Analyzing the Social Status of Indian mythological Female Characters : Through Karen J. Warren and Val Plumwood’s Ecofeminism Theory/ ইকোফেমিনিজম তত্ত্ব : ক্যারেন জে. ওয়ারেন ও ভাল প্লামউডের তত্ত্বের আলোকে ভারতীয় পৌরাণিক নারী চরিত্রের সামাজিক অবস্থা বিশ্লে

Since the beginning of the world, women and nature have been identified as identical. A woman\u27s creativity, endurance, and generosity are like a reflection of nature in a woman\u27s body. Like nature, women are the guardians of life. Similarly, both women and nature are neglected and oppressed in patriarchal society. Women\u27s marginalization and biodiversity loss go hand in hand. The theory of ecofeminism was formed to protect women’s rights and prevent environmental degradation. Man\u27s oppression of nature and patriarchy\u27s dominance over women are inextricably linked. In the late 20th century, Françoise d’Eaubonne coined the term ecofeminism in her book ‘Le Feminismeou la mort’. But it can be seen that in our Indian subcontinent, the myth-puranas that have been prevalent for ages have always been about the connection between nature and women and oppression. Ecofeminism\u27s prominent philosopher Karen J. Warren and Val Plumwood in their essays ‘The Power and Promise of Ecofeminism’ and ‘Feminism and the Mastery of Nature’ analyze the theory of ecofeminism to reveal the oppression of women and nature by patriarchal society. They think that it will be possible to reduce the inequality between men and women only if there is a qualitative change in the values ​​of the people living in the society. Though Daupradi born from fire, Sita born from earth or Shakuntala protected by birds are all associated with nature, they are burdened by the cruel blows of this patriarchy. On the other hand, when the qualitative change of the society is achieved, characters like Gargi, Satyavati, Maitrayi, Lopamudra, Amba or Shikhandi are found who are wise, intelligent and skilled. This Article will show through Warren and Plumwood’s Ecofeminism theory how patriarchal society has dominated women in Indian mythology due to dual values. On the other hand, if the qualitative change of the society is achieved, the process of changing the social status of women will be revealed in this article by analyzing the character of mythical women

Epidemic in Bengali and International Literature : The past and the present/ বাংলা ও আন্তর্জাতিক সাহিত্যে মহামারি : সেকাল ও একাল

A walk through the history tells us that nearly after every century there have been evidences of epidemics and pandemics across the world and how it affected the lives of people, health, economy, education and the overall social system. COVID-19 pandemic like other pandemics has been reflected through the literature also. This paper focuses on the effects of COVID-19 pandemic on literature. It will try to analyse the literature in the phase of COVID-19 with special references to the bengali short stories, drama and also try to compare with some other literary works on various pandemics. The major literary works are taken as examples are ‘The Plague’ by Albert Camus, ‘Love in the time of Cholera’ by Gabriel García Márquez, ‘A journal of the Plague year’ by Daniel Defoe, ‘The Masque of the Red Death’ by Edger Allan Poe.           There has been clear efforts in writings to bring out the misery caused by the pandemic and how it affected people and their livelihoods. Classic and contemporary writings not only provide an insight, but it also allows a fair portrait of the losses and people\u27s efforts to move forward

ANDUL – A LEGACY OF CUTURAL HERITAGE/ প্রাচীন গ্রাম আন্দুলের সংস্কৃতি ও ঐতিহ্যের সমাহার

Andul is one of the oldest villages in Howrah district, a place that still bears the testimony of ancient history and tradition. Three hundred years ago, trade was carried out between various countries, places on the Saraswati River route through Saptagram Port. At that time, Andulgram was located in the middle of that trade route and a few noble landlord families started living in this area; the Roy Family (also known as Raj Parivar) followed by Mallick Family and Kundu Chowdury Family.            The importance of the Datta Chowdhury dynasty in the history of Andul is immense. During the time of Krishnananda, the fourth-generation male of this family, Nityananda Mahaprabhu. Once many Vaishnavas groups were meeting in the Kirtan Mandap in a religious gathering. It is said that the dance songs of Nityananda Mahaprabhu\u27s Vaishnav group caused a dust of joy to rise on the ground of that place. This lead toward naming of the place as Anandodhuli. Later, this word got corrupted and became Andul, a name by which it known today.            The ancient Durga festival, which began during the reign of Krishnananda\u27s grandson Ram Sharan Dutta Chowdhury, is still being celebrated in the same vein. Bhubaneswar Kar was the founder of the Kar dynasty. Later, the Andul dynasty emerged from this Kar dynasty, and the birth of two Pandits Vidyasagar and Mahendranath Bhattacharya further added to the greatness of this village. The name of Purushottam is known as the ancestor of the Kundu Chowdhury clan of this village, Mahiari, adjacent to Andul. This Kundu Chowdhury family established a hospital, thirty schools, and a library for the general public for the welfare of the village, which truly deserves praise.             During the Muslim rule, Andul was under the control of Muzaffarpura and Boro Pargana and was called as \u27Muzaffara\u27 at that time. During the rule of Lord Cornwallis, at the settlement of the revenue of Bengal, this place came under the Twenty-four Parganas, later during the delimitation of the Hooghly district, it came under the then Hooghly district, and later when the Howrah district was established, the village of Andul was included in the Howrah district.             My aim in analyzing this issue is to present the history, culture and heritage of Andulgram to the future generations so that they can be informed about the various unknown historical places, culture and heritage of their state and they can take this heritage culture forward somewhere. In this way, the message of the history, culture and heritage of the villages of Bengal will gradually spread in Bengal and India

Assembly of Rabindra Sangeet In Selected Rabindra Ballad/ নির্বাচিত রবীন্দ্র গীতিনাট্যে সঙ্গীতের সমাবেশ

Rabindranath Tagore was a Bengali poet, writer, composer, philosopher, social reformer who wrote in many literary genres. He was the first poet who wrote successfully in all areas of literature. His poetry, Novel, songs, dance, drama has made the Bengali literature rich. Among Tagore\u27s popular works the geetimalya or opera plays an important role in Bengali literature where Rabindra Sangeet has acquired a valuable place. Songs written by Tagore have added an immense beauty to the musical operas. Geetinatya rooted in India\u27s history is a theatrical performance or musical play that emerged during the period of cultural fusion between Bengali and western traditions. Rabindranath Tagore exemplified Geeti Natya in his own writings, highlighting it\u27s significance in the cultural landscape. Rabindra Sangeet is a wide range of songs that cover a variety of themes and are influenced by music from various styles around the world. Some songs have been taken from folk origin and some songs are being composed of folk tunes. Tagore\u27s compositions include topics like humanism, structuralism, introspection, psychology, romance, yearning, nostalgia, reflection and modernism, offering melody for every season and every season and every aspect of Bengali life. During his travel to foreign Countries he came into contact with different musicians of west and south part of the world. As a result the western style has been incorporated into Rabindra Sangeet. Afrer returning home he has written the first Geetinatya Balmiki Pratibha and after that kaal mrigaya and mayar khela. In these operas he has played several songs which belong to the western origin. Apart from these Tagore has composed many songs from folk music. So in this chapter our endeavour will be to focus on the songs that are sung in geetinatya

Manoj Mitra\u27s Drama ‘Takshak’: A Deconstruction of Parikshit Story of the Mahabharata/ মনোজ মিত্রের নাটক ‘তক্ষক’ : মহাভারতের পরীক্ষিৎ কাহিনীর একটি বিনির্মাণ

Manoj Mitra is well-known to everyone as a unique dramatist of recent times. He was also an accomplished actor, director and playwright. Manoj Mitra was associated with Bengali theater and film world for a long time. He has given us successful drama one after another. ‘Takshak’ is one of the successful and popular drama among them. It is a one act play based on the Parikshit story of Mahabharata. Though the story of the drama is taken from Mahabharata, the dramatist has skillfully adapted and presented it to suit the modern era. The conflict between life and death of a modern man is portrayed in this drama, and the way it is portrayed is simply amazing. At the end of the drama, death surrendered to life and victory song of life is announced. In real life, we lose the taste of life and it becomes boring for some sad event. But in this play the playwright has shown us through the character of Parikshit, that the life of seven days is as expansive as crossing seven seas. So, ignoring the fear of death and moving in natural rhythm is the name of life. We have to live every moment by fighting death, beating death, defeating death. This is the message conveyed in the play, which is not present in Parikshit story of Mahabharata. It is very sad to say that Manoj Mitra is no more with us. So, discussing his one act play ‘Takshak’ is actually just a small attempt to pay tribute to him

The dynamics of modern Bengali poetry after Rabindranath Tagore: from the beginning to the end of the 1940s/ রবীন্দ্রোত্তর আধুনিক বাংলা কবিতার গতিপ্রকৃতি : শুরু থেকে চল্লিশের শেষ

Departing from the obscurities of the medieval period, Michael Madhusudan Dutt (1824-1873) was the first poet in Bengali literature to articulate, through his works, the diverse sensibilities of a modern consciousness. The defining features of modern literature—individuality and the assertion of selfhood—were most prominently realized in his poetry. Biharilal Chakraborty’s (1835—1894) inclination to voice personal sentiments in an authentic idiom found a fuller and more accomplished expression in the poetry of Rabindranath Tagore (1861—1941), who engaged with multiple strands and possibilities of modernity. Nevertheless, the emergence of genuine modernism in Bengali poetry was ultimately conditioned by the necessity of transcending Tagore’s overwhelming influence.               The earliest conscious desire to liberate Bengali poetry from the overwhelming influence of Rabindranath Tagore was most distinctly articulated by the poets of the ‘Kallol’ group. Yet, even prior to them, Kazi Nazrul Islam (1898–1976) had, perhaps unwittingly, with his rebellious, fiery verse freed himself from the spell of Tagore’s influence, but the decisive breakthrough arrived with the ‘Kallol’ group. Journals like ‘Kallol’ (1923), ‘Kalikalam’ (1926), ‘Pragati’ (1927), ‘Parichay’ (1931), and later ‘Kobita’ (1935) created platforms for a radically modernist generation of modern Bengali Poetry.               This new poetry was inseparable from its turbulent historical context: the First and Second World Wars, the Russian Revolution, India’s Non-Cooperation Movement, the Great Depression, and the rise of Marxist ideology. Against this backdrop, the 1930s produced some of the most remarkable poets in Bengali literature. Jibanananda Das (1899–1954) became a central voice with his haunting imagery, skepticism, and unique meditative tone. Sudhindranath Dutta (1901–1960) emphasized classical discipline, dense intellectualism, and impersonality. Buddhadeb Basu (1908–1974) championed modernism through lyrical romanticism, frank sensuality, and aesthetic delight. Amiya Chakravarty (1901–1986) combined scientific rationality with spiritual quest, while Bishnu Dey (1909–1982) brought Marxist thought, historical awareness, and realist concerns into poetry. Alongside them, poets like Premendra Mitra (1904–1988), Ajit Dutta (1907–1979), and Achintyakumar Sengupta (1903–1976) enriched the movement with varied stylistic experiments.             The 1940s brought further transformation under catastrophic events—World War II, the Bengal Famine of 1943, communal riots, the struggle for Independence, and Partition. Poetry now became more overtly political and socially committed. Sukanta Bhattacharya (1926–1947), who died tragically young, emerged as a symbol of revolutionary hope and youthful defiance, while Birendra Chattopadhyay (1920–1985) and Ram Basu articulated leftist ideals and collective struggle. Yet not all poets turned activist; some, like Ashok Bijoy Raha (1915–1997), Arun Kumar Sarkar (1919–2001), and Naresh Guha (1923–2009), retained a lyrical attachment to nature and beauty. Others, such as Arun Mitra (1909–2000) and Jyotirindranath Maitra (1911–2000), attempted a balance between realism, social consciousness, and humanist values.             Thus, from the beginning of 1930s through the late 1940s, Bengali poetry underwent a vibrant and multi-layered transition. Beginning with a conscious break from Tagore’s dominance, it moved through experimental modernism, embraced skepticism and historical awareness, and finally reached politically engaged verse that voiced hunger, protest, and the dream of social transformation. These decades decisively shaped the foundation of post-Independence Bengali poetry, ensuring its richness, diversity, and modernity

Prabhatkumar Mukhopadhyay’s Short Story ‘Debi’ : A Study in the Society and Culture of the Nineteenth-Century Bengal/ প্রভাতকুমার মুখোপাধ্যায়ের ছোটগল্প ‘দেবী’ : ঊনিশ শতকীয় বাঙলার সমাজ ও সংস্কৃতিতে স্বপ্নের উপস্থাপনের একটি বিশ্লেষণ

Thoughts and studies about dreams have been a concern in almost every culture, regional, national or international, in almost every nation. In Bengali culture also, dreams have undergone various levels of discussions since the inception of this culture. Until the publication and popularity of Freud’s ground-breaking book The Interpretation of Dreams in 1900, Bengali literature, starting from our epics, has incorporated dreams, especially the prophetic ones. Previously dreams were chiefly taken as mediums of divine beings to send messages about morality or future events to the mortals on the earth. This was largely the same in British literature and culture as well until Freud published his study on dreams. Some pro-psychological studies about dreams had been initiated in Britain from the beginning of the nineteenth century, growing towards its end, ultimately culminating in Freud’s book. But such psychological studies about human minds and dreams were yet to appear in the British India even in the beginning of the twentieth century. Therefore, the superstitious, irrational and prophetic dreams encompassed Bengali literature and culture, canonical or popular. In this context, this article makes a study of Prabhat kumar Mukhopadhyay’s story, ‘Debi’ (‘The Goddess’), which makes a use of the cultural practice of divine dreams. The story was published around the same time of Freud’s observations on dreams and became famous after Satyajit Ray had adapted it into a film in 1960. This paper intends to investigate Prabhat kumar’s representation of such a dream in this story and its reception by the characters, both upper class and lower class. It also makes a query, from the feminist angle, of how the characters, both male and female, receive the divine aspect of dreams and react to this. By doing this, this paper attempts to observe Prabhat kumar’s approach to prophetic or supernatural dreams and thereby note whether there is any representational differences between a Bengali writer’s approach to dreams and that of the British literary masters around the same time. Finally, this paper seeks to see, with respect to Prabhat kumar’s stance on dreams, whether British literature holds its crown of being an iconic tool of their cultural hegemony over colonies, as the colonial masters had claimed to be

A short story written by Nalini Bera on \u27Self-Power Women\u27s Power\u27/ ‘স্ব-শক্তি নারী শক্তি’ প্রসঙ্গে নলিনী বেরার ছোটগল্প

Literature Nalini Bera is the metaphor of the lowerclass population. A large part of his literature covers Shabar, Lodha, Santal and Bhumiz farmers. His literature reflects the story of the life of subaltern peoples of his motherland. The story he written on that said peoples is exceptionally good. In fact, the geography in which Nalini Bera lived is the context of his writing. Most of the characters are taken from real life.            Yet, even among the familiar people of this known world, there remains so much color, so much beauty, and so much wonder.           Seeing people opens a window somewhere, and it makes you feel that what you see is not everything about them, and that what you don\u27t see is also a lot. And that\u27s a lot of the storyteller Nalini Bera\u27s life, a constant conflict of questions.           The female characters in writer Nalini Bera\u27s short stories seem to have fought and won every moment against the harsh realities of life on their own merits. He has emerged as a beacon of light for future generations, whether as a loving mother, an intelligent woman, a protester, a visionary, or a great personality.            In short, his stories are about ordinary women who go through life with a smile and a quest to become extraordinary. The article in question is a description of the self-strength of the backward women\u27s community in the rural areas along the Subarna Rekha, like an \u27isolated island\u27, and the form of women\u27s power

Bengali Song : Modernity and Thereafter/ বাংলা গান : আধুনিকতা এবং তারপর

One of the most well-liked musical genres in India is Bengali music. Since the dawn of civilization, music has played a significant role in human existence. Since ancient times, Bengali songs have been an integral part of Bengali culture. The song made reference to modernity in the later 19th century. The protagonist is Rabindranath Tagore. Bengali songs have been influenced by the significant changes that have occurred both domestically and internationally, as well as the ways that historical and political events have impacted people\u27s lives. Later, this song has transcended the current era and given rise to new commentary in the hands of different lyricists. The song\u27s lyrics evolved together with the crisis of civil life. It changed again because of globalization.    This fundamental study looks at how Bangla songs have evolved over time, how it represents modernity, and how they move from the mordenityto the post-modern era

AGORE AND JAMALZADEH’S SHORT STORIES: SEARCHING FOR THE CONSISTENCY OF THEME AND MEDIUM/ রবীন্দ্রনাথ ঠাকুর ও জামালযাদেহ’র ছোটগল্প : ভাবনা ও প্রকাশের সাযুজ্য সন্ধান

The short stories of Tagore and Jamalzadeh are the best sources of short stories in Bengali and Persian languages. It is from their hands that this element has got its start and stability. They have made various experiments in the texture of the story and made its acceptance sky high among the readers. Short stories are called fiction because they are written on the words of ordinary people. Here the characters are speaking. The issues of the parliament and from the society are also discussed in the story. Tagore in his stories wrote about childishness, history, horror, love, memory, position of women, nature, science etc. Similarly, Jamalzadeh, the son of Persian civilization, brought out politics, language, society, religion and culture in his story. Their storytelling and artistry are almost close. However, Jamalzadeh has shown a lot of skill in writing political issues as stories. Both the stories are superior in terms of story language, composition, plotting, narrative construction etc. The well accepted aspects are presented in this article.&nbsp