Trisangam international refereed journal
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Aparadha jagate nari : Bangla goyenda sahitye mahila goyendar goyendagiri/ অপরাধ জগতে নারী : বাংলা গোয়েন্দা সাহিত্যে মহিলা গোয়েন্দার গোয়েন্দাগিরি
No full textOnce upon a time Bengali detective literature was a world dominated by male characters. In this world, the idea of a female detective was a strange fantasy that was considered as impossible as a ‘golden stone bowl’. In the eyes of literary critics, detective literature itself was second-class and female characters were even more neglected. But with the change of time, this idea broke down and a new horizon opened up in literature that opened the way for women’s empowerment and self-reliance. This journey began with the character of Krishna, created by the influential goddess Saraswati, who broke the barriers of traditional society and opened up a new horizon of women’s freedom. Then, the emergence of teenage detectives in Nalini Das’s ‘Gandalu’ series proved that it is not age or gender but intelligence and courage that are important for solving mysteries. Manoj Sen’s character of Damayanti Duttagupta gave birth to a new trend where analytical intelligence became more important than professionalism. However, the fulfillment of this journey came in the modern era when the characters of Tapan Banerjee’s Gargi and Suchitra Bhattacharya’s Mitin Masi arrived. Gargi has established a perfect balance between her family life and detective work, showing that a woman can be a successful professional detective and a skilled housewife at the same time. On the other hand, Mitin Masi started a new chapter in Bengali literature as the first fully professional female detective. She took her profession not just as a hobby but as a livelihood and said- People work for their stomachs, I do detective work. These female detectives have not only solved the mystery of crime but have also broken the old customs of society and opened new paths for women. Their popularity is now not limited to the pages of books but their presence is also increasing in films and web series. This proves that the path of women in Bengali detective literature is now a new, strong and well-established chapter. In the modern era, these female detectives have gained further perfection
The Contribution of Manilal Gangopadhyay to Bengali Children’s Literature/ শিশুকিশোর সাহিত্যচর্চায় মণিলাল গঙ্গোপাধ্যায়
No full textManilal Gangopadhyay made a distinctive contribution to Bengali children’s literature through his simple narrative style, romantic imagination, and creative blending of folklore, supernatural elements, and moral teaching. His literary career began with the Bharati magazine in 1908–09, influenced by his close association with Abanindranath Tagore, whose style and imagination left a visible mark on his work. However, in contrast to Abanindranath’s elevated artistic tone, Manilal’s stories were marked by lightness, clarity, and an ease that made them especially attractive to younger readers. Among his most celebrated works is Japanese Fanus (1909), a collection of ten folktale-inspired stories rooted in the life of rural Bengal, childhood ideals, and animal fables, all tinged with fantasy and the supernatural. Stories like Urashima, The Woodcutter, and The Fox not only entertain but also implant moral lessons—showing the dangers of greed, the value of honesty, and the triumph of wit. Unlike Abanindranath, whose writings often avoided overt morality, Manilal emphasized didactic elements, making his tales valuable for shaping young readers’ ethical sense. His later collections such as Bharatiya Bidushi (1910), Jolchhobi (1918), and above all Kayahiner Kahini (1945) display a rich variety— ranging from historical portraits of learned Indian women to adaptations of foreign tales and original ghost stories. Kayahiner Kahini in particular highlights his mastery of supernatural narration.
Although spooky, the stories avoid cruelty, keeping them appropriate for children while still engaging their imagination with mystery and fear. Works like The Skeletons’ Wedding or The Talking Ghost’s Request exemplify his blending of humerus, wonder, and eeriness. Manilal’s literature may broadly be classified into three phases: in the beginning, influenced heavily by Rabindranath and Abanindranath Tagore; in the middle, moving towards original creations rich with romantic fantasy and ghostly imagination; and finally, in his later career, turning toward more socially aware stories exploring religion, tradition, love, and human character in simple prose. His writing remained accessible, colourful, and deeply engaging for children, with special focus on moral values, empathy, and imaginative freedom.
Thus, Manilal Gangopadhyay occupies a unique place in early 20th-century Bengali children’s literature. Through works like Japanese Fanus, Jolchhobi, and Kayahiner Kahini, he enriched the field with tales that united folklore, fantasy, supernatural themes, and ethical instruction. His contributions shaped the imaginative and moral world of Bengali children, making his works an invaluable treasure within the broader heritage of Indian child literature
Boudha Panchasila : A path to Ethical Living/ বৌদ্ধ পঞ্চশীল : একটি নৈতিক জীবনের পথ
No full textGoutam Buddhas moral philosophy and application of his values can be seen in the practical life of people. He was primarily an ethical teacher and a social reformer. Goutam Buddhas five precepts are most important in our practicle life. The five moral precepts of Buddha are known as Panchasila. Sila means habit, character, behaviour etc. Panchasila emphasizes the cultivation of moral discipline. The five principles are abstain from the the taking of life, not to take that which is not given, abstain from misconduct on sensual action, abstain from false speech and abstain from liquor that causes intoxication and indolence. Panchasila functions as voluntary commitments under taken by lay followers to nurture compassion, responsibility and mindfulness in daily life. Panchasila encourages self –restraint, respect of life. Five precepts cultivate the inner discipline necessary for higher spiritual practices such as meditation and wisdom. Panchasila provides a moral foundation for peaceful coexistence, justice and harmony. From a philosophical perspective, Panchasila illustrate the integration of individual morality with universal ethics, reflecting Buddhism’s pragmatic approach to human problems. In the contemporary world Panchasila remains highly relevant, offering guidance on ethical challenges such as violence, materialism, ecological crisis and social conflicts. This five precepts continues to inspire a holistic vision of ethical living rooted in compassion and responsibility
Exploring the form of Kalika in ancient and medieval Bengali literature/ প্রাচীন ও মধ্যযুগের বাংলা সাহিত্যে কালিকার স্বরূপ সন্ধান
No full textতুর্কি আক্রমণের পর থেকে ইংরেজ আগমন পর্যন্ত বাংলা সাহিত্য অনেক ধারায় বিভক্ত ছিল। এই পর্বের উল্লেখযোগ্য নিদর্শন বৈষ্ণব সাহিত্য, অনুবাদ সাহিত্য এবং মঙ্গলকাব্য। লক্ষণীয় এই সময়কার মানুষ সামাজিক রাজনৈতিক অর্থনৈতিক যে কোন কারণেরই হোক না কেন, তারা এক নারী শক্তি তথা আদ্যাশক্তির অনুসন্ধান করতে চেয়েছিলেন। মূলত মঙ্গলকাব্যগুলিতে এই প্রচেষ্টার সার্থক প্রয়াস লক্ষ্য করা গেলেও বৈষ্ণব সাহিত্য এবং অনুবাদ সাহিত্যেও এই সম্ভাবনার বীজ লুকিয়ে ছিল। পরবর্তী সময়ে কালিকামঙ্গল এবং আরো পরে শাক্ত পদাবলীতে যে কালিকার স্বরূপ তুলে ধরা হয়েছে তা মূলত উক্ত প্রয়াসের সার্থক সাহিত্যরূপ। আমার এই প্রবন্ধে প্রাচীন ও মধ্যযুগের বিভিন্ন সাহিত্য অবলম্বনে আদ্যাশক্তি কালিকার সেই স্বরূপ অন্বেষণের চেষ্টা করেছি
Samar Sen’s Poetic Vision and the Aesthetics of His Poetry/ সমর সেনের কবিতাভাবনা ও কবিতার নন্দনতত্ত্ব
No full textSamar Sen is a distinctive name in modern Bengali poetry, who wrote in the political and social context of the 1940s. His poetic vision was shaped by the despair of the urban middle class, self-reproach, the collapse of romanticism, sexual anguish, and a consciousness rooted in socialism. He believed that poetry is not merely the product of inner inspiration, but rather an artistic expression of social reality. Without a historical perspective, it is impossible to grasp the essence of poetry; and poetry without such a basis becomes a form of intellectual distortion. For him, poetry was a fusion of intellect and emotion, and in his works he represented the decaying middle class.
His language is abstract, rhythm based on prose, and thought restrained. In Samar Sen’s poetry we find the ugliness of urban life, class-consciousness, political uncertainty, and the disillusionment of romanticism— all expressed with profound artistry. Though influenced by Rabindranath Tagore and T.S. Eliot, his poetic thought remained internalized and progressive. The crises and inner conflicts of the middle class formed the central elements of his poetry, which achieved artistic shape through prose rhythm in a classical poetic language.  
Somokalin somoyer abhighat o Debdas Acharyaer kabita/ সমকালীন সময়ের অভিঘাত ও দেবদাস আচার্যের কবিতা
No full textDevdas Acharya’s poetry powerfully reflects the socio-political upheaval of 1960s–70s Bengal, marked by the Partition, class struggle, and revolutionary movements like Naxalbari. As a displaced victim of Partition himself, Acharya captures the pain of homelessness, state violence, and widespread suffering in his collection ‘Kalakram o Pratidhwani’. His verses reveal the daily struggles of common people, especially landless farmers, who rose up against exploitation and were met with brutal suppression. Acharya also exposes the increasing vulnerability of women, highlighting rising sexual violence and prostitution amid lawlessness and social breakdown. In a time of political betrayal and economic collapse, his poetry serves as both witness and resistance— chronicling hunger, rage, and the resilience of the oppressed, including peasants, the middle class, and marginalized castes
‘Megh O Roudro’ : A Political Narrative in the Context of Colonialism: A Review/ ‘মেঘ ও রৌদ্র’ উপনিবেশবাদের মোড়কে একটি রাজনৈতিক আখ্যান : একটি পর্যালোচনা
No full textColonialism is considered an important concept in the current social system. Although the concept of colonialism has been defined from various dimensions, the main point is somewhere, the rule of the West over the East. Various images and attitudes of this rule and exploitation process have emerged in the writings of writers at different times. Where not only the activities of the foreign ruling class, but also the loyalty of the so-called \u27natives\u27, distrust of themselves, servile mentality, silence despite humiliation, and the tendency to accept the exploitation of the strong over the weak reveal the inferiority of the natives. In Gramsci\u27s words, \u27hegemony\u27.
This story will try to explore the extent to which this psychological and political ideology of colonialism has emerged in Rabindranath Tagore\u27s story ‘Megh o Roudro’ written in the late nineteenth century. The idea of the racial superiority of the colonial class is the reason for the loyalty of the exploited class. This article will attempt to explore whether this seemingly romantic story is worth considering in that context
Manoj Basur Koyekti Chhotogalpo : Deshbhag, Sampradayik Danga O Hindu-Musalman Somporker Antorboyan/ মনোজ বসুর কয়েকটি ছোটগল্প : দেশভাগ, সাম্প্রদায়িক দাঙ্গা ও হিন্দু-মুসলমান সম্পর্কের অন্তর্বয়ান
No full textThe forties are very significant in Bengali literature. The partition, riots and the crisis of refuges life are reflected in every form of literature. The impact of partition and ritos is reflected a little more in the stories. The brutality of the riots, violence and hatred, and the pain of partition have been reflected in the writings of many story taller’s. Manoj Basu is one of the few storytellers who embodied the riots and partition in the pens of the fortis and fifties. Compassion for the homeland and relatives, that is, the people, is the main feature of Manoj Basu\u27s literature. Just as there is a thorough picture of how public life was disrupted in the Hindu-Muslim riots and the partition after independence. Manoj Basu\u27s stories also show the picture of people coming together, forgetting the memories of the riots and partition. The riots created districts between the two Nations, Hindus and Muslims, and partition increased it. Therefor after partition, communal classes and unrest increased even more. storyteller Manoj Basu has sympathetically portrayed the people in danger during riots and partition in his stories after independence. And so we see the harmony of Hindu-Muslim relations in his stories. He believed that oneday all the darkness would pass, the storm would stop and light would shine again, all the unrest would end. That is why he has faith in people and he wanted to protray that in his stories. In stories like \u27Hindu Muslim Danga\u27, ‘Dangar Ekti Kahini\u27, ‘Dangar Daag\u27, ‘Hindu Muslim’, ‘Simanta\u27, ‘Epar Opar\u27, ‘Tanter Maku\u27 etc. The author has protrayed the picture of Hindu Muslim relations during the riots and partitions during the contemporary and post partition period with experience. His stories have become an intertextual account of Hindu Muslim relations. Manoj Basu wanted to show the good heart of a person can never die. Even if riots and partition temporary separate people, it can never be permanent. When the fire of hatred and jealousy dies down, faith in each other returns because people always stand by each other losing faith in people is a sin— this message of hope is echoed in Manoj Basu\u27s stories
The Silk Industry of Bengal: A Review of Commercial Tradition, Culture, and Imperialism/ বাংলার রেশম শিল্প : বাণিজ্যিক ঐতিহ্য, সংস্কৃতি ও সাম্রাজ্যবাদের একটি পর্যালোচনা
No full textThe silk industry is one of the oldest and most significant cottage industries of India, with Bengal historically serving as a major hub of production and trade. References to silk fabrics in ancient Indian literature, including the Vedas, epics, and religious texts, attest to its antiquity and cultural value. In Bengal, the term “silk” is derived from ab-resham. The industry flourished along both banks of the Bhagirathi River, particularly in Murshidabad, Kasimbazar, Saidabad, Jangipur, and Rajshahi, from where raw silk was exported to markets across Europe and Asia.
The arrival of the Portuguese in the sixteenth century, followed by the Dutch, English, French, Armenians, and other European merchants, transformed Bengal’s silk industry into a center of international commerce. Although the Dutch initially dominated, the English eventually took control, aided by local gumastas who participated in the trade. Murshidabad’s rise as the capital of Bengal during the Nawabi period further enhanced the economic importance of the region.
However, the Battle of Plassey (1757) and subsequent colonial policies brought devastating consequences. The East India Company’s duty-free trade privileges, along with the agency and contract system, disrupted traditional structures. The catastrophic famine of 1769–70, which decimated mulberry cultivators and weavers, inflicted irreparable damage. Coupled with declining European demand during the Industrial Revolution, the industry witnessed a steep decline.
In the nineteenth century, firms like Watson & Co., James Lyall & Co., and Louis Pajen & Co. attempted to revive trade, but foreign competition, silkworm disease, and administrative inefficiencies hindered progress. Reformers such as Nityagopal Mukherjee promoted sericulture through pasteurization techniques, leading to the formation of the Bengal Silk Association in 1898. The early twentieth century saw renewed visibility through S. S. Bagchi & Co.’s participation in international exhibitions, but most European companies ultimately withdrew. The Textile Protection Act of 1934 and the establishment of a central silk research center at Berhampore were state-led interventions to safeguard the industry, but the disruption caused by the partition of Bengal ultimately marginalized its significance. Today, Bengal’s once-thriving silk industry survives mainly in historical memory and material remnants
Nabanita Debsener rupkathar galpe narir khomotayan/ নবনীতা দেবসেনের রূপকথার গল্পে নারীর ক্ষমতায়ন
No full textNabanita Deb Sen was a perpetually cheerful, exquisitely beautiful person, melded by a combination of upright character, sharp wit and profound scholarship. Nabanita Deb Sen, the noted poet, novelist, short story writer, play write, humorist and travel writer is unquestionably one of those accomplished women authors of contemporary Bengal. Her refined humor, free–spirited, erudite writing and deep understanding of the post–colonial and psychological problems of middle-class Bengalis have accorded her with a special place in contemporary Bengali literature. In Bengal’s conservative society, Nabanita Deb Sen scene through out her life with the identity of a free spirit. Living life on her own terms with an unconquerable nature, Nabanita, in the multifaceted expansion of her personality, sometimes even surpassed her mother, Radharani Devi. In a male dominated society, her strong pretest against the discriminatory life experiences of women found expression in various forms of feminism. In her fairy tales, it is revealed that women are in no way inferior to men in society; they are capable of achieving victory not by physical strength, but by intelligence. Through the guise of children’s literature, Nabanita Deb Sen’s fairy tales seem to depict a picture of human life. She was able to win the hearts of children by blending imagination and reality in the way that resonated with their minds. Under the pretext of telling stories, she presented many profound truths of life of them. She sought to show children new perspectives, moving beyond traditional ways of thinking. The protagonists of her fairy tales are female. They were not weak; they are intelligent. They are not foolish, but resilient and patient. They are not afraid to conquer fear and embark on formidable journey alone when facing challenging situations. The women in Nabanita Dev Sen’s fairy tales celebrate life’s triumphs. In her writing, children’s minds discover a different realm of imagination within lost fairy tales