vedantic philosophers. In short, in our opinion we can assume Rabindranath\u27s concept of Brahman as a distinct Brahmanism
India\u27s Past tradition, Cultural Diversity, and Nation Building : A study/ ভারতের অতীত ঐতিহ্য, সংস্কৃতিক বৈচিত্র্যতা এবং রাষ্ট্র নির্মাণ : একটি বিশ্লেষণ
No full textAfter World War II, non-european territories gradually began to free themselves from the grip of colonialism. Due to the diversity of social identities, non-Western societies faced complex issues related to the nation building process. India is a notable example of this. The process of nation-building always needs a political center which is formed under nationalism. In Europe, the diversity, variety, and contradictions among social identities are not as pronounced as in non-Western countries. Thus, the complexities associated with nation-building are less there. For instance, nation-building in Europe has often centered around a single identity, such as linguistic identity, or racial identity. For example, Germany formed on the basis of ethnic-racial identity.
However, in Eastern countries, the process of nation-state formation has become more complex due to significant differences in social identities. In this context, two tendencies are observed in the nation-state construction of India. Although both tendencies are modern in origin, the first has its roots in past traditions, while the second is politically constructed. In other words, the first tendency is related to India’s ‘cultural nationalism,’ while the second is closely linked to India’s ‘political nationalism.’
This essay will primarily discuss how nationalism and national identity are constructed through India\u27s past traditions, social and cultural values, historical elements, and mythological characters as the \u27memory of the nation.\u27 It will also explore how cultural aspects have combined with political processes to shape the Indian territory into a modern nation-state, despite its diverse characteristics
Bratya Basu’s Poems on Theater : The Emergence of a Novel Creation/ ‘ব্রাত্য বসুর ‘থিয়েটার বিষয়ক কবিতা’ : এক অভিনব সৃষ্টির উদ্ভাসন
No full textThe greatest power of Bratya Basu’s poetry is his extraordinary ability to create an easy-to-understand connection with the reader, that is, his extraordinary ability to create communication. Bratya Basu wants to show the reality of modern theater, even the hero and heroine on the bright stage, the dazzling costumes, the villain’s cruel smile, the blatantly incorrect dialogue; yet the audience in the auditorium bursts into laughter and tears, creating a strangely exciting world. But on the other hand, the person who is prompting, his realistic picture. The prompter wore loose pajamas and a fatwa. In winter, he wore a muffler, slippers and glasses. All in all, no one before Bratya Basu could describe the neglected life of the prompters in such a way
The tragic consequences of motherhood in Subodh Ghosh\u27s story \u27Parashuramer Kuthar\u27/ সুবোধ ঘোষের ‘পরশুরামের কুঠার’ গল্পে মাতৃসত্তার করুন পরিণতি
No full textThe extraordinary thematic diversity of Subodh Ghosh\u27s \u27Parashuramer Kuthar\u27 seems to be a natural artistic acknowledgment of real-life education. The story describes a tragic tale where a lactating mother is murdered by the axe of societal norms and pushed into the ranks of branded prostitutes. In a patriarchal society, we are all Parashurams who kill our mothers. Perhaps society itself is illuminated in the form of the rough axe-murder of an innovative, mother-killing Parashuram. The main character of the story is Dhaniya, a young rural woman. She does not live a healthy, normal life; her primary identity is as Tilak\u27s mother. However, no one knows the identity of Tilak\u27s father. In a strange way, Dhaniya gives birth to one child after another every year in the free beds of the Missionary Zenana Hospital, sends them to the Missionary orphanage, and returns to her \u27Chagal Lodge\u27. In reality, her profession was to raise other people\u27s children by breastfeeding them. Thus, motherhood was her profession, and her body was her commodity. But problems arose in the post-war years. Many new competitors arrived from across the sea—various foreign foods. Hence, today Dhaniya is not called to household homes. Today she is ostracized by society. When the middle class needed Dhaniya, there was no fault in her visiting homes. But today, she is not needed. Therefore, there is an objection even if she comes on festive days—she is now considered a \u27randi\u27 (prostitute) in the eyes of society.
When Dhaniya, who once gave new life to children by breastfeeding them, is wounded and battered by their lustful axes, she herself takes the initiative to punish herself. At the end of the story, we see Dhaniya having to go and stand in the prostitute quarter, having her name registered in the prostitutes\u27 ledger. She, an innocent mother, is forced to become an object of uncontrolled sexual desire for the very children of respectable families whom she once nourished with her breast milk. This helpless, peculiar mother, in her faded youth, was forced to become a victim of lust by her own \u27children\u27. This is the tragic consequence of motherhood
SMORONE-BISMORONE KOTHASAHITTIK HARINARAYAN CHATTOPADHYAY/ স্মরণে-বিস্মরণে কথাসাহিত্যিক হরিনারায়ণ চট্টোপাধ্যায়
No full textHarinarayan Chattopadhyay is a leading writer of Bengali literature. Harinarayan Chattopadhyay made his debut in the world of Bengali literature in the late 1940s. He started his literary career with poetry. His first novel \u27Irawati\u27 was published serially in the \u27Desh\u27 magazine in 1948 under the name \u27Mohana\u27. Harinarayan Chattopadhyay became very popular with us in the early days of his literary career for the novels he gave us based on Brahmadesh. He incorporated different life problems into Bengali fiction by using Burma or Brahmadesh as a backdrop. This famous storyteller has also written many successful novels and short stories focusing on the lives of Bengalis . Along with writing for adults, his writing for children also became equally popular. Films were made in Bengali and Hindi based on the stories of his novels and short stories. The audio version of the Sunday Suspense program, which features thrilling mystery stories, funny stories, ghost stories and many detective stories written for children and teenagers, was published on Radio Mirchi. But now, this multi-talented writer has been pushed beyond oblivion by the Bengali reader