Trisangam international refereed journal
Not a member yet
537 research outputs found
Sort by
An extinct marriage practice of the Ravidas community of Barak Valley/ বরাক উপত্যকার রবি দাস সম্প্রদায়ের লুপ্তপ্রায় একটি বিবাহাচার
No full textAlong with people from other communities, people from the Ravidas community also came to Cachar district as chalani workers at various times since 1855. The people of the Rabidas population are mainly ‘Nishads’ or ‘Proto Australoids’. They are untouchables, dalits, backward communities. So they live in mud houses far away from the locality, so that the people of other castes do not have any inconvenience. The language spoken by the Ravidas community is \u27Bhojpuri\u27. Just as the Ravidas community has a distinct language, their social system, judicial system, various marriage rituals are all distinct. In fact, their society stands on some traditional principles and rules. There was a custom in the marriage culture of the Ravidas community, which has largely disappeared today. Our original report will discuss that secret ethos at length
Use of memory in Tarapada Ray\u27s selected short stories/ তারাপদ রায়ের নির্বাচিত ছোটগল্পে স্মৃতির ব্যবহার
No full textTarapada Roy was born in Elasin village in Tangail, British India (now Bangladesh). Tarapad Roy moved to Calcutta in 1951 after passing matriculation from Bindubasini High School in Upper Bengal. Graduated in Economics from Central Calcutta College (now Maulana Azad College). He taught for a while in a school in Habra, North Twenty-four Parganas, later joined the government service. After leaving Bangladesh at the age of fifteen, Pakapaka never lived there again. It is true that he has adopted Kolkata with love, but he could not forget his golden Bangladesh. Therefore, Opar Bengal has come up again and again with its extraordinary beauty in his story. Inside, he is a very funny person, telling one story after another while chatting. In apparent few words, Gurudarshan has said, a different way of looking at life.
In several stories of Tarapada Ray, we see the multidimensional form of memory. He has skillfully used various memories in the stories like \u27Kalukak\u27, \u27Garjan Tel\u27, \u27Sindoore Megh\u27, \u27Amar Amar\u27 etc. Although he left the country at a very young age, he never forgot his country, cherished that country in his lifelong memory. In these stories, I will try to show how the memory of the old life remains in the corner of his mind like a tree uprooted, which he seems to have forgotten, but in a small connection, one after another, like a movie reel, flashed in front of his eyes. Charupisima, Rangakaka, Grandma - these timeless characters of our society bring alive the happy memories of the narrator\u27s life. Kalukaka, Bachur Akha, Vastusapa Dudhraj – subhuman animals have become human in their eternal loyalty and unconditional love for humans. Although most of his life is in Calcutta, Tarapad Roy has kept Bangladesh in his heart. How these stories have become autobiographies full of small words of the village, the country, the people of the country left behind by the writer — hence the subject of this article
The Uniqueness Of Death In Bimal Kar\u27s Short Stories/ বিমল করের ছোটগল্পে মৃত্যুর অনন্যতা
No full textBimal Kar, a renowned writer of the seventies and eighties of the twentieth century, holds a unique position in the history of Bengali literary practice with his philosophy of literature and distinct perception of life. Eschewing complexity in writing and rising above the use of complicated language, he presents the loneliness of the individual flowing in the muddy currents of life, the fulfillment of self-interest, psychological transformations, the silent footsteps of sin, and the all-consuming hunger of death through a simple arrangement of sentences. He perceived the distance between life and death through his own experiences and deep self-realization. Hence, in much of his creative thought, the subject of death has emerged as an aid to the complete development of life awareness. Though there is grief in that death, it does not exceed the bounds of restraint. Not only physical death but death in its multifaceted form has appeared in his writings. In short stories such as ‘Atmaja’, ‘Janani’, ‘Teen Premik O Bhuban’, ‘Apeksha’, ‘Agurlata’, ‘Nishad’, ‘Ambikacharaner Mrityu’, and many others, the theme of death has been raised multiple times. However, not all deaths are merely physical; the mental degeneration of the individual, the decay of values, and the demise of ethics are largely spread across his stories. The story "Atmaja" begins with a beautiful relationship between a father and daughter but ends with the death of the father, Himanshu. Himanshu chooses the path of suicide. The sequence of events in the entire story has accelerated the cause-and-effect relationship of Himanshu\u27s suicidal intent. His discord with Yuthika has increased the distance in their relationship, marking the decline of their marital bond. Yuthika\u27s inferiority complex has led to the mental demise of Yuthika\u27s mindset, while her distorted behavior has advanced the positivity of Himanshu\u27s mind towards death. Again, in stories like "Janani" and "Teen Premik O Bhuban", paths to recovery from grief are discovered. There is undoubtedly sorrow in death, but what is the path to recovery from grief? The author has expressed this through his philosophical reflections in those stories. After their mother\u27s death, the children wish to offer their mother, on her heavenly journey, certain qualities that she had lost due to the harsh conflicts of real life. In the discussed stories, the author shows the way to overcome grief by completing the mother\u27s fragmented soul after her death. In the similar story "Teen Premik O Bhuban", Shivani\u27s three lovers offer their long-held remorse to the flames of her pyre. By sacrificing their self-pride before Shivani\u27s pyre, their self-criticism and self-analysis help them rise above the burning power of grief. In the story \u27Apeksha \u27 there is a person waiting for the death of a person. The story of \u27Anguralata\u27 depicts the picture of social degradation. The story of \u27Idur \u27 is a sharp analysis of the author\u27s realistic social thinking and the everyday crisis of people\u27s lives. In the story "Nishad" too, the inevitability of death is victorious. In addition, stories like "Sunya", "Sudhamoy", "Janoar", etc., also portray death with a sense of change. Indeed, Bimal Kar\u27s entire imaginative creation is interspersed with a subtle analysis of life perspectives. Not denying death, but by accepting it, enjoying the path between life and death is essential, this realization has illuminated him with the consciousness of death
Rabindranath Thakurer chotogolpo : Narir atmamorjadar Proyas/ রবীন্দ্রনাথ ঠাকুরের ছোটগল্প : নারীর আত্মমর্যাদার প্রয়াস
No full textOne of the most important constituents of the Bengali literature are short stories. The short stories of Rabindranath Tagore has played a significant role in giving a shape to the short stories of Bengali literature and hence he is renowned as a great short story writer. Being a son of Zamindar he had to travel to Bangladesh (East Bengal) to supervise the peasants who worked in their land and at that time he, very closely witnessed the life of the villagers there, which he later described in his short stories. Tagore has composed around 90 short stories and the first one was \u27Ghater Kotha\u27. The book \u27Golpoguccha\u27 contains all his short stories which were composed during the year 1891-1929.
On one hand as his stories portray a vivid picture of the scenarios of the Bengali village life, on the other hand he has been seen to put up the issues and woes of the feminine groups faced at that time stressing mostly on the amount of importance given to them and their social rights. He has played a crucial role on liberating women from their social shackles portraying them as free individuals in his stories.
Literary critics have indicated a great transition in the characteristics of women from the era of \u27Sadhana Bharati\u27 to \u27Sabuj Patra\u27. Initially, the women were seen to suffer chauvinism but in \u27Sabuj Patra\u27 they were observed to establish their existence by means of struggles and protests.
Tagore\u27s most popular feminine characters from the later period were-Mrinal from ‘Streer Patra’, Giribala from ‘Manbhanjan’, Kalyani from ‘Aparichita’, Anila from ‘Poila Nombor’, Sohini from ‘Laboratori’, Anondi from ‘Bostami’, Sattabati from ‘Chitrakar’ etc. All these female characters are seen to establish their existence in the society created in the respective stories by means of protests and struggles. Even in some circumstances the characters were observed to give up from their marital relation with an uncompromising attitude.
European authors had already started to glorify female characters in their stories at that time and in some way, Tagore\u27s female characters were also influenced by them along with the modern culture that was gradually evolving during that time. Thus, it can be said that the protesting form of women in Rabindranath Tagore\u27s short stories and their self-assertion is a significant issue which is still very relevant in Bengali literature
Social Portrayal of Women in Bani Basu’s Maitreya Jatak/ নারীর সামাজিক অবস্থানের প্রেক্ষিতে বাণী বসুর ‘মৈত্রেয় জাতক’
No full textBuddhism holds a significant place in Indian history, and the social and political aspects of the Buddha’s era form the core of ‘Maitreya Jatak’, a novel by Bani Basu published in 1996. This novel provides a modern perspective on the social and political conditions of Buddha\u27s time, with a particular focus on the lives of women during that period. It critically explores their roles, societal value, and the challenges they faced, both emotional and psychological.
The women portrayed in the novel come from diverse social backgrounds. We encounter characters like Bishakha, a woman from a wealthy merchant family; Jitosoma, a famous courtesan; Queen Khema, who becomes a Buddhist bhikkhuni; and Kanha, a female slave. Despite their differing social and economic statuses, the novel delves deeply into the common struggles these women face in a patriarchal society. Their emotional battles and societal limitations are intricately examined.
Bishakha, for instance, is a wealthy, educated woman who follows the path of Gautama Buddha. As a devout supporter of the Sangha, she donates generously to the Buddhist community. However, later in life, she realizes that the status of women in society is deteriorating, and many Bhikkhus are becoming idle parasites, evading responsibility under the guise of Buddhism. Jitosoma, a wise and independent courtesan, aspires to live life on her own terms but is ultimately unable to achieve her dream. Apart from Jitosoma, the novel also sheds light on the lives of other courtesans during that time. Kanha, a slave woman, though personally content, believes that there is no happiness for women as a whole and sees no escape from the collective suffering of her gender.
Through these characters, ‘Maitreya Jatak’ provides a vivid portrayal of women’s lives over 2,500 years ago, illustrating their social status, the limitations imposed upon them, and the challenges they faced. The novel offers a critical reflection on the rights, roles, and value of women in ancient society, resonating with issues still relevant today
Appearance of Sidhujatha Character in Satyajit Ray\u27s Detective Stories: An Appraisal/ সত্যজিৎ রায়ের গোয়েন্দা কাহিনিতে সিধুজ্যাঠা চরিত্রটির উপস্থিতি : একটি মূল্যায়ন
No full textSatyajit\u27s literary work is covered by Feluda stories. Satyajit started writing Feluda\u27s stories keeping in mind the juvenile literature lovers, but later it was found that Feluda\u27s readers are not only teenagers, but also adult readers find elements of joy in them. In the thirty-five stories of Feluda series, we meet various characters, but among them, except Feluda, the main characters are, Feluda\u27s assistant cousin brother Topse, Lalmohan Ganguly Mashai and Sidhu Jatha (of Feluda and Topse). We will look at how much the character needs in the story. And at the same time, we will see how deep Feluda\u27s relationship with this inanimate soul is. This person is like a portable encyclopaedia. This old man\u27s extraordinary memory, huge library and generous heart had helped in various ways in the investigations of Feluda. Singleness, apparent anti-social this person only addiction is to reading books, his married life with books. The only purpose of his life is to pursue knowledge. We see all these visions in Satyajit\u27s character; therefore, we have tried to show that Sidhujatha is Satyajit\u27s self-projection to some extent in our overall discussion
FOLK GODDESS CHANDI OF COAL MINE REGIONAL/ কয়লাখনি অঞ্চলের লৌকিক দেবী চণ্ডী
No full textAryan culture is associated with the history of the land of Raha. The history of this Aryan culture is intertwined with the history before the start of coal mining. Most of Rahar\u27s coal mining areas are villages and some towns. These cities are mainly industrial areas built around industry. On the other hand, the ancient secular culture of coal mining continues in the villages. The people of the remote areas here have a simplicity, a way of life built on faith and devotion. Among the mundane gods and goddesses of the coal mining region of Rahar, Goddess Chandi has the widest reach and popular belief. There is no specific idol or temple of Devi Chandi in the mundane area of the coal mining area. In most cases, under the tree, vermilion stone blocks or earthen elephant-horse symbolizes the goddess. The existence of many secular deities can be traced to the west of the coal mining region. There are hundreds of \u27thans of Devi Chandi all over the region. Hidden within this religion is the history, culture and social status of mining life. Life in rocky mining areas is a constant danger. For those who spend most of their lives cutting coal in pits, their lives are full of uncertainty, poverty and severe disease. In the crisis of these people who live far from the light of education, the only refuge is the thought and worship of Goddess Chandi. Lok devi Chandi has its own \u27than\u27 in almost every village built around the industrial city of Asansol-Raniganj-Durgapur in the western part of Bengal or in the villages adjacent to mines in this region. In most cases village goddess Chandi is worshiped by the social community. People of Bauri, Dom, Mochi, Jele, Kaivarta communities are the original worshipers and worshipers of Chandi. So in most cases the ingredients of Puja are liquor, meat and khichuri. However, along with the evolution, religious beliefs and thoughts are also deconstructed. Goddess Chandi is not limited to the Antyaj community, Chandi\u27s worship and fasting is also seen among the middle-class community in the mining areas.
The name of Narankuri Colliery adjacent to Raniganj coal mining area is well known. Prince Dwarkanath Tagore established his Car and Tagore Company on the banks of the Damodar River. Goddess Mathura Chandi temple is in this area. This goddess is still worshiped by the tribals. This is how the Brahminical culture got mixed with secular culture. There are many more such legends spread in the villages and towns of Rahad region. In fact, the red zone is the domain of Chandis. These Chandis have maintained their existence in the trees and forests since ages ago. Chandira has provided psychological support to the people in the mining area
THE INFLUENCE OF SUFI PHILOSOPHY ON THE BAUL COMMUNITY : AN ANALYTICAL STUDY/ বাউল সম্প্রদায়ের ওপর সুফি মতবাদের প্রভাব : একটি বিশ্লেষণাত্মক অধ্যয়ন
No full textThe examination of the Sufi influence on the Baul community is an intriguing field of study. The word ‘Baul’ was first used in Bengali literature in Maladhar Basu’s ‘Sri Krishna Vijay Kavya’. Through Advaita Acharya Jagadananda Pandit, the term ‘Aul’ and ‘Baul’ were used several times in a cryptic verse directed at Mahaprabhu Chaitanyadeb, where Advaita Acharya referred to Mahaprabhu as a ‘Baul’ and also called himself a ‘Baul’. Baul is a combination of Buddhist, Vaishnav, and Sufi traditions. During the emergence of the Baul philosophy, it is said that the influence of Buddhism, Tantric practices, folk music, Vaishnavism, and Sufism combined to create the Baul tradition in Bengal. The Bauls prefer not to mingle with common people for various reasons. They tend to live in seclusion, and because they do not confine themselves to ordinary lifestyles, they are called Bauls. Like the Sufis, Bauls practice spiritualism through songs. Similar to the Sufis, Bauls are indifferent to materialistic concerns in their attire and lifestyle. The Baul songs, such as Marfati or Murshidi songs, are enriched by Sufi influence. Both Sufis and Bauls focus on spiritual devotion to the Creator. However, one notable difference is that while Sufis are engrossed in thoughts of the soul and the spiritual world, Bauls focus on the physical world and the philosophy of the body. The impact of Sufi thought is clearly evident in the form, philosophy, and spiritual practices of Baul songs. Sufi thought, which is a branch of Islamic mysticism, has profoundly influenced the spiritual and social life of the Baul community. According to Sufi principles, love, the quest for unity, and self-exploration are central themes in Baul songs. Just as Sufi mystics aim for purification of the heart and unity with the Divine, the Baul community follows a similar path in their music and practices. This influence is reflected in the Baul songs through Sufi elements such as loving thoughts, specific musical styles, and spiritual practices. This study analyzes the mutual relationship between Sufi and Baul cultures, their cultural exchange, and spiritual unity. We will discuss this matter in detail in our proposed paper
In search of Devi Sitala and her Innovative/ দেবী শীতলা ও শীতলার আখ্যান : উৎস সন্ধানে
No full textThe paper discusses religious and cultural narratives about Godess Sitala, ‘Deity of Diseases’. Sitala There are various texts written in the 17th and 18th centuries as Mangalkavya elaborated Sitala Saga.
She was the goddess of smallpox appeared in different Sanskrit ayurvedic medical texts and Puranas. Sitala, has a history that spans across different states and regions of India and can be traced back to the middle-ages. The worship of Sitala is not restricted to India alone but can be observed in Nepal, Bangladesh and the Punjab province of Pakistan. There are many arguments and controversies regarding the origin and characteristics of this goddess. Researchers mentioned She is the Puranic version of ‘Apodevi’ the Vedic goddess of Water. In different Puranic texts she is claimed to be able to solve poverty and misfortune, and can also cure children\u27s diseases, Scholars like Hara Prasad Shastri and Dinesh Chandra Sen argue that the deity ‘Hariti’ or ‘Parnashabari’ found in Buddhist Tantra later became ‘Sitala’. Though the history of Her origin is fraught with controversies, based on numerous evidences, it can be stated that it is rooted in the folk traditions of lower-caste, marginal communities like Dom, Shabar, Hadi, Lodha, Chandal and so on. There are also varying customs and rituals regarding how she is worshipped and her idols are made in different regions.
In Bengal, a literary tradition known as \u27Sitala Mangal\u27 has developed which celebrates and praises the heroics and exploits of Goddess Sitala. Many poets like Krishnaram Das, Nityananda Chakraborty, Sri Krishna Kinkar and Manikram Ganguly have written the different \u27palas\u27 (episodes) of Sitala Mangal.
It must be acknowledged that when it comes to the preservation of our heritage and the study of our history and traditions, Sitala Mangal remain very relevant and significant. The popularity and preponderance of Mangal kavyas like \u27Dharma Mangal\u27, \u27Mansa Mangal\u27 and \u27Chandi Mangal\u27 in our literary circles have resulted in unjustified neglect and ignorance of some other precious Mangal kavyas like ‘Sitala Mangal’, ‘Ganga Mangal’, ‘Lakshmi Mangal’ and so on. In all these lesser-known and often overlooked Mangal kavyas, one can find original and insightful depictions of social and cultural realities of earlier eras. Even though progress in medical science has made it possible to uproot the once deadly small pox, Goddess Sitala is still worshipped with the same zest in all over India
History of change of Sundarbans and Sachin Dash’s ‘Jal Jangaler Rayani’/ সুন্দরবনের বদলের ইতিহাস ও শচীন দাশের ‘জল জঙ্গলের রয়ানি’
No full textProper fiction on Sundarbans was initiated by novelist Monoj Basu. After that Sundarbans, as a subject, began to be noticed in the writings of the novelists like Shivshankar Mitra, Narayan Gangopadhyay, Shaktipada Rajguru, Baren Gangopadhyay, Tapan Bandyopadhyay, Amar Mitra and others. Sundarbans, surrounded by forests and rivers, was once almost isolated from the main land. Then a conflict began between the old thoughts and beliefs and the new with the entrance of modern civilization. As a result, the public life of Sundarbans began to change. The history of the change of public life of Sundarbans has been depicted in the novel ‘Jol Jongoler Royani’