Relevant bibliographies by topics / Fiction, Bengali

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Fiction, Bengali'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Fiction, Bengali"

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Niyogi, Sanghamitra. "Bengali-American Fiction in Immigrant Identity Work." Cultural Sociology 5, no. 2 (October 7, 2010): 243–62. http://dx.doi.org/10.1177/1749975510378208.

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Chaudhuri, Supriya. "Phantasmagorias of the Interior: Furniture, Modernity, and Early Bengali Fiction." Journal of Victorian Culture 15, no. 2 (August 2010): 173–93. http://dx.doi.org/10.1080/13555502.2010.491653.

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Jeeva C and Velumani P. "Portrayal of Traditional Indian Womanhood in R.K. Narayan’s The Dark Room." INTERNATIONAL JOURNAL OF SCIENCE TECHNOLOGY AND HUMANITIES 2, no. 2 (October 30, 2015): 32–34. http://dx.doi.org/10.26524/ijsth50.

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The Indo-Anglican literature is different from the Anglo-Indian literature. The former is the genre written and created by the Indians through the English language; the latter is written by the Englishmen on themes and subjects related to India. The Indo-Anglican fiction owes its origin to the translations of various fictional works from the Indian languages into English, notably from Bengali into English. The Indo-Anglican writers of fiction write with an eye and hope on the western readers. This influenced their choice of the subject matter. In Indo-Anglican novels there are Sadhus, Fakirs, Caves, Temples, Vedanta, Gandhi, Rajahs and Nawabs, etc. to are to show the interest of western audience. They represent essentially the western idea of India. But at the same time there are elements of Indianness, Nationalism and Patriotism, glorification of India’s past and sympathy for the teeming millions of the country.
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Almond, Ian. "The Ghost Story in Mexican, Turkish and Bengali Fiction: Bhut, Fantasma, Hayalet." Comparatist 41, no. 1 (2017): 214–36. http://dx.doi.org/10.1353/com.2017.0012.

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Sarkar, Debjani, and Nirban Manna. "Men Without Names." Archiv orientální 89, no. 1 (June 25, 2021): 155–83. http://dx.doi.org/10.47979/aror.j.89.1.155-183.

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Left-Wing Extremism (LWE) in India was realized along the lines of Maoist ideology through the Naxalite insurgency in the 1960s. Novelists have attempted to grasp the mood of this decade of liberation through fiction. This article attempts to study two novels which document the formative years of the Naxalite movement in West Bengal. Translated works from Bengali, Mahasweta Devi’s Mother of 1084 (1974) and Bani Basu’s The Enemy Within (1991) foreground the necropolitical policies of the demonic state in eliminating these Naxal names. State and non-state actors obliterate the question of the Naxal’s identity (enmeshed with his mind and body), making it the focal point of the analysis. Drawing abundantly on concepts of homo sacer, necropolitics, McCarthyism, and democide, the analysis demonstrates that the protagonists are typical of what modern biopolitical states do to non-conformist subjects by creating death worlds. This article is an attempt at understanding the nuances of a sociopolitical movement through literature as social responsibility.
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ANITHA, B., and M. RAVICHAND. "A Mother! A Myth: Portrayal Of A Mother In Mahasweta Devi’s “Breast Giver”." Think India 22, no. 2 (October 17, 2019): 445–50. http://dx.doi.org/10.26643/think-india.v22i2.8747.

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In Indian culture, Vedas and Upanishads take a prominent place and are considered as ancient. These ancient scriptures teach us that “Maathru Devo Bhava” (Web) which means a mother is thefirst god and ought to be given utmost respects. This verse proves to be absurd inMahasweta Devi’s short story “Breast Giver”. Mahasweta Devi was a Bengali Fiction writer. In her writings, subaltern predicaments occupy a central position in general and the woman in particular. Her most accolade works are Hajar Churashir Maa, Rudali, and Aranyer Adhikar. “Breast Giver” is originally written in Bengali and translated into English by a feminist critic, Gayatri Chakravorty Spivak. In the present story, Mahasweta Devi brings in the predicaments of a woman who sacrifices her life for bringing up the family as a bread winner and breathed her last as an orphan.The title of the story is used as a synonym for wet nurse. The present paper interprets “Breast Giver” from the point of view of power relations suggested by Michel Foucault (1926-1984) a Psychologist, a Philosopher, and a Historian.
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CHAUDHURI, ROSINKA. "Cutlets or Fish Curry?: Debating Indian Authenticity in Late Nineteenth-Century Bengal." Modern Asian Studies 40, no. 2 (April 18, 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 poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.
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Mukherjee, Silpa. "Fantasy to media-induced hallucination: The journey (or the lack thereof) of science fiction in Bengali cinema." Studies in South Asian Film & Media 6, no. 2 (October 1, 2015): 165–84. http://dx.doi.org/10.1386/safm.6.2.165_1.

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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.

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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Chatterjee, Ananya. "An Experiential Study of ‘Conditional Agency’ of Bengali Widows with Reference to the Autobiographies of Saradasundari Devi and Rassundari Devi." ENSEMBLE 2, no. 2 (July 25, 2021): 265–71. http://dx.doi.org/10.37948/ensemble-2021-0202-a027.

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In the late nineteenth and early twentieth-century Bengal emerged a new batch of educated widows who were distinguishable from the traditional Bengali Hindu widows because of their remarkable self-consciousness about their peripherality within the social order. The intention of my article is that of disputing the prevalent assumption of the homogeneity of the widowed experience in Bengal society by drawing attention to the heterogeneous individualities resulting from stratifications within these emergent widow populations, owing to different lifestyles, varying degree of access to education, diverse social standings, and various forms of suppression. Rassundari Devi’s Amar Jibon (1876) and Saradasundari Devi’s Atmakatha (1913) are accounts of the experience of widows who were marginalized by society, handed the bare minimum necessities for their existence, and deprived of the pleasures of the traditional experiences of motherhood. I propose the term ‘New Widows’ to highlight how the effects of education modified their individuality in unconventional directions, as reflected in the fictional narratives by Rabindranath Tagore and others. Close attention to the texts shows that the disparity between the aspirations of the New Widow, and her limited reach and frustration results in an acute self-awareness.
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Dissertations / Theses on the topic "Fiction, Bengali"

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Ghosh, Sutanuka. "Becoming a Bengali woman : exploring identities in Bengali women's fiction 1930-1955." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498725.

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Chatterjee, Antara. "Bengal re-imagined : home, identity and the space of Bengal in contemporary fiction of the Bengali diaspora." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590274.

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This thesis examines the (re)constructions of Bengali identity and the rethinking of the Bengali home in the work of contemporary authors of Bengali origin, living in diaspora. It argues that 'Bengal' features importantly as a social, cultural, political and ideological space in the configurations of identity and the articulation of 'home', in the fiction of Jhumpa Lahiri, Tahmima Anam, Monica Ali and Amitav Ghosh. These authors write from different geographical and cultural settings and reveal different national and cultural affiliations. Despite these divergences, they show a common engagement with Bengal as a historically and culturally determined space and with the Bengali home as a contested and interrupted site. Through a choice of authors tracing their origins back to India and Bangladesh, as well as embedded in the different diasporic locations of the US and the UK, I demonstrate how these contemporary mappings of Bengaliness are distinguished according to affiliation and location. My thesis shows how Bengali identity and the Bengali home are reconstructed differently, based on different nationalistic and reli gious affiliations, thereby revealing different narratives within Bengaliness, disrupting any seamless construction or privileging any hegemonic narrative. Yet, despite divergences, these authors ' writings simultaneously reveal the similarities in the ways in which Bengaliness is imagined, thus arguing for a porous, connected Bengali narrative, uncontained within seamless, compartmentalised constructions of 'difference'. The thesis also demonstrates the centrality of the Bengali middle-class bhadralok cultural legacy, which evolved in the colonial period and has an intimate relationship with the emergence of Bengali modernity, in recuperations of Bengaliness even today. Bengali identity, even in diaspora, is constructed around the tropes which have historically defined the Bengali bhadralok. Yet, these authors' reclaiming of the bhadralok culture equally disrupts its hegemonic equation with the Hindu bhadralok of Calcutta, by positing Bengaliness and indeed bhadralok identity beyond these dominant parameters.
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Harder, Hans. "Fiktionale Träume in ausgewählten Prosawerken von zehn Autoren der Bengali- und Hindiliteratur." Halle (Saale) : Institut für Indologie und Südasienwissenschaften der Martin-Luther-Universität Halle-Wittenberg, 2001. http://catalogue.bnf.fr/ark:/12148/cb38987404v.

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Mukhia, Banani. "Women and family in Bengali fiction in the late nineteenth and early twentieth century." Thesis, 1994. http://hdl.handle.net/2009/816.

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Books on the topic "Fiction, Bengali"

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Jibanananda Das: Short fiction, 1931-33. New Delhi: Srishti Publishers & Distributors, 2001.

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Bengali novel, 1982-1997. Calcutta: Minerva Associates, 2000.

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Mukhopādhyāẏa, Rāmakumāra. Śatābdī śeshera galpa. Kalikātā: Mitra o Ghosha Pābaliśārsa, 2001.

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Rāẏa, Dīnendrakumāra. Pallīkathā. Kalakātā: Ānanda Pābaliśārsa, 1988.

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Oriental tales: Selected Bangla fiction. Dhaka: Agamee Prakashoni, 2015.

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Lulu. Subodha Ghoshera premera galpa. Kalakātā: Sāhityam, 1996.

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Bandyopādhyāẏa, Susmitā. Kabulioẏālāra Bāṅāli bau. Kalakātā: Bhāshā o Sāhitya, 1998.

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Maurya rātri. Kalakātā: Bijaẏana Prakaśanī, 2003.

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Bhaṭṭācārya, Biśvabandhu. Bāṃlā rājanaitika upanyāsera kayekaṭi paryāẏa. Kalakātā: Manīshā, 1990.

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Nomāna, Svakr̥ta. Bāṃlādeśera sāmpratika galpa. Ḍhākā: Jāgr̥ti Prakāśanī, 2011.

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Book chapters on the topic "Fiction, Bengali"

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Lahiri, Debosmita Paul. "Thakurmar Jhuli: A Study of the Changing Bengali Society." In Indian Popular Fiction Redefining the Canon, 237–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003240945-17.

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Sinha, Shatarupa. "Papyrus to Celluloid: An Insight into the Oeuvre of Bengali Detectives." In Indian Popular Fiction Redefining the Canon, 105–25. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003240945-8.

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Sarkar, Sutapa Chatterjee. "The Sundarbans in Modern Bengali Fiction." In The Sundarbans, 163–79. Routledge, 2017. http://dx.doi.org/10.4324/9781315100876-8.

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Majumdar, Puja Sen. "Feminine Sexuality and Sexual Trauma in Bengali Horror Fiction: The Emergence of the Goddess." In Horror Fiction in the Global South. Bloomsbury Publishing India Pvt. Ltd, 2012. http://dx.doi.org/10.5040/9789390077359.ch-003.

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Harris-Peyton, Michael B. "Brain Attics and Mind Weapons." In Criminal Moves, 179–94. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620580.003.0011.

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This chapter on the crime fiction of Arthur Conan Doyle, Satyajit Ray and Cheng Xiaoqing examines the central role of adaptation in the international development of the crime fiction genre in order to present a more complex understanding of the genre’s international connections and mobility. The chapter questions the distinction between original and reproduction that has typically informed critical studies on the genre’s international spread through an analysis of the works of these three writers from Britain, India (Bengal) and China. In demonstrating the ways in which Ray and Cheng adapt what is typically considered an archetypically British genre to their local settings, the chapter deconstructs the preeminent position granted to Holmes as the originator and, instead, draws attention to how Doyle himself adapted the genre in a transnational dialogue with his literary forebears.
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Mody, Sujata S. "Alternate Realms of Authority." In The Making of Modern Hindi, 214–60. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199489091.003.0006.

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Chapter 5 examines two landmark Hindi short stories that contested aspects of Dwivedi’s literary agenda. In ‘Dulāīvālī’ (quilt-woman), Banga Mahila used regional and domestic women’s speech in addition to Dwivedi’s preferred standard, Khari Boli prose. Her fictional exploration of the impact of nationalist ideals on middle-class Bengali women in the Hindi-belt further challenged the patriarchal authority with which Dwivedi and other nationalists sought to shape an emergent nation. Chandradhar Sharma ‘Guleri’, in ‘Usne kahā thā’ (she had said), employed regional/ethnic speech that was also gendered, as masculine and vulgar, once again flouting Dwivedi’s preferences for an upright, Khari Boli standard. His story, featuring a Sikh soldier fighting in Europe during World War I, upheld some nationalist ideals, but also defied conventional mores. Both stories underwent extensive editorial revisions, yet there remains a record in their final published versions of their authors’ defiance, and of Dwivedi’s strategic responses to such challenges.
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Cohen, Ashley L. "The Geography of Freedom in the Age of Revolutions." In The Global Indies, 144–88. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300239973.003.0006.

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This chapter explores a contradiction at the heart of the mainstream abolitionist movement: colonialism in India was promoted as a solution to the problem of slavery. It focuses on forms of unfreedom that trouble the geographical divide drawn in abolitionist discourse between slavery and freedom within the British empire. The chapter begins with a brief discussion of Marianna Starke's pro-imperialism/antislavery drama (set in India), The Sword of Peace (1788). It then turns to Maria Edgeworth's anti-Jacobin short-story collection Popular Tales (1804), which features nearly identical scenes of slavery set in Jamaica and India. Edgeworth's fiction might seem worlds away from actual colonial policy; but by contextualizing her writing amid debates about the slave trade and proposals for the cultivation of sugar in Bengal, the chapter shows that her stories were important and highly regarded thought experiments in colonial governance. Finally, the chapter discusses an important historical instantiation of the Indies mentality that falls outside the time frame of this study: the transportation of Indian indentured laborers to the Caribbean in the 1830s.
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