The emancipation of women has become a strong critical discourse in Bengali literature since the 19th century. Only since the second half of the 20th century, however, have female writers markedly stepped out of the shadow of their male colleagues, and the writings on women become more and more often articulated by women themselves. In this article, I focus on particular concepts of femininity in selected texts of two outstanding writers of different generations, a prose writer, and a woman (...) poet: Mahasweta Debi (b. 1926) and Mallika Sengupta (1960–2011). Analyzing Mahasweta’s female characters, I focus on the issue of the double marginalization of dalit tribal women; we can find here impacts of intersectional discrimination of class, gender and caste. Debi is very radical in her social criticism but is quite reluctant to accept the label of feminism. Mallika, on the other hand, represents a movement among the female writers of her generation that openly declares her support for feminist ideologies, which can be demonstrated on some of the examples referred to here. Another important strand of Mallika’s constructions of femininity are archetypal images — mythological metaphors of femininity (in the Hindu context) which may in some cases be interpreted in accordance with difference feminism, in others as a critique of the essentialized and dichotomous concepts of masculinity and femininity. While Mahasweta’s emancipation drive is more deeply grounded in her field research and journalistic activism in the tribal areas she writes about, Mallika’s has been more strongly linked with the academia and has joined the theoretical feminist discourse. Through a close reading the women’s emancipation discourse of these two protagonists in Bengali literature, we can speak of a shift from a practical, concrete criticism, to a theoretically founded radicalism. (shrink)

The marriage ceremony of the Hindu Bangalees of Barak Valley is observed through long ceremonial rituals. Songs are one of the important parts of this ceremony. These songs are mainly sung by women. The main feature of the songs is that the important rituals are depicted through these songs. Mythological stories and characters constitute another important feature of these songs. This paper aims to discuss the elements and importance of these folk songs in the marriage ceremony of the Hindu Bangalees (...) of Barak Valley. (shrink)

Ashapurna Devi, a prominent Bengali woman novelist (1909–1995) focused on women’s creativity and enlightenment during the colonial and postcolonial period in Bengal, India. She herself displayed immense will power, tenacity and an indomitable spirit which enabled her to eke out a prominent place for herself in the world of creative writing. Her life spanned both colonial India and independent India and these diverse experiences shaped her mind and persona and helped her to portray the emerging face of the enlightened (...) Bengali middle-class woman. Her writings trace the evolution of the Bengali woman as an enlightened and empowered individual struggling against the shackles of discriminatory norms imposed upon her by society. She traces the extremely conservative upbringing that the female members of her generation were subjected to and goes on to show how different individuals responded to these structures in different ways. Some would comply unquestioningly, some would comply simply because they did not dare to protest, while others would break free and find their own niche in the outside world. These issues are addressed by Ashapurna Devi in many short stories as well, but a critical analysis of her trilogy Pratham Pratisruti (1964), Subarnalata (1967) and Bokulkatha (1974) enables us to experience this struggle against a gradually unfolding backdrop where India moves on from being a British colony to an independent country. The trilogy traces the life of three generations of a family — Satyabati, Subarna and finally Bokul and establishes Ashapurna Devi as a path-breaking champion of women’s emancipation in an era when such endeavours were few and far between. (shrink)

Using a theoretical framework derived from my ongoing engagement with what I have called a ‘Gynocentric matrix’ of Indic sensibility, along with James Hillman’s polytheistic psychology and Wallace Stevens’ notion of a Supreme Fiction, this paper offers a reading of Jhumpa Lahiri’s (b. 1967) short stories beyond postcolonial criticism. Stemming from a depth consciousness where life, living and death, joy, indifference and sorrow, generation, de/re-generation, and transformation are intricately intertwined, Lahiri’s fictional multiverse, opposed to universe, is peopled by a new (...) generation of characters who speak to the soul of the reader, while in the process, she sculpts a reality that does not tolerate any homogenizing impulse in the name of an abstract unity. (shrink)

This article, written in Bengali ('Gonit Dorshon' means `philosophy of mathematics' ), briefly reviews a few of the major points of view toward mathematics and the world of mathematical entities, and interprets the philosophy of mathematics as an interaction between these. The existence of these different points of view is indicative that mathematics, in spite of being of universal validity, can nevertheless accommodate alternatives. In particular, I review the alternative viewpoints of Platonism and Intuitionism and present the case that (...) in spite of their great differences, they are not mutually exclusive - that both can be accommodated within the infinite edifice of mathematics. This, in turn, is argued to be consistent with the viewpoint of Category Theory that holds the promise of an entirely new interpretation of the world of mathematics and the relation of that world to the world of our concepts and ideas: mathematics is a human enterprise and mathematical logic is a reflection of how our ideas and concepts are formed and combined with one another. I venture that this, perhaps, is the view of mathematics that Ludwig Wittgenstein would espouse. (shrink)

This paper examines Swami Hariharānanda Āraṇya’s unique interpretation of smṛti as “mindfulness” (samanaskatā) in Patañjali’s Yogasūtra I.20. Focusing on his extended commentary on Yogasūtra I.20 in his Bengali magnum opus, the Pātañjaljogdarśan (1911), I argue that his interpretation of smṛti is quasi-Buddhistic. On the one hand, Hariharānanda’s conception of smṛti as mindfulness resonates strongly with some of the views on smṛti advanced in classic Buddhist texts such as the Satipaṭṭhānasutta and Buddaghośa’s Papañcasūdanī. On the other hand, he also builds (...) into his complex account of the practice of smṛti certain fundamental doctrines of Sāṃkhyayoga—such as mindfulness of the Lord (“īśvara”) and mental identification with the Puruṣa, the transcendental “Self” that is wholly independent of nature—which are incompatible with Buddhist metaphysics. I will then bring Hariharānanda’s quasi-Buddhistic interpretation of smṛti of Yogasūtra I.20 into dialogue with some of the interpretations of smṛti advanced by traditional commentators. Whereas many traditional commentators such as Vācaspati Miśra and Vijñānabhikṣu straightforwardly identify smṛti of I.20 with “dhyāna” (“concentration”)—the seventh limb of the aṣṭāṇgayoga outlined in Yogasūtra II.28-III.7—Hariharānanda argues that smṛti is the mental precondition for the establishment of dhyāna of the aṣṭāṇgayoga. (shrink)

ā no bhadrāḥ kratavo yantu viśvato ' Let good thoughts come from all around; inspired by this timeless epic of Rigveda. India has presented an excellent model of Multiculturalism to the world. The multiculturalist model of the West, as established by contemporary thinkers like Will kymlicka, is based on the separate political existence of different cultural classes. However, India's cultural nationalism has shown how diverse cultures can co-exist with a common socio-political thought over the centuries. Sakas, Huns, Kushans, Turks, Afghan, (...) Iranians, and Mughals all got absorbed in sanatan Indian culture. Not only this , it also gave place to the different cultures to come, and made the model, of coexistence alive. In the name of nationalities like French, Spanish, Portuguese, Polish, and German, Europe got divided into many nation states, but in India Gujarati, Marathi,, Telugu Oriya, Bengali, Punjabi, Assamese, Tamil, Kannada, Malayalam nationalities were not divided into nation states. Instead coexistence has been made for thousands of years. India has maintained multiculturalism not only at the socio-cultural level but also at the political level. Through federal structure, universal suffrage, constitutionally guaranteed civil rights, with other constitutional, institutions and provisions, multiculturalism is being addressed at the political level for population of 13 million people. Thus, in India, multiculturalism is not only a political tool for diversity but also a socio-political concept. Therefore, Indian multiculturalism presents a comprehensive, effective and more sustainable model which have to be discussed. (shrink)

This article argues that contemporary philosophers have unduly ignored Sri Ramakrishna’s pioneering views on religious pluralism. The Bengali mystic Sri Ramakrishna (1836-1886) taught the harmony of all religions on the basis of his own spiritual experiences and his diverse religious practices, both Hindu and non-Hindu. Part I reconstructs the main tenets of Sri Ramakrishna’s model of religious pluralism. Part II explores how Sri Ramakrishna addresses the problem of conflicting religious truth-claims. Part III addresses some of the major criticisms leveled (...) against Sri Ramakrishna’s views on religious pluralism. (shrink)

This paper discusses the phenomenon of Kāpil Maṭh (Madhupur, India), a Sāṃkhyayoga āśrama founded in the early twentieth century by the charismatic Bengali scholar-monk Swāmi Hariharānanda Ᾱraṇya (1869–1947). While referring to Hariharānanda’s writings I will consider the idea of the re-establishment of an extinct spiritual lineage. I shall specify the criteria for identity of this revived Sāṃkhyayoga tradition by explaining why and on what assumptions the modern reinterpretation of this school can be perceived as continuation of the thought of (...) Patañjali and Īśvarakṛṣṇa. The starting point is, however, the question whether it is possible at all to re-establish a philosophical tradition which had once broken down and disappeared for centuries. In this context, one ought to ponder if it is likely to revitalise the same line of thinking, viewing, philosophy-making and practice in accordance with the theoretical exposition of the right insight achieved by an accomplished teacher, a master, the founder of a “new”revived tradition declared to maintain a particular school identity. Moreover, I refer to a monograph of Knut A. Jacobsen (2018) devoted to the tradition of Kāpil Maṭh interpreted as a typical product of the nineteenth-century Bengali renaissance. (shrink)

The main objective of this collection of papers is to explore ideas of generation and transformation in the context of postdependency discourse as it may be traced in women’s writing published in Bengali, Polish, Czech, Russian and English. As we believe, literature does not have merely a descriptive function or a purely visionary quality but serves also as a discursive medium, which is rhetorically sophisticated, imaginatively influential and stimulates cultural dynamics. It is an essential carrier of collective memory and (...) a significant indicator of group identity. Along with philosophy, literature explores the intellectual and emotional, aesthetic and ethical components of our lives, and, while focusing on a single feeling or unique event or phenomenon, aspires to capture the universal attributes of human experience. Hence, we intend to juxtapose interpretations of literature originating in very different cultural milieus, such as the Central East European and South Asian,with the literary treatment of the philosophical dilemmas that challenge authors of various nationalities in times of great political, economic and social upheaval and transformation following long periods of dependency and suppression, caused either by colonial and imperialist domination or by communist ideology. (shrink)

‘Transcendence’ has been a key subject of Western philosophy of religion and history of ideas. The meaning of transcendence, however, has changed over time. The article looks at some perspectives o ered by the nineteenth and the twentieth century Anglo‐American and con‐ tinental European philosophers of religion and presents their views in relation to the concept of transcendence formulated by the Bengali Hindu traditionalist Bhaktisiddhanta Sarasvati (1874–1937). The questions raised are what transcendence in the philosophy of religion is, how (...) one can speak of it, and what its goal is. The paper points to parallels and di erences in epistemology, ontology and practice. One di erence is that the nineteenth and the twentieth century Western philosophy of religion tended to assume an ontological di erence between self and transcendence inherited om personalities such as Søren Kierkegaard, but also to explore the concept of transcendence beyond the idea of a metaphysical God. Bhaktisiddhanta, whose foundational thought mirrors medieval Hindu philosophy of religion and the theistic schools of Vedānta, suggests that transcendence has a metaphysical and personal dimension that is to some degree ontologically similar to and directly knowable by the self. Bhaktisid‐ dhanta’s approach to transcendence di ers om Kierkegaard’s and other Western philosophers’ and revolves around the idea of God as a transcendent person that can be directly known mor‐ phologically and ontologically through devotion. The article is a contribution to the history of ideas and the philosophy of religion in Eurasia and beyond. (shrink)

The year 2014, will be the Charlie Spencer Chaplin or shortly known as world famous Chaplin’s 125 th Birth year. This article is like a tribute to a great person, who was also a musician, actor, comedian, director and music composer. The world still remembers this man not only for his acting skill, as the greatest comedian of all times, but also as a great human being. He shared his sorrow and pain, through which he had gone through in his (...) childhood by his acting. In this article, from Chaplin’s childhood to his personal life, much information behind of his film-making, his struggle period, world-situation of that time period, all this important aspects are critically analyzed. In basis of that, we look upon, one more time, this great man’s ideological thinking, political view, think of how to use cinema as a medium etc. In respect of political ideology & various sources of information, we found that from past to present, presence of various conflict, in this regarding topic. In this article for maintain the honesty, tried to do not suppress any conflict; but try to collect as much as possible information-opinion with honesty for better quality of the article. And that’s why from Charlie Chaplin’s Family life to changed world scenario & other small details has been given so much importance. (shrink)

Bashabi Fraser is known the world over as a Scottish-Bengali aka diasporic writer. Further she has also been slotted as a feminist scholar with a huge corpus on Tagore. This essay proves the fallacy of such pigeon-holeing of Fraser and shows that she is as mainstream as Yeats and even before that, like unto Blake. The essay also makes a point for rejecting every other mode of poetry except the Romantic mode. It established the Vedantic nature of the poetic (...) genius. The endnotes are copious and comment on how/why/(what of) Fraser should compulsory reading at which age. The essay speaks at length on the nature of poetry. It stresses the value of Vedanta in assessing true poetry written even in English. This essay is also valuable since it has within it acute observations on Fraser as a Tagore scholar. (shrink)

This article outlines the life, legacy, philanthropic contributions, and times of Kṛpāśaraṇa Mahāthērō, focusing on his prominence as a well-known Buddhist philanthropist in undivided India and in the wider Bengali Buddhist community of Boṅgabhūmi. It aims to fill a gap in current research by presenting Kṛpāśaraṇa Mahāthērō’s contribution to Buddhist transmission. By doing so, this research seeks to shed some light on the life of one of the most significant Buddhist figures in the history of undivided India and Boṅgabhūmi. (...) This study intends to explore, in three separate parts, Kṛpāśaraṇa Mahāthērō’s earlier biography, including his spiritual journey, his missionary service in establishing Buddhist institutions, and his insights on educational welfare, as well as an overview of the highlights of his remarkable career. As this article demonstrates, all three of these stages are equally significant turning points in Kṛpāśaraṇa Mahāthērō’s life; and his altruistic contributions to Theravāda Buddhism in Bangladesh and India at different times can be better understood in the context of the corresponding era. (shrink)

Anurupa Devi (9th September 1882 – 19th April 1958) is one of the famous names in Bengali literature. She was a Bengali novelist, short story writer, poet and also a social worker. She was one of the women writers in Bengali to gain considerable prominence. She was the daughters of Mukunda Mukhopadhyay. Bhudeb Mukhopadhyay was her grandfather. Up to the middle of nineteenth century the women of the Indian Society were deprived from education and they were restricted (...) within house hold matters, they have no right to have basic education. It was for them, a social crime to become educated or achieved basic education. They had no equal right at the contemporary society as men had. Where women are going through these adverse conditions, the name Anurupa Devi appeared in the Bengali Literature as a representative of the women of that society. (shrink)

The motto of this research article is to present how Bangladeshi University students use the mixture of both English and Bengali language as their spoken language. It can be said undoubtedly that English is the vast spoken language in the whole world as well as spreading to a large extent. Bangladesh is not different from other countries as well as English has been taught every level an every medium of education here and in recent times it is seen that (...) English is used by the university students when they talk with each other I mean we can see a mixture of two languages. Each language has a social function which no other language could possibly fulfill (Hudson, 1996). Perhaps that is why code switching has become a common phenomenon in our everyday conversations in the recent years in Bangladesh. Young people randomly style switch in their daily interactions. This research paper also explores the possible propelling factors as well as stereotypical patterns behind this scenario. The data collected for the study reveals different factors as the causes behind this practice of code-switching and its impact on language behavior. (shrink)

Post colonialism is often understood to be a period of time after colonialism and post-colonial literature is usually characterized by its opposition to the colonial discourse. However, any literature that expresses an opposition to colonialism, even if it is written during a colonial period, may be defined as postcolonial literature, primarily due to its oppositional nature. From this point of view, novels like ‘Kankabati’, ‘Nildarpan’, ‘Bolmik’, ‘Tabubihanga’, ‘Aranyer Adhikar’, ‘Droupadi’, ‘Akasher Niche Manus’, and Mohakaler Rather Ghora’ have been discussed in (...) this paper. The paper also highlights that the so-called renaissance and modernity in Bengali Literature took place under the imposed structure of an English modernity. Perceived in this light, a new dimension of Bengali novels could be found, where the plights of marginalized sections are being highlighted. The paper is analytical in nature construed with the help of Primary and Secondary data. (shrink)

Novel is a time-art. Gunamoy Manna writes novel, express truth with the help of time. Gunamoy Manna is an anti-establish writer. He enlightens those people, whom live for truth and life. 'Mute` is one of the most extra-ordinary novel in history of Bengali novel, because most popular religious and cultural festival 'Gaajan` and its philosophy is the main theme in this novel. The main character Sudhir overcomes all the problems through his faith on lord Shiva.

In this paper the sameness and difference between two distinguished Indian authors, Rokeya Sakhawat Hossain (1880–1932) and Mahasweta Devi (b. 1926), representing two generations almost a century apart, will be under analysis in order to trace the generational transformation in women’s writing in India, especially Bengal. Situated in the colonial and postcolonial frames of history, Hossain and Mahasweta Devi may be contextualized differently. At the same time their subjects are also differently categorized; the former is not particularly concerned with subalterns (...) whereas the latter specifically focuses on the effect of race and class on gender. The quest for the ‘self’ and ‘subjectivity’ is more pertinent in the latter and consequently the appeal for agency is based on a crude power struggle. Hossain, a philanthropist who championed the woman question, believed that striving for equality should be a collective process which could be achieved by spreading awareness among fellow-inmates inhabiting the prison of patriarchy. Like Euro-American first-wave feminists, Rokeya advocated the necessity of education among women in order for them to be able to comprehend their plight and ‘awake’ for the cause. She addresses fundamental issues of feminism like education and the systematized claustrophobia within the domestic space. Whereas Mahasweta Devi, has been an activist writer who is regarded as the brand ambassador for the support of the marginalized, deprived and denotified tribes of India. It is her mission to provide succour to the marginalized sections, especially tribes from the Purulia district of West Bengal, like the Kherias and Shabars. As an activist writer she explores tribal life and allied socio-political issues which reflect their agony. (shrink)

Abhijit Sen is one of the prominent narrative writers in Contemporary Bengali literature. He is one who has stood ideologically against the inheritance of colonial model in the Bengali narrative world both in terms of form and content consciousness. Off and on, in his writings, Sen has criticized the trend of writing stories of love & sex only in Bengali fiction and pointed out that so called mainstream literature only depicts the life of growing middleclass and rich (...) people, ignoring the struggle for existence of the common mass, their livelihood. Like Debesh Roy, Abhijit maintains the European model of novel is not useful for depicting the heterogeneity of the reality of life of the larger section of people. He says, like the Third World literature, our narrative is to stand politically and ideologically against neo-colonial attack over the heterogeneous culture of marginalized mass and for this. The present day narrative should be emancipated from the domain of time-space contactless middleclass centric story writing, and it should take the way of re-evaluating & re-constructing of myth, folktales & traditions to represent the present day reality. Depiction of reality, in Sen’s idea is a protest against the traditional way of misrepresenting time & space. When we go through a narrative discourse of Abhijit Sen,we should be conscious about the narrative consciousness of the writer can be termed as post-colonial and post-modern in Indian and Bengalee sense, otherwise, the reader may fail to find the path of entry in the narrative world of Sen, and also will not be able to understand the ideological protest against all kind of hegemony, be it in federal productive relation or in the domain of politics & culture. We want to prepare a critical discourse on Abhijit Sen’s novel ‘Megher Nodi’ from post-colonial and post-modern viewpoint of literary criticism. (shrink)

This is a very brief paper on subaltern songs.

Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.