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Manasa mangal kabya in the light of morphological analysis/ রূপগঠনতাত্ত্বিক পর্যালোচনার আলোকে মনসামঙ্গল কাব্য
No full textEminent professor Ashutosh Bhattacharya has discussed the form and nature of Mangalkabya, one of the most important examples of medieval Bengali literature, in his book \u27History of Bangla Mangalkabyo\u27. In the field of literary history, all researchers have discussed the stories, characters, biographies of poets, etc. of Manasamangal kabya. Some researchers have discussed Manasamangal kabya individually. But it is safe to say that a comparative discussion of the morphology of nine (selected) poets of Bengali Manasamangal poetry has not been done before. Here, I have tried to analyze the differences between these nine poets in terms of the style of writing poetry and the similarities and differences between them in some aspects, with the help of appropriate quotations from their works
Outline of the relationship between the bourgeoisie and the proletariat in the Sundarbans region during the pre- and post-Tebhaga movement: Contextual Bengali novel/ তেভাগা আন্দোলনের পূর্ববর্তী ও পরবর্তী পর্যায়ে সুন্দরবন অঞ্চলের বুর্জোয়া ও প্রলেতারিয়াত
No full textSundarban is the land of sundari, gewa, goran, keora and tiger, crocodile. But the hunger for land has forced people to set foot there and that was not easy.Humans have conquered the jungle tigers, crocodiles and snakes and have established themselves there. By showing greed for own land, rich feudal lords engaged landless labourers to do this dangerous work. But later refused to give them land.That was the beginning of tussle of proletarian against the landlord of ‘Lat’. Then the situation became more complicated regarding the share of crops of the sharecoppers. At the time of 1946 sharecoppers at Chirirbandar of Dinajpur district started a movement demanding 2/3 third of crop. Later it spread throughout the West Bengal and East Bengal. The Bengal provincial Kishan Sabha run by the Communist Party called for the Tebhaga Movement.In September, 1946 the oppressed farmers of Sundarban also joined with this movement. Tebhaga could not be fully successful due to the Government’s repressive policies. However the strong impact of Tebhaga forced the Government to enact a land reform law. Above all, Tebhaga tought the proletariat to protest in an organished manner
Anwar Pasha\u27s Novel "Nishuti Rater Gatha": A Perspective on Time, Society, and Politics/ আনোয়ার পাশার উপন্যাস ‘নিষুতি রাতের গাথা’ : সময়, সমাজ ও রাজনীতিবীক্ষা
No full textThe novel serves as an artistic representation of the continuous flow of time and the evolving dynamics of society, intricately interwoven with the depths of human existence. As society progresses, the novel captures its multifaceted complexities, contradictions, and conflicts, along with their possible resolutions. Fundamentally, the novel reflects human experiences—joy and sorrow, hope and despair, love and brutality—all shaped by the inexorable passage of time. In Anwar Pasha\u27s fiction, contemporary socio-political upheavals are depicted with stark realism, where human struggles, historical consciousness, political turmoil, and the natural world converge in an authentic and compelling narrative. As a writer committed to the truth of life, Pasha constructs the framework of his novels by blending personal experience with creative imagination. His second novel, Nishuti Rater Gatha, vividly portrays the socio-political landscape of post-Partition India, particularly the struggles of Muslims in West Bengal, the horrors of communal riots, and the broader political climate. Beneath the narrative lies the anguish of shattered dreams, the crisis of love and humanity, and the moral dilemmas faced by individuals amidst chaos. The novelist presents a harrowing depiction of communal violence, exposing its brutal and monstrous nature, while also subtly hinting at the presence of secular and humanist forces—however faint their resistance may be. Through his exploration of time, society, and politics, Pasha does not merely document the history of riots but crafts a deeply moving human account that underscores the fragile yet persistent resistance against communalism. Simultaneously, the novel offers a nuanced portrayal of women, highlighting their individuality and political awareness, thereby providing a broader reflection of the socio-political realities of the time
Prafulla Roy’s novel ‘Juddhayatra’ : The nature of social reality and lower class consciousness /প্রফুল্ল রায়ের ‘যুদ্ধযাত্রা’ উপন্যাস : সমাজবাস্তবতার স্বরূপ ও নিম্নবর্গীয় চেতনা
No full textOur society is divided into several strata. The people at the bottom of the social inequality of economic and racial high-low, strong-weak are identified as the \u27lower class.’ For a long time, the lower class of society has been trampled by the upper class. Even though the elites represent themselves as compassionate representatives of the people in the workplace, they become violent and cruel when their interests are harmed. Inspired by Sarvodaya leader Vinobaji, in the \u27Bhumidaan Yagya\u27, landowners donated their fallen, barren lands to the homeless and destitute people of the lower classes in the hope of gaining merit and fame. When that land became fruitful due to the hard work of the untouchables, feudal lords came forward with their claim to ownership. They committed unspeakable atrocities to helpless people. They started harvesting the crops of the land under the supervision of their own soldiers and land soldiers. When the poor resisted, they unhesitatingly used machetes to shoot and kill 18 poor farmers indiscriminately in the presence of the police, and 11 women were gangraped and forced to die. Again, they are proven innocent to the end through the power of empowerment. They are eager to present themselves as great to the public by handing over the police their hired wrestlers. Despite realizing the harsh social reality of the manipulations of the feudal lords, lower-class people are forced to remain silent in the face of fear and helplessness of poverty. However, inspired by compassionate, selfless people like Rakesh, Devarati, and freedom fighters, who have compassion for the lower class, they realize their human rights. Conquering fear and helplessness a humane spirit begins to awaken in them. Overcoming all obstacles, they come forward in the fight for justice and accelerate the progress of civilization. Based on novelist Prafulla Roy\u27s novel \u27Juddha Yatra\u27, this article will discuss the harsh reality behind the scenes of the social system and the awakening of the human spirit of fighting for the rights of the lower-class people
Shahidullah Kaiser\u27s \u27Sareng Bou\u27: A look into the Innermost Secrets of the Sailor\u27s Family/ শহীদুল্লা কায়সারের ‘সারেং বৌ’ : নাবিক পরিবারের অন্দরমহলের খোঁজ
No full textShahidulla Kaisar was a distinctive storyteller of the 1930s in the twentieth century. He entered the literary world by embracing the inherent responsibility an artist has toward his contemporary time and society. Naturally, in the works of this little-known narrative artist, the voices of the illiterate, the impure, and the downtrodden have come to the forefront. He took up the pen for those who have no roof over their heads—for those who are boatmen, slum dwellers, and laborers.
One of his notable novels centered on the life cycle of the downtrodden is Sareng Bou. In Sareng Bou, Shahidulla Kaisar skillfully portrays the life stories of the boatmen cast out from the Brahmin community — those known to us as ‘Subaltern’ The decline, disintegration, and subsequent reconstruction of coastal families5 form the central theme of Sareng Bou. Alongside this, the narrative also reveals the tale of the self-struggle of the Sareng Bou bride. Through his reportage in Sareng Bou, the novelist Shahidulla Kaisar has artistically rendered the lives of Muslim women and the women of Muslim society with a focus on personal experience and sensitivity
Samaresh Basu\u27s \u27Mahakaler Rather Ghoda\u27: Ruhitan Kurmi\u27s Breath/ সমরেশ বসুর ‘মহাকালের রথের ঘোড়া’ : রুহিতন কুরমির অন্তঃশ্বাস
No full textIn Bengali literature the renowned fiction writer is samaresh Basu. His works reflect nearly four decades of political, economic, and social conditions. In his novels he has portrayed society with honesty from an impartial standpoint. By depicting familiar realistic social scenes in his writing, he has won the hearts of readers. One of the central themes of Samaresh Basu\u27s novel is the socio- economic condition of contemporary society, the spirit of resistance, the decline of moral values, the inner world of the individual, and the interplay of nation, time, and society. The novelist has portrayed various aspects emerging from different layers of the individual and their inner world. In many cases, the novels are centered around human struggle and protest. As a socially consious writer, he has highlighted the contemporary turbulent situations as central. themes in his novels. In novels characters and settings are extremely important elements because they bring the narrative to life. Many novels have been written based on various movements in literature, and the success of these works has played a leading role in the development of Bengali literature. In the 1960s and 70s a major upheaval swept across Bengal centered around the demand for farmers\u27 rights in the Naxalbari region. The Naxalite movement not only impacted Bengal\u27s politics and economy, but also left a significant mark on its literature, many writers used this movement as a foundation to construct their narratives, incorporating its themes and influences into their literary works. Samaresh Basu also wrote novels set against the backdrop of the Naxalite movement. In his novel Mahakaler Rother Ghoda, he vividly portrayed the movement through his unique perspective. Numerous novels have been written focusing on the Naxalite movement, which can be seen as a time of both struggle and crisis. During this turbulent period, people joined the movement in search of true freedom and liberation. Similarly, in Samaresh Basu\u27s narrative, the character Ruhitan kurmi also participated in the movement, driven by the vow to eliminate class enemies. Through such charaters and stories, Basu captured the spirit, chaos, and idealism of the era
Sandesh Patrika : Bichar, Bisleswan-Samiksha/ সন্দেশ পত্রিকা : বিচার, বিশ্লেষণ-সমীক্ষা
No full textChildren have incredibly sensitive minds. The boat of fantasy floats away in their realm. It is the duty of a children’s writer to ensure that the soft, happy aspects of a Child’s mind are not overshadowed by the slightest hint of harshness or distortion. Writer can impose a burden of challenging ideas on the minds of adults. Children should not be forced to think that way. Therefore, there is less interest in writing children’s literature. Sandesh which was edited century ago, is the perfect model of what a children’s magazine ought to be. Commercial gain was not their primary concern. Their primary objective was to enhance intelligence of the children. Sandesh is the dawn light in the world of Bengali children’s literature. This magazine has tailored its literary content to suit children. The caption of this magazine i.e., Sandesh is quite significant. Sandesh means news and it also implies delicious sweet with a thousand varied form and attributes. What was lacking in Sandesh? There were poems, songs, stories, plays of home and abroad, travelogues, biographies, mythological tales. Here almost all genres of children literature find their soil to bloom. In this article, I have attempted, to briefly discuss this magazine which is unique in its writing style
New Horizons in Environmental History Context Dipesh Chakraborty and Rachel Carson/ পরিবেশের ইতিহাস চর্চায় নয়া দিগন্ত : প্রসঙ্গ দীপেশ চক্রবর্ত্তী ও র্যাচেল কারসন
No full textEnvironment History offers an earth’s-eye view of the past. It addresses the many ways in which human beings have interacted with the natural environment over time. As one of the newest perspectives within the discipline of History, it is a field that is still in the process of self-definition. It therefore offers the exciting challenge of engaging in a dialogue with the documents of the past and with historians of the present to create individual interpretations of history.
For environmental historian the term environment refers to the Natural and Human-created surroundings that affect a living organism or group of organisms ability to maintain itself and develop over time. Ecology deals with the relationship between these organisms and their surroundings. In the case of humans, it also includes social and cultural patterns, ecological history is therefore somewhat broader than environmental history but the two terms are often used interchangeably.
Environmental History is a rather new discipline that came into being during the 1960 and 1970. The foundations on which environmental history was founded in the 1960’s : Rodrick Nash coined the term environmental history in an article about the impact of past human society on the environment published in the Pacific Historical Review in 1972. Environmental history is always about human interaction with the Natural world, or to put it in another way, it studies the intervention between culture and nature. The Principal goal of environmental history is to defend our understanding of how humans has been affected by the natural.
Environmental history is an interdisciplinary subject that means that historians, scientists and other scholars must look over the boundaries of their own subject the historian must be aware that he or she sometimes needs to apply some principles from natural sciences, such as ecology, biology and forestry, to understand what happened in the past. However, this does not mean that historian must become a scientist. He is and remains and historian with the task to master and understanding past as a key to a better understanding of the present. But to do so he or she must look over the boundaries of history and even the humanities and acquaint themselves with the nomenclature and principles of their disciplines, especially the natural sciences. This does not mean that they have to become experts in these fields, but to use it as a tool to get a better understanding of historical problems.
During last 40 years environmental history grew from an interest of some historians and natural scientists into a full-fledged academic discipline. In the United States environmental history gained a firm institutionalized base which is reflected in the fact that the annual meetings of the American Society for environmental history established in 1975.
In this article of mine environmental history practice is new horizon by Rachel Louis Carson and Dipesh Chakrabarty. In 1962 Rachel Carson brought the environmental movement into spotlight with the publication of ‘Silent Spring’ in which she described the effects of chemical pesticides on biodiversity and other hand Dipesh Chkraborty is a cultural historian and postcolonial theorist who has made particularly important contributions to environmental historiography. Dipesh Chakraborty believes that environmental historiography is an important part of human history, helping to understand the relationship between environment and human society
‘Viśeṣa’ in Vaiśeṣika literature/ বৈশেষিক শাস্ত্রে ‘বিশেষ’
No full textIn the Vaiśeṣika system the concept of ‘Viśeṣa’ or particularity is used to differentiate one eternal substance from another. While we typically distinguish objects based on their parts, quality or other attributes, this becomes challenging when dealing with two eternal, ultimate substances, as they are identical in every respect, much like two atoms of earth. However, there must be some distinguishing characteristics between them, otherwise, they would be indistinguishable. In this case, the distinguishing factor can not be a specific quality of the two atoms, as both are qualitatively identical (atom of the earth). Therefore, they do not differ in their inherent characteristics. It is also not due to any distinguishing feature of their parts, as atoms do not have parts. The differentiating factor must then lie in something else within each atom. To address this, vaiśeṣika introduces a category called particularity or Viśeṣa, which exists in all eternal substances and serve to distinguish them from one another. In Sanskrit Viśeṣa refers to any differentiator or a differentiating factor. All tables are recognized as tables because of the common essence of tableness inherent in them, which serves as a unifying principle. At the same time a table is distinguished from a chair by its unique tableness. In this case, universal (sāmānya) serves as both a unifier and a differentiating factor. Viśeṣa or particularity is fundamentally opposed to universal or Sāmānya as it exclusively serves as a differentiator. It distinguishes the substance in which it resides from other substances, and also differentiates itself from other Viśeṣa or particularity (svata-vyāvartaka). Each eternal entities atoms, souls, space, time and manas have their own particularities or Viśeṣa. The concepts of particularity or Viśeṣa represents the individuality of eternal entities. The system is named Vaiśeṣika due to its special emphasis on this category of Viśeṣa or particularity
Bengali Short Stories and the Anti-Scriptural Movement/ বাংলা ছোটগল্প ও শাস্ত্রবিরোধী আন্দোলন
No full textA certain art form of the short story was solidified in Bengali literature by the pen of Rabindranath Tagore in the last decade of the nineteenth century. The roots of that story-concept were also in the ideals of the modern short story that emerged in the first half of the nineteenth century. In the first half of the nineteenth century, a standard of structure and style for the short story was established in the writings of Washington Irving, Nathaniel Hawthorne, Edgar Allan Poe, and others. This influence continued in the second half of the nineteenth century in the writings of Maupassant and other European short story writers. Rabindranath was also a follower of that trend.
Overall, it can be said that this ideal was valid in Bengali short stories from the last decade of the nineteenth century to the first decade after independence. The social background has changed with the flow of time. Many new subjects have emerged as the basis of stories, and new types of characters have appeared in keeping with the times.
Stories published in magazines like ‘Kallol’ and ‘Kalikalam’ between 1923-30, which depict the cruel and difficult aspects of life. After 1930, the anti-fascist movement left an impact on Bengali short stories. The Second World War took place between 1939 and 1945. During this time, the Quit India Movement, the Partition of Bengal, and the form of capitalist exploitation emerged in Bengali short stories. Nevertheless, the original mold of the short story remained the same.
The social, political, and economic conditions of Bengal were extremely complex and turbulent during the 1950s, from 1950 to 1959. From the middle of this decade, some writers began to perceive life and the realities of life in a slightly different way. They tried to reflect reality in literature from a different perspective. A new trend in storytelling emerged.
The writers of this new trend, by defying the conventional structure of the short story, created a circle of light and darkness around the subtle layers of political and psychological nuances. Starting from the 1950s, stories were written in various new trends like ‘Desh’, ‘Porichoy’, ‘Notun Sahitya’, ‘Sahityapatra’ and others. A new style emerged in Bengali short stories, a new trend in storytelling.
In the 1960s, a few new writers started writing stories in a new way, rejecting the conventional story trend. A turning point occurred in Bengali short stories, and the new internal realism emerged. The writers of this magazine named their storytelling style ‘anti-scriptural’ stories. The writers of the 1950s had given a clear and artistic form to reality, but they did not completely abandon narration. They wrote diverse stories in their own way. However, the anti-scriptural writers completely rejected the narrative element in stories.
Some of these new storytellers included Ramananda Ray, Shekhar Basu, Kalyan Sen, Ashish Ghosh, Subrata Sengupta, Amal Chanda, Balaram Basak, Sunil Jana, and others.
A turning point occurred in Bengali short stories. Internal reality was expressed more than external reality. In these stories, the plot and characters did not develop following the logical path of everyday reality. The feelings and experiences of the human mind, gains and losses, and the discourse of light and darkness became the central themes of these stories. Sometimes they were mysterious, sometimes bizarre, and sometimes the storytelling technique was mechanical. A new approach emerged in the planning of the structure of these stories. These writers expressed the mental state of individuals and society as they wished, which was completely different from the conventional structure of short stories