Rokeya\u27s spirit and today\u27s women\u27s education/ রোকেয়ার চেতনা ও আজকের নারীশিক্ষা

Rokeya Sakhawat Hossain championed women’s education not merely as a means of personal empowerment but as a crucial factor in the progress of society as a whole. Her ideas emphasized: 1. Education as Liberation – Rokeya believed that ignorance was the main barrier to women’s progress. Without education, women remained subjugated, which in turn weakened society. Reapplying her thoughts means ensuring access to quality education for all women, especially in marginalized communities. 2. Moral and Social Upliftment – She viewed education as a tool for instilling ethics, social awareness, and a sense of responsibility. In today’s world, where moral values often take a backseat, her vision can inspire an education system that nurtures not just academic knowledge but also social consciousness. 3. Economic and Political Participation – Rokeya saw women’s education as the key to their economic independence and active role in decision-making. By reintroducing her ideals, we can encourage more women to take leadership positions, reducing gender disparity in governance and industry. 4. Cultural Reform and Progressive Thought – Rokeya criticized rigid traditions that kept women confined. Her forward-thinking approach to reforming social norms through education is still needed to challenge regressive ideologies and promote gender equality. Reapplying her educational philosophy today means designing curricula that encourage critical thinking, gender sensitivity, and practical skills for women. It also requires policy changes to ensure education is accessible and inclusive. Only by following her vision can we prevent further social decay and move toward a more just and progressive society

Bibhutibhushan Bandyopadhyayer anudyane Aranyak: Prokriti o Aranyachari manus/ বিভূতিভূষণ বন্দ্যোপাধ্যায়ের অনুধ্যানে আরণ্যক : প্রকৃতি ও অরণ্যচারী মানুষ

In Bibhutibhushan Bandyopadhyay novel Aranyak nature and men are standing side by side. If the hero of this novel Satyacharan, then the heroine must be nature. The extraordinary description of day and night there against the background of secluded nature surely fascinated the reader. Although the author himself describes that the beauty of fullmoon night in forest cannot be described in pen and few words. Must be seen to enjoy. The picture of an extraordinary beauty of nature has been thoroughly described by the author in every chapter of Aranyak novel. Bibhutibhushan’s nature consciousness is so deep that while describing him form, he has developed the forest as a living human form. He realised that this is not the world, this is the Dreamland that I knew so far, this horizon-wide astrological beings come here let at night. We find such a description in most of Bibhutibhushan’s works. In the beautiful green sea we saw a floating sailor Satyacharan. On the one hand, Nada Boihara on the other hand, the impression of Mohanpura forest is in the novel detailed up to the vague blue boundary line.           In the novel I Arañyak, the characters of aranyachari are introduced to the narrator through simple yet strange mysterious each one like nature. Aranyachari Dhawtal Sahu is as simple and innocent as the forest or nature. The people of Bibhutibhushan in the novel Aranyak come from the simple environment of the village. And his natural sympathy towards them is a little more prejúdiced then that of the educated gentry of the city. These ordinary people have become an invitable part of the forest. Dhawtal Sahu, Raju pade, Ganu Mahato, Ganori, Jugal Prasad, Dobru Panna, Bhanumati are half forest and half human. The secret of their words is like the language of the forest. Out of the forest Kunta, Manchi, Dhaturia, Matuknath pade, Rajput, Ras bihari Singh is character is glowing with self-glory. The vastness of nature deeply affects the human mind, benevolent. So it can be said that in this novel nature and forest people Compliment each other

Implementation of Creative Myth in context of Soharab Hossain’s Novel ‘Gang Baghini’/ সৃজনশীল লোকপুরাণের প্রয়োগ : প্রসঙ্গ সোহারাব হোসেনের ‘গাঙ বাঘিনি’ উপন্যাস

People living in extreme geographical regions tends to be dependent on the geological and ecological forces of their native land for the very sake of maintaining their existence. Those uncontrollable forces become godlike entities, which the people fear. Gradually, they weave lore about the wraths and boons of those gods, exercise taboos and make sacrifices to keep those heavenly or hellish bodies content. This myths become an essential part of their lives and their sustenance—which, sort of, defines the people in their entirety. Sundarbans, the southern part of West Bengal and Bangladesh, is one of such extreme locations where maintaining life means continuous struggle with the unpredictable sea-weather, vicious wild-life and severe lack of enough food, drinking water and means of earning. Turbulent sea-waves or hurricanes destroy their homes, their family members get killed by ferocious tigers, crocodiles or snakes while collecting honey, wax or timber from the jungle. Thus, these entities become Gods in their fear-induced mythologies—for example, the tiger becomes ‘Dakshinray’, the emperor and sole owner of the honey and wax of ‘Bhati’ area. ‘Banabibi’ and ‘Shahjanguli’ are the godsend saviours of the oppressed. The myth-believers implement these larger-than-life figures as the symbol of eternal oppressors and recurrent saviours even in present time as well. Since the time of Independence, the socio-political-economic consequences of being an international coastal border area disturb the peacefulness and simplicity of the life of inhabitants. The poachers, weapon dealers, pirates, illegal immigrants along with the coastguards, foresters, politicians, military and the middlemen such as ‘aratdars’ or ‘khatidars’ leech on the lives of the helpless locals. These greedy, evil entities seen as incarnations of ‘Dakshinray’, while some wise or brave locals believed to be avatars of ‘Banabibi’ or ‘Kapil Muni’ create the base of ever-enriched seedbed of ‘Creative Myth’—which is newer and creative iterations of old mythical lore. Eminent Bengali novelist Soharab Hossain’s novel ‘Gang Baghini’ is centred round the life and situation of Sundarbans. How the novelist implemented a newer version of the local myth, is the object of our discussion

Santals\u27 Food Culture : A Continuous Review of Changes from the Past to the Present / সাঁওতালদের খাদ্য সংস্কৃতি : অতীত থেকে বর্তমান পরিবর্তনের একটি ধারাবাহিক পর্যালোচনা

The Santal community, one of the largest indigenous groups in India, has a rich and distinctive food culture deeply intertwined with their agriculture, environment, and traditions. Historically, their diet primarily consisted of millets, rice, maize, wild tubers, foraged vegetables, and bush meat, with fermented foods such as hadiya (a rice-based alcoholic beverage) playing a significant role in social and religious ceremonies. Their food practices were sustainable, seasonal, and community-oriented, reflecting a profound understanding of the local ecosystem.          However, modernization, economic shifts, deforestation, urbanization, and government policies have significantly altered traditional Santal dietary patterns. The decline of shifting cultivation, the expansion of cash crops, and increasing reliance on market-based food sources have led to nutritional transitions, often resulting in malnutrition and lifestyle-related diseases. Additionally, the influence of globalization and mass media has popularized processed foods, disrupting traditional dietary habits and weakening cultural identity.          This study adopts an ethnographic approach, incorporating fieldwork, interviews with Santal elders, and an analysis of colonial records and anthropological literature to conduct a comparative historical review. A temporal analysis reveals how economic policies, climate change, and urban migration have transformed Santal food traditions.          The preservation of Santal food culture is crucial for cultural sustainability, food security, and biodiversity conservation. Revitalizing indigenous food knowledge and ensuring the intergenerational transmission of culinary traditions can be achieved through community-driven initiatives, documentation of food practices, and supportive policy interventions

Narayan Sanyaler Upannase Udbastu Samasya/ নারায়ণ সান্যালের উপন্যাসে উদ্বাস্তু সমস্যা

The Partition of India in 1947 was a cataclysmic event that uprooted millions, forcing them to migrate across newly drawn borders. This mass displacement not only resulted in the loss of homeland but also led to a profound crisis of identity, culture, and survival. The trauma of forced migration and the struggle for rehabilitation have been central themes in many literary works, particularly in Bengali literature. Among the notable voices, Narayan Sanyal’s novels- Bakultala P.L. Camp, Balmik and Aranyadandak - offer a nuanced and multidimensional portrayal of the refugee experience, capturing both the grim realities of displacement and the resilience of the human spirit.            Sanyal does not merely document the deplorable living conditions of refugees in camps and colonies but also emphasizes their agency, determination, and indomitable humanity. His works explore the psychological and emotional struggles of those who lost everything, yet managed to reconstruct their lives with perseverance and self-respect. Bakultala P.L. Camp presents a stark yet deeply human portrayal of refugee rehabilitation centers, highlighting not only the suffering within but also the extraordinary strength and solidarity among the displaced. Balmik delves deeper into the questions of exile, alienation, and the search for identity, portraying how individuals redefine themselves amidst socio-political turmoil. In Aranyadandak, Sanyal depicts the adversities faced by displaced people as they attempt to build a new life in unfamiliar surroundings.             What distinguishes Sanyal’s approach is his refusal to portray refugees merely as victims of political upheaval. His narratives challenge conventional perceptions of displacement by illustrating how refugees, despite their losses, contribute to the social and economic fabric of their adopted communities. Through these stories, Sanyal provides a literary testimony to the resilience of the human spirit, showing how individuals can overcome even the most devastating circumstances through sheer determination and a profound sense of humanity.             This paper seeks to explore how the select novels of Narayan Sanyal redefines the discourse on displacement, survival, and self-reconstruction. By examining his portrayal of the refugee experience, this study aims to highlight the significance of his works in understanding the long-term impact of Partition on the Bengali refugee psyche

Tarashankar Bandyopadhyayer uponyase aancholik gotipother bhinnota: Kobi o Hansuli Banker Upokatha/ তারাশঙ্কর বন্দ্যোপাধ্যায়ের উপন্যাসে আঞ্চলিক গতিপথের ভিন্নতা : কবি ও হাঁসুলী বাঁকের উপকথা

Tarashankar Bandyopadhyay is known as a fiction writer, novelist, essayist and story writer. In his novel ‘Kabi’ (1944), which is an exception in Bengali literature, we see the diverse vibrations and mental intentions of the lower-class society of our country, the history of countless fragments of dreams and dream-breaks and the application of folk media in folk life. The novel’s protagonist, Nitai, a son of the Dom community, abandons his family’s caste business and takes up the profession of a poet, realizing the ultimate truth. Mahadev Kabiyal sarcastically says, ‘আস্তাকুঁড়ের এঁটোপাতা-স্বগ্গে যাবার আশা গো!’. Nitai’s social experience and position can be understood in the historical background, who is the first hero in a Bengali novel. Where he lives on the narrow fringes of society. Although we know that the first regional novel is Shailjanand Mukhopadhyay’s ‘Koyla Kuthir Desh’. Nevertheless, in the novel under discussion, the author has shown that the background of the harsh Bengali, the level of mastering the Vaishnava culture and the level of searching for a hero of the lower class - everything is one. Where people have tried to find themselves through the vibrant flow of time and changing times. It can be said that the poet’s pursuit of Nitai and the story of ‘Hansuli Banker Upokatha’ have taken the form of a story. The novel ‘Hansuli Banker Upokatha’ (1946) is set in Birbhum. In the middle of the ‘Kopai’ river in Bolpur, where the river takes a bend like the Hansuli, there is the village of Banshwadi. About thirty houses of the Kahards, who are palanquin bearers by profession, live on about two and a half bighas of land. The novel describes the life of the Kahars and their struggles; where Tarashankar has adorned them with the special marks of being in close contact with nature and the special marks of being in close contact with nature. In the novel we see the stories of those social people who are deprived of the symbols of civilization and the attractions of the world. Tarashankar’s genius seems to shine with the power of omniscience, which can see the waves of this human resource neglected by the world. Besides, characters like Nasubala, Nimtele Panu etc. are brought to life through their names and the quality of the regional language. Where the language of West Birbhum is West Radhi and the language of East Birbhum belongs to East Radhi. In the novel, Banwari wants to follow past customs or traditions that have existed for a long time and wants others to follow them, and Karali questions these issues. Karali is modern, he believes in rationalism, scientific mind and individualism. Banwari feudalism prevails in the environment and Karali in capitalism. Tarashankar has highlighted such things of a harsh society in his novel that have no echo. It is through such helpless decline and extinction of culture that our country\u27s modernity has emerged

Anil Gharai\u27s \u27Plaban\u27: Disaster of public life/ অনিল ঘড়াই-এর ‘প্লাবন’ : গণজীবনের বিপর্যয়

Anil Gharai’s ‘Plaban’ is written about the Disaster of public life, The deceit of the bourgeois minded, degradation of their values, corrupt mentality, political polarization, women’s femininity, their social status and deprivation-exploitation. As we know, the Tristar Panchayat system was introduced in West Bengal in 1973 for the purpose of rural development. Gram Panchayat, Panchayat Samiti and Zilla Parishad. The responsibility of managing the Gram Panchayat rests with the Pradhan and Upa-Pradhan. They are the ones who control the fate of the people of the village. So, after achieving the goal all these heartbreakers do not sit idly by. Then a kind of aggressive attitude is born in their mind. People\u27s happiness and peace is destroyed by the violence and brutality of these so-called people’s leaders with an aggressive attitude. Storyteller Anil Gharai has brought before us through the story of Chaitir’s family how endangered the people of Palli are in the trap of personal politics in the post-independence era5 where there is no ideology. In the novel, a tone of awakening of the village people who are suffering from the exploitation6-persecution-torture of Pradhan is also heard.&nbsp

Leela Majumdar\u27s Novels: A Comprehensive View of the Child’s Mind/ লীলা মজুমদারের উপন্যাস : শিশুমনের সার্বিক কথন

Children’s literature plays a vital role in shaping a child\u27s mental framework, alongside their environment, family, and education. In the Indian context, traditional forms like folklore, epics, and moral tales gradually transitioned into structured publications catering to children\u27s evolving needs. Despite efforts by notable literary figures and magazines, like Sandesh, spearheaded by Upendrakishore Ray Chowdhury, Rabindranath Tagore, and Sukumar Ray, many early publications failed to balance entertainment, education, and engagement.           Leela Majumdar redefined children\u27s literature in Bengali by addressing their dynamic needs at different life stages. She crafted stories that combined adventure, humor, curiosity, and life lessons without enforcing moral dictums. Her characters, like Ganasha, Ghontan, Gupe, and Panu, reflected everyday flaws and learned from their mistakes, resonating deeply with young readers. Majumdar\u27s storytelling emphasized human values such as kindness, gratitude, and empathy, all while acknowledging the socio-political upheavals of her time—British rule, independence struggles, Partition, and post-war realities.           Her thematic diversity spanned science, fantasy, ghosts, and nature. Unlike others, her portrayal of animals and nature was rooted in realism, fostering an emotional connection and ecological awareness among children. Her unique approach extended to language and presentation, using simple, modern words and short sentences to make Bengali literature accessible and enjoyable for children. Drawing inspiration from her familial legacy, time at Santiniketan, and personal experiences, Majumdar enriched her works with authenticity and emotional depth. This essay examines her contributions across six chapters: her literary inheritance, understanding of child psychology, integration of science, animal and nature themes, innovative ghost stories, and distinctive narrative techniques. Majumdar\u27s oeuvre remains a cornerstone of Bengali children\u27s literature, blending education, entertainment, and ethical growth seamlessly

Magical Reality and Ravi Shankar Ball\u27s Novel Chatushtoy/ জাদুবাস্তবতা ও রবিশংকর বলের উপন্যাস চতুষ্টয়

One of the genres of modern fiction is the magical narrative. This genre is most developed by several Latin American authors. As a critic Ravaishankar has also discussed magic realism in the context of Marquez’s writings. We will discuss how magic realism is used in Rabishankar’s fiction. The extent to which Rabishankar’s work is influenced by the ideas of magic realism from Franz Roah to Alegeo Carpenter to Marquez is a matter of concern.               Hallucinetory scenes and events, one of the elements of magic realism, are clearly used in Ravishankar’s works such as ‘Dozakhnama’, ‘Aynajiban’, ‘Zaro Hour’, ‘Kissa bolen Sheherzade’ etc. Elements of the magical world and hars reality of the world are spontaneously combined in these works. Other elements of magic realism such as ‘heteroglossia’, ‘cross-culturalism’, ‘postcolonialism’ etc, can be noted in Rabishankar’s work. Through all this, he wanted ro break the conventional European style of writing stories. Following the style of kissa, dastan in creating stories, he made the reader a passenger to an endless story

Sriradha: \u27Gopalachampu\u27 and later Bengali Vaishnava literature/ শ্রীরাধা : ‘গোপালচম্পূ’ ও পরবর্তী বাংলা বৈষ্ণব পদাবলী সাহিত্য

Srijiva Goswami was one of the sixteen Goswamis of Vrindavan. He was the son of Srirupa and SrisanatanaGoswami. He did not see Lord Chaitanya with his own eyes and was also deprived of the divine presence of Lord Chaitanya. Nevertheless, the role of the learned Jiva Goswamigives a solid philosophical foundation to Premadharma introduced by Mahaprabhu is in no way insignificant. Along with this, SrijivaGoswami recovered the lost glory of Vrindavanbhoomithrough multifaceted actions. Just like Srirupa, Srisanatana gave a strong philosophical foundation to the Premadharmaof Mahaprabhu, the newer Gaudiya Vaishnava philosophy also endeavoured to give a permanence to the foundation of that religion. No doubt he was successful in this action. His books are Gopalchampu, Shat Sandarbha, Madhava Mahotsava etc. ItexploresGopalachampuand ​​the novelty of the character of Sriradha in the poem andits influence of the same in later Padavali literature. The date of composition ofthis poem is 1588 AD. The theme of the epic poemGopalachampu is the Krishna Lila, as depicted in the tenth skandha of theSrimadBhagavatam.The value of this book is that it is in the form of a philosophy bookas well asSaraskavya. According to GaudiyaVaishnava philosophy, this text proudly asserts the superiority of Krishna, and Vrindavanlila, and the recognition of the superiority of Sri Radha’s character over Krishna. Not only this, SrijeevSriradha has introduced two fundamental approachestoexploring Sri Radha’s character. Firstly, Sri Radha’s social position, and secondly, Krishna’s marriage to Sri Radha. From the perspective of these twobasic views, we will try to analyze the mixed spark of Tattva and Rasa by reviewing the role ofheroine Sriradha in the entire Gopalchampu poem