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The Existence and Struggle of Tribal Women: In the Context of Selected Short Stories by Mahasweta Devi/ আদিবাসী নারীর অস্তিত্ব ও সংগ্রাম : মহাশ্বেতা দেবীর নির্বাচিত ছোটগল্প
No full textIn the 21st century, women are propelling themselves forward, inspired by the mantra of ‘Charaiveti’ (move ahead). Their thinking, lifestyle, and values have reached a new dimension. In many cases, women are no longer seen as ‘half the sky’; they represent the full sky. However, the status of women from indigenous or tribal communities remains largely unchanged. These women have yet to fully step forward. Their lifestyle and daily struggles for survival and existence continue unabated.
This research paper focuses on selected short stories by the renowned Bengali writer Mahasweta Devi. It delves into the problems faced by tribal women, including the exploitation, oppression, and inhumane treatment they endure from the ruling classes, as depicted in the stories ‘Draupadi’, ‘Doulot’, and ‘Shikar’. Along with heart-wrenching portrayals of their suffering, the stories also highlight their resistance and courage in the face of such oppression
IMPACT OF FOLK-CULTURE IN ABHIJIT SEN’S NOVEL \u27HOLUD RONGER SURJO\u27/ অভিজিৎ সেনের ‘হলুদ রঙের সূর্য’ উপন্যাসে লোকসংস্কৃতির প্রভাব
No full textThis paper presents a detailed discussion of elements of folk-culture mentioned in the novel “Holud Ronger Surjo” by Abhijit Sen. The novel mentions wish-fulfilling deities such as Kali, Kameswari and Jaher-Than as folk-deities. In terms of folk-festivals, the main popular festival of the tribal Santal community ‘Saharay’ is mentioned. Some rituals are mentioned in the context of this festival. For example, Santal community has a custom of sacrificing rooster, pig etc. to the deity on the occasion of festival and in Namashudra society the ritual of Hari-sankritana is to pray for the peace of the soul of the deceased. Sadhumela is known as folk-mela. The Santal community’s belief in witch-craft in terms of folklore is found in this novel. There are also references to Hindu society’s ban on cow-slaughter and belief in the use of iron. Again, some folk-mantras and medicines are mentioned in this novel regarding the practice of witch-craft. Some Saharay music is introduced in the celebration of the ‘Saharay’ festival. Madal is mentioned as folk-instrument for singing this Songs. Besides, there are mentions of Muri, Khai, Chira and Jaggery as folk-food and Taadi, Pachani etc. as folk-drink. Dhoti is mentioned as a folk-dress. Agriculture, Carpentry, weaving etc. as folk-livelihood and Mural-painting, Woodwork, Mat-craft etc. are mentioned as folk-arts. Kodal, Ax, Da, Henso, Tangi, Lathi etc. are identified as folk-weapons in this novel. In the field of folk-technology, there are references to Dhekki, Dona, Sanko, Wooden-stairs etc. Moreover, various types of folk-languages of the society and some proverbs spoken by the people of the society are mentioned in this novel. All these elements are thoroughly analyzed in terms of the novel’s themes and characters in this paper
Dhirendranath Kar’s Novel ‘Ai Lo Tusu’: Divers Perspectives of Folk Culture/ ধীরেন্দ্রনাথ করের উপন্যাস ‘আয় লো টুসু’ : লোকসংস্কৃতির বিবিধ প্রেক্ষণ
No full textDhirendranath Kar, a resident of Kenjakura village in Bankura district, is a popular writer of Rarh Bengal. A famous novel written by him is ‘Ai Lo Tusu’. The story of the novel is based on the life and culture of the working people of Chhatna area which is adjacent to Bankura. Although they have endured endless misery and proverty throughout their lives, they did not forget their culture. Through Bhadu, Tusu, Jhumur, Baul, Rhymes etc. they have retained the heritage of the folk and local culture alive. These folk songs and rhymes are interspersed with the captivating narrative of the novel in such a way that it will arrest the attention of any reader. Along with the folk songs, the special linguistic patterns of the working class of the region and the regional words used in the language have intensified the reality of the novel. All these points have been discussed at the appropriate place in the main article. The novel narrates how an educated urban comes to work in this rural region and integrates with the lifestyle of the natives, and how he takes initiatives to keep their cultural heritage alive. The writer wants to show that educated intelligentsia should come forward to keep alive the folk culture of rural Bengal which is getting extinct. There is no doubt, that the modern civilization and consumerism have ruined the balance of regional culture to a great extent. Yet, there are some people who live through dire distress, but still cherish folk culture in the core of their hearts. This is the light of hope for us. It is our duty to protect this tradition. Only then the folk culture can be revitalized. This is conveyed by the author in this novel. 
The role of dual women in Madhukabi\u27s diverse life and Manavivandana, the illuminator of Veerangana Kavya/ মধুকবির বৈচিত্র্যপূর্ণ জীবনে দ্বৈত নারীর ভূমিকা এবং ‘বীরাঙ্গনা’ কাব্যের আলোকস্নাতা মানবীবন্দনা
No full textMichel Madhusudan Dutt was a bright star of Bengali Literary World. Poet, dramatist, essayist Madhusudan gave a new form to the discourse of Bengali Language and Literature. In order to re-evaluate this talented writer in the light of his conflicted personal life and his famous literary work Birangana. One of the most important events in his life is marriage with Rebecca, who was the foreign christian girl. Letter coming to Calcutta and living together with Henrieta greatly influenced his conflict diverse life. Rebecca along with her little four children was injustice abandoned by the poet and Michel left them in Madras. Meanwhile he had to leave a life of poverty and humiliation because he was not legally married to Henrietta. The return notices that true heartache of the poet. Reflections on the mindset of Rebecca and her children are found in Madhusudan\u27s later writings particularly in this regard are the Birangana Patrakabya. Michel\u27s remarkable eloquence can be found in some epistle of Birangana. He has managed to forget his helpless wife and four children. Michel\u27s legacy of not being able to take news of his wife and children in his personal life was the ultimate negligence of duty and responsibilities. Birangana is a reflection of that. Married life with two women as well as the Renaissance of enlightened selected women in Birangana is the topic of discussion in this article
Chaitanyadeva’s married life and background to the rise of Vaishnavism/ চৈতন্যদেবের দাম্পত্য জীবন ও বৈষ্ণব ধর্মের উত্থানের প্রেক্ষাপট
No full textA new addition or chapter in the history of Bengali literature is the appearance of Sri Chaitanya in the fifteenth century. His arrival created a new tide in the center of Bengali literature. In Bengali literature, he is a person who brought a wave of change in human consciousness through his life work in the heart of the entire Middle Ages. As a result of that, Vaishnava terminology became so rich in Bengali literature that Vaishnava terminology has been divided based on him. Namely-Pre-Chaitanya Yuga, Chaitanya Contemporary Yuga and Post-Chaitanya Yuga. And the birth of this Chaitanya Mahaprabhu is an unforgettable event, which turned the corner of Bengali literature. Chaitanyadev was born in Nadia district. He was very scholarly at birth. And through scholarship, he has spread the light of knowledge from the entire city to the country. We have gone through stages from his childhood stage to his youth marriage and his married life. We know from the various works of Chaitanya\u27s biographers that his married life was not at all happy. He first married a girl named Lakshipriya Devi. Accidentally, his death was caused by snakebite. In such a situation Chaitanyadev was completely broken. Seeing the consequences of this extreme disaster in his domestic life, Chaitanyadeva\u27s mother asked him to marry a second time. Forced, Chaitanyadeva somehow consummated the second marriage. He was no longer interested in his family. So he eventually had to give up domestic life and we see him taking monasticism near Ishwarpuri. In fact, it was the burning wound in Chaitanyadeva\u27s heart from the death of his first wife that prevented him from concentrating on his second marriage. As a result of which it was not possible for Chaitanyadev to have a family life with his second wife. Mainly we have discussed Chaitanyadeva\u27s married life, but we have also given due importance to his sannyasya and Harinam sankirtana. Where we see, after accepting the Vaishnava religion, Chaitanya Dev single-mindedly showed the way of world liberation to the people through Harinam Japa. That is, if we review Chaitanyadeva and his entire biography, we see a cruel, painful form of his married life. On the other hand, perhaps for that reason, the deep hurt in Chaitanya Dev\u27s heart awakens a deep sense of compassion and love for the dormant people existing in Chaitanya\u27s heart, there are examples throughout Bengali literature
Coexistence of humor and moral education : Traditional Gajan songs of South Twenty-four Parganas observed/ হাস্যরস ও নৈতিক শিক্ষার সহাবস্থান : প্রেক্ষিত দক্ষিণ চব্বিশ পরগনার প্রচলিত গাজন গান
No full textIn the South twenty-four parganas district, Gajan song has established itself much more than Bala song, Gambhira, Gamira, Domni, Alkap, Bolan song or Gayer parab. The factors underlying the establishment of Gajan song are - (A) Gajan songs of the 21st century have managed to transcend mythic boundaries. Abandoned the religious shell and rushed towards modern rationalism. Professional teams have become prestigious rather than hobby teams. They do not depend on begging or collection of subscriptions. B) Professional Gajan groups have been able to impart folk education to the masses. The main purpose of Gajan song is to give a smile back to selfish people who forget to smile in the world of selfishness. (C) It is constantly enriched with new daily events. (D) It has been able to push aside religious differences. (E) The vociferous voice of the folk society has been expressed through Gajan songs. It has become the mouthpiece of the people\u27s society due to its vocal protest against all injustices. (F) Regional languages provide their life force. Efforts to come close to modern elegant language persist. (G) It has managed to awaken the masses by creating parodies of modern songs. H) By presenting six to seven different events different messages are given in folk society. (I) Gajan songs are performed throughout the year. As the local proverb calls it- ‘Jashthi to sashthi’.
Gajan songs became folk dramas but did not fully became folk music. It has become a folk drama based on stories. Although Gajan songs have developed in many ways, they have not been able to place women in the role of female characters. All characters played by men and directed by men. Being unable to cross the boundaries of regional language has earned it the title of obscenity in the civil society. Most of the Gajan team members and directors are from illiterate or poorly educated families. Modern Gajan songs focus more on commercial expansion rather than entertainment. Even if there is criticism, its development will not be stopped. The number of Gajan groups in South Twenty-four Parganas is increasing. Educated people have come forward to compose Palagan of Gajan. Attempts to form expert committees can be seen to maintain the harmony of dancing, singing and acting. Gajan songs have become a source of entertainment for Bengalis living in the diaspora worldwide due to the internet. Gajan song has joined the globalization
Justification of reclaiming the night in women’s empowerment in the 21st century/ একবিংশ শতাব্দীতে নারীর ক্ষমতায়নে রাত পুনরুদ্ধারের যৌক্তিকতা
No full textFeminism is one of the most discussed and stirring doctrines in the present world. Its objective is to establish equal rights of men and women in every sphere of society. And whoever wants to establish equal rights between men and women in the society by resisting patriarchy and its supporting judiciary in belief and behavior will be considered as a feminist. He can be female or male or third-gendered. Many are hesitant to accept the justification of feminism. Many people think that feminism is an anti-male ideology. Feminism is a terrible thing. Many people say that if humanism is accepted then is there a need to discuss feminism separately? Quite simply, feminism is an ideology. A view of the world from a woman\u27s point of view. And women are not the only ones who can be feminists. A woman or a man or a third-gender anyone can be a feminist. Turning the pages of history shows that women have been oppressed since the earliest times. Various movements have been seen as a protest against this. \u27Reclaim the Night\u27 first started in 1977 in Leeds. Because when protests over the murder of a woman erupted across England, the police advised that women should not leave their homes at night. It was against this that the first night reclaim was called. Currently, in the 21st century, a night strike was called to protest the brutal torture and murder of a lady doctor at RG Kar Medical College and Hospital in West Bengal, India. This movement is not only limited to our country but also spread abroad. But the question is how justification it is to call women\u27s night reclaim in the 21st century? And what is the relationship between the incident of rape and murder in a prominent place and calling for women to reclaim the night? For a thorough discussion on this topic, who is a woman? What is feminism? What is the basis of oppression of women in patriarchal society? When and why was the first women\u27s night reclaim called? What is the justification for calling for women\u27s reclaim of the night in the twenty-first century? In this article, an attempt has been made to find answers to various questions
THE HARMONIOUS IDEOLOGY AND SYNTHETICAL IDEADS OF NIMTITA ROYAL PALACE AND PATALESHWAR TEMPLE OF COSSIMBAZAR: A HISTORICAL REVIEW/ ইতিহাসের অস্তাচলে নিমতিতা রাজবাড়ি ও কাশিম বাজারের পাতালেশ্বর মন্দির : একটি ঐতিহাসিক পর্যালোচনা
No full textMurshidabad, a district of the majority of Muslims, is a meeting place of different religions and cultures. Hazarduari, Jahankosha, Bacchawali Kaman, Imambara, Nashipur Rajbari, Pareshnath Temple etc. located in the Lalbagh area of this district on the banks of the Bhagirathi River are very attractive to tourists, students, various schools, colleges, universities. The administration is very conscious to keep all these buildings alive. The only exceptions are Nimtita Rajbari in Jangipur subdivision of Murshidabad and Pataleshwar temple in Cossimbazar. Nimtita Rajbari built by Gour Sundar Chowdhury and Dwarkanath Chowdhury. This palace is built in Greek style which is a mixture of religion, culture, entertainment, sports and aristrocracy. A wonderful combination of East and West takes place in this palace. Different royal houses traditionally observe certain rules. Such as free sex, alienation, illegitimate children, baiji dance, drinking, tobacco consumption, gambling diplomacy, selfishness, jealousy, secret enmity, murder. The exception is this Nimtita Rajbari. Instead of walking on this path, they have taken a completely path. Which has set an example in front of all the other royal houses, in front of the society. Instead of walking on this path, they have taken a completely different path. Which has set an example in front of all the other royal houses, in front of the society. Renowned Principal of drama, Sisir Kumar Bhaduri, Satyajit Ray, his wife Bijoya Ray, sons Sandip Ray, Sharmila Tagore, Soumitra Chatterjee, Tulsi Lahiri, New Zealand\u27s famous photographer Brian Brake once fell in this house. Everyone was impressed by the hospitality of the members and members of the Nimtita royal family. During the Durga Utsav of the Rajbari, the horizon was filled with the sound of 100 drums. But due to the wrath of the time cycle and the negligence of the people, the Nimtita Rajbari, which has thousands of memories, is standing on the road today as a huge building of skeleton. It is counting the time to be completely wiped out. On the other hand, the century-old Pataleshwar Shiva Temple in Raninagar of Bhatpara in Kashimbazar is very close to Baharampur, the heart of Murshidabad. This temple is associated with the plan to build Maharaja Jahajghata of Cossimbazar, the horrific form of Sati in the district, riots, Tantric Ravi Thakur single-handedly suppressing miscreants, the story of Rammohan Roy\u27s anti-Sati movement. But unfortunately for the people of the district, the Pataleshwar Shiva temple in Cossimbazar is being used only as a place of pilgrimage. Historical significance is not being presented to society. As a result, the unique history of this temple is being immersed in the water of Katiganga. Local people, devotees, local Marwari businessmen provide the necessary funds for the maintenance of this temple.The fact that this century-old Pataleshwar Shiva temple is different from the other five Shiva temples is not being portrayed in the right way. As a result, it is seen that due to lack of appropriate steps, the Nimtita Rajbari and the Pataleshwar temple of Cossimbazar, carrying a harmonious ideology, have gone to the deadlock of history
The Narrative of Women\u27s Deprivation: A Tale of Modern Bengal in Perspective/ নারী বঞ্চনার আখ্যান : প্রেক্ষিত আধুনিক বাংলার রুপকথার গল্প
No full textমানুষের মনের ভাব–ভালোবাসা, ইচ্ছা–অনিচ্ছা, আবেগ-অনুভূতিগুলোকে ভাষার মাধ্যমে প্রকাশ করার অদম্য স্পৃহা থেকেই সৃষ্টি হয়েছে সাহিত্যের। যে কোনো দেশের সাহিত্যে সাধারণত দুইটি ধারা লক্ষ্য করা যায়। এক, মৌখিক সাহিত্য, দুই লিখিত সাহিত্য। লিখিত সাহিত্য জনসমাজে প্রচলিত হওয়ার আগে মৌখিক সাহিত্যেরই প্রচলন ছিল বেশি। তবে সময় যত এগিয়েছে, মৌখিক সাহিত্যের পরিধিও বিস্তৃত হয়েছে। ক্রমে মৌখিক সাহিত্যে লোকছড়া, রূপকথা, উপকথা ও নীতিকথার মতো প্রভৃতি বিষয়ও যুক্ত হয়েছে। ইংরেজ বণিকরা এদেশে আসার আগে এই মৌখিক সাহিত্য গুলিই ছিল বাঙালি শিশুর নিজস্ব সম্পদ -
“ইংরেজ আসিবার পূর্ব্ব পর্যন্ত, অথবা ইংরাজী শাসন এদেশে প্রতিষ্ঠিত না হওয়া পর্যন্ত এগুলিই বাঙালির নিজস্ব শিশু সাহিত্য, তাহার মৌলিক সম্পদ।”
Raghab Bandyopadhyay’s ‘Badaar Bettanta’ : Prantiker Protidhwani/ রাঘব বন্দ্যোপাধ্যায়ের ‘বাদার বেত্তান্ত’: প্রান্তিকের প্রতিধ্বনি
No full textIn the 1970s, Raghab Bandyopadhyay\u27s short stories emerged as a distinctive literary trend. His collection, ‘Baadar Golpo’, stands out for its profound exploration of the marginalized ‘Baada’ communities residing in the waterlogged regions bordering the Sundarbans, the southernmost part of West Bengal.
These stories paint a vivid picture of lives perpetually teetering on the brink, where the relentless ebb and flow of saltwater have rendered any semblance of stability elusive. The ‘Baada’ people, year after year, grapple with the twin scourges of poverty and malnutrition, their frail bodies succumbing to the harsh realities of their existence. Often, they are reduced to a state of utter destitution. The powerful elite, far removed from their suffering, continue to exploit these marginalized communities, leaving them with little hope for a better future.
Despite their understanding of their plight, the impoverished ‘Baada’ people are unable to collectively resist their oppressors. The stories delve deep into the complexities of their lives, capturing the anguish of their existence, their struggles for survival, and the erosion of their physical and mental well-being. The narrative is enriched by the use of colloquial language, reflecting the regional dialects of the ‘Baada’ people. Raghab Bandyopadhyay\u27s masterful storytelling, marked by vivid imagery and evocative descriptions, transports the reader to the heart of the Sundarbans. The ‘Baada’ people, surrounded by the dangers of the mangrove forests, the threats posed by tigers and crocodiles, and the constant exploitation by moneylenders, lead lives characterized by a multifaceted social reality. It is this intricate interplay of environmental, social, and economic factors that breathes life into the ‘Baada’ narratives