Academic literature on the topic 'Bengali Satire'

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Journal articles on the topic "Bengali Satire"

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Mukherjee, Dhrubaa. "Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict." Studies in South Asian Film & Media 12, no. 1 (2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.

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This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalis
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Roy, Oliva. "Contentious Politics, State Repression and Civil Dissidence: The Discourse of Resistance in Utpal Dutt’s Nightmare City." Journal of Foreign Languages and Cultures 7, no. 1 (2023): 103–13. http://dx.doi.org/10.53397/hunnu.jflc.202301011.

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In the Post-Independence era, the prolific playwrights of India started using the aesthetic form of theater to contest authoritarian structures, and to voice their anti-establishment dissent. Utpal Dutt, a pioneering figure in Modern Indian Theater, used the medium of drama for propaganda and political conscientization of the oppressed. The indefatigable thespian contributed significantly towards the formation of modern Bengali theater, as his plays voiced his intransigent protest against the authoritarian government and concurrently, showed his impressive experimentation with different dramat
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Roy, Atasi. "SATIRE AS CRITIQUE OF CONTEMPORARY VALUES: READING SPATIO-TEMPORALITY IN SELECT LYRICS OF THE BENGALI MUSIC BAND CHANDRABINDU." ENSEMBLE 2, no. 1 (2020): 236–44. http://dx.doi.org/10.37948/ensemble-2020-0201-a022.

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Uddin, Mohammad Jashim. "Misrepresentation of Religious Tenet in Syed Waliullah’s Tree Without Roots [Lal Shalu]: An Islamic Overview." Muslim English Literature 1, no. 2 (2022): 82–92. http://dx.doi.org/10.15408/mel.v1i2.27479.

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AbstractSyed Waliullah is one of the most versatile Muslim novelists in Bangladesh. Social reformation, awakening people about religion and satire against corruption are his main themes. He also identifies the peripheral community in his writings. His Tree Without Roots originally Lal Shalu in Bangla is the most popular novel for its multilevel portrayal of the Bengali Muslim community. The paper aims at focusing on how Islam and its followers are portrayed wrongly in Tree Without Roots because the novelist through the activities of Majeed wants to divert the mass Muslims from the Qur’anic gui
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Tran, Son, Satbir Thakur, Mohit Jain, Chunfen Zhang, and Aru Narendran. "Abstract 1121: Identification and in vivo validation of unique anti-oncogenic properties and mechanisms involving protein kinase signalling and autophagy mediated by the investigational new agent PV-10." Cancer Research 82, no. 12_Supplement (2022): 1121. http://dx.doi.org/10.1158/1538-7445.am2022-1121.

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Abstract Introduction: PV-10 (10% Rose Bengal) is a small molecule agent previously shown to have potent immunotherapeutic and anti-tumor activities against a number of tumors including metastatic melanoma and refractory neuroblastoma, and is currently undergoing clinical testing as a single-agent for refractory metastatic neuroendocrine cancer (NCT02693067) and in combination with checkpoint inhibitors for metastatic melanoma (NCT02557321) and metastatic uveal melanoma (NCT00986661). We have previously determined that PV-10 induces cell death at pharmacologically relevant concentrations in a
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Chakravarti, Srinjay. "Striptease." Neke. The New Zealand Journal of Translation Studies 5, no. 1 (2022). http://dx.doi.org/10.26686/neke.v5i1.7968.

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Parashuram’s short story ‘Striptease’, titled ‘Nirmok Nritya’ in Bengali (Bangla), is rather popular for its novel treatment of the female body vis-à-vis the male gaze. In this story, Parashuram (alias Rajshekhar Basu) spotlights the objectification of the female body, but with a wicked twist. However, the dynamics of gender and the binaries of female/male sexuality are expressed in a matrix of Hindu mythology, which initially make the story, especially some of its referents, somewhat inaccessible to not just Western readers but anyone unfamiliar with the Indian milieu. Yet, given Basu’s geniu
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-, Bipasa Das. "The 19th-century Kobigaan Performances with Special Reference to Anthony Fhiringhee." International Journal For Multidisciplinary Research 5, no. 4 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i04.4796.

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The 19th century Bengal was promenading under the influences of various factors like the Bengal Renaissance of various literates and the Babu culture of the nouveau rich. It was also the time when the countryfolks came to Calcutta seeking jobs, imbibing elements of folk art with popular culture. Soon with the transition of time, there arrived a stage when the artisans were more engrossed with the cash economy of urban life. Thus, Calcutta became a hub for different art forms and musical cultures, amongst them was Kobigaan. A musical duel among the poets, it became an enlightening form of enter
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Dissertations / Theses on the topic "Bengali Satire"

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Rahman, Mustafizur A. H. M. "Amélioration de la fixation d'azote dans la rhizosphère du riz cultivé sur différents sols du Bangladesh." Nancy 1, 1987. http://www.theses.fr/1987NAN10054.

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Books on the topic "Bengali Satire"

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Rañjanakumāra, Dāsa, ed. Śanibārera ciṭhi byaṅga-saṃkalana. Nātha Pābaliśiṃ, 1995.

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Bhaṭṭācāryā, Haradāsa. Se kālera patra patrikāẏa rahasyālāpa. Śabdakosha Prakāśanī, 2016.

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Māiti, Khagendranātha. Ūnabiṃśa śatābdīra gadya-nakaśā: Samāja-samālocanā o gaydarītira biśishṭatā. Karuṇā Prakāśanī, 1995.

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Māiti, Khagendranātha. Ūnabiṃśa śatābdīra gadya-nakaśā: Samāja-samālocanā o gaydarītira biśishṭatā. Karuṇā Prakāśanī, 1995.

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Haka, Ānisula. Gadyakārṭuna. Nadī, 1993.

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Pāla, Subrata Kumāra. Bāṃlā o Hindī prahasana. Pustaka Bipaṇi, 2010.

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Chatterji, Bankim Chandra. Some satires of Bankim Chandra. Amar Gopal Datta, 1990.

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Rāẏa, Binaẏa Bhūshaṇa. Socioeconomic impact of sati in Bengal and the role of Raja Rammohun Roy. Naya Prokash, 1987.

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Andha Miyara Dhakaiya bulira bajara. Aitihya, 2015.

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Freedom Fables: Satire and Politics in Rokeya Sakhawat Hussain's Writings. 'Zubaan Books, 2018.

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Book chapters on the topic "Bengali Satire"

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Mills, James H. "Cannabis in Colonial India: Production, State Intervention, and Resistance in the Late Nineteenth-Century Bengali Landscape." In Dangerous Harvest. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195143201.003.0016.

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When approaching the subject of rural producers and their environments in nineteenth-century India, it is necessary to be mindful of the range of studies during the last 30 years or so that have emphasised the importance of resistance to colonial projects. These studies, most notably those published in the Subaltern Studies project (Guha 1982), have focused on the strategies and agendas of peasants in South Asia and have emphasized their importance in shaping rural developments and relationships during the period of British rule. This work has shown how these agendas and strategies often led to conflicts of interest with the colonial state. Importantly, however, these studies have insisted that resistance to colonial designs was not always expressed in confrontation and rebellion. Resistance could often be subtle, difficult to detect, localized, and small scale, coming in forms such as “foot dragging, dissimulation, false compliance, pilfering, feigned ignorance, slander, arson, sabotage and so forth,” which have been called “the weapons of the weak” (Scott 1985: 29). Such perspectives are important in this study as it focuses on the ways in which Indian rural producers of hemp (Cannabis sativa) narcotics transformed their environments in the process of producing the drugs for the domestic market in the nineteenth century. Definitions of the various preparations of hemp varied from place to place, and indeed different officials and administrators would give differing accounts. The preparations that are mentioned might broadly be understood as follows: Ganja is the dried flower head of the Cannabis sativa variation of the hemp plant, which is mixed with tobacco and smoked, often in a chillum (clay pipe). Bhang is the ground leaves and stalks of the Cannabis sativa, mixed into a paste and drunk with milk and sugar or taken neat with black pepper. Charas is the dried, sticky exudation of the sativa, smoked with tobacco in a chillum. Majum is a green sweetmeat made with the ground leaves of the plant and mixed with butter, milk, and sugar and baked. Muddat is a preparation of hemp and opium. After a brief introduction to the hemp narcotics market in India during this period, the chapter will consider the modes of production in the rural areas of the main hemp products.
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Barker, Graeme. "Central and South Asia: theWheat/Rice Frontier." In The Agricultural Revolution in Prehistory. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780199281091.003.0010.

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This chapter intentionally overlaps with Chapter 4 in its geographical scope, as there is no clear boundary between South-West and South Asia. Western Asiatic landforms—mountain ranges, alluvial valleys, semi-arid steppe, and desert—extend eastwards from the Iranian plateau beyond the Caspian Sea into Turkmenistan in Central Asia, and there are similar environments in South Asia from Baluchistan (western Pakistan) and the Indus valley into north-west India as far east as the Aravalli hills (Fig. 5.1). Rainfall increases steadily moving eastwards across the vast and immensely fertile alluvial plains of northern India. The north-east (Bengal, Assam, Bhutan) is tropical, with tropical conditions also extending down the eastern coast of the peninsula and up the west coast as far as Bombay. Today the great majority of the rural population of the region lives by agriculture, though many farmers also hunt game if they have the opportunity. The ‘Eurasian’ farming system predominates in the western part of the region: the cultivation of crops sown in the winter and harvested in the spring (rabi), such as barley, wheat, oats, lentils, chickpeas, jujube, mustard, and grass peas, integrated with animal husbandry based especially on sheep, goats, and cattle. A second system (kharif ) takes advantage of the summer monsoon rains: crops are sown in the late spring at the start of the monsoon and harvested in the autumn. Rice (Oryza sativa) is the main summer or kharif crop (though millets and pulses are also key staples), grown wherever its considerable moisture needs can be met, commonly by rainfall in upland swidden systems and on the lowlands by flooding bunded or dyked fields in paddy systems. The systems are referred to as ‘dry’ and ‘wet’ rice farming respectively. Rice is the primary staple in the eastern or tropical zone receiving the greatest amount of summer monsoon rain. This extends from the Ganges (Ganga) valley eastwards through Assam into Myanmar (Burma) and East Asia. There are something like 100,000 varieties of domesticated Asian rice, but the main one grown in the region is Oryza indica. A wide range of millets is also grown as summer crops in rain-fed systems throughout the semi-arid tropical regions of South Asia, including sorghum or ‘great millet’, finger millet, pearl or bullrush millet, proso or common millet, foxtail millet, bristley foxtail, browntopmillet, kodo millet, littlemillet, and sawamillet.
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