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Theory of creation in the light of Indian philosophy : A philosophical study/ ভারতীয় দর্শনের আলোকে সৃষ্টিতত্ত্ব : একটি দার্শনিক পর্যালোচনা
No full textProbe the mystery of creation is an extraordinarily challenging task. Both science and philosophy have endeavored to solve this mystery, not only through theoretical means but also through practical approaches. This brief research work focuses on the doctrines of cosmology as developed within various sects of Indian philosophy, beginning with the Vedas. The study primarily employs descriptive and analytical research methods to investigate how these philosophical traditions have explained cosmology and to identify the principles they have presented as the primary causes of creation. The main objective is to uncover how Indian philosophical communities have articulated their cosmological views and the foundational principles they propose as the root cause of creation
Bangla Prabader Pathantar/ বাংলা প্রবাদের পাঠান্তর
No full textA person\u27s work may or may not be enjoyable for everyone, but no one else has the right to change it at will. The author himself changes some texts of the work published in one version to another version if necessary. Variations of this text in literature are called paraphrases. But since folk literature is the creation of an integrated society, not the creation of individuals, so in this case the personal style is not applied. However, if the same material, the same work gets a different form in the hands of another, it is called transference. Proverb is an integrated and beautiful linguistic form rich in rich literary quality of human\u27s long social and practical life-experience. As proverbs are purely mnemonic, some have sunk into oblivion and they have changed somewhat. As a result, even if not the entire part, a word or a word is forgotten by the people. Then keeping the same rhythm, the word or charan of one\u27s choice is placed in the oblivion part. The message of the proverb is derived from the overall arrangement of the proverbs, which change their readings during word-of-mouth dissemination or use after the proverb was composed. Transliteration with variations of multiple readings in one word.
In the study of folklore, it becomes absolutely necessary to distinguish the text of any material. Because the influence of place and time on folklore is very much. As our country relies on hearing and memory, it gets publicity easily transferred. When it takes refuge in the memory of the people, such transliteration, or transliteration, takes on a transformation. And in the case of proverbs, the most elusive element of this folklore, translation is very readily available. There for it is impossible to get a complete reading of any folk literature without translation. Through translation, a proverb gradually becomes an extract of human life experience, where relative truth, not philosophical truth, becomes embodied. Even though the proverb has been passed down by word of mouth for ages, its bodies do not become clichés in mind or hearing. In fact, the more translations of a piece of literature, the more popular and accepted it is. This topic will be discussed in detail in the discussion article
An Analytical study of the representation of Human Trafficking in Anjali Lahiri\u27s Novel \u27Biloris\u27/ অঞ্জলি লাহিড়ীর ‘বিলোরিস’ উপন্যাসে মানব পাচার : একটি বিশ্লেষণাত্মক আলোচনা
No full textAnjali Lahiri is one of the renowned literary figures belonging to Bengali language and literature. Through her writings, she tries to show issues related to humanism in particular and society at large. It would not be far wrong to consider her literary output as a mirror of society. The characters of her novels deal with the issues, crisis, protests and self-immolation of middle-class life. Isolation, loneliness and depression of the society came up again and again in her writings. The novel that deals with such issues is \u27Biloris\u27. This paper seeks to analyze how the female protagonist of the novel got trapped in human trafficking and got victimized and whether she managed to escape from that situation or not. At the same time, this paper makes an attempt to highlight how the human trafficking is still prevalent in society and how it may destroy the very soul of a human being irrespective of gender
Kara japaner Itibrita O Rajnoitik Andolone Nari: Prasanga Jaya Mitrer ‘Hanyaman’/ কারা যাপনের ইতিবৃত্ত ও রাজনৈতিক আন্দোলনে নারী : প্রসঙ্গ জয়া মিত্রের ‘হন্যমান’
No full textAuthor Jaya Mitra is a well-known figure in Bengali literature (1950-). In 20th-century Bengali literature, Jayamitra first appeared in the 1980s. her practicality and sense of life are very sharp, and she writes with sensitivity. ‘‘All practical experience is written together and the author – the construction of both’’, the author states.
An Influential development in India’s social and political history was the peasant movement, which began in the West Bengali region of Naxalbari in the seventh decade of the 20th century. The Naxalite movement is the name of the movement that began when young intellectuals and urban students joined forces to declare jihad against parliamentary politics.
Numerous authors and poets were connected to the Naxalite movement either directly or indirectly. As a result, numerous literary poems, tales, and novels have been created that center on the movement. Jaya Mitra was a direct participant in the movement and was imprisoned in West Bengal for four and a half years during the 1970s. Kashaldharmi wrote novels and stories based on his own experiences living in prison.
In his writing, a variety of real-world encounters are mentioned at life’s turns. In the turbulent 1970s, Uttal was imprisoned without trial for an extended period of time due to his affiliation with the Naxalite movement within the political Communist Party, despite the country’s modern ideals of self-sacrifice for its citizens. Hanyaman, his memoir about his experiences in prison, was awarded the Anand Award. “The present book is not really a memoir of his personal life, but an immense expression of the meaning of the entire human background beyond the limits of individual suffering,” Amitabh Gupta says about his 1994 film “Hanyaman.”
Every page of Hanyaman details the ways in which women participated in the Naxal movement, either directly or indirectly. These women’s stories—Ganga, Jayalakshmi, Maya, Hanifa, Itwari—are about life behind bars. Stories about Bapidi, Mala, and Maina are also included. How did each of these women become a criminal or end up in prison? Some of them went years without facing any consequences. According to eyewitness writer Jaya Mitra, although our perception of jails varies from the outside, life inside is very different and, to put it mildly, frightening. You can never imagine if you do not spend a lifetime behind bars
THE RETELLING OF KABIKANKAN MUKUNDA’S ‘BANIKKHANDA’ IN MAHASWETA DEVI’S NARRATION: AN APPRAISAL/ মহাশ্বেতা দেবীর বয়ানে কবিকঙ্কণ মুকুন্দের ‘বণিকখণ্ড’-এর পুনর্নির্মাণ : একটি মূল্যায়ন
No full textThe medieval period in Bengali literature is remarkable for its literary creations. The literature written in this age is so rich and varied that they have become the source for many of the modern literature. Despite their tendency of deviation the modern novelists have returned to the medieval tradition in the postcolonial period. They have realized that it’s better to retreat to reach the root of human life. The duty of later modernism is to keep the currents of socio-economic and cultural aspects of Bengali life that the medieval age brought up in literature. So, the modern novelists have continued that tradition through deconstruction and reconstruction of the narratives of the middle age of Bengali literature. The novelists have recollected the universal applications of life from medieval literature and reestablished them in the light of modernity. The critical environment of the later age has merged with the social crisis of the former. Mahasweta Devi’s novel ‘Benebou’ is a reconstruction of ‘Banikkhanda’ of the ‘Chandimangal’ kavya by Kabikankan Mukundaram Chakravarty. Mahasweta takes up the miniature of the family of banik Dhanapati victimized by the kaulinya tradition for the central theme of her novel. Time consciousness is analyzed in a new way. Society is dominated by the males until now and so time is fixed here. Mahasweta with her sharp power of observation analyses the two different forms of consciousness of two different ages. She puts emphasis on the feminist consciousness here. ‘Benebou’ is story a of the struggle for female rights. She presents the failure and hollowness of the restrictions of society through the interrogations of her central character Ahana. She also changes the socio-economic background, incidents and characters for the artistic recreation of the plot of her novel. Therefore ‘Benebou’ is not a mere retelling of the Mangalkabya tradition, but a reconstruction of the past in the context of present
Clerihew and Bengali Literary Rhyme/ ক্লেরিহিউ ও বাংলা ছড়া-কবিতা
No full textIn English, Clerihew refers to a four-line biographical poem consisting of two couplets and is arranged like this - aabb. Like many other forms of poetry, it is also a particular form, which Bengali literature imported from the London-based poet Edmund Clerihew Bentley (1875-1956). In Bengali literature, the poets who have carried forward Clerihews progress and victory are discussed here in my essay. First comes the name of the king of Bengali rhyme Annada Shankar Ray. Although his clerihews are not exactly biographical, some of the poet\u27s significant remarks flash like lightning in some of his four lined rhymes.
Then we’ll see how Clerihew succeeded in the hands of eminent Bengali poet Sankha Ghosh. Just as he did not write much Clerihew, he did not always adhere to the traditional format of Clerihew. Somewhere he denied the four lines boundary; he did not even follow the guidelines of putting personal name or place-name in the first line.
Bhabani Prasad Majumdar and Apurba Dutta, two famous poet of the time, are among the few poets who have popularized the tradition of Bengali folk rhymes very successfully. Bhabani Prasad gifted us a large number of funny Clerihews. Bhabani Prasad sometimes crossed the fence of one quartet and gave us many clerihews with two or four or five quartets. This type of work has been called ‘Extended Clerihew’ by some Western critics. Clerihew has repeatedly sparked like a weapon in the hands of the conscientious poet Bhabani Prasad Majumdar.
Thus beginning his journey by the hand of a schoolboy, Clerihew has once occupied a seat of honor in the world literature. It has variation both in form and type, subject matter and view. From biographical verse in quatrains to several quatrains of humor and various light-hearted themes, Clerihew is used as their medium of expression. And thus begins his successful journey from a point to the circle. I have elaborated the matter in my present essay
Sunil Gangopadhyays’ ‘Praner Prahari’: Verse Drama Vs Prose Drama/ সুনীল গঙ্গোপাধ্যায়ের ‘প্রাণের প্রহরী’ : কাব্যনাটক বনাম গদ্যনাটক
No full textSunil Gangopadhyay was one of the greatest writers of the 20th century. He is a poet, playwright, author. He has proved himself in theatre and has achieved success. He has written many stories, poems and humorous works. Among the dramas written by him the notable drama is ‘Praner Prahari’. The play is divided into two parts, the prose and the poetry. The main character of the play, a father Rishi has fought to the death to save his child despite being a doctor by profession. He never gives up on death. He was terrified of losing every moment. Nevertheless, nature has not surrendered to the infallible law that is death. Although all the doctors did not approve of his efforts, he did not hesitate to apply ampoule injections to the child on his deathbed. Where the chance of recovery is half a percent, otherwise death is inevitable. Invisible Death has repeatedly warned the young sage, saying that the sage\u27s defeat is inevitable. Still, he stuck to his task. He brought his son back from the dead, recovering in life. Sothe sage keeps on saying– ‘I am towards life. I\u27m always on life.’
The dramatist has made various additions and deletions in the play ‘Praner Prahari’ by making it in two types. Although the main story is the same, compared to the poetic drama, the playwright has brought the sub-story and several characters in the prose drama in a new way, which has been formed in our main discussion. The question arises in my mind, why did the poet-dramatist or prose-dramatist go to write the name of ‘protector of life’? Or has the dramatist been able to correctly determine which of the two types of drama is the \u27protector of life\u27 and the \u27protector of life’? I tried to find it in the article
IN THE INTER-STATE CULTURAL DOMAIN THE DOMINI FOLK CULTURE OF MALDA DISTRICT: A HISTORICAL REVIEW/ আন্তঃরাজ্য সংস্কৃতি চর্চায় ডোমনি লোকসংস্কৃতির আলোকে মালদা জেলা : একটি ঐতিহাসিক পর্যালোচনা
No full textThe cultural history is very much discussed in the last three decades of the 20th centuary. As we all know, regional history makes national history, it makes me enthusiastic and curious to know more about the Domini folk culture of West Bengal. Malda district of West Bengal is famous for Domini folk drama which originally originated from modern Jharkhand (undivided Bihar). The locality is like Mothabari, Rotua, Manikchak, Pukunia, Enayetpur, Fatehpur, Paladgachi have a special identy for this folk dance. The word ‘domini’ is repeatedly used in charjapada. Many belived that domini is a daughter of dom. Domini folk dance flourished in different parts of Malda district. It begins immediately after Holi or Dol Purnima. Domini folk dance is mainly about many special event of the year or about law, draught, flood, marriage, birth control and social issues. The domini is originally a folk dance of chai community of Malda and Jharkhand. The domini folk music is actually a slice of life. The main features of this culture is to depict various aspect of the marginalized people. Poverty, disease, strife, prejudice, education, cultivation and birth of child and many other issues of the people of Malda-Jharkhand boarder come out through this folk culture. Moreover hope, despair, war, happiness, sadness, crop, agriculture etc are also main theme of domini folk dance. Domini folk songs are accompanied by various musical instruments like flute, harmonium, cymbal etc. The quality of this folk has been increased in the last three decades of 20th century. The language and the performing part of this folk is really complicated. Though it became the most important medium of recreation of the poor people of Malda and Jharkhand border. But in present, this domini folk culture is gradually drowning. It may be the important instrument of communal harmony. So Govt, patronage and promotion of this folk drama is earnestly needed
Bakhtin’s ‘Chronotope’ and Mahasweta’s ‘Terodactyl’/ বাখতিনের ‘ক্রনোটোপ’ ও মহাশ্বেতার ‘টেরোড্যাকটিল’
No full textMikhail Bakhtin is one of the eminent postmodern critics of Novels. His theory radically changed the traditional and conventional1 way of reading, writing and criticising the Novels. One of the foremost Bakhtin’s theories is ‘Chronotope’2 i.e Time and Space theory. Bakhtin narrative that Chronotope is the technique and method of Novels. The Chronotope is created by identifying the voice of existing social reality in Mahasweta devi\u27s novel \u27Terodactyl3, Puron Sahai and Pirtha\u27. We have seen that while writing the history of exploitation, Deprivation, Suffering of Nagesia People of Pritha block Madhya Pradesh, mahasweta Devi is searching for their \u27self\u27. As a result of Colonialism, their physical existence, oral tradition, and cultural heritage is endangered and lost. So, Mahasweta Devi wanted to return to find their roots and Reality. Mahasweta Devi applied a Mythical entity4 for this purpose. The activist writer Mahasweta Devi has created the mythical entry and exit of the Terodactyl in this novel to convey the danger and degradation of the tribal people. The Terodactyl is a messenger of the extinction of the aboriginal people5 of india. Mrs. Devi has woven the tribal people of the pre-colonial period in her novel. but they are not able to carry their culture, tradition, customs and history. They Seem to be on the poet\u27s side. As a result, Terodactyl and indigenous people become indifferent in this novel.  
Rabindranath Tagore in the Context of Nationalism/ জাতীয়তাবাদের প্রেক্ষাপটে রবীন্দ্রনাথ ঠাকুর
No full textRabindranath Tagore is one of the learned scholars of our country who have eloquently expressed his views on nation and nationalism. According to Rabindranath Tagore, nationalism originates from the individual or group\u27s desire for independence. Rabindranath Tagore\u27s transformation of these thoughts can be seen in a long essay titled \u27History of India\u27 in 1902 where he expanded his concept of history. According to him, European history is state-centric, and its basis is aggression, whereas Indian civilization stands on harmony, religious unity. The idea of a unified religious civilization in India became a fundamental element of nationalist thought. The first step of Indian nationalism was the Swadeshi movement of 1905 AD against the British which spread widely in India. Through this movement, Indian people were encouraged to boycott British products and use indigenous products. The publication of the book \u27Nationalism\u27 in 1917 ushered in a new phase of Rabindranath\u27s thought on civilization. Rabindranath\u27s thought was an understanding of nationalism based on a cosmopolitan Indian philosophy. Rabindranath ultimately optimistically says that the true goal of civilization is to unite all men