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Searching the perversity of binary sexuality in the eyes of present writers era : Two novels by Abul Bashar and Tilottoma Majumdar/ একালের সাহিত্যকারের দৃষ্টিতে যৌন বিপ্রতীপতার সূত্র-সন্ধান : আবুল বাশার ও তিলোত্তমা মজুমদারের দুটি উপন্যাস
No full textA well-known theory in Levi Strauss’s ‘Structural Anthropology’ is a reality in almost every one of our lives; That is the ‘Binary Opposition Theory’s are true; People have given it dignity or abandoned it according to themselves. On literature, the subject of ‘sexuality’ has been condemned and reviled in this way. Even though eternal love touched the heights of excellence of the book ‘Shrikrishna Kirtan’, this love did not get social recognition in real life. Joys and tears of the two hearts of lovers are as real as the eternal, one step further - the relationships of the third gender are equally real.
The formula for paradox is actually finding the relationship between two opposite characteristics. Thus in our present article we have chosen a female author as opposed to a male one. In two novels written by them – ‘Chander Gaye Chand’ (Tilottoma Majumder) and ‘Naram Hridayer chinho’ (Abul Bashar), we can find the perversity of sexuality in the selection of the story, traveling the spiral path of sexual desire. According to social norms of sexual relations, the intercourse will be only permitted who are married. But sexual relations can be between anybody. We want to show how true the complexity and complexity of these relationships are in the two novels we have analyzed. In addition, how much the journey of sexuality in the 21st century will be a call for future perspectives. Our discussion will capture the reflection of the hopes and disappointments, joys and tears, anger, sorrow, jealousy and love of the third gender. The difference between the simple life of the common man and the third gender is complex but true. In this article, we will try to uncover the truth of the life of the third gender based on the principle of paradox.  
Bengali Drama and Nazrul’s Songs: A Review/ বাংলা নাটক ও নজরুলের গান : একটি পর্যালোচনা
No full textSince birth, Nazrul Islam has been a teacher of the Maktab, muezzim, a poet of the Leto group, an employee of a bread shop, a soilder-lover-rebel-fakir and sometimes a saint – with a life made up of such Dramatic elements, Nazrul started writing a play as a poet of the Leto group a series of play whoe dramatic value is insignificant, but it cannot be denied that it was the poet’s first attempt. However, when the poet’s real literary life began in 1919, it initially revolved around stories, poems, songs and novels. After a short while, he also began to lean towards plays. Nazrul Islam’s first play was written while in the Baharampur Jail for the Madaripur Charandal at the request of Purnachandra Das and Narendranarayan Chakraborty. Although this play cannot be found anymore, it is Known that the famous song ‘Jater Name Bajjati Sab’ is form this play. Since then, he has also been associated with Bengali stage drama. And in this work, on the one hand, he has composed lyrics and composed music for several plays by others, especially Manmatha Roy and Sachindranath Sengupta, as well as Sudhindranath Raha, Debendranath Raha, Birendrakrishna Bhadra and any others, and on the other hand, he himself has written several plays including ‘Aleya’ and ‘Madhumala’ and composed songs and music to them, cementing his place in the world of Bengali stage Drama. However, his first song outside his own plas was for the drama version of Shaktipada singha of Sharatchandra’s novel ‘charitrahin’, although the lyrics and exact date of that song have not been found. In this case, it was the songs of Sachindranath Sengupta’s play ‘Raktakamal’ that completely connected Nazrul Islam to the stage, and after that, Nazrul rose to the top of fame by composing and composing songs for Manmatha Roy’s play ‘Mahua’. In the terms of creating melodies, the poet has also experimented with various songs for theatre. Just as he created new melodies by mixing different ragas, he has also shown innovationin using folk melodies. Just he has created songs like ‘O Bhai Amara Nao Zatri Na Loy’ by mixing tha Bhatiali and sampan melodies of East Bengal, he has also created song like ‘Ke Dilo Khonpate Dhutura Phul Lo’ in the tunes of the Jhumur style of West Bengal. And because he is such a great music creator, even though the metaphorical and symbolic plays he has written himself has been successful as plays even though they are lyrical
Socrates’ View of Happiness in the Platonic Dialogues/ প্লেটোনিক সংলাপে সুখের প্রতি সক্রেটিস-এর দৃষ্টিভঙ্গি
No full textThe thoughts of the ancient Greek philosopher Socrates opened a new horizon in the discussion of hedonism in the history of Western philosophy. Happiness was the main theme of the ethics discussed by Socrates in Plato\u27s dialogues. Although Socrates\u27 view of happiness is scattered in Plato\u27s dialogues. According to psychological hedonism, happiness is the natural desire of humans. But Socrates believes that while humans naturally desire happiness, true happiness can be achieved through the practice of virtue. Socrates said that the key to happiness is to take care of your soul rather than focusing on bodily desires. By knowing one\u27s own soul, one can realize the true nature of knowledge and live a virtuous life by having the correct understanding of good and evil. Socrates believed that to live a moral life, one should not be a slave to their emotions. Instead, one should control one\u27s desires and emotions in order to follow the righteous path of life. In Plato\u27s dialogues, Socrates does not hold a single view of happiness, but rather explains happiness from different perspectives in different dialogues.
This research paper attempts to present a holistic view of Socrates\u27 perspective on pleasure in some of Plato\u27s important dialogues, such as Protagoras, Gorgias, Phaedo, Republic, and Philebus. And at the same time, this research paper also highlights how it is possible to live a happy life by performing righteous deeds on an honest path and gaining correct knowledge
Bidhayak Bhattacharya\u27s ‘Michael Madhusudan’ : A survey/ বিধায়ক ভট্টাচার্যের ‘মাইকেল মধুসূদন’ : একটি সমীক্ষা
No full textIn the twentieth century, despite being involved in writing plays for the Bangaranga stage, screenplays for films, and music, the one who took up the pen for Jatra and is world-famous as a successful Jatra writer is Baglaranjan alias Bidhayak Bhattacharya. As a stage director, he wrote \u27Michael Madhusudan\u27 and \u27Rashtra Biplab\u27 for the Nabaranjan opera; at the request of Panchu Sen, he wrote \u27Bhakt Bhairav\u27 based on the biography of Girish Chandra; he wrote \u27Nati Binodini\u27 for Ketki Dutta; He wrote many more Jatrapalas and gifted them to us. Among them, \u27Michael Madhusudan\u27 is one of the greatest Jatrapalas of that time. Based on the main events in the life of Madhusudan Dutta, Banful wrote \u27Shri Madhusudan\u27. He probably drew inspiration from this book \u27Srimadhusudan\u27 and wrote \u27Michael Madhusudan\u27 based on his own experiences. He named this turn \u27Michael Madhusudan\u27 after the central character. The person at whose special request he wrote the \u27Michael Madhusudan\u27 Jatrapala for the Navranjan Opera is Jatrasamrat Swapan Kumar. Through the journey of holding Swapan Kumar\u27s hand, Michael Madhusudan reached a wider audience beyond the educated and illiterate, and Swapan Kumar also reached the pinnacle of fame. And it was this \u27Michael Madhusudan\u27 that earned him the high honor of being a Jatrapala writer. However, Madhusudan had also worked with actors in theater, film, and Jatra even before that. However, the Bidhayak-Madhusudan-Swapankumar duo emerged as the best of all time. In other words, apart from Bidhayak, the Bangaranga stage can be said to be almost empty.
The story revolves around the main events of Madhusudan\u27s life from the age of eighteen until his death. The story begins with the events two days after Madhusudan\u27s conversion to Christianity. Rajnarayan Dutta is heartbroken that his only son has converted. Janhvi Devi fell ill from grief over her son. Marriage to Henrietta, separation from the family, father\u27s second marriage, lack of money, malnutrition of the children, writing poetry, and drinking all made Michael delirious. After passing the bar, he became a barrister in the High Court. Vidyasagar came to visit the sick Madhusudan. The couple Madhusudan-Henrietta were on their deathbeds in Alipore Hospital. Henrietta died. Before his death, Madhusudan gifted a poem to Devaki and asked her to publish it. The famous poem is— Stand by the wayside, if you were born in Bengal! A moment of great joy!... With the impeccable writing skills of Bidhayak Bhattacharya and the unique acting style of Swapan Kumar, this turn became the best Jatra turn of all time
PURULIAR OITIJHYABAHI LOKOUTSAV TUSU/ পুরুলিয়ার ঐতিহ্যবাহী লোক উৎসব টুসু
No full textThe Tusu festival (also known as Tusu Parab or Makar Parab) is a harvest festival in rural Bengal. It is celebrated exclusively by unmarried women, young girls, and old alike in eastern India, which includes Purulia, Bankura, Midnapore and States of Bihar, Jharkhand and Odisha. This festival is celebrated during the winter season, typically in January, coinciding with the last day of the Poush month. It is a unifying form of common faith and belief of the agrarian society in joy of harvesting crops. The key features of the entire one month of celebrations are the Tusu songs which are the most popular traditional folk song, the food like sweets, Pitha-Puli and the famous Tusu fair. Tusu is considered as the goddess of crops. The Tusu song is sung throughout the month of Poush starting from Agrahayan Sankranti. It ends on Makar Sankranti, with the immersion of Tusu structures.
This paper, therefore, aims to explore the Rituals which perform during the Tusu Festival in Purulia as well as how it is observed in the present days. The main areas that have been highlighted in this paper are an overall idea about Tusu and how simple, hardworking rural people reflect their contemporary socio-economic, political and cultural image through Tusu songs
Bengali science fiction narrative and the creation of Premendra Mitra/ বাংলা কল্পবিজ্ঞানের আখ্যান ও প্রেমেন্দ্র মিত্রের নির্মিতি
No full text"Science fiction is no more pseudo-science than fiction is pseudo-truth."
- John Wood Campbell in \u27Concerning Science Fiction\u27 (1946)
We can classify all types of prose literature by dividing it into two categories: fiction and non-fiction. We can also divide fiction into speculative fiction and the fiction of mainstream. Science fiction is a genre from speculative fiction which tells us about imaginative progress of science and technology based upon a story. It often focussing on the impact of continued advancement of science and technology on society and civilization. The first science fiction story in bengali science fiction is Hemlal Dutta\u27s \u27 Rahasya\u27. I have discussed the beginning of the genre in my article. Premendra Mitra was a very famous writer in science fiction writing. His first science fiction novel was \u27 Pipre Puran \u27 and in \u27Ghanada\u27 series was \u27Masha\u27.He wrote his science fiction stories by mixing scientific knowledge with geographical information from home and abroad. I have discussed selected \u27Ghanada\u27 stories in my article to prove that Premendra Mitra was a very prominent writer in bengali science fiction writing. As per boundaries of word limit I have discussed very short introduction of the emergence of bengali science fiction. 
Investigation of the causes of the Bhopal gas disaster and its review/ ভোপাল গ্যাস দূর্ঘটনার কারন অনুসন্ধান ও তার পর্যালোচনা
No full textOn the night of December 2nd, 1984, after midnight, a catastrophic disaster struck the heart of India the Bhopal Gas Tragedy. This worst industrial disaster in Madhya Pradesh continues to send shivers down our spines even today. The city of Bhopal is surrounded by hills on all sides. In the winter of December, the area remains covered in fog, and the air becomes cold and heavy. Smoke and gas mix with the fog, creating a dense haze. Under such conditions, it becomes difficult for any toxic gas to disperse quickly into the upper atmosphere. Methyl Isocyanate, commonly known as MIC, is one such poisonous gas that, when released into the air, claimed the lives of thousands of Bhopal residents, and left countless children, the elderly, and impoverished slum dwellers crippled many of whom died in their sleep. Reports suggest that water entered the MIC gas-filled tank through the pipeline, causing a massive explosion. Even today, the residents of Bhopal the children and the elderly who were victims of this explosion live their lives blind and crippled, without receiving even a minimal amount of compensation. But the real question is, is that the whole story? Or were there deeper causes behind the explosion, such as prolonged negligence by officials, unethical profit-driven business practices, administrative lapses, or the consequences of flawed business policies? The primary aim of this essay is to search for the answers to all these questions. This research paper adopts a descriptive approach. The investigation reveals how unethical businesses, due to administrative negligence, have looted the country and caused immense harm to its people. This work attempts to outline how corporate organizations can structure their business policies in a way that not only benefits the country’s people but also ensures their own sustainable growth. In the future, I hope to take this work forward to review how unethical businesses in other parts of the country are contributing to environmental pollution
The first biography of one of the Bengali Renaissance figures - \u27Sardamani Devi\u27: Through the eyes of an inquisitive editor/ বাংলা নবজাগরণের অন্যতমা-র প্রথম জীবনগাথা - ‘সারদামণি দেবী’ : এক জিজ্ঞাসু সম্পাদকের চোখে
No full textরামানন্দ চট্টোপাধ্যায় সম্পাদিত ‘প্রবাসী’ (১৯০১) পত্রিকাটি বাংলা সাময়িকপত্রের বৈচিত্র্যময় যাত্রাপথে উজ্জ্বল দৃষ্টান্ত। যেখানে সমকালীন সমাজ, রাজনীতি, অর্থনীতি, ধর্মীয় নানান বিষয় নিয়ে যেমন গুরুত্ব দিয়ে আলচোনা হয়েছে, তেমনি, অনেক অনালোচিত দিকের আলোকপাত ‘প্রবাসী’-র হাত ধরে হয়েছে। বাংলা নবজাগরণের ইতিহাসে, সাময়িকপত্রের যে বিশেষ ভূমিকা দেখা যায়, বিশ শতকের প্রথমার্ধে ‘প্রবাসী’ তার প্রকাশ-দীপ্তি দিয়ে, বিষয়-বৈচিত্র্য দিয়ে সেই নবজাগরণের প্রবল প্রভাবকে, বাঙালি-মননে আরও দীর্ঘস্থায়ী করে তুলতে সক্ষম হয়েছিল। সম্পাদক রামানন্দের কাছে আত্মজাগরণের মধ্যে দিয়েই ঘটতে পারে বাঙালির নতুন করে জাগরণ। তাই তিনি, বিশ্বের প্রবাদপ্রতিম ব্যক্তিত্বের জীবনী তাঁর পত্রিকায় সহজ, সরল ভাষায় প্রকাশ করে পাঠকের আত্মজাগৃতিতে সহায়ক হয়ে উঠে ছিলেন। এরকমই, সারদা মা-কে নিয়ে তাঁর লেখা ‘সারদামণি দেবী’, ১৩৩১ বৈশাখ সংখ্যায় প্রকাশিত হয়। একজন আড়ালে থাকা বাঙালি মহিয়সী নারীর জীবনী প্রকাশ করলেন রামানন্দ, তাঁর ‘প্রবাসী’-তে, সমকালের অন্যতম এই অভিজাত পত্রিকাতে। চমকিৎ এই জীবনালেখ্য-দীপ্তিতে আলোকিত সেদিনে পাঠক কতটা উদ্বুদ্ধ হয়েছিল, জীবনীকার কতটা সারদা-জীবনীকে পরিস্ফুট করতে সক্ষম হয়েছিলেন, সেই নিয়েই এই লেখা। বাংলা নবজাগরণের অন্যতমা-র প্রথম জীবনগাথা - ‘সারদামণি দেবী’
The Art of Language of Fictions of Saratchandra Chattopadhyay : In Respect of Several Stories/ শরৎ সাহিত্যের ভাষা-নির্মাণ শিল্প : কয়েকটি গল্পের নিরিখে
No full textIn respect of art, the best glory of author Saratchandra Chattopadhyay lies in creation of amazing characters of his fictions. In his fictions Saratchandra creats various amazing characters with his full sympathy, like leman male and female, teenagers, apathetic persons, hypocritical characters, daring youngster, sub-altern characters, even animal characters and they achieve eternal place in world literature. And unquestionably we can say that the language is the essential part of this creation. For analysis and description, we have selected here some stories like, ‘Bindur Chele’, ‘Anuradha’, ‘Sati’, ‘Paresh’, ‘Bilasi’, ‘Mahesh’, ‘Lalu’, ‘Cheledhara’, ‘Bachar Panchash Purber Ekta Diner Kahini’, ‘Deogharer Smriti’ etc., written by Saratchandra and we have observed here the function of language to creat the plots and characters of fictions in various points of views
Rabindra sristite Islam/ রবীন্দ্র সৃষ্টিতে ইসলাম
No full text“I am the poet of the world, where as his voice
rises, he will wake up in response to the melody
of my flute – this voice did not reach many calls,
there is a gap.”
Rabindranath Tagore’s ‘Janmdin’ poetry book number 10 poem ‘Eiktan’. Published in 1941, just four months before his death. The self-criticism and the confession of imperfection of the poet Ashitipar in this poem reminds us of a complaint against Rabindranath – we will try to find the answer in the main article. Also, I will find out where the precious jewel of Islam is hidden in Rabindra’s creation