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The versatility of Rani Chanda’s individual thinking through travel/ ভ্রমণসূত্রে রানী চন্দের ব্যক্তি-ভাবনার বহুমুখিতা
No full textTravel literature has its own dimension. The analytical description of the various experiences gained from the places traveled by the author enhances the quality of literature. In the light of the bright educational spirit of the 20th century, new features have been formed in the travel narratives of women writers. Along with the narration, an opportunity has been found to compare the writer’s personal thoughts with contemporary times. As a result, other issues have been intertwined with the local aesthetic sense in the literary base. Rani Chanda is a conscious and talented writer of this period.
Raised in the cultural consciousness of the upper world, Rani Chand’s female mind is endowed with versatile analytical powers. From childhood, the surroundings of Santiniketan, including the proximity of Rabindranath Tagore, Abanindranath Tagore and of course Nandalal Bose; brought an atmosphere of new enthusiasm into her heart. Just as she has appreciated art like a true artist, she has made her personal thoughts clear to the reader through a perfect assessment of the overall scope through the process of travel. Immediately after her birth, she was successful in gaining experience by visiting various places.
The far-reaching scope of individual thought has been revealed through pilgrimages to religious places. The senses of scripture and contact with people who practice scripture have given stylistic elevation to the writer’s language. She has always kept the native environment alive in his memory while traveling. Even though she was far from her birthplace, she repeatedly compared familiar image of her surroundings on her journey. The accurate portrayal of the overall context of the truth of life has made the work become dear to everyone. The differences in the personal characteristics of various people have been depicted in their true form.
As the writer’s travelogue is closely associated with the Quit India Movement of 1942, a touch of socio-political themes can be found in it. Like a perfect woman’s mind in the light of the Renaissance, she presented irrefutable arguments in religious thought. Her travelogues are not just memories of sight-seeing, but have prepared new experiences for the realistic eye. Rani Chanda’s unique personality makes her stand out from other writers. Her logical and insightful arguments on various topics add to the brilliance of the subject
The subject of the discourse on difference and non-difference: Divya Vadanamala and Chandalika/ ভেদ-অভেদের কথাবস্তু : দিব্যবদানমালা এবং চণ্ডালিকা
No full textWhile possessing world-class talent, Rabindranath Tagore was primarily a poet. His roles as an essayist, novelist, short story writer, and playwright were secondary to his versatile talent. Tagore\u27s free-flowing style enriched every branch of literature he touched. His brilliant talent illuminated any subject, making his originality and uniqueness captivating and exciting.His philosophical and ideological thinking was profoundly influenced by Buddhist thought, which re-emerged in the 19th century. Figures like Maharishi Debendranath Tagore, Keshav Chandra Sen, and Satyendranath Tagore expanded the reach of Buddhist philosophy. While others, such as Rahul Sankrityayan, also wrote about Buddha (e.g., \u27Mahamanav Buddha\u27), Tagore\u27s unique engagement with Buddhist thought and its creative application opened new horizons in Bengali literature. His literary collection gained distinction through both his direct studies of Buddha and his incorporation of Buddhist ideas into new works.Tagore\u27s creative talent was unparalleled—lofty as a mountain, vast as the sky, and serene as the wind. His ability to assimilate and transform ideas set a precedent in both Bengali and world literature. The play \u27Chandalika\u27 (1933) and its dance-drama version (1939) are prime examples. The story is based on the \u27Shardulkarnavadan\u27 episode from the \u27Divyavadanmala\u27. It is uncertain how familiar Tagore was with the Buddhist narrative collection \u27Divyavadanmala\u27. The discussion will explore the extent to which Tagore followed the original story and where he introduced his own originality
Women and Employment in India: Present Scenario/ ভারতে নারী ও কর্মসংস্থান : বর্তমান প্রেক্ষাপট
No full textIndia’s landscape of women’s employment shows a mix of encouraging progress and persistent challenges. In urban areas, female labor force participation has grown by 10% between 2018 and 2024, with 28% of working-age women now engaged in paid work, yet over 89 million women remain outside the labor market—more than the population of many developed nations. Social and cultural norms, marriage, and family responsibilities still limit women’s work opportunities: by age 29, around 80% of women are married, but only 29% are employed, and married working women spend nearly three times more hours on domestic duties than unmarried ones. In rural India, women continue to drive agriculture and cottage industries—making up as much as 90% of workers in some sectors—yet overall participation has slipped from 41.5% in 2023–24 to 40% in 2025. Self-employment is on the rise, with 65% of working women engaged as entrepreneurs or in non-salaried roles. Despite government initiatives like Skill India and targeted financial and training programs, deep-rooted gender pay gaps, underrepresentation in skilled and leadership positions, inadequate workplace safety, and entrenched social attitudes hinder real parity. Closing this opportunity gap will require stronger legal enforcement, more gender-inclusive work environments, accessible childcare, and a shift in societal expectations, as women’s economic empowerment is essential not just for fairness, but for India’s overall development.  
Tarashankar Bandyopadhyay : The life and character of the lower classes in Bengali novels/ তারাশঙ্কর বন্দ্যোপাধ্যায় : বাংলা উপন্যাসে অন্ত্যজ শ্রেণির জীবন চারিত্র্য
No full textTarashankar Bandyopadhyay has accepted the great tradition in Bengali literature, and has definitely established a new one by overshadowing it. In the novels of the novelist Tarashankar Bandyopadhyay, he has portrayed the entire socio-economic-political life of the indigenous and lower class brats of rural Bengal. In one such novel, \u27Chaitali Vorti’ (1931), we find a pitiful picture of a group of helpless lower class people. The story of ‘Chaitali Vorti’ is written about the sorrows and hardships of the very ordinary poor people of that time when the wind of partition was blowing in the markets, fields and ghats of India. During this time, the poor peasants lost their rights on agricultural land and became agricultural laborers, forced to become workers in urban factories. In Chaitali Vorti, Tarashankar painted a picture of the plight of the people in the socio-political and economic context of that time through the characters of the group. In the novel \u27 Kalindi\u27 (1940), a char of the Kalindi river appeared on the edge of the village of Raihat. A dispute started over that char. All the old landlords of the village claimed ownership of this char. The people of the Anantya class who once built their homes on the char were exploited and expelled from their rights. On the other hand, Centered on the char that rises on the riverbed Big businessmen want to capitalize on their business through industrial construction. As a result, the helpless Santal Antyaja class people leave agriculture and become factory workers. Ganadevata (1942) is a famous novel by Tarashankar Bandyopadhyay. In the assembly at Chandimandap in the novel, Aniruddha Karmakar and Girish Chutor are heard saying against the long-standing rural customs that they do not get the right price for their work, so they have set up shop in the city in the hope of cash wages. In this assembly, they raise their voice against Sri Hari. Like Patubayan, Antyaja also complains to Chowdhury Mashai against Chiru that he went to his sister Durga\u27s house and when he protested, Patu was even beaten. We see the lower class Antyaja class protesting against Sri Hari Ghosh, the feudalism of the landlords, the police station, and the British rule. Even the Harijan villagers protested and said that they would not remove the roof of the Chandi Mandap without any money. The novel \u27 Hansuli Banker Upokatha \u27 (1947) is about the Kahar community of the bamboo-growing village on the bank of the Kopai River. Written. The structure of the capitalist society is changing. Big businessmen want workers for their work. The Kahar class is becoming that worker. This change in Kahar society is happening at the touch of the Karali. However, earlier this lower class society used to lie at the feet of the upper class. They have endured the oppression and rule of the feudal society, the indigo farmers, the landlords and the Sadgop farmers for ages. However, the new community like the Karali could never accept this oppression. Therefore, they did not retreat, they wanted to change themselves forever. This change quickly spread to this lower class society. The Kahars left their caste business, left agriculture and enrolled in the railway factory in Chandanpur in droves in the pursuit of food and clothing. However, Banwari never accepted this change, The conflict between the old and the young continues throughout the novel, with Kahad\u27s superstitious mind, his daily deception by capitalist society due to ignorance, and his failure to understand his own privileges
The ‘I’ of Post-Independence Bengali Novels in Existentialist Thought/ অস্তিত্ববাদী ভাবনায় স্বাধীনোত্তর বাংলা উপন্যাসে ‘আমি’
No full textOriginating with Kierkegaard and popularized by Sartre, existentialism explores profound emotions, consciousness, freedom, and choice, often portraying love, values, and emotions as devoid of inherent meaning. This philosophy typically leads individuals toward existential crises, reflecting its pessimistic undertones. However, post-independence Bengali novelists have uniquely adopted and adapted existentialist principles to illuminate the challenges of Bengali life on a global stage. They draw parallels between their characters and archetypes like Raskolnikov and Sisyphus, exploring the complexity of human existence. This integration infuses Bengali literature with resilience, transcending despair through the affirmation of free will and ultimate choice. This synthesis not only highlights the depth of human existence but also establishes a distinct Bengali literary identity, emphasizing humanity’s pursuit of meaning and work as guiding principles in these novels
The Relevance of Religion and Morality of Ancient India in the Modern Era/ সাম্প্রতিককালে প্রাচীন ভারতের ধর্ম ও নৈতিকতার প্রাসঙ্গিকতা
No full textIn Indian tradition religion and morality are interrelated. Religion or dharma means not only the institutional religion but also moral duties and obligations in ancient Indian ethical thoughts. The word ‘Religion’ derived from the Latin word ‘Religare’ which means that bounds together. ‘Dharma’ means that holds everything inside it. Dharma includes morality, duties, self-restrains, good conduct etc. Morality is equal to duties, good conduct, rules etc. So, religion and morality are the two sides of a same coin. Morality was considered as a law regarding the material and the ethical life in ancient Indian tradition. That very law is called ‘Rita’. This is an indispensible law which regulates everything in this cosmos. ‘Rita’ unifies everything as religion does. Caturvarna was established by the intrinsic nature or characteristic of people at that time. The efficient women were also respected by everyone at that time. But from the time of Sage Manu, the definition of Caturvarna had been changed. Brahman, Kshatriya, Vaishya and Shudra–the difference among these four classes began to clear from that time and till now it is continuing. A new disease has been broken out in Indian society and that is fanaticism. India is a country of unity in diversity from the remote past. But today the people of different religions and castes want to eradicate this unity by their rigid misconception and fanatic views. As a result, everyone suffers from violence and alienation. If we would like to bring back the peace, unity among people we have to remember the path shown by our Vedic seers. We have to spread love and to be compassionate. We have to recollect that we all are the creation of the same divine being, Brahman. We all are relatives. There is no difference among us. We all have the one identity that we are human being. If this truth will be accepted by everyone then everyone will be united and the great peace will be prevailed in this world. Here is the significance of dharma or religion and morality which assimilate everything
Unveiling the Naked Truth: A Historical and Genre Study of Nudity in Bengali Literature and Culture/ নগ্ন সত্য উন্মোচন : বাংলার সাহিত্য ও সংস্কৃতিতে নগ্নতার একটি ঐতিহাসিক এবং ধারা অধ্যয়ন
No full textভারতবর্ষের ঐতিহাসিক প্রেক্ষাপটে বাংলা সাহিত্য ও সংস্কৃতির পরিপেক্ষিতে নগ্নতার উপস্থাপনা, বিবর্তন ও তাৎপর্য বিশ্লেষণের একটি প্রচেষ্টা মাত্র উক্ত প্রবন্ধে করা হয়েছে। যেখানে নগ্নতা সম্পর্কে প্রাচীন যুগ, মধ্য যুগ, আধুনিক যুগসহ সমসাময়িক দৃষ্টিভঙ্গির ধারাসহ নগ্নতা নামক উপাদানের ভিন্ন ভিন্ন অর্থ দেখানো হয়েছে সাহিত্য ও সংস্কৃতির দর্পণে। যা নগ্নতার ইতিহাসগত ধারাবাহিকতা এবং এর বহুমাত্রিক প্রকাশরূপকে বিশ্লেষণ করে পাঠকের সামনে এক নতুন দৃষ্টিভঙ্গির উপস্থাপন ঘটবে
Nasreen Jahan’s ‘Sthabir Joubon’: A Reflection on the Multifaceted Crises of Women\u27s Lives/ নাসরীন জাহানের ‘স্থবির যৌবন’ : নারী জীবনের বহুমাত্রিক সংকটের বহিঃপ্রকাশ
No full textNasreen Jahan is a unique voice in Bengali fiction, known for her deeply artistic and unconventional storytelling. Her narratives break away from traditional structures, weaving a rich tapestry of human emotions, societal conflicts, and psychological complexities. Without resorting to exaggerated emotions, her works offer a refined and artistic portrayal of reality, where every character and setting reflects life\u27s intricate truths. Her storytelling follows two distinct yet interconnected threads. On one hand, she explores the suffocating patriarchy of urban life, highlighting strained relationships, conflicts, and the anxieties of mistrust. On the other hand, she captures the aesthetic essence of rural life, where women are not merely oppressed figures but individuals engaged in an ongoing quest for self-empowerment. She does not depict a singular, rigid reality; instead, her stories unfold through layers of symbolism, contrasts of light and shadow, and an intricate analysis of human relationships.
A defining feature of Nasreen Jahan’s storytelling is her ability to create depth without relying on sensationalism. The surprises in her narratives arise naturally from her keen insights rather than from deliberate dramatic twists. Unlike many conventional female writers, she does not portray men solely as oppressors or women as helpless victims. Instead, she presents a complex reality where both men and women exist in conflict, engage with societal forces, and ultimately seek meaning through their struggles. Her literature is not detached from reality but a refined representation of lived experiences. She masterfully unveils the hidden tensions within gender relationships, compelling readers to reflect on social structures and personal identities. In a society where women’s contributions and struggles often remain invisible, her stories serve as a powerful medium for recognition and change. Nasreen Jahan’s fiction is more than just storytelling— it is a profound meditation on life, relationships, and the search for identity, making her an essential voice in contemporary Bengali literature
Draupadi : A Rebellious Woman in the Story of Mahasweta Devi/ দ্রৌপদী : মহাশ্বেতা দেবীর গল্পে এক প্রতিবাদী নারী
No full textMahasweta Devi in her novel presents the true picture of the happiness and sorrows of backward people of the society in front of the reader. In her short stories also, she reveals the stories of those who are completely separated from the mainstream urban population.
They don’t demand luxury things or travelling to distant places like so-called civilized people. Their life is very simple, they want simple food to replenish their hunger. Mahasweta Devi wrote many novels and short stories explaining the problems of helpless, destitute and weak people to the common mass who are unaware off. She not only conveys the reader about their problems but also played a pivotal role by solving their problems. Most of the stories written by Mahasweta Devi is based on tribal life who are devoid of their fundamental rights. A selfish class of people has been purposefully depriving the tribals day after day by taking advantage of their weakness on the pretext of various superstitions and myths. Mahasweta Devi\u27s sole aim was to expose the real face of those hypocritical deceivers. It will become clearer to us if we discuss the story of \u27Draupadi\u27
Nuri Bandar : Nature-Environment and the Story of an ‘Unique’ (‘Abisesh’) person / নুড়ি বাঁদর : প্রকৃতি-পরিবেশ ও ‘অবিশেষ’ মানুষের গল্প
No full textManindra Gupta (1926-2018) is better known as a poet. He has written approximately sixteen books of Poetry: 1. Amra Tinjan, 2. Nil Pathorer Akash, 3. Moupokader Gram, 4. Lal Schoolbari, 5. Chhatrapalash Chaitye Dinsesh, 6. Sharatmegh o Kashfuler Bandhu, 7. Manindra Gupter Kabita, 8. Kabita Sanggraha, 9. Nameru Mane Rudraksha, 10. Tungtang Shabdo NihShabdo, 11. Shreshtha Kabita, 12. Bone aj Kancherto, 13. Mouchushi jay Chhadnatalay, 14. Kabita Sanggraha, 15. Barir Kapale Chand, 16. Asurder Meye. His first book of poetry was published in 1949. From 1949 to his death (31 January 2018), his literary career spanned about 67-68 years. However, during this extensive period, he wrote a novel at the beginning of the second half of the 20th century, called \u27Anupama\u27. After that, Manindra wrote four novels (1. Prem, Mrityu Ki Nakshtra, 2. Nuri Bandar, 3. Altamosi, 4. Nengti) in the first two decades of the 21st century and in the last part of his life. The second novel out of these four novels is \u27Nuri Bandar\u27. Although he was a poet, Manindra showed special skills as a novelist in the novel \u27Nuri Bandar\u27. In this novel, a monkey is seen, whose birth story is miraculous. Although he was born from a small pebble, his life experience is extraordinary. His curiosity about \u27Brahma\u27, his attempt to compare life with the Mahabharata, his curiosity and search for the various forms of women, his apprehension about globalization, and above all his concern and resistance about the earthly environment, have given this novel its uniqueness. In fact, various dimensions of life have been reflected in this novel through metaphor. Thus, it can be seen that through various actions and diverse experiences, he has finally adopted a life like an ordinary human being, including a house, wife and daughter, in a natural environment. Therefore, this novel is also extremely human despite being apparently about a monkey