\u27Pragati\u27 magazine on Buddhadeb Bose\u27s memoirs/ বুদ্ধদেব বসুর স্মৃতিকথায় ‘প্রগতি’ পত্রিকা

Buddhadev Basu himself became an \u27institution\u27, and the reason behind this \u27institution\u27 was editing the magazine. Although he had been involved in magazine editing since childhood, it was \u27Pragati\u27 magazine that gave him a different world in literature. This magazine became a field for his own literary practice as well as a place for young writers of that time. Buddhadev Basu found Jibanananda Das here. Buddhadev, fascinated by Jibanananda\u27s poetry, waged a kind of war in \u27Pragati\u27 to establish him in the literary community. Buddhadev also discovered not only Jibanananda, but Vishnu Dey here. In a word, Pragati magazine is an important chapter in Buddhadev Basu\u27s life. And he looks back on this chapter in the twilight of his life, and has retained it in his memoirs for future readers

Madhusudan’s ‘Birangana Kavya’ and Indian Mythology: A Comparative Analysis/ মধুসূদনের‌ ‘বীরাঙ্গনা’ কাব্য এবং ভারতীয় পুরাণ : একটি তুলনামূলক বিশ্লেষণ

Michael Madhusudan Dutt brought the first revolution in Bengali literature during the renaissance era of the 19th century. Influenced by Western education, literature and culture, Michael composed the poetry book \u27Birangana\u27 (1862) with his independent and unique mindset. The sources of the stories in \u27Birangana Kavya’ is Indian epics and Puranas. He took most of the stories from The Ramayana and The Mahabharata. All the heroines presented by Madhusudan in this poetry book are women of ancient times. As individuals, they are of great stature. In mythology they are significant characters. Behind them lies the vast backdrop of India\u27s past. Not only Shakuntala\u27s identity as an ashrama girl, but also the character of India\u27s emperor Dushyanta is associated with her. The background of Rukmini\u27s story is the crooked political conflict of the royal family in Arabia in ancient India. Behind Jana’s story is the location of weak town-streets in the post-war period of Kurukshetra. And she is remembered as the consort of Brihaspati as the cause of a bloody struggle between the gods and demons of ancient times.            Reading the ‘Birangana Kavya’, we feel that Madhusudan was not satisfied with serving the old gods and goddesses in new clothes, but transformed the religious stories taken from the Puranas into human stories. The names remain the same, the structure of the story is the same; He gave a completely new look to the story, characters and speech. If we analyze a little better, we will see that the heroines of Birangana are full of happiness, sadness, hope, despair, pride and anger like the hearts of ordinary women of modern times. As a result, they have come from the high court of the epic to the common people\u27s home premises. They do not have the great scope of the epic. In Birangana\u27s lyrics the characters of the heroines of the poem lack the mystique of mythological solemnity; they appear in ordinary human form. I will try to discuss this topic in detail in my research paper

The Tradition of Folk songs in Chittagong : A Quest for identity/ চট্টগ্রামের লোকগানের ধারা : স্বরূপ-সন্ধান

Folk songs in every region of Bangladesh are spontaneous creations of the local mindset of that area. Like other branches of folk creation, the folk songs of Chittagong are born from the local life of this region and are an evolving cultural element shaped by the flow of time.In the folk songs of this region, alongside the collective characteristics of the rural lifestyle, there are various exceptional tendencies for several reasons.Here ,in addition to classical music and kirtan,many diverse streams of music can be observed. In fact, the rich and diverse tradition of folk music has been practiced in this region for nearly one and a half centuries.Therefore , the folk songs of this region are considered a rich tradition of bengali folk music. The present article attempts to present a cronological intruduction to the diverse streams of folk music prevalent in Chittagong

Permanent Settlement and Outline of zamindari Life in the Hooghly region/ চিরস্থায়ী বন্দোবস্ত ও হুগলি অঞ্চলের জমিদারি জীবনযাত্রার রূপরেখা

After the introduction of permanent settlement, the landlords became direct owners of the land and the revenue rate was fixed permanently for them. Initially, Many zamindaris changed hands and a new class of landlords emerged on the land. Many of them living in the cities. Since the royal rate was fixed and no separate agreement was signed between the government and the farmers there was a great opportunity to collect money from the land. This abundance of the money in the life of the landlords completely changed their standard of living. Due to their good relations with the government, the landlords became a privileged classes and started living with extreme luxury and entertainment. The expression of their luxurious life started to blossom in various ways and give rise to a competition among themselves. And when the competition among the landlords increaseincreased, the expenditure on social and religious ceremonies also increase. The main burden of this increase in expenditure was borne by the common farmers, who, having no protection in the permanent settlement, were exploited by the landlords. The common poor peasants of the Hooghly District were the sole provider of all the necessity of life for the landlords. Another factor connected with the luxury of the landlords life was there since all the work was done by their subordinate, there was no shortage of time in their life. And for this reason the first steps of social reforms and nationalism emerged from among the class of landlords The earliest proponent of which was Raja Ram Mohan Roy, a resident of khanakul in Hooghly District, based on the ancient Upanishad, he declared direct war against polytheism, paganism and caste system. And based on the ancient Upanishad he declared that God is one and unique. This is a revolutionary decision of that time which was taken by him. Many superstitious Zamindar of his time not fully support Roys view, but Ram Mohan Roy proved his decision of the basic of religious documents. It was through the brahmo movement initiated by Ram Mohan Roy that the sense of patriotism and nationalism spread everywhere. This article discusses various aspects of the life and working method of the landlords in the Hooghly District region after the introduction of permanent settlement

\u27Mahulbani\u27s Mayam\u27 vs. the hegemony of the Panchayat system/ ‘মহুলবনীর মায়াম’ বনাম পঞ্চায়েত ব্যবস্থার আধিপত্যবাদ

Tapan Banerjee is the \u27literary baridhi\u27 of Bengali literature.  Despite being a resident of the city of Kolkata, he had to travel to various parts of rural Bengal due to his work. While he was an SDO, he was posted in Mahulbani, a remote area of ​​Medinapur. He not only performed the duties of a government official, but also immersed himself in work with kindness as a guardian of the place. Mahulbani is a village inhabited by Santals. Although the livelihood, various festivals, dance-songs, and culture of the Santals are covered by their own culture, their social system is mainly controlled by the Panchayat. Mahatma Gandhi has raised the ideal of the Panchayat system for the development of villages in India. The rules and regulations of the Santals are completely different. When someone tried to violate the traditional rules and regulations, a terrible consequence was met. A scientific agreement and understanding were needed to change the Santal society, which was shrouded in illiteracy and superstition. But the Panchayat system, while making their social life conservative, also took away the democratic rights of the people like a rock.  People had to accept whatever the Panchayat judged blindly. In some cases, tradition has tied their lives to the Ashtapis. The Panchayat system of India has been stable for a long time in the village-centered lifestyle. In Bengal too, the main tone of this Panchayat system was the Chandimandap culture in Hindu society. The works of everyone from Sarat Chandra to Tarashankar show the identity of such Chandimandap-centered Panchayat justice system. But Tapan Banerjee\u27s \u27Mahulbani\u27 has taken the matter to a slightly different level. He is initiated into the ideals of Rabindranath. So he is not disturbed by any problem. In the novel \u27Mahulbani Mayam\u27 he has shown multiple problems. For example, the problem of Phutik\u27s father\u27s identity, the problem of Elizabeth\u27s Phulmani\u27s caste certificate, the problem of Sripati Sohag\u27s caste problem of marriage due to differences, the problem of Nakul\u27s dream, the witch slander of Maya Hansda etc. He has tried to find solutions to such multidimensional problems everywhere except for one or two and has also achieved success. Even in the Santal society where outsiders (outsiders) are not respected, he has shown them the way to a good solution

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

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

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

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

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