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Journal articles on the topic 'Bengali Songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Mahmud, Nazia B. "The Aesthetic Asceticism of the Mad." COMPASS 3, no. 1 (2023): 8–19. http://dx.doi.org/10.29173/comp68.

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The Bauls of Bangladesh, West Bengal, and other parts of India are a distinct ascetic sect that practices spirituality through songs, music, and poetry that were passed down orally from a teacher (Guru) to a disciple (Shirsha). Their ideology is a mix of yogic-tantric practices of Buddhist Sahajiya, Vaishnavism Sahajiya, and later Sufi thoughts. Bauls are often called a heretic sect because of their rejection of institutionalized religion, consumerism, society, and, for many Bauls, even marriage. Baul songs and spirituality emphasize the search for the connection between man and the Divine and

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2

Tagore, Pramantha. "Songs for the Empress: Queen Victoria in the Music History of Colonial Bengal." Victorian Literature and Culture 52, no. 1 (2024): 61–83. http://dx.doi.org/10.1017/s1060150323000827.

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In the final decades of the nineteenth century, music significantly occupied the cultural and social life of the Bengali people. As the epicenter of British political and economic influence in the subcontinent, Calcutta witnessed the emergence of schools offering instruction in Indian and Western art music. The flourishing city housed private and public printing presses, which ensured the circulation and distribution of large numbers of songbooks, manuals, and theoretical treatises on music. The city was also home to a diverse assortment of hereditary music practitioners and occupational speci

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Dimock, Edward C. "Levertov and the Bengali Love Songs." Twentieth Century Literature 38, no. 3 (1992): 283. http://dx.doi.org/10.2307/441521.

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Suma, Salma Pervin, and Md Ziaul Haque. "Metaphysical Approach to Lalon’s Song." Asian Journal of Humanity, Art and Literature 6, no. 1 (2019): 59–66. http://dx.doi.org/10.18034/ajhal.v6i1.350.

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The objective of this paper is to find out the trends and tendencies of metaphysical endeavor in Lalon’s song. Lalon shah popularly known as Lalon Fakir (1774-1890), was a Bengali mystic folk poet and singer as well as philosopher and humanist. Most of his songs were composed in orally and sung at the time of travelling. His songs dealt with the themes of love, religion, caste, faith, soul, god, death etc which can be viewed from the metaphysical point of view. The way he dealt his various issues in his songs demands our special concentration to investigate how ornamentally his songs were comp

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Khalid, Hina. "Responding to the Call of God: The Motif of Devotional Love in the Poetry of Rabindranath Tagore and Kazi Nazrul Islam." Journal of Islamic and Muslim Studies 8, no. 1 (2023): 58–81. http://dx.doi.org/10.2979/jims.00004.

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Abstract: This article explores several thematic synergies across Hindu and Muslim devotional sensibilities through an analysis of selected songs from two influential Bengali poet-thinkers: Rabindranath Tagore (1861–1941) and Kazi Nazrul Islam (1899–1976). This study offers an exploratory engagement with these songs in the form of new translations from the original Bengali and reflections that suggest fertile theological parallels between their verses. Through a close reading of these selected songs, certain common themes are discernible, such as the paradoxes of intimacy and painful distance

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Lorea, Carola Erika. "“Playing the Football of Love on the Field of the Body”: The Contemporary Repertoire of Baul Songs." Religion and the Arts 17, no. 4 (2013): 416–51. http://dx.doi.org/10.1163/15685292-12341286.

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Abstract This article analyzes the contemporary repertoire of a very popular genre of Bengali folk songs, performed by itinerant singers and practitioners of an esoteric cult known as Bauls. Considering the recent popularization and commercialization of Baul songs and their interference with the urban milieu, the discourse on the authenticity of Baul songs is explored from an inter-disciplinary perspective that embraces orality-literacy studies as well as social studies on cultural tourism, underlining the limits of previous academic works on the subject. This article offers, as an original co

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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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Rahman, M. Shahinoor, Mossammad Salma Sultana, and M. Mostafizur Rahman. "The Creation of Tradition and the Alteration of Social Structure by the Mystic Baul Fakir Lalon Shah." Praxis International Journal of Social Science and Literature 6, no. 5 (2023): 47–54. http://dx.doi.org/10.51879/pijssl/060506.

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This paper investigates how the Bengali poet Fakir Lalon Shah established a separate tradition of his songs and ideas. This research is also relevant to how Lalon's heritage of songs and philosophy has appeared to have formed, innovated, and altered over time. The songs of Lalon, their continued performance, how the songs get performed, and the attitudes of Lalon's devotees and the singers of his songs have all contributed to the development of a specific type of tradition. "a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual or symbolic nature, which see

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Mohammad Chishti, Kazi Ehteshumes. "Reviewing Nachiketa’s Lyrics as a Protest against Diverse Malpractices: A Study from a Post-colonial Perspective." Shanlax International Journal of Arts, Science and Humanities 9, no. 1 (2021): 54–63. http://dx.doi.org/10.34293/sijash.v9i1.4072.

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Songs are not always a source of recreation that soothes one’s mind with beautifully romantic hearttouching sugar-quoted lyrics. Songs may also be angry in tone and harsh in voice, as is noticeable in many of the songs of Nachiketa Chakraborty. Likewise, the crucial period of Colonialism may be over, but a more critical period of Neocolonialism is now a dominating practice in the developing countries by rich and most developed countries, mostly through their political and economic strategies. The interesting thing is that power and resistance go side by side. Nachiketa’s melodious lyrics are t

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Chakravorty, Swapan. "“Subjects,” “Liberty,” and “Equity”: Queen Victoria's Proclamations and Bengali Writers." Victorian Literature and Culture 52, no. 1 (2024): 226–46. http://dx.doi.org/10.1017/s1060150323000839.

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Starting with Queen Victoria's address to the Proclamation Durbar in 1877, this article surveys how Bengali writers critiqued British colonialism in India through their stories, songs, poetry, journalism, and lectures, sometimes directly about the queen herself, more often when discussing governance, social reform, and the desire for political liberty.

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Mukherjee(Chatterjee), Piyali. "“Political and Nationalistic views reflected in the Tagore‟s Bengali Songs”." IOSR Journal of Humanities and Social Science 19, no. 3 (2014): 27–30. http://dx.doi.org/10.9790/0837-19362730.

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Nizam Uddin, Md Abu Saleh. "Nazrul’s Persia in his decolonizing melodies." IIUC Studies 18, no. 1 (2022): 135–56. http://dx.doi.org/10.3329/iiucs.v18i1.61279.

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Kazi Nazrul Islam of Bangla literature may be best described as a poet of humanity. Besides the anti-colonial and spiritual dimensions of his melodies, there is also a decolonizing tone in his literature. His songs, especially those that recuperate and include rich Persian heritage of Bangla literature, significantly contribute to decolonizing the colonially victimized Bangla literature in British India. Thus, this paper initially attempts to examine how distinctly and strongly Persian language, nature and culture remain as an important heritage for Bangla literature while Nazrul writes songs

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Williams, Richard David. "Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century." Journal of Hindu Studies 12, no. 3 (2019): 319–38. http://dx.doi.org/10.1093/jhs/hiz017.

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Abstract Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosoph

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Mukherjee, Kamalini. "Bangla Rock: exploring the counterculture and dissidence in post-colonial Bengali popular music." International Journal of Pedagogy, Innovation and New Technologies 4, no. 2 (2017): 35–47. http://dx.doi.org/10.5604/01.3001.0011.5843.

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This paper is an attempt to explore the politics and the poetics of vernacular music in modern Bengal. Drawn from extensive and in-depth research into the current “scene” (as popularly referred to in the musician and music lover circles), this paper delves into the living histories of musical and linguistic revolutions in a part of India where the vernacular literature has been historically rich, and vastly influenced by the post-colonial heritage. The popular music that grew from these political and cultural foundations reflected its own pathos, and consecutively inspired its own form of oral

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Numani, Dr AJM Qutubul Islam. "The Use of Arabic Words in the Poems and Writings of Revolutionary Poet Kazi Nazrul Islam: An Analytical Study." Dhaka University Arabic Journal 23, no. 26 (2024): 137–62. http://dx.doi.org/10.62295/mazallah.v23i26.64.

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Qazi Nazrul Islam was a great revolutionary poet, a creative and a genius writer, a Bangladeshi national poet, and a man gifted by God. He touched on all literary branches of poems, songs, Islamic songs, stories, novels, plays, scholarly articles and music. He was also a journalist as he used to write in the daily newspapers on various literary topics, especially Islamic issues. So, he is said to be the poet of the Islamic Renaissance. When the business relations and Muslim relations of the people of India, especially the Bangladeshis, with the Arabs began to develop, the Arabic word began to

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Mamona, Anhelina. "R. Tagore’s lyrics in composers’ interpretations: an attempt at comparative analysis." Aspects of Historical Musicology 33, no. 33 (2023): 22–38. http://dx.doi.org/10.34064/khnum2-33.02.

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Statement of the problem. After receiving the Nobel Prize in 1912 Rabindranath Tagore faced enormous popularity among Western composers. Their attention was mainly drawn to his two collections of poems – “Gitanjali” and “The Gardener”, which were translations from Bengali made by Tagore himself and published in 1912 and 1913 respectively. Interestingly, these poetry books were soon translated into a number of European languages, among which – French, Spanish, German and Italian. These translations were used by hundreds of composers who represented different national schools. In some cases, a n

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Krakauer, Benjamin. "Carola Erika Lorea, Folklore, Religion and the Songs of a Bengali Madman: A Journey Between Performance and the Politics of Cultural Representation." History and Sociology of South Asia 12, no. 1 (2017): 110–13. http://dx.doi.org/10.1177/2230807517726408.

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Banerjee, Archi, Medha Basu, Shankha Sanyal, and Priyadarshi Patnaik. "Towards the origin of devotion and happiness: An acoustical and neuro-cognitive exploration of Indian spiritual music." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A241. http://dx.doi.org/10.1121/10.0023415.

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Since the age of the Vedas, devotion has remained a key component of Indian music through centuries of changes and foreign influences. The brightest example of this is the Bhakti tradition, a pan-Indian movement (7th-15th Century CE), which integrated poetry and music in the transmission of spiritual and social goals. Devotees often report perception of emotions like devotion, happiness, awe while listening to spiritual music of their own religion and culture. This paper aims to study the acoustical and neuro-cognitive correlates of these emotions for two Indian spiritual music traditions – (a

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Rose, Evangeline M., Avery J. Scofield, Autumn M. Wenstrom, Katherine A. Stennette, Benjamin D. Shank, and Gregory F. Ball. "Male and female red-cheeked cordon bleus sing similar yet individualistic songs." Journal of the Acoustical Society of America 155, no. 3 (2024): 1909–15. http://dx.doi.org/10.1121/10.0025236.

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Birdsong is an excellent system for studying complex vocal signaling in both males and females. Historically, most research in captivity has focused only on male song. This has left a gap in our understanding of the environmental, neuroendocrine, and mechanistic control of female song. Here, we report the overall acoustic features, repertoire, and stereotypy of both male and female Red-Cheeked Cordon Bleus (Uraeginthus bengalus) (RCCBs) songs in the lab. We found few sex differences in the acoustic structure, song repertoire, and song stereotypy of RCCBs. Both sexes had similar song entropy, p

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Santra, Aparajita. "A tale of the city of Kolkata through the eyes of the “common women"." Enquiry The ARCC Journal for Architectural Research 20, no. 2 (2023): 92–105. http://dx.doi.org/10.17831/enqarcc.v20i2.1162.

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This paper focuses on working-class women from the informal settlements of Kolkata, India and their precarious relationships with the city. Their existence at the margins of society (socially, spatially, historically, and sometimes even geographically) tends to make them invisible actors in the production of contemporary urban spaces of Kolkata. This paper examines the role of class, caste, and gender in informing the spatial practices of these minoritized women that occur in the city’s liminal landscapes. These practices are quite distinct from those of women from middle- and upper-classes in

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Dutta Ain, Anwesha. "A Reading of Satyajit’s Pather Panchali and Agantuk as Subtexts of Fictional Ethnography." Revista Canaria de Estudios Ingleses, no. 83 (2021): 77–90. http://dx.doi.org/10.25145/j.recaesin.2021.83.06.

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This essay focuses on Pather Panchali (Song of the Little Road, 1955) and Agantuk (The Stranger, 1991) and discusses the style of Satyajit Ray’s filmmaking which combined the aesthetics of European verisimilitude with suggestive symbolism based on conventional Indian iconography. The paper will concentrate on the authentic representation of a poor family in rural Bengal in Pather Panchali and the urban setting, in his last film Agantuk. The main aim is to explore how the detailing of the shots and the dialogues in these films engage in the ethnographic study of the Bengali society through thes

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Crovetto, Helen. "Embodied Knowledge and Divinity: The Hohm Community as Western-style Bāāuls." Nova Religio 10, no. 1 (2006): 69–95. http://dx.doi.org/10.1525/nr.2006.10.1.69.

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ABSTRACT: Hohm Sahaj Mandir (Hohm Innate Divinity Temple) is a new religious movement that has achieved international status under the name "Western Bauls." The Western Bauls have a number of similarities to the Bauls of Bengal, wandering minstrels with an ecstatic inclination whose lives are consumed by their search for the divine. Like many Tantric groups, the Western Bauls believe the body is a microcosm of the universe in which divinity is present. Their spiritual praxes are bodybased. In the advanced stages they include an esoteric yoga called kaya sadhana as well as other practices of ar

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Dipa, Sahelee Parveen. "Subversion of Colonial Masculinity and Manifestation of Gendered Nationalism in Letters of 1971 (Ekattorer Chithi)." Crossings: A Journal of English Studies 13, no. 2 (2022): 27–41. http://dx.doi.org/10.59817/cjes.v13i2.446.

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Bengali males, in colonial hegemonic discourse, were projected as “weak” and “submissive” (Macaulay qtd. in Chowdhury 4; Banerjee 29; Ray 21). This tendency of feminizing colonized males was naturalized through the process of constant discursive practices by the end of the nineteenth century. This discourse, as has been demonstrated by different historiographies, had influenced the self-perception of the Bengalis to a large extent. However, the colonial resistance and nationalist movements proved to be a fruitful site for the Bengalis to counter the negative portrayal of their masculine selves

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Biswas, Stella Chitralekha. "‘Sons of Bengal’ and the Absent Daughters: Gender, Performativity and Nationalism in Bengali Juvenile Literature." Indialogs 8 (April 7, 2021): 183. http://dx.doi.org/10.5565/rev/indialogs.168.

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Ashraful Islam, Khandakar. "(Re)tracing Resistance from a Culture of Silence:." Crossings: A Journal of English Studies 7 (December 1, 2016): 72–82. http://dx.doi.org/10.59817/cjes.v7i.163.

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Bengal—a land of rivers and natural resources—has been the abode of the “jele” community (fishermen) for centuries. But hardly have we come across the life of the fishermen in Bengali literature before Manik Bandopadhyay and Adwaita Mallabarman. In fact, these two noteworthy novelists, in their novels, The Boatman of the Padma and A River Called Titash, poignantly depict the poverty, hunger, suffering, and exploitation of the fishermen. However, both novelists portray this community as passive victims of all socio-economic exploitations and nowhere in their narratives is there any trace of res

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Adhikary, Chanchal. "Oral Literature and Performing Arts of a Marginalized Community: The Chain of West Bengal." Contemporary Voice of Dalit 10, no. 1 (2018): 28–47. http://dx.doi.org/10.1177/2455328x17744626.

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In this article, an attempt has been made to collect and examine the folk and oral traditions of the Chain community of West Bengal in an ethnohistorical context. These included marriage songs, Gambhira songs, rhymes, lullabies, Jhumur, Alkap, riddles, etc. All have been collected through field work.

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Field, Garrett M. "Music for Inner Domains: Sinhala Song and the Arya and Hela Schools of Cultural Nationalism in Colonial Sri Lanka." Journal of Asian Studies 73, no. 4 (2014): 1043–58. http://dx.doi.org/10.1017/s0021911814001028.

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In this article, I juxtapose the ways the “father of modern Sinhala drama,” John De Silva, and the Sinhala language reformer, Munidasa Cumaratunga, utilized music for different nationalist projects. First, I explore how De Silva created musicals that articulated Arya-Sinhala nationalism to support the Buddhist Revival. Second, I investigate how Cumaratunga, who spearheaded the Hela-Sinhala movement, asserted that genuine Sinhala song should be rid of North Indian influence but full of lyrics composed in “pure” Sinhala. The purpose of this comparison is to critique Partha Chatterjee's notion of

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Padoux, André. "Hugh B. Urban, Songs of Ecstasy. Tantrie and Devotional Songs from Colonial Bengal." Archives de sciences sociales des religions, no. 124 (October 1, 2003): 63–170. http://dx.doi.org/10.4000/assr.1017.

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Pal, Bidisha. "Book review: Asit Biswas and Shubh Brat Sarkar (Eds.), Dalit Poems, Songs and Dialogues from Bengal in English Translation." Contemporary Voice of Dalit 15, no. 1 (2023): 134–36. http://dx.doi.org/10.1177/2455328x221148914.

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CHAUDHURI, ROSINKA. "Cutlets or Fish Curry?: Debating Indian Authenticity in Late Nineteenth-Century Bengal." Modern Asian Studies 40, no. 2 (2006): 257–72. http://dx.doi.org/10.1017/s0026749x06001740.

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Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poe

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Guha, Sukanya. "Echoing Tagore’s Love for the Monsoons." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 101–4. http://dx.doi.org/10.30819/aemr.6-8.

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In India, Bengal’s most celebrated literary figure, Rabindranath Tagore, was specifically sensitive regarding the various seasons occurring in India. The monsoon and its relation with Tagore’s songs is the main focus of this paper. The monsoon, when Mother Nature spreads her beauty by unravelling her bounty treasures, is richly expressed by Tagore. In the composition for the khanika (poem) ‘Asho nai tumi phalgune’ [you did not come in the spring season] Tagore says: “when I awaited eagerly for your visit in the spring, you didn’t come. Please, don’t make me wait any longer and do come during t

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Ghosh, Ratul. "Lorea, Carola Erika : Folklore, Religion and the Songs of a Bengali Madman. A Journey Between Performance and the Politics of Cultural Representation. Leiden/Boston: Brill 2016. XVIII, 332 S., 48 Abb. 8° = Jerusalem Studies in Religion and Culture 22. Hartbd. € 145,00. ISBN 978-90-04-32470-1." Orientalistische Literaturzeitung 116, no. 2 (2021): 158–60. http://dx.doi.org/10.1515/olzg-2021-0055.

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Banerjee, Kathakali. "Humanism as A Way of Life: Close Reading of Lalon Fakir and Bauls of West Bengal." Scholars Journal of Arts, Humanities and Social Sciences 11, no. 03 (2023): 43–48. http://dx.doi.org/10.36347/sjahss.2023.v11i03.001.

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Religious forbearance and fondness for mankind is the central theme of Lalon’s philosophy. Baul tradition has been performing as an important element in creating and developing of aesthetics. Baul songs are essentially contains the elements of Hinduism, Vaishnavism, Islam, Sufism and Buddhism. The Baul community is still now at a swinging stage still they are not considered as an important part of society. The Bauls resides in West Bengal of India and Bangladesh but we all know they are the wanderer. There are three communities which is seen in the source of Baul community of West Bengal. Comm

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Dutta, Uttaran, Panchali Banerjee, Soham Ghosh, Priyam Ghosal, Samya Srimany, and Sahana Mukherjee. "Songs of Dissent and Consciousness: Pronouncements of the Bauls of Rural Bengal." Religions 12, no. 11 (2021): 1018. http://dx.doi.org/10.3390/rel12111018.

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Bauls, the wandering minstrels of rural Bengal (of both Bangladesh and India), are a socio-religiously marginalized cultural group. While the ritualistic practices and spiritual discourses of the Bauls have received scholarly attention, scholarship on Bauls’ songs about material and communicative adversities and their emancipatory visions is lacking. Bauls’ performances and discourses are precursors to envisioning alternative emancipatory possibilities that question dominant intolerances, oppressions, and exploitations. This article documents and reflects on the works of two contemporary Bauls

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Urban, Hugh B. "Songs of Ecstasy: Mystics, Minstrels, and Merchants in Colonial Bengal." Journal of the American Oriental Society 123, no. 3 (2003): 493. http://dx.doi.org/10.2307/3217748.

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Johnson, Kurt A. "‘Lisping Tongues’ and ‘Sanscrit Songs’: William Jones' Hymns to Hindu Deities." Translation and Literature 20, no. 1 (2011): 48–60. http://dx.doi.org/10.3366/tal.2011.0005.

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In 1784-9 Sir William Jones, then a Supreme Court Judge in Bengal, wrote nine ‘Hymns’ to Hindu deities. In examining one of the ‘Hymns’ – ‘A Hymn to Súrya’ – in more detail, this article maintains that Jones uses the hymnal form as a means of cultural translation, transposing the religious and cultural significance of Vedanta Hinduism poetically into an accessible and uncompromised form. With an emphasis on Jones’ early poetic criticism and his personal fondness for the Hindu religion, this article demonstrates how Jones employs the hymnal form in order to reach a poetic, religious, and cultur

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Dutta, Uttaran, and Mohan Jyoti Dutta. "Songs of the Bauls: Voices from the Margins as Transformative Infrastructures." Religions 10, no. 5 (2019): 335. http://dx.doi.org/10.3390/rel10050335.

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Bauls, the rural minstrels who sing songs of transformation, are a socio-economically and politico-religiously marginalized cultural population from rural Bengal (both from eastern and north-eastern, India and from Bangladesh). They identify themselves outside of any organized religion or established caste system in India, and therefore are constituted at the margins of contemporary global South. Voicing through their songs and narratives of emancipation, they interrogate and criticize material and symbolic inequalities and injustices such as discrimination and intolerance (including class and

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Mahmood, Seemen. "SOCIAL CONCERNS IN MAHASHWETA DEVI’S MOTHER OF 1084." EXPRESSIO: BSSS Journal of English Language and Literature 01, no. 01 (2023): 51–60. http://dx.doi.org/10.51767/jen010104.

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Mahasweta Devi is known not only for her political writings but her tremendous contribution towards landless laborers in eastern India where she worked for years. Her close connection with these communities gave her a deep insight to understand and write about these grassroots-level issues, thus making her a socio-political commentator of the marginalized community. As an eminent Bengali writer and social activist, writing in the mid-1900s, she did not shy away from pointing out the injustices prevalent in society. This paper deals with her novel titled ‘Mother of 1084’ and depicts the helples

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Irani. "Authorship, Reception, and Memory in Early Modern Bengal: Songs Attributed to Saiyad Sultān." ReOrient 5, no. 2 (2020): 198. http://dx.doi.org/10.13169/reorient.5.2.0198.

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Ghosh, Sreyasi. "Skillful portrayal and reflection of the Naxalite Movement of Bengal (1970s) in world of stories." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 4 (2022): 48–55. http://dx.doi.org/10.31305/rrijm.2022.v07.i04.007.

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The Naxalite Movement of Bengal ( 1970s ) was undoubtedly a landmark in history of political movements of Bengal and it had undoubtedly a pan – Indian character for spreading in Andhra Pradesh , Uttar Pradesh , Bihar , Kerala and Punjab . The movement had its root in the historical Tebhaga Movement and Telengana Movement, the Food Movement (1959), the Movement against hike in tramfare (1965), the Food Movement (1966) etc. The Naxalite Movement was devastated in face of police atrocities but its imprint was long-lasting in world of literature of Bengal such as on dramas, poetry, novels and stor

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Sudhir K. Arora. "The Bengali Face in the English Mirror: Reflection of Dalit Consciousness in Shyamal Kumar Pramanik’s The Untouchable & Other Poems." Creative Saplings 2, no. 06 (2023): 48–58. http://dx.doi.org/10.56062/gtrs.2023.2.06.382.

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Shyamal Kumar Pramanik, who belongs to Poundra Kshatriya community, is a significant Bengali Dalit poet with a mission of establishing equality and fraternity among the people. His poetry collection The Untouchable & Other Poems, translated by Jaydeep Sarangi and Anurima Chanda into English, demonstrates him as a poet of Dalit consciousness. Without being violent, he raises the Dalit consciousness so that Dalits may come together and unite themselves in order to break the shackles of exploitation and oppression. He wonders how the non-Dalit authors can express the experiences of Dalits. He

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Eben Graves. "The Marketplace of Devotional Song: Cultural Economies of Exchange in Bengali Padāvalī-Kīrtan." Ethnomusicology 61, no. 1 (2017): 52. http://dx.doi.org/10.5406/ethnomusicology.61.1.0052.

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Hatcher, Brian A. "Songs of Ecstasy: Tantric and Devotional Songs from Colonial Bengal. By Hugh B. Urban. Oxford: Oxford University Press, 2001. 187 pp. $45.00 (cloth); $19.95 (paper)." Journal of Asian Studies 62, no. 4 (2003): 1305–7. http://dx.doi.org/10.2307/3591826.

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S, Bhuvaneswari. "Trade in the Development of Social Hierarchies in the Dual Epics." International Research Journal of Tamil 4, no. 3 (2022): 182–88. http://dx.doi.org/10.34256/irjt22326.

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Sangam Songs and epics illustrate how the ancient Tamils traded well within and outside the country. In the post-Sangam period, during the period of the Epics, there were bartering methods in the domestic trade. Business flourished in the development of cities. Silappathikaram confirms that every commodity was traded on every street in the cities. From the sale of their products by the common people to the sea trade, evidence could be found. Business activities could also be noticed in Manimegalai following Silappathikaram. Small-scale business practices could be found in the cities. Similar

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Mandal, Somdatta. "”May You Be the Mother of A Hundred Sons!”: Barrenness vs. Motherhood in Bengali Cinema." Asian Cinema 22, no. 1 (2011): 329–47. http://dx.doi.org/10.1386/ac.22.1.329_1.

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Basu Roy, Sanghamitra. "AN ANALYSIS OF ISHWAR CHANDRA VIDYASAGAR AS PIONEER OF WOMAN EDUCATION." International Journal of Advanced Research 10, no. 01 (2022): 512–13. http://dx.doi.org/10.21474/ijar01/14069.

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The eighteenth and nineteenth century are the most resplendent period in the history of India. During this time, India witnessed the holistic reawakening of the people in the world of new ideals, new thoughts and aspirations in every dimensions of life. The regeneration of India got its expression in Bengal and so this resurgence is called Bengal Renaissance Movement. Ishwar Chandra Vidyasagar played a prominent and vital role in Bengal Renaissance. He also advocated individual liberty and freedom of the press. He was a staunch fighter for the rights and honour of women .Vidyasagar realized a

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Dan, Manolescu. "Book Review: Bhattacharyya, M. (2020). Rabindranath Tagore’s Śāntiniketan Essays: Religion, Spirituality and Philosophy. London & New York: Routledge." Journal of Practical Studies in Education 2, no. 3 (2021): 12–15. http://dx.doi.org/10.46809/jpse.v2i3.25.

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Rabindranath Tagore (7 May 1861 – 7 August 1941) was the first non-European poet and lyricist who received the most coveted of international awards, the Nobel Prize for Literature in 1913, “because of his profound sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.” (www.nobelprize.org ) His most notable work highly praised and duly appreciated by The Swedish Academy was Gitanjali: Song Offerings (1912), a collection of poetry, but Tagore is also famous for having writte

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Urban, Hugh B. "The Marketplace and the Temple: Economic Metaphors and Religious Meanings in the Folk Songs of Colonial Bengal." Journal of Asian Studies 60, no. 4 (2001): 1085–114. http://dx.doi.org/10.2307/2700021.

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The marketplace and the temple: traditionally, Western scholars have been nervous and ambivalent about bringing these two spheres into too close a proximity. On one side, historians of religions trained in the lineage of Joachim Wach or Mircea Eliade have long warned that “reductionism” is the cardinal sin in the study of religion, which is claimed to be a sui generis, or irreducible phenomenon. Hence, “economic reductionism” or “vulgar economism” would be the most heinous crime of all (Wach 1958; Eliade 1958, xi). On the other side, those trained in Marxist and neo-Marxist traditions have typ

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Acharya, Avidit, David D. Laitin, and Anna Zhang. "‘Sons of the soil’: A model of assimilation and population control." Journal of Theoretical Politics 30, no. 2 (2017): 184–223. http://dx.doi.org/10.1177/0951629817737858.

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We model the cultural outcomes of ‘sons of the soil’ conflicts. These are conflicts between the local inhabitants of a particular region and migrants to the region, typically belonging to a dominant national culture. Our goal is to understand the conditions under which migrants assimilate into the local culture, or in which locals assimilate into the national culture. The model has two main actors: a national elite of a dominant ethnic group, and a regional elite seeking to promote the traditional culture of the sons of the soil. Both actors have parallel strategies, viz. assimilating the othe

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Da Costa, Dia. "“Spoiled Sons” and “Sincere Daughters”: Schooling, Security, and Empowerment in Rural West Bengal, India." Signs: Journal of Women in Culture and Society 33, no. 2 (2008): 283–308. http://dx.doi.org/10.1086/521053.

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