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Reconstruction of Mahabharata\u27s Violence and Politics in Deepak Chandra\u27s Novel \u27Kurukshetra Dwaipayana\u27: A Review/ দীপক চন্দ্রের ‘কুরুক্ষেত্রে দ্বৈপায়ন’ উপন্যাসে মহাভারতের প্রতিহিংসা ও রাজনীতির পুনর্নির্মাণ : একটি পর্যালোচনা
No full textKrishna Dvaipayana (Vyasadeva) is the author of the Mahabharata and an important character in the Mahabharata. He is not a king, nor is he a Kshatriya. He is the son of Parashara Muni and Satyavati. He was a learned scholar. Deepak Chandra\u27s novel ‘Kurukshetra Dvaipayana’ shows him as a politician and a person who is obsessed with revenge. Revenge paved the way for politics in the Mahabharata. This revenge was born in the mind of Vyasadeva, the creator of the Mahabharata. How the desire for revenge led to the great war of Kurukshetra. That has been newly embodied in Deepak Chandra\u27s novel Kurukshetra Dvaipayana. The neglect of the lower castes by the upper castes pained Vyasadeva\u27s mind. He could not accept the disrespect and neglect done by his father to his mother. Similarly, he could never forget the humiliation and humiliation done by Ambika, the wife of Vichitravirya. He took revenge on Ambika\u27s son Dhritarashtra. Vyasadeva\u27s revenge ended with the death of Duryodhana. In the Mahabharata, Vyasadeva represented the non-Aryans and the lower castes. The war in the Mahabharata was actually the result of his revenge on the Aryans. For this, he followed the path of diplomacy. That is why he is seen favoring the Pandavas in the Mahabharata. Along with this, the rivalry between Bhishma and Dwaipayana is highlighted. Neither of them is a king. However, both of them were present in politics. One outside, the other inside. Their fight was going on behind everyone\u27s eyes. They were jealous of each other. They made many different plans to maintain their honor and existence in the family. Their rivalry, anger, jealousy, and cunning political activities are described in this novel. The novelist has presented a different side of the politics of the Mahabharata to the reader through his own perspective
The position of women in women\u27s writings in the light of feminist consciousness: Perspectives on the Dahan novels of the last decade of the 20th century/ নারীচেতনাবাদের আলোকে নারীর কলমে নারীদের অবস্থান : প্রেক্ষিত বিশ শতকের শেষ দশকের \u27দহন\u27 উপন্যাস
No full textCurrently, women are neglected, oppressed, deprived, and exploited in the social sphere. However, of course, feminism does not mean the suffering of women, the humiliation of women, the list of their oppression, and the way out of this situation is \u27feminism\u27. However, not only women are aware of women\u27s rights, several men have also spoken out in this movement. However, women definitely need more awareness. After enduring neglect for a long time, women are able to respond to some extent. However, it goes without saying that this protest movement may have been formed since the beginning of patriarchy, but it could never be organized or it was not known by any specific name. Because when a person\u27s back is completely against the wall, he makes a last effort to push away the opposition coming from the front, and this is where \u27feminism\u27 may begin. Just as women are opposing oppression against him, similarly, the level of oppression against women has changed over the ages through the evolution of men. In the era of Ramayana, Sita had to undergo the ordeal of fire to dispel her husband\u27s suspicions. Even today, women have to undergo the ordeal of fire, both at home and outside.
In the context of feminist narrative theory discussion, it is worth mentioning that narrative theory is not limited to the discussion of written narratives only. Narrative theory is mainly built on the basis of organizational discussion. The study of narrative theory is mainly interdisciplinary and multidisciplinary. Various literary and non-literary subjects, as well as discussions about the narratology of various narratives and discussions about what has not become a narrative have become part of narrative theory. Cinema, theater, drama, poetry, stories, advertisements, history, narrative is generally not seen in these, but it is worth mentioning that narrative is very present in all subjects. However, it is quite difficult to analyze feminist narrative exactly in this frame. However, it is not impossible. This type of definition has seen the predominance of the past tense. Therefore, in the context of feminist narrative, in the analysis of this definition, it can be said that gender inequality has been created since ancient times and its origin was mainly in the post-Aryan era. Because in the pre-Aryan era, our society was matriarchal. After the arrival of the Aryans, a terrible change occurred in the entire system, the invasion of patriarchy began. Women have not been able to free themselves from this invasion and colonialism even today. This characteristic is reflected in the narrative. Therefore, feminist consciousness is no longer limited to a single literary theory. It has become part of the Interdisciplinary Approach
The position of society and women on the novel ‘BATTALA’ by Sukanta Gangopadhyay”/ ‘বটতলা’ : সুকান্ত গঙ্গোপাধ্যায়ের উপন্যাসে সমাজ ও নারীর অবস্থান
No full textA novel centred on realistic societal narratives is a literary work that draws upon real-life events, social issues, and various dimensions of human life. Such novels often reflect the struggles and lived experiences of individuals, groups, or entire social classes. These works, particularly those addressing the artificial moral values of society, expose its prevailing hypocrisy, unexpected behaviours, and double standards. Through them, the underlying realities of society, often hidden behind a facade of pretentious values, are brought to light.
Society is fundamentally structured around men and women, but it predominantly functions within a patriarchal framework. In such a setting, a woman\u27s virtues and flaws are often judged from a male perspective. Despite significant advancements in civilization and the improvement of modern lifestyles, has the position of women truly transformed? When a woman becomes a victim of crimes such as murder, rape, harassment, blackmail, false rumors, or character assassination, society frequently blames the victim, subjecting her to further humiliation and injustice. In Bengali literature, the portrayal of women has always held great significance. Many stories and novels provide profound examples of women’s awakening and empowerment, emphasizing their strength and resilience.
Sukanta Gangopadhyay’s novel Bototola is a powerful work that transcends medieval social thinking and portrays a woman’s struggle to live with dignity. Sukanta Gangopadhyay, a well-known and highly regarded figure in modern Bengali literature, skill-fully captures the destructive impact of cybercrime on a woman’s life. In Bototola, he depicts how the malicious acts of cybercriminals can poison a young woman’s life within moments. Yet, as a compassionate and insightful storyteller, he does not stop there. Gangopadhyay also charts a path of recovery and redemption for the protagonist, showing her unwavering determination to reclaim her life and dignity.
The novel serves as a testament to the resilience and courage required to confront societal prejudices and injustices. The protagonist’s battle to hold her head high and fight for her rightful place in society is emblematic of a broader struggle faced by countless women. This fight is not hers alone but is shared by every woman striving to live with respect and self-worth. Through Bototola, Gangopadhyay not only narrates a compelling story but also delivers a powerful message about the need for societal change, the recognition of women’s rights, and the universal demand for justice and equality. This narrative resonates deeply, reminding us of the collective responsibility to support and empower women in their journey toward a fairer and more inclusive society
‘Swapnalabdha Bharatbarsher Itihas’: Construction of Alternate History in The Nineteenth Century Bengali Literature/ ‘স্বপ্নলব্ধ ভারতবর্ষের ইতিহাস’ : উনিশ শতকের বাংলা সাহিত্যে বিকল্প ইতিহাসের নির্মাণ
No full textIn the second half of the Twentieth century, after the disastrous Second World War, a type of fiction became popular - Alternative history or Allohistory. It is a retrospection of history with an alternate narrative. Although the history of Alternate History fiction leads back to the Nineteenth century. Nineteenth-century Bengal was going through several massive changes- be it political, economic or social. As the century proceeded, the English-educated Bengalis emerged with a piece of new world knowledge. They got acquainted with European history, literature and culture. As they were trying to navigate their way, finding their existence in this ever-evolving new world, a world dealing with the Industrial Revolution followed by the Scientific Revolution, they realised we had a deficient historiography. The many years of memory, that we carried through stories were not documented as history. We got the idea of historical thinking and became conscious of History. The early Nineteenth-century Bengali literature reflects this historical consciousness. We see Alternative History fiction parallels Historical fiction. But allohistorical narratives are infrequent in Bengali literature. Bhudeb Mukhopadhyay wrote this rare story. If the Third Battle of Panipat were to conclude differently what would have happened? What would have happened if The Maratha Confederacy secured the triumph? How the socio-political history of India would appear? Could India also become a Household name in this fierce place called World Politics? Does it become a utopian narrative? Bhudeb Mukhopadhyay creates. With the Allohistorical narrative frame in mind, we excavate this literary piece- ‘Swapnalabdha Bharatbarsher Itihas’
Role of Media in the Development of Indian Nationalism: An Informative Analysis/ ভারতীয় জাতীয়তাবাদের বিকাশে গণমাধ্যমের ভূমিকা : একটি তথ্যমূলক বিশ্লেষণ
No full textIndian nationalism and the media is an important relationship that affects every level of society. The media illuminates various aspects of Indian nationalism and spreads nationalism within the society. The concept of media and nationalism is not new in India, it has deep roots in history and civilization. The history of newspapers or journalism in India dates back to ancient times. Evidence of this can be found by analyzing the history of India’s oldest books - the Vedas, Puranas, Ramayana, Mahabharata, etc.
The modern concept of Indian media developed during the British rule and the media played a significant role in awakening the feeling of nationalism among the countrymen during the independence movement.
The rise of regional newspapers in India in the 19th century played a significant role in shaping public opinion, organizing political movements and propagating nationalism. As a result, the Indian National Congress was founded in December 1885, which was the first organized expression of Indian nationalism at the all-India level.
The media played a significant role in strengthening nationalism in post-independence India. Article 19 of the Indian Constitution provides for freedom of speech and expression, under which freedom of the press is enshrined. As the fourth pillar of Indian democracy, the media has been providing news independently on the internal peace and order or crisis of the country, war or friendly relations with any other country and the spread of nationalism.
Nowadays, since the rise of social media, the entire media system has changed. Today, social media has become the most powerful platform for shaping and organizing public opinion. Nowadays, nationalism has become the most controversial topic on social media. Additionally, nationalist sentiments are expressed through social media regarding the successes and failures of various events organized within the country and in the field of Indian foreign policy
Chicago Council of Religions: The World Triumph of the Destitute Saint/ শিকাগো ধর্মমহাসভা : নিঃস্ব সাধুর বিশ্বজয়
No full textThe Cyclonic Hindu Monk Swamiji after passing away of Sri Ramkrishna paramhansa in August 1886, spent several years in intense spiritual practices. He gradually realised that he was not meant to live the life of an ordinary recluse, struggling for personal salvation. He was destined to work for divine mission entrusted to him before his master, Sri Ramakrishna. The master had told him before his passing away that he would have to do mother\u27s work to teach mankind and to be like a banyan tree, giving shelter to the tired and weary travellers. It was under Ramakrishna\u27s mystical impact that Vivekananda felt himself to be a capable apostle of Hindu Vedanta Philosophy. He set sail for America to take part in world Religion Congress to present the West the authentic Hindu view of life. His profound and eloquence speech held the audience spellbound and for the first time in the modern era the West heard from the lips of the young Hindu Yogi the truth of Hinduism of which they had been ignorant till then. Swamiji\u27s view was lauded with great appreciation. Many people became his disciples, who later joined the Ramakrishna Mission. Man is the builder of his own destiny. So each human being with his own capacity can guide himself, and at the same time can play a key role in the society. In his deep lecture Swami Vivekananda explained to the world that God is the one big sea, and all religions are like rivers ultimately merging in the sea. Much of his speech on Hinduism is taken up with explaining the major teaching of Vedas. Vivekananda addressed the assembly on six different occasions in 1893 the Response to the Welcome on September 11, ‘Why We Disagree’ on September 13, ‘Paper on Hinduism" on September 19, ‘Religion Not the Crying Need of India’ on September 20, ‘Buddhism the Fulfilment of Hinduism’ on September 26, and addressed the final session on September 27. For him every single Soul is divine. The aim is to channelize this divinity within by controlling nature\u27s external and internal issues. He was a role model not only the people of his country but also to the whole world
RAMKUMAR MUKHAPADHYAYER ‘DHANAPATIR SINHALYATRA’ : NABARUPE CHANDIMANGAL/ রামকুমার মুখোপাধ্যায়ের ‘ধনপতির সিংহলযাত্রা’ : নবরূপে চন্ডীমঙ্গল
No full textoai:ojs2.tirj.org.in:article/2Ramkumar Mukherjee\u27s novel \u27Dhanpati\u27s Sinhala Yatra\u27 is also medieval in terms of language. The novel has been reimagined by Chandimangal. Ramkumar Mukherjee has adopted the first part of the narrative of the merchant section in his novel. From Dhanpati\u27s Sinhala Yatra to captivity. Here, the novelist has looked back at medieval Bengal and Bengalis from a distance of several centuries, keeping Mukund\u27s poetry in front of him. He has made no attempt to drag the past into the present. Nor has he taken the present into the past and placed it there. In this book, the past cannot be seen in the present and the present in the past. A pure historical setting has been created where there is no shadow of the twenty-first century. Chapters such as the lifting of the Saptadinga, Dhanpati\u27s journey to the Dingaghata, Ajay Yatra, Muktabeni, and the journey of rivers and streams describe extinct rivers, towns, etc. The novel contains themes such as mythological consciousness, religious ideals, and a reevaluation of divine consciousness. Dhanpati traveled to the southern country in the hope of prosperity. However, his fate and destiny were determined by the hideous plots and cruelty of two goddesses. Ignoring many ominous signs and the desperate pleas of Khulna, Dhanpati has to travel helplessly towards the inevitable end. This is his destiny. Ramkumar Mukherjee has presented the novel \u27Dhanpati\u27s Singhal Yatra\u27 in a magical bond of intense fascination with the tradition of Bengali cultural heritage. The novel has a unique and modern reconstruction of the well-known Afghan poem of the medieval \u27Chandimangal\u27. The novelist has kept the basic structure of the story intact here, but has analyzed the psychological depth of the characters and the socio-economic context of the time from a modern perspective. As a result, it emerges as a picture of the conflict between man and time instead of the story of the greatness of the Goddess. In the novel, Dhanpati is a prosperous merchant of Ujjainnagar, but he has endless questions and doubts about the social system of the time. He wants to magnify the efforts and logic of man instead of the miracles of the conventional gods and goddesses. This rational mind has taken him against the conventional beliefs and conventional customs. And later it has become the main reason for the conflict in his life. On the king\u27s orders, Dhanpati has to undertake a journey to Sinhala despite his reluctance. Before the journey, the wish of his husband for his well-being did not open, so when the puja of Goddess Chandi was organized, the rational, confident, and realistic leader trampled the auspicious place of the Goddess with contempt. To him, the greatness of the Goddess is irrational and miraculous. However, the author portrays this insult not only as an insult, but as a clash between traditional beliefs and modern logic. The novel is not just a religious story, but also a story of human survival in the face of adversity. Overall, the novel has become a reinterpretation of the medieval \u27Chandimangal\u27 poem
Position and Existence of Women in Mahabharata : Context Gandhari/ মহাভারতে নারীর অবস্থান ও অস্তিত্ব : প্রসঙ্গ গান্ধারী
No full textThe Mahabharata, as a colossal and timeless Indian epic, intricately weaves philosophical, social, and ethical narratives, where women are not only present as symbolic figures but also as central forces of transformation and resistance. This essay focuses on Gandhari, a prominent yet often overshadowed character, to explore the nuanced portrayal of women’s position and existential agency within the epic’s deeply patriarchal framework.
Gandhari, the daughter of King Subala of Gandhara, marries the blind prince Dhritarashtra and chooses to blindfold herself permanently— a decision that, while celebrated as an act of supreme marital devotion (pativrata), is critically analyzed in this essay as a profound gesture of self-effacement imposed by societal expectations. Her silence in moments of moral crisis—such as Draupadi’s disrobing and the unjust game of dice— serves as a testament to the normalized suppression of female voices in epic literature.
The essay reveals how Gandhari’s identity as wife, mother, and queen is continuously shaped and constrained by external forces—her husband’s blindness (literal and moral), her son Duryodhana’s unchecked ambition, and a royal court that renders her voiceless. Despite being conscious of dharma, Gandhari is repeatedly sidelined by the very men she remains loyal to. Her emotional and ethical protests—particularly toward the end of the Sabha Parva—emerge as too late and too subdued within the greater machinery of fate and male dominance.
Gandhari’s motherhood is portrayed as both sacred and sorrowful. The birth of a lump of flesh after two years of pregnancy, followed by the creation of one hundred sons, is examined here as a symbolic embodiment of emotional void and unfulfilled desires. Her maternal grief culminates in helplessness during the fall of her lineage.
By drawing from Vyasa’s epic, Bengali literary critiques, and modern feminist interpretations, the essay argues that Gandhari is less a passive figure and more a tragic archetype—bound by duty, stripped of agency, and yet harboring deep moral insight. Her character reflects the paradox of being revered and yet unheard, illustrating how epic narratives glorify female sacrifice while silencing their struggles. Gandhari’s journey compels a re-evaluation of how mythology encodes—and often confines—women’s roles in history and collective memory
Aitihasika Preksapate Beeteashok Bhattacharya er Nirbacita Kabita O Prabandha/ ঐতিহাসিক প্রেক্ষাপটে বীতশোক ভট্টাচার্যের নির্বাচিত কবিতা ও প্রবন্ধ
No full textBeetashok Bhattacharya is a poet-essayist and translator. He is also distinguished as a film critic and editor. By assimilating the thousand-year-old tradition of Bengali poetry, he has left his own signature in several of his poems and essays. Not only Indian literature, but the fundamental principles of Indian culture occupy a considerable space in his poems and essays. Not only the Rigveda, Ramayana, Mahabharata or Puranas, but in his poems and essays we can easily understand the scope of international literature.
Various aspects of Charyapad, Vaishnavapadavali, Shaktapadavali and Mangalkavya have left a deep mark in his poems and essays. The poem \u27Janmashtami\u27 in his poetry collection \u27Pradosher Neel Chhaya\u27 bears testimony to mythological history; the poem \u27Chokh\u27 in the poem \u27Essechhi Joler Kache\u27 contains images of the life of ancient Bengal, and the poem \u27Tol\u27 in this poem raises the topic of ancient house construction of Bengalis. The topic of mental harmony returns in the poem \u27Bhasan\u27 of the poem \u27Anya Yuger Sakha\u27. His \u27Hajar Bacharer Bangla Kabita\u27, \u27Chaitanyer Kabita\u27, \u27Jen Golpa Zen Kabita\u27 are notably composed of historical ideas. We also find various mythological and historical information in the poems of the poetry collection \u27Joler Tilak\u27.
He also introduces the reader to the poetry of black people in Africa, in his writings, black: aesthetics and multidimensionality are manifested; which demands a relevant and strong historical consciousness. In several works of Beetashok, we find a deep sense of patriotism, which is rich in historical qualities Notable essay books rich in historical consciousness are \u27Sri Chaitanyer Kabita\u27, \u27Padachinha Charyapad\u27, etc. Pure historical consciousness is evident in the works such as \u27Kritivaser Ramayana\u27 of the book \u27Purvapar\u27, \u27Charyagan\u27 of \u27Kabi Kantha\u27 Beetashok passion for Charyapad is self-evident, the latest manifestation of this discussion is his book \u27Padachinha Charchageeti\u27 published by the Bengali Department of Jadavpur University in 2011. Beetashok Bhattacharya is the root of the fundamental being. He who continues to provide water to the roots of our consciousness. Where even though the words have stopped, the resonance of the words is still flowing and relevant even today
The Diverse Language Styles of Murshidabad: Short Stories by Mustafa Siraj/ মুর্শিদাবাদের বৈচিত্র্যময় ভাষাশৈলী : সৈয়দ মুস্তাফা সিরাজের ছোটগল্প
No full textএই গবেষণামূলক নিবন্ধে আমার মূল অনুসন্ধানের চেষ্টা হল, ছোটগল্পকার সৈয়দ মুস্তাফা সিরাজের ছোটগল্পে মুর্শিদাবাদের উপভাষা, বিভিন্ন আঞ্চলিক শব্দ, প্রতিশব্দ তথা সমগ্র মুর্শিদাবাদের বৈচিত্র্যময় ভাষারীতি কীভাবে ধরা দিয়েছে তার সুলুকসন্ধান। এই গবেষণামূলক নিবন্ধকে বিস্তৃত করার জন্য বর্ণনামূলক পদ্ধতি, কখনও কখনও ব্যাখ্যামূলক পদ্ধতি গ্রহণ করেছি