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Narratoligical aspects of narrator and his point of view in shirshendu mukhopadhyay\u27s selected works for children\u27s novel/ আখ্যান কথক ও তাঁর দৃষ্টিভঙ্গিতে শীর্ষেন্দু মুখোপাধ্যায়ের নির্বাচিত শিশু-কিশোর উপন্যাস
No full textAlmost every children’s novel by Shirshendu Mukhopadhyay is diverse and uniquely flavored. At the same time, one also finds features of Narratology within them, which add a different dimension to the storyline. This makes his novels both adventurous and imaginative. Two of the key aspects of narratology are narrator and point of view. In Shirshendu Mukhopadhyay’s children’s novels, we can almost always notice these two aspects. Sometimes, who is speaking and who is seeing are presented together, and sometimes they are presented separately in the narrative. In most of his works, the omniscient narrative style can be seen—for example, Monojder Adbhut Bari (The Strange House of the Monoj Family), Hetamgarh-er Guptadhan (The Hidden Treasure of Hetamgarh), Paglasaheber Kobor (The Grave of Paglasaheb), Nabiganj-er Daitto (The Giant of Nabiganj), Haripur-er Harek Kando (The Many Incidents of Haripur), etc. Yet each of these novels carries a distinct originality in terms of story. The omniscient narrator sometimes observes very closely, while at other times maintaining a certain distance. Along with the omniscient narrator, in some novels we also find the presence of character-narrators. For instance, in Hirer Angti (The Diamond Ring), Kunjopukur-er Kando (The Incident of Kunjopukur), Dudhsayorer Dwip (The Island of Dudhsayor), etc. With the change of narrator, the mode of narration also changes, creating multiple narrative layers. Sometimes the character-narrators try to step beyond their limits and take on the role of omniscient narrator, though they ultimately fail to achieve that. Thus, on one hand, the omniscient narrator offers expansive observation, while on the other, the character-narrator’s limited point of view presents a contrasting experience to the reader. From a narratological perspective, this study emphasizes the narrator and his point of view. For convenience of discussion, three of Shirshendu Mukhopadhyay’s children’s novels have been chosen—Paglasaheber Kobor (The Grave of Paglasaheb), Nabiganj-er Daitto (The Giant of Nabiganj), and Dudhsayorer Dwip (The Island of Dudhsayor)
Al Mahmud\u27s literary works and journalism/ আল মাহমুদের সাহিত্যকর্ম ও সাংবাদিকতা
No full textAl Mahmud is known as a prominent poet, writer and thinker in Bengali literature. However, in addition to his literary identity, he also made important contributions as a journalist. In the 1960s, he actively engaged in journalism and worked for various newspapers and magazines. His journalistic career was a strong voice at the boundaries of literature, society and politics. Al Mahmud\u27s journalism was truth-seeking and outspoken. He was involved in editing and writing for various newspapers including \u27Kaler Kantho\u27, \u27Gana Kantho\u27, \u27Dainik Millat\u27, \u27Saptahik Kafila\u27. His writings reflected the problems of the common people, social inequality, political injustice and national consciousness. He saw journalism not just as a profession, but as a means of nation-building. His writings had the sensitivity of a poet as well as the perspective of a responsible citizen. Al Mahmud\u27s journalistic activities have become a unique example of the fusion of literature and journalism. This research paper sheds light on Al Mahmud\u27s journalistic contributions,He was a renowned Bangladeshi poet, novelist, and intellectual whose influence extended beyond literature to journalism.Although he is widely acclaimed for his poetic talent, Al Mahmud also played an important role as a journalist during a critical period in Bangladesh\u27s socio-political history.Through his work in various newspapers such as Ganakantha, Dainik Millat, and Kafila, he highlighted national concerns, advocated for social justice, and promoted cultural identity.This paper highlights how his journalistic endeavors reflect the same depth, sensitivity, and commitment found in his literary work.Through a combination of poetic insight and fearless reporting, Al Mahmud emerged as a unique voice in Bangladeshi journalism - blending creativity with civic responsibility
\u27Mahulbani\u27s Mayam\u27 vs. the hegemony of the Panchayat system/ ‘মহুলবনীর মায়াম’ বনাম পঞ্চায়েত ব্যবস্থার আধিপত্যবাদ
No full textTapan Banerjee is the \u27literary baridhi\u27 of Bengali literature. Despite being a resident of the city of Kolkata, he had to travel to various parts of rural Bengal due to his work. While he was an SDO, he was posted in Mahulbani, a remote area of Medinapur. He not only performed the duties of a government official, but also immersed himself in work with kindness as a guardian of the place. Mahulbani is a village inhabited by Santals. Although the livelihood, various festivals, dance-songs, and culture of the Santals are covered by their own culture, their social system is mainly controlled by the Panchayat. Mahatma Gandhi has raised the ideal of the Panchayat system for the development of villages in India. The rules and regulations of the Santals are completely different. When someone tried to violate the traditional rules and regulations, a terrible consequence was met. A scientific agreement and understanding were needed to change the Santal society, which was shrouded in illiteracy and superstition. But the Panchayat system, while making their social life conservative, also took away the democratic rights of the people like a rock. People had to accept whatever the Panchayat judged blindly. In some cases, tradition has tied their lives to the Ashtapis. The Panchayat system of India has been stable for a long time in the village-centered lifestyle. In Bengal too, the main tone of this Panchayat system was the Chandimandap culture in Hindu society. The works of everyone from Sarat Chandra to Tarashankar show the identity of such Chandimandap-centered Panchayat justice system. But Tapan Banerjee\u27s \u27Mahulbani\u27 has taken the matter to a slightly different level. He is initiated into the ideals of Rabindranath. So he is not disturbed by any problem. In the novel \u27Mahulbani Mayam\u27 he has shown multiple problems. For example, the problem of Phutik\u27s father\u27s identity, the problem of Elizabeth\u27s Phulmani\u27s caste certificate, the problem of Sripati Sohag\u27s caste problem of marriage due to differences, the problem of Nakul\u27s dream, the witch slander of Maya Hansda etc. He has tried to find solutions to such multidimensional problems everywhere except for one or two and has also achieved success. Even in the Santal society where outsiders (outsiders) are not respected, he has shown them the way to a good solution
Tribal Society in India after Independence : Problems, Policies and Possibilities/ স্বাধীনোত্তর ভারতের আদিবাসী সমাজ : সমস্যা, নীতি ও সম্ভাবনা
No full textIn post-independence India, the issues related to the development of the tribes have been evolved into one of the country\u27s most complex and multifaceted challenges. At its core lay the dilemma of integrating tribal communities into the national mainstream while preserving their distinct identity and cultural heritage. During the colonial period, the deliberate isolation of tribal groups was largely driven by political motives. In contrast, independent India, through its Constitution and various Five-Year Plans, envisioned economic and political upliftment for the tribal population. To address tribal concerns, several practical measures were undertaken, such as the implementation of land rights, agricultural development, amendments to forest conservation laws, provision of healthcare, industrialization in tribal areas, and improvement of transportation infrastructure. However, the effectiveness and outcomes of these efforts remain subjects of deep analysis and debate. Another key issue was the tendency of post-independence policy makers to club Dalits and tribals under a single category for policy formulation. However, it is essential to recognize that tribals and Dalits are fundamentally different in many respects — socially, historically, and culturally. Understanding the place of tribal communities in post-independence India requires a careful examination of the contemporaneous debates that shaped such policies. Globally, the lifestyle and cultural identity of indigenous peoples have been subjects of significant disagreement and discourse. In India too, two major ideological perspectives emerged regarding the role and integration of tribal communities within the broader society. One perspective advocated for granting tribals the right to live independently, with autonomous control over their traditional territories, free from external interference. The opposing view emphasized rapid assimilation of tribal communities into the broader socio-economic fabric of Indian society - even if it meant the erosion or eventual disappearance of tribal ways of life. According to this view, such assimilation should be welcomed as a sign of ‘progress’. Jawaharlal Nehru, however, took a more nuanced stance. Through his policy of ‘Panchsheel’, he opposed forced assimilation and instead encouraged the organic growth of tribal communities in accordance with their innate creative capacities. His vision was to ensure tribal development in a democratic and culturally sensitive manner, enabling them to rise from backwardness without compromising their identity and traditions. This article presents a comprehensive review of these issues and perspectives, shedding light on the evolving approaches to tribal integration and development in post-independence India
Regional Variations of the Gajan Festival in West Bengal : A Multidimensional Analysis of Folk Culture/ পশ্চিমবঙ্গে গাজন উৎসবের আঞ্চলিক বৈচিত্র্য : লোকসংস্কৃতির বহুমাত্রিক বিশ্লেষণ
No full textGajan is a unique religious and cultural festival celebrated mainly in rural parts of West Bengal, especially during the last week of the Bengali month Chaitra (March–April). It is deeply rooted in folk traditions and is closely associated with deities like Lord Shiva, Dharmathakur, and sometimes Harakali. The festival marks the symbolic marriage of these deities and is observed with intense devotion, physical austerity, and theatrical performances. Regional variations are seen in various parts of West Bengal on the Gajan festival.
Historically, Gajan evolved as a pre-harvest ritual in agrarian Bengal, aiming to invoke fertility and prosperity. It is mostly practiced by lower-caste communities, who express their spiritual connection through dramatic rituals, songs, and open-air performances. These performances often include mythological storytelling, symbolic pain endurance, and vibrant processions. Participants, known as sannyasis or bhaktas, dress in colourful costumes, paint their bodies, and enact scenes from folk epics and religious lore.
Gajan is not just a religious event— it’s a living, breathing expression of Bengal’s rural soul. It blends drama, music, dance, and ritual in a way that reflects the everyday life, beliefs, and struggles of rural people. The performances are spontaneous and community-driven, often taking place in village squares or temple courtyards. Through these enactments, Gajan preserves oral traditions and local histories that are rarely found in written texts.
The historical significance of Gajan lies in its role as a cultural bridge. It connects tribal, Hindu, and Vaishnavite practices, showing how diverse communities in Bengal have shared and reshaped religious expressions over time. Scholars have noted that Gajan reflects themes of sacrifice, social bonding, and resistance against rigid caste structures. It also serves as a space for negotiating gender roles and spiritual identities.
In modern times, while urbanization and media have influenced folk traditions, Gajan continues to thrive in many districts like Bankura, Malda, south 24 parganas, and parts of Midnapore. It remains a living example of how folk theatre can carry forward historical memory, communal values, and artistic expression
Loko Debotar Sondhan O Biborton/ লোক দেবতার সন্ধান ও বিবর্তন
No full textSince ancient times, a social harmony centered on worldly gods and goddesses has developed in various worship festivals and religious rituals. Our ancestors used to draw pictures of possible animals on the walls of caves before going hunting and pierce them with arrows. They believed that by doing this, the imaginary object would become real and an afterlife would help them achieve their goals. When they hunted the desired animal, they would sacrifice some part of the animal\u27s body to that afterlife and then they themselves would consume it as food, because the main goal of primitive society was to survive and survive in the face of natural adversity, the first task was to ensure food supply; therefore, in their struggle for existence, such activities carried a kind of black magic. In addition, they believed that there was a supernatural being behind every natural phenomenon. At that time, since a sense of reason was hidden in people, they imagined the presence of a spirit in everything, like themselves. This idea began with the appearance of an invisible entity that controls our destiny from behind, that is, the emergence of gods/ goddesses.
Gradually, as society developed, the socio-economic infrastructure also changed, and towards the end of the Paleolithic era, signs of female idols were also found along with the development of matriarchal societies. In changing times, matriarchal societies also changed, in the socio-economic context, the first level was animal hunting and fruit gathering, and the second level was agriculture and building dwellings. Therefore, the difference in the work of boys and girls developed in the same way, and the concept of gods also developed in the same way, with male gods as well as female gods gaining prominence. A patriarchal society began.
The Middle Ages began with the Turkish invasions and Muslim rule of the 12th century, the nature of the discrimination that arose around the gods during this time, the discrimination between the upper and lower classes, has been discussed in detail in the main article. Also, the emergence of caste-centric deities like Dakshinaray, Kaluray, Banabibi, Narayani, Olaichandi, Manikpir, Dharmathakur, Pir Gorachand etc., which were worshipped by the lower caste people, later found coexistence and harmony among the deities of the caste Hindus.
The entire article discusses the underlying perspective of maintaining social respect and self-respect during the changes and transformations of the greatness of these deities from ancient times to the present
Honor and Decline : The Dual Portrayal of Women in the Atharvaveda/ সম্মান ও অবক্ষয়ের দ্বন্দ্ব: অথর্ববেদে নারীর প্রতিচ্ছবি
No full textThe Atharvaveda stands as a distinctive Vedic text that presents a vivid portrayal of the social and cultural realities of ancient India, particularly concerning women. Unlike the Ṛgveda, which primarily emphasizes hymns to deities and sacrificial rituals, the Atharvaveda extends its focus to domestic life, health practices, fertility, and ritualized utterances often classified as ‘magic’. This paper critically examines the position of women as represented in the Atharvaveda, highlighting their intellectual, domestic, ritual, and medicinal roles within society.
The study reveals that in the early Vedic period, women enjoyed a comparatively high status: they were educated, engaged in philosophical debates, and actively participated in household management and ritual life. The concept of ‘dowry of knowledge’ underscores the centrality of education in female empowerment, while extensive references to gynecological, fertility, and pediatric remedies suggest a sophisticated concern for women’s and children’s health. These insights indicate that maternal and reproductive care were vital areas of social attention, often mediated by women themselves.
At the same time, the text reflects tensions that foreshadow the decline of women’s status in the later Vedic age. The prioritization of male offspring, the rise of child marriage, and restrictions on women’s education and ritual participation reveal the emergence of patriarchal norms. The Atharvaveda’s mention of practices like the Āsuri-kalpa (sorcery rites) further illustrates attempts at controlling or subjugating women through ritual power, exposing the darker underside of social reality.
Thus, the representation of women in the Atharvaveda is neither uniform nor immutable; rather, it reflects a dynamic tension between empowerment and subordination. This ambivalence offers critical insight not only into the historical transformation of gender roles in ancient India but also into broader scholarly debates on gender justice and women’s rights in contemporary contexts
The concept of liberation in the light of Sankhyakarika: An exploration/ সাংখ্যকারিকা’র আলোকে মুক্তির ধারণা : একটি অন্বেষণ
No full textসাংখ্যদর্শন একটি সর্বপ্রাচীন ভারতীয় দর্শনতন্ত্র বলে প্রসিদ্ধ। ‘আদিবিদ্বান’ নামে খ্যাত কপিলমুনি সাংখ্যদর্শনের প্রবক্তা ও প্রতিষ্ঠাপক। এই দর্শনের প্রথম গ্রন্থ কপিলমুনি রচিত সাংখ্যসূত্র অধুনা লুপ্ত। ছান্দোগ্য, প্রশ্ন, কঠ, মৈত্রায়ণী উপনিষদে, এমনকি প্রাচীন ভারতীয় সাহিত্যে, মহাভারত, ভগবদগীতা, কৌটিল্যের অর্থশাস্ত্র, মনুসংহিতা, চরকসংহিতা, ন্যায়, বৌদ্ধ, জৈন শাস্ত্রেও, অর্থাৎ, শ্রুতি, স্মৃতি ও পুরাণ সর্বত্রই সাংখ্য প্রত্যয় ও মতের তালাশ পাওয়া যায়। বিশেষ করে শ্বেতাশ্বতর উপনিষদে সাংখ্য অঙ্গীকৃত প্রকৃতি, পুরুষ ও কৈবল্যের কথন - এর প্রাচীনত্বের নিদর্শন ও প্রমাণ। কথিত আছে যে, মহর্ষি কপিল তার শিষ্য আসুরিকে প্রথম, আসুরি তার শিষ্য পঞ্চশিখকে, পঞ্চশিখ আবার তার শিষ্য ঈশ্বরকৃষ্ণকে এই দর্শন শিক্ষা অর্পণ (দান) করেন। এইভাবে গুরু-শিষ্য পরম্পরায় বিশ্ব দরবারে সাংখ্যদর্শন ও সাংখ্যতত্ত্বাদির বৃদ্ধি, সঞ্চারণ ও বিবর্তন ঘটে। মানুষের জীবনে সবথেকে তীব্র ও কষ্টকর অনুভুতি হল দুঃখের অনুভূতি। দুঃখানুভূতির জন্যই দুঃখ থেকে মুক্তি সম্বন্ধে মানুষের মনে অনুসন্ধিৎসা জেগেছে। আর এজন্যই, সর্বপ্রাচীন এই সাংখ্যদর্শন ভারতীয় দর্শন মহলে মুক্তির বিজ্ঞান (মোক্ষশাস্ত্র) হিসাবে আত্মপ্রকাশ করেছে। সাংখ্য মতে, মুক্তি হল দুঃখ থেকে সম্পূর্ণ ও স্থায়ী মুক্তি বা চিরমুক্তি এবং এটি বিবেকজ্ঞান এর মারফৎ ধীরে ধীরে অর্জন করা যেতে পারে। ঈশ্বরকৃষ্ণের রচিত সাংখ্যকারিকা - বর্তমানে কপিলমুনির শিক্ষার প্রথম পদ্ধতিগত একটি উপস্থাপনা, উত্তরাধিকারসূত্রে গুরু-শিষ্য পরম্পরায় প্রাপ্ত ঐতিহ্য মুক্তির দুটি পর্যায়ের মধ্যে পার্থক্য তৈরি করেছে বলে মনে হয় - মুক্তি ও কৈবল্য। এই নিবন্ধে, ঈশ্বরকৃষ্ণের সাংখ্যকারিকা ও এর টীকাসমূহের উপর ভিত্তি করে মুক্তির ধারণা এবং কীভাবে মুক্তির ঐ দুটি পর্যায়ের মধ্যে পার্থক্য করা হয়েছে, তা অন্বেষণ করা হবে
Dark Pictures of Clinna Nagar : Poems by Samar Sen/ ক্লিন্ন নগরের অন্ধকার ছবি : সমর সেনের কবিতা
No full textSamar Sen (1916-1987) is an exceptional artist in the history of Bengali poetry. He is a poet of Marxist literature and civic middleclass life. His opinion on this matter is very simple and frank - \u27My barrier was limited to the middleclass, I could not overcome that barrier.
His support for Marxian philosophy is not expressed in slogans in poetry. In keeping with the personal art truth, he captured the restlessness of morning in poetry. Images of opportunism and middleclass luxury are prominent in his poems.
In this article we will try to explore and analyze how \u27darkness\u27 is repeatedly used in Samar Sen\u27s poetry. At the same time, an attempt will be made to draw an outline of how the darkness depicted by the poet has carried various meanings and symbolic significance.
Poetry is an art based on words. This word captures the feeling of the poet\u27s deep consciousness and builds a path to unite with the reader\u27s feelings and emotions. The words used in poetry often express the meaning according to the poet\u27s wishes. The poet shakes off the conventional meaning of the word and gives it a different meaning. Just as a poet is more interested in a particular theme or genre, some words are used again and again and become representative of the poet\u27s mood. In Samar Sen\u27s five poems ‘Kayekti Kavita’ (1937), ‘Grahan’ (1940), ‘Nanakatha’ (1942), ‘Kholachithi’ (1943), ‘Tin Purush’ (1944) he explores darkness in the diversity and individuality of artistic creation. One has given another dimension. He has tried to channelize the darkness in favor of the vivacious \u27Whale Destroyer\u27. In Samar Sen\u27s first book of poetry \u27Kayekti Kavita\u27, the concept of darkness is captured in a different way
Salil Sen’s ‘Natun Ehudi’ : Living Document of Partition/ সলিল সেনের ‘নতুন ইহুদী’ : দেশভাগের জীবন্ত দলিল
No full textRiots, partition and refugee problems are inextricably linked with independence in India. These social problems ushered in the decline of human life. Similarly controlled literature. Many poems, stories, novels, plays and essays were written on such living issues. Several films have been produced. The topic of partition has come up in numerous memoirs. Salil Sen, a well-known personality of the Bengali theater world, wrote his play \u27Natun Yehudi\u27 focusing on riots, partition and refugee issues. After the partition of the country, the misery and pain of the people who were separated is reflected in this play. Partition created extreme uncertainty in various moments of human life. The crisis of livelihood, the crisis of living with dignity, the crisis of living by eating and drinking had reared its head. His brilliant image has emerged in the drama \u27New Jew\u27. Playwright Salil Sen focuses on a Brahmin family and a Namashudra family to show the fate of the fragmented people of East Pakistan and India.
A family uprooted from East-Pakistan arrives at Sealdah station in India and spends the day with other refugees. Within a few days, they arrived in a slum in Kolkata. All accumulated money is lost. Going out in search of work is disappointing. The family faced an extreme financial and social crisis. Finally the head of the family and one son died. Ginny fell unconscious. The only daughter was forced to go to Kusang. The family had a kind of solemn burial. Yet the playwright does not end the play with only despair and lamentation. He ended the drama by giving a message of hope even in the midst of nightmares. Relying on the young generation, he tried to rejoin this fragile society. One of the characters of the drama is Mohankei, his representative has done. It has been widely observed throughout our discussion