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Samaresh Basu\u27s Narrative: The Voice of the Subaltern/ সমরেশ বসুর কথাসাহিত্যে নিম্নবর্গের কণ্ঠস্বর
No full textSamaresh Basu (also known as ‘Kalakut’) is a unique figure in Bengali prose, who brought a new dimension to the lives of the marginalized and subaltern classes. His literature was a raw and unfiltered document of the lives, struggles, and psychology of the working class, breaking away from the so-called \u27bhadralok\u27 (gentlemanly) literary tradition. His personal experiences— working in the Ichhapur factory and living with the fisherfolk— gave his writing a profound authenticity and sensitivity.
In his timeless novel \u27Ganga\u27, he depicts the lives of the fishing community against the backdrop of nature\u27s harshness. Characters like Tentele Bilas and Himi aren\u27t just victims of poverty; they are indomitable fighters. Similarly, in works like \u27Uttaranga\u27 and \u27Shrimati Cafe\u27, he highlights the lives of factory workers, their relationship with machines, and the psychological aspects of class struggle. Samaresh Basu didn\u27t view sexuality merely as a physical desire; he portrayed it as a reflection of the subaltern class\u27s existential crisis and desperation. His controversial novels \u27Bibor\u27 and \u27Prajapati\u27 challenge the moral hypocrisy of middle-class society.
However, the most significant aspect of his literature is his humanism. In stories like \u27Adab\u27, he shows how, even amidst communal riots, people from the lower class establish a shining example of humanity through their class solidarity and empathy. Samaresh Basu not only depicted the lives of the subaltern but also permanently established their unique language, culture, and voice in literature. His works are an immortal testament to the true lives and struggles of the subaltern
Three daughters in Rabindra\u27s short story: Ratan, Uma, and Subha/ রবীন্দ্র ছোটগল্পে তিনকন্যা : রতন, উমা ও সুভা
No full textThe short stories in Rabindranath Tagore\u27s collection of stories are like a treasure trove of gems, where various child and adolescent characters are spread like countless pearls. From there, a few pearls are collected and arranged to form a garland. Three teenage characters have been selected from the numerous characters in the collection of stories, Ratan (Postmaster), Uma (Khata) and Subha (Subha). Each character is brilliant in its own way. Reading the selected stories, it is understood that the storyteller has very skilfully developed their mental development. The storyteller has very consciously applied the characters\u27 behaviour, behaviour, and dialogue. As child and adolescent characters, they have become attractive and realistic. An attempt has been made to analysed the psychological aspects of these teenage characters from a new perspective
Growth and Development of Bengali Communion literature : A short study/ বাংলা আলাপন সাহিত্যের ধারা : একটি সংক্ষিপ্ত আলোচনা
No full textWe are discussing about the growth and development of Bengali communion literature. At the very beginning, we will see what communion is. We know that communion is when two or more people discuss or talk about any particular issue or various issue, and when this discussion goes beyond our personal need and literary anger erupts, that is called as communion literature.
To see about Bengali communion literature\u27s origin and growth, we noticed that before the origination of Bengali literature, we got the quest of communion in Ancient Indian Literature.
We have found instances of discourse in some ancient indian literature like the great two epic ‘The Ramayana’ and ‘The Mahabharata’, ‘The Brihadaranyaka Upanishad’, the great conversation between Shri Krishna and Arjuna in ‘The Srimadbagbadgeeta’. Not just that we also got this information about discourses in Buddhist religious book – Tripitaks ‘Suttapitak’. That is in this trend of conversation was among there were various literary antigact of ancient indian literature. We have also received this tradition of Indian Literature in Bengali literature. For the earliest example of Bengali literature ‘The Charyapada’, we have received the essence of conversation.
After the Charyapada, when we explore the various literary examples of Bengali literature one by one, we notice numerous examples of conversation. In Mukunda Chakrabarty’s ‘Avayamangal’ other Mangalkabya\u27s, in middle age of Bengali literature, Bharatchandra Roy\u27s ‘Anndamangal Kabya’. Krishna Das Kabiraj Goswami\u27s ‘Srisrichaitnyacharitamrito’, Brindaban Das\u27s ‘Chaitanyavagbad’ and in Bengali translated literature (The Ramayana of Krittibas Ojha and The Mahabharata of Kashiram Das) we have seen the style of conversation and have also mentioned it. Not only that, there is direct conversation between Krishna, Radha and Barai in Baruchandidas\u27s ‘Shrikrishnakirtan’ and also in the ‘Maimanshiha ballads’
In the modern era of Bengali literature, we have seen discourses of various characters in Madhusudan Dutta\u27s ‘Meghbadbadh’, Bamkimchandra\u27s ‘Dharmatatwa’, Swami Vivekananda\u27s ‘Swami-Shisya sambad’, Rabindranath\u27s ‘Panchavut’, and many others. But the books in Bengali literature that are completely based on conversation, we have seen in Ramakrishna ‘Kathamrita’ and in Anukulchandra Chakraborty\u27s 48 books.
Not just conversation, within all this conversation, we have observed various qualities of literature and that is why, I am saying that discourses can also attain the dignity of literature. 
Construction: The grammar of breaking convention/ বিনির্মাণ : প্রথা ভাঙার ব্যাকরণ
No full textThe aim of deconstruction is to undermine the foundations of concepts such as center, truth, presence, and finality. According to Gayatri Chakravorty Spivak, Deconstruction unravels the seams of stable objects; it sends tremors through the seemingly well-established grounds of knowledge. Deconstruction is thus an active strategy of expressing discontent, discomfort, and scepticism toward any form of structural stability. Wherever there arises a binary opposition—such as primary/secondary, essential/non-essential, true/false, good/bad, centre/ periphery, high/low—where one term is privileged over the other as if it were naturally superior or self-evidently true, and where a narrative seeks to assert any kind of finality, deconstruction intervenes to question, destabilize, and expose the hollowness of such foundations.
Those who have been marginalized or suppressed to uphold these central or dominant categories become relevant again in the eyes of the deconstructionist. As Spivak notes, The essential question of deconstruction is: for the sake of proving something, what was left out? In a deconstructive reading of any text, these binary layers tend to collapse into each other. This is why Terry Eagleton described deconstruction as “reading against the grain.”
Of course, there is no rigid methodology in deconstruction. The field of deconstruction has expanded greatly through the works of Derrida’s contemporaries and successors. Yet, in all its forms, the primary goal of deconstruction remains to unseat the established.
Deconstruction views any notion of finality or stability with a sceptical eye—and does not stop at mere critique. It actively seeks to displace and undo such structures.
And finally, it must also be mentioned that in our discussion, we have not only explored the theory of deconstruction, but have also attempted to understand its relevance through a comparative analysis between Western philosophical traditions and Indian philosophical thought
Manik Bandyopadhyay\u27s Short Stories: The Context of Human Psychology/ মানিক বন্দ্যোপাধ্যায়ের ছোটগল্প : প্রসঙ্গ মানব মনস্তত্ত্ব
No full textManik Bandyopadhyay is a renowned artist of Bengali short stories. Along with novels, he has also written many short stories. The existential crisis of the lower and middle classes of society, the constant struggle for survival and the complex crises of the mind are depicted to the greatest extent in his stories. The present article discusses the complexity of the human psyche in Manik Bandyopadhyay\u27s short stories
Muslim Mahila Sahityiker Kolome \u27Chirachorito Shikol Bangar \u27 Protibadi Swar./ মুসলিম মহিলা সাহিত্যিকের কলমে ‘চিরাচরিত শিকল ভাঙার’ প্রতিবাদী স্বর
No full textIn the fast-changing global scenario if the 21st century a considerable section of women of the Muslim community have left an indelible mark with their soul starting writings, revolutionary spirit and strong person. From the misuse of the Shariyat laws by the patriarchal society, the stifling and humiliating domestic space for Female to their journey towards self-realization of their worth, these female Muslim writers have time & again questioned, criticized and protested against the gender discriminatory paradigms of the society. Their objective have solely remained towards cherishing liberation for females holistically which reiterates the lives philosophy of Farjunnesha Chaudhuri, Begum Rokeya Sekhawat Hossain towards cherishing ‘Freedom for Women’ in the true sense of the term. The importance of being educated in Bengali alongside Urdu was pivotal step of the 19th century progressive Muslim women in their journey towards self-reliance, self-dependency and women empowerment. This legacy is further taken forward by Utsa Sarmin, Sulfia Kamal and Selena Hossain through their writings in the 21st century. My paper will close read selected fiction of the aboue trio and tend to explore the feminine world in their struggle towards empowerment. Utsa Sharmin’s ‘Cholo Banddhu Bangi’ explores Ayesha’s struggle against all odds to be ‘educated’ and use it as a weapon to usher in a change in society. Utsa Sharmin making Ayesha the precursor of the ‘Rokeya Nari Unnyan Samity’ is a her fictional representation of her ideology. Cholo Bandhu Bangi thus highlights on the power and impact of education, collective effort and the awakening of the inner voice to protect and resistance against the shackles of society binds a female individual with. In a similar vein Masuma of Sufia Kamal’s ‘Bijayani’ tends establish her individualidentity her self-worth in society. Malekha of Selina Hossain ‘Izrat’ questions the biased attitude of society regarding the ‘izzat’ of female. In the patriarchab society where females are threated to be violated and lose their so called ‘izzat’ even at the slightest instance, polygamy by males & is an accepted and established norm. Malekha trough her questioning of the biased discriminatory Shariyat laws and societal framework become an epitome, a representative figure, a voice of the innumerable suffering Muslim women over the centuries. Thus, this paper will focus on the struggle, the protest, the defenced of the female characters and the seeds of empowerment they scatter through the selected stories of Utsa Sharmin, Sufia Kamal, Selina Hossain. The modernization of the female space in their fictional world will be the focus of this paper
Atish Dipankar Srigyan : Representation of Buddhist Philosophy in Bengali Novels/ অতীশ দীপংকর শ্রীজ্ঞান : বাংলা উপন্যাসে বৌদ্ধদর্শনের রূপায়ণ
No full textAccording to Buddhism, the term ‘Dharma’ is used in ten different senses, one of which is ‘Path’. When analyzed, the word Dharma signifies upholding the purity of the mind. For centuries, the people of Tibet have revered and recognized the Bengali Buddhist scholar Atish Dipankar Srigyan as ‘Dewo Chenpo’ or the Great Lord. His extensive body of work and contributions can be traced in the Buddhist scriptural collections ‘Tanjur’ and ‘Kanjur’.
Even a thousand years later, Atish Dipankar remains a luminous figure for Bengalis. Several novels have been written about him, capturing his philosophy and contributions to Buddhism. Abul Kasem’s ‘Atish’ and Sanmatrananda’s ‘Nastik Panditer Bhita’ (The Atheist Scholar’s Abode) are two such novels that document his thoughts and perspectives on Buddhism. Atish was a proponent of the Mahāyāna tradition. Abul Kasem’s ‘Atish’ vividly portrays the historical context, the ideological conflict between Mahāyāna and Hīnayāna, and the life of Atish Dipankar.
On the other hand, Sanmatrananda’s ‘Nastik Panditer Bhita’ is structured across three different time periods— the present day, the 13th century focusing on Chag Lo-tsā-ba, and the 11th century of Atish Dipankar. The novelist skillfully interweaves these three epochs, balancing them while giving prominence to philosophical discourse over historical details. Time itself takes center stage in his novel. In contrast, Abul Kasem follows a different path, presenting Atish’s biography in a modern narrative style.
Reading these two novels side by side offers a deeper understanding of Atish Dipankara’s Buddhist philosophy. It also sheds light on why, even after all these years, his ideas and teachings continue to be relevant and worthy of scholarly attention
The Distinct Voice of Women: Context Kamal Chakraborty’s Satya-Brati / নারীর স্বতন্ত্র স্বর : প্রসঙ্গ কমল চক্রবর্তীর ‘সত্য-ব্রতী’
No full textSince, Nineteenth century world literature was introduced to new thoughts and ideology. Bengali literature has also adapted these new ideologies and shaped around it. Beginning with social consciousness to nature consciousness then to feminism. These topics have been incorporated into various Bengali literature. If we solely focused on Bengali fiction, we can find numerous examples. From the works of Bankim, Rabindranath and Sharatchandra to contemporary novelist Kamal Chakraborty has been influenced by those new ideas and there is no end to the curiosity about women in the thought process of a novelist. Focusing on women, K. Chakraborty wrote the novel, Satya-Brati. At its core, Satya-Brati revolves around the life and thoughts of an ancient intellectual woman named Satyabati. Chakraborty portrays her as the world’s first feminist who raises her own voice and expresses her thought in her own words. The novel explores how a simple village fisher-woman from Vedic era adapted to that civilization of that time and become a key figure in the Great Epic Mahabharata. Novelist Kamal Chakraborty reconstructs this ancient figure Satyabati with a distinctly feminist perspective. This paper aims to analyse how Kamal Chakraborty deconstruct Feminism in this novel according to the modern world
Al Mahmud\u27s Poetry in Portraying Bengal\u27s Nature/ বাংলার প্রকৃতি রূপায়ণে আল মাহমুদের কবিতা
No full textThe flow of portraying Nature with delight and fascination has been running for long days in Bengali poetry. Al Mahmud, one of the greatest poets of Bangladesdh, portrayed the real and independent picture of Nature. He portrayed the aesthetic, philosophical, social and political identities, firstly, in the total perspectives of Nature and secondly, in the imageries of different components of Nature—rivers, rain and soil. The sectors he was devoted to are the novel world created in the relentless flow of the Padma, the Meghna and the Jamuna and the ancient destroying Nature of Bengal. The Nature portrayed in Jibanananda\u27s and Jasimuddin\u27s poetry is quite different from that of Al Mahmud. The poet\u27s adolescence was passed during the British imperialistic rule, riot, violence, the Second World War, Bengal Division, and Famine. He did not behold the Bangladesh of Jibananda and Jasimuddin. That is why, he cannot call his country the ‘golden Bangladesh because he saw the Bangladesh breaking the banks of rivers. The distinct shape of Al Mahmud\u27s philosophy of Nature in depicting the Bengal replete with breakage has been revealed in this essay
Nature\u27s lessons in reading the poetry of poet Jibanananda Das/ কবি জীবনানন্দ দাশের কবিতা পাঠে প্রকৃতির শিক্ষা
No full textজীবনানন্দ দাশ ১৮৯৯ খ্রিষ্টাব্দের ১৭ ফেব্রুয়ারি, বর্তমানে বাংলাদেশের অন্তর্গত বরিশাল শহরে জন্মগ্রহণ করেছিলেন এবং ১৯৫৪ খ্রিষ্টাব্দের ২২শে অক্টোবর কোলকাতার শম্ভুনাথ পণ্ডিত হাসপাতালে তিনি মৃত্যু বরণ করেন। কবি জীবনানন্দ দাশ তার কবিতায় নিসর্গ প্রকৃতির বর্ণনা করেছেন। কবির প্রকৃতি ভাবনার মধ্যে এসেছে নদ-নদী, গাছ, ফুল, ফল, পশু, পাখি, আকাশ, মাটি, শিশির, কুয়াশা ইত্যাদির মতো বিভিন্ন জীব ও জড়ো উপাদান। তিনি তার বিভিন্ন কবিতার মাধ্যমে দেখানোর চেষ্টা করেছেন - প্রকৃতি যেমন ঋতু পরিবর্তনের সঙ্গে সঙ্গে তার চেহারার বদল ঘটায়, তেমনি মানব মনের মধ্যেও আলাদা আলাদা অনুভূতির বহিঃপ্রকাশ ঘটে ঋতু পরিবর্তনের সাথে সাথে। এক একটি ঋতু মানব মনের মধ্যে এক এক রকমের অনুভূতির সৃষ্টি করে তিনি তার কবিতার প্রতিটি মুহূর্তে তা উপস্থাপন করার চেষ্টা করেছেন। গ্রীষ্ম-বর্ষা-শরৎ-হেমন্ত-শীত ও বসন্ত প্রতিটি ঋতুর রূপ, রস, গন্ধ ও বৈচিত্র লক্ষ্য করে কবি জীবনানন্দ দাশ তার কবিতায় প্রকৃতির সৌন্দর্যকে সুন্দর ভাবে উপস্থাপন করার চেষ্টা করেছেন তার লেখনীর চিন্তা ভাবনার মধ্যে। প্রতিটি ঋতুর ক্ষণ ও সময়কে তিনি নানা উপমা দিয়ে তার কবিতায় তুলে ধরেছেন, অর্থাৎ বলা যায় কবি জীবনানন্দ দাশের কবিতা পাঠের মাধ্যমে প্রকৃতির বিভিন্ন উপাদান সম্পর্কে সহজেই জ্ঞানলাভ করা যায় এবং এর সাথে সাথে গ্রাম বাংলার সামগ্রিক বৈশিষ্ট সম্পর্কে সহজেই সুস্পষ্ট একটা ধারণা পাওয়া যায়। জীবনানন্দের কবিতা পাঠের মাধ্যমে শিশুরা তার শিশু পাঠের উপযোগী ঋতু গত বৈচিত্র, প্রকৃতির বিভিন্ন উপাদান সম্পর্কে যথাযথ শিক্ষা গ্রহণ করে থাকে, এর মাধ্যমে শিশু তার শিক্ষা অর্জনের পথ আরো সহজ হয়ে উঠে। শ্রেণী কক্ষে শিক্ষকরা জীবনানন্দ দাশের কবিতা পাঠ দানের মাধ্যমে সহজেই প্রকৃতির বিভিন্ন উপাদান সম্পর্কে শিক্ষা প্রদান করে থাকেন শিশুদের মধ্যে অনাবিল আনন্দের মাধ্যমে