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Journal articles on the topic 'Poetry, Bengali'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

BOSE, NEILESH. "Purba Pakistan Zindabad: Bengali Visions of Pakistan, 1940–1947." Modern Asian Studies 48, no. 1 (2013): 1–36. http://dx.doi.org/10.1017/s0026749x12000315.

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AbstractThis paper details the history of the concept of Pakistan as debated by Bengali intellectuals and literary critics from 1940–1947. Historians of late colonial South Asia and analysts of Pakistan have focused on the Punjab along with colonial Indian ‘Muslim minority’ provinces and their spokesmen like Muhammed Ali Jinnah, to the exclusion of the cultural and intellectual aspects of Bengali conceptions of the Pakistan idea. When Bengal has come into focus, the spotlight has centred on politicians like Fazlul Huq or Hassan Shahid Suhrawardy. This paper aims to provide a corrective to this

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Mohua, Mafruha. "Flowers in a Begging Bowl: Tagore, Eliot, and Bengali Modernism." Modernist Cultures 13, no. 2 (2018): 212–34. http://dx.doi.org/10.3366/mod.2018.0206.

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In the mid-1920s Bengalis found themselves in an atmosphere of political upheavals, of communal and labour riots, and of dire poverty. Amidst this destructive environment a fervent group of young poets felt that the pressures of the modern age required a new poetics. Although anxieties stemming from economic instability and political turmoil contributed to this new poetics, this group of poets, who identified themselves as modernists, found in the poetry of Eliot a reality which seemed to them to be a true reflection of their world. This article looks at that pivotal moment in Bengali poetry w

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Lago, Mary M., and Ron D. K. Banerjee. "Poetry from Bengal: The Delta Rising: An Anthology of Modern Bengali Poetry." World Literature Today 64, no. 3 (1990): 529. http://dx.doi.org/10.2307/40146833.

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Firoze Basu. "The “Healing Touch” of Nature: Corresponding Elements in the Poetry of William Wordsworth and Jibanananda Das." Creative Launcher 6, no. 1 (2021): 181–92. http://dx.doi.org/10.53032/tcl.2021.6.1.21.

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This paper endeavours to find resonances between Wordsworth's treatment and responses to Nature and Jibanananda's fascination with rural Bengal. A lecturer in English, he tried to bring the West to the Bengali psyche and consciousness utilizing the unique strategy of de-familiarizing the Bengali landscape. In effecting this achievement Jibanananda's familiarity with English poetry is of paramount importance. He has analogical and genealogical similarities with Keats and Wordsworth's particularly Wordsworth, in the celebrations of solitude, of nature.

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Firoze Basu. "“Why I Write”; Corresponding Elements in the Poetic Discourse of Jibanananda and Wordsworth." Creative Launcher 6, no. 2 (2021): 149–57. http://dx.doi.org/10.53032/tcl.2021.6.2.20.

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In his Bengali treatise on poetry named Kobitar Kotha/Why I Write there is evidence of vernacular poet Jibanananda (1899-1954). Jibanananda was familiar with the poetic cannons of European poetry. He emphasizes, in his treatise on poetry, on “experience” along with “imagination” as intrinsic to the creative process of poetry. The affinity of English Romantic poet William Wordsworth’s (deliberation on nature of Poetry and the definition of a Poet in Preface to The Lyrical Ballads and Jibanananda’s two articles on the same subject-Kobitar Kotha/The Story of Poetry and Keno Likhi/Why I Write is r

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Ekman, Gabriella. "Gifts from Utopia: The Travels of Toru Dutt's Poetry." Victoriographies 3, no. 1 (2013): 23–45. http://dx.doi.org/10.3366/vic.2013.0104.

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Born in Calcutta in 1856 and dying only twenty-one years later of tuberculosis, the young Bengali writer Toru Dutt wrote novels and poems in English and French, translated French poetry into English, and toward the end of her life revisited Bengali myths and tales from the Ramayana in her poetry. Her multilingual poems and translations have traditionally been interpreted as seeking to dissolve or fragment cultural differences. This essay instead argues for Dutt seeking to consolidate difference, reconceived as possibility: by distributing her poems to friends in England and receiving gifts of

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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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Firoze Basu. "Goethe’s “Welt” poet in Bengal: The Influence of World Literature on Jibanananda Das and other Bengali Poets of the 1930s-40s." Creative Launcher 6, no. 3 (2021): 1–8. http://dx.doi.org/10.53032/tcl.2021.6.3.01.

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This study aims to establish a link between the concept of “Weltliteratur” or World Literature, in terms of the free movement of literary themes and ideas between nations in original form or translation, and the Bengali poets of the thirties and forties who actively translated French and German poets. It identifies Johann Wolfgang von Goethe's (1749-1832) concept of World Literature as a vehicle for the Kallol Jug poets. Johann Wolfgang von Goethe introduced the concept of “Weltliteratur” in a few of his essays in the first half of the nineteenth century to describe the international circulati

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Gupta, Suman. "Translating from Bengali into English." Babel. Revue internationale de la traduction / International Journal of Translation 43, no. 3 (1997): 251–66. http://dx.doi.org/10.1075/babel.43.3.05gup.

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Abstract This paper presents a series of observations arising from the experience of translating Jibanananda Das's Bengali poetry into English. Though the emphasis is on the practice of translation the observations in question are foregrounded against the perspective of theories of translation studies. The first part of the paper demarcates the scope of the paper in theoretical terms. Several possible approaches to translations of Jibanananda Das (in terms of process, end product, and sociological connotation) are considered with a view to focusing on practical observations. In the course of t

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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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Chapman, Alison. "INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”." Victorian Literature and Culture 42, no. 3 (2014): 595–608. http://dx.doi.org/10.1017/s1060150314000163.

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“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-centu

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Petievich, Carla, and Max Stille. "Emotions in performance: Poetry and preaching." Indian Economic & Social History Review 54, no. 1 (2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.

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Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of th

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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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Chatterjee, Kumkum. "Book Review: Poetry and History: Bengali Mangalkabya and Social Change in Precolonial Bengal and Bankim Chandra Chattopadhyay: An Intellectual Biography." Indian Economic & Social History Review 48, no. 4 (2011): 598–601. http://dx.doi.org/10.1177/001946461104800407.

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Yasmeen, Jabeen. "Bengali Muslims in Assam and ‘Miyah’ Poetry: Walking on the Shifting Terrains of ‘Na-Asamiya’ and ‘Infiltrator’." Journal of Migration Affairs 1, no. 2 (2019): 69. http://dx.doi.org/10.36931/jma.2019.1.2.69-84.

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Palmer, Bryan D. "The Essential E.P. Thompson, edited by Dorothy Thompson. New Press: New York, 2001. x + 498 pp. $45.00 cloth; $21.95 paper." International Labor and Working-Class History 66 (October 2004): 183–88. http://dx.doi.org/10.1017/s014754790423023x.

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E.P. Thompson was nursed on a mother's milk of transatlantic missionary work and writings on the Middle East that reached back to the last half of the nineteenth century. Fathered on Bengali literature, the poetry of the Great War, cricket with the likes of Nehru, and the struggle for Indian independence, Thompson was born into a highly literate and deeply politicized global village. Small wonder that at seventeen he was an anti-fascist and a soldier. But he took a wide Left turn, following in a brother's footsteps, to become a Marxist and a Communist in his twenties, only to find himself, by

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Bowen, John R. "A Modernist Muslim Poetic: Irony and Social Critique in Gayo Islamic Verse." Journal of Asian Studies 52, no. 3 (1993): 629–46. http://dx.doi.org/10.2307/2058857.

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Muslim movements in the twentieth century have sought to develop new reading and listening publics attuned to the messages of reform and renewal. Across Asia and the Middle East, scholars, poets, and activists have created distinctive vernacular genres intended to make the words of scripture widely available. Newspaper columns, quickly printed tracts, and popular poetry have been shaped to the task of tafsīr, the interpretation of scripture. International networks of printers, booksellers, and, more recently, television producers have extended the reformist's reach far beyond older networks of

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18

Pati, George. "Poetry and History: Bengali Maṅgal-kābya and Social Change in Precolonial Bengal. By David L. Curley. New Delhi: Chronicle Books, 2008. 296 pp. $46.95 (cloth)." Journal of Asian Studies 70, № 1 (2011): 273–75. http://dx.doi.org/10.1017/s002191181000358x.

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Эралиева, Ы. "ИНДИЙСКАЯ ЛИТЕРАТУРА В РУССКИХ И КЫРГЫЗСКИХ ТРАНСФОРМАЦИЯХ". Vestnik Bishkek Humanities University, № 50 (15 січня 2020): 88–91. http://dx.doi.org/10.35254/bhu.2019.50.52.

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Аннотация: В данной статье прослеживается эволюция переводов индийской литературы на русский язык, осуществленные в ХХ веке с санскрита, с урду, с хинди, с гуджарати, с ория, с маратхи, с бенгальского, а также с английских переводов. На кыргызский язык произведения индийской литературы были переведены с русских трансформаций во второй половине ХХ века. В статье анализируется эквивалентность оригиналов и переложений на русский и кыргызский языки, дана оценка значимости и художественной ценности переложений. Также оценивается интеллектуальный труд русских и кыргызских переводчиков, открывших для

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Chaudhuri, Rosinka. "History in Poetry: Nabinchandra Sen's Palashir Yuddha and the Question of Truth." Journal of Asian Studies 66, no. 4 (2007): 897–918. http://dx.doi.org/10.1017/s0021911807001246.

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History, it seems, has to attain a degree of scientificity, resident in the truth-value of its narrative, before it can be called history, as distinguished from the purely literary or political. Invoking the work of Jacques Rancière and Hayden White, this essay investigates the manner in which history becomes a science through a detour that gives speech a regime of truth. It does this by exploring the nineteenth-century relationship of history to poetry and to truth in the context of the emerging discipline of history in Bengal. The question is discussed in relation to a patriotic poem, Palash

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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.

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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of

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22

Riddiford, Alexander. "Homer's Iliad and the Meghanādbadha Kābya of Michael Madhusūdan Datta." Bulletin of the School of Oriental and African Studies 72, no. 2 (2009): 335–56. http://dx.doi.org/10.1017/s0041977x09000548.

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AbstractThe debt owed to Homer's Iliad by the Meghanādbadha Kābya (1861), Michael Madhusūdan Datta's Bengali epic and masterpiece, has long been recognized but has never been examined with any close or academically sensitive reference to the Greek poem. This study sets out to examine the use of the Homeric epic as a model for the Bengali poem, with particular regard to character correspondences, the figure of the simile and narrative structure. In addition to this close analysis, Datta's response to the Iliad will be set in the context of contemporary (and earlier) British receptions of the Ho

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Dezső, Csaba. "Inspired Poetry: Śāntākaragupta’s Play on the Legend of Prince Sudhana and the Kinnarī." Indo-Iranian Journal 57, no. 1-2 (2014): 73–104. http://dx.doi.org/10.1163/15728536-05701016.

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A fragment of a play written on the Buddhist legend of prince Sudhana and the kinnarī has been microfilmed by the Nepal-German Manuscript Preservation Project. It was probably written at the end of the eleventh century in Bengal by a Buddhist scholar called Śāntākaragupta. The present article contains a critical edition and an English translation of the fragment, as well as an analysis of the intertextuality of the play and especially the literary influences that shaped the author’s poetic diction.

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Kushari Dyson, Ketaki. "The Phenomenal Legacy of Rabindranath Tagore." Asian Studies, no. 1 (December 1, 2010): 37–44. http://dx.doi.org/10.4312/as.2010.-14.1.37-44.

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Belonging to a generation of Bengalis who received Tagore as an acknowledged classic of their tradition, I grew up reading his books, listening to his music, watching his dance-dramas, and writing poetry under the inspiration of his words. This youthful appreciation of Tagore eventually led to a deeper understanding of his stature as an artist and thinker, but it was only when I entered Tagore studies in a more formal manner that I realized how truly spectacular his achievements were from an international perspective. Tagore was fortunate in that his time, place, and circumstances allowed him

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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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Knutson, Jesse Ross. "The Political Poetic of the Sena Court." Journal of Asian Studies 69, no. 2 (2010): 371–401. http://dx.doi.org/10.1017/s0021911810000033.

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Through a study of the corpus of contemporary literary depictions of the early medieval/medieval king of Bengal, Lakṣmaṇasena, in the works of the royal literary salon, this essay defines a cluster of poetic elements inseparable from the monarch. It suggests that this official poetic projects its proximity to the contemporary Turkish invasion (ca. 1205 ce), and the attendant crisis and restructuring of the Sena state. Some idiosyncratic poems, however, evince a historical dynamic that is both distinct and inseparable from the official poetic: the proud assertion of a Sanskrit literary provinci

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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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Seely, Clinton B., and Rachel Fell McDermott. "Mother of My Heart, Daughter of My Dreams: Kali and Uma in the Devotional Poetry of Bengal." Journal of the American Oriental Society 123, no. 2 (2003): 423. http://dx.doi.org/10.2307/3217707.

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Kane, Tom. "Tagore's School and Methodology: Classrooms Without Walls." Gitanjali & Beyond 1, no. 1 (2016): 83. http://dx.doi.org/10.14297/gnb.1.1.83-101.

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This paper argues that Rabindranath Tagore, a very practical man, developed a distinctive and successful educational methodology over the course of his work in educational systems. The paper seeks to show that Tagore drew inspiration and direction from extraordinary times, and extraordinary people of those times. The paper establishes the Tagore family’s place within the ongoing Bengali Renaissance; and to Tagore’s place among remarkable individuals, particularly Jagadish Chandra Bose and Patrick Geddes. The paper looks to the emergence of the poet’s educational institutions from spiritual and

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Buchta, David. "Into the Twilight of Sanskrit Court Poetry. The Sena Salon of Bengal and Beyond. By Jesse Ross Knutson." Journal of Hindu Studies 9, no. 3 (2016): 364–66. http://dx.doi.org/10.1093/jhs/hiw025.

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Salomon, Carol. "Mother of My Heart, Daughter of My Dreams: Kāliī and Umā in the Devotional Poetry of Bengal. Rachel Fell McDermott." Journal of Religion 83, no. 4 (2003): 675–76. http://dx.doi.org/10.1086/491449.

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Шарма Сушіл Кумар. "Why Desist Hyphenated Identities? Reading Syed Amanuddin's Don't Call Me Indo-Anglian." East European Journal of Psycholinguistics 5, no. 2 (2018): 92–107. http://dx.doi.org/10.29038/eejpl.2018.5.2.sha.

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The paper analyses Syed Amanuddin’s “Don’t Call Me Indo-Anglian” from the perspective of a cultural materialist. In an effort to understand Amanuddin’s contempt for the term, the matrix of identity, language and cultural ideology has been explored. The politics of the representation of the self and the other that creates a chasm among human beings has also been discussed. The impact of the British colonialism on the language and psyche of people has been taken into account. This is best visible in the seemingly innocent introduction of English in India as medium of instruction which has subseq

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Padoux, André. "Rachel Fell Mcdermott, Mother of my Heart, Daughter of my Dreams. Kali and Uma in the Devotional Poetry of Benga / Singing to the Goddess. Poems to Kālī and Umā from Bengal." Archives de sciences sociales des religions, no. 126 (April 1, 2004): 47–112. http://dx.doi.org/10.4000/assr.2240.

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Mitra, Kamalika. "A Home in the World: People and Places in Rabindranath Tagore’s Chaturanga." Gitanjali & Beyond 2, no. 1 (2018): 66–78. http://dx.doi.org/10.14297/gnb.2.1.66-78.

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There is a tendency in literature to poeticise rural settings over their urban counterparts based on the proposition that villages bring human beings closer to nature, whereas cities come between them. Problems born and accentuated in urban environments are often, in fiction and poetry, resolved in a more rural atmosphere. In his 1916 novella Chaturanga, Rabindranath Tagore seems to challenge this popular inclination. The story begins in Calcutta, moves to rural Bengal and then returns to the city. After his uncle, who was also his father-figure, philosopher and guide, dies, Sachish disappears

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Tournier, Vincent. "A Tide of Merit." Indo-Iranian Journal 61, no. 1 (2018): 20–96. http://dx.doi.org/10.1163/15728536-06101003.

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Abstract Stressing the importance of 5th–6th-century copper-plate charters connected to the Viṣṇukuṇḍin dynasty for the history of Buddhism in Āndhradeśa, this article demonstrates that, contrary to earlier scholarly assumptions, and despite the paucity of archeological evidence for Buddhist activity at that time, Buddhist lineages still benefitted from lavish donations by ruling families. This study consists of three parts: the first explores the representation of two Viṣṇukuṇḍin rulers as Buddhist kings, and shows how their portraits and their aspirations are permeated by the ideology of the

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Khan, Mohammad Abu Tayyub. "Qazi Nazrul Islam For Women’s Emancipation." Pakistan Journal of Gender Studies 3, no. 1 (2010): 45–51. http://dx.doi.org/10.46568/pjgs.v3i1.369.

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Poet Qazi Nazrul Islam, as a poet always commanded a highly privileged position amongst the youth of Bengal in pre-partition India. The emergence of the women’s movement throughout the world, the work of the United Nations on women’s issues has an emancipation of over half of humankind from the oppression in which they have lived for centuries for over two millenniums. Although the United Nations has not succeeded in its goals, the very prospect of effecting such emancipation carries with it the promise of bringing the greatest revolution in human history. The end of World War II, witnessed th

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Urban, Hugh B. "Mother of My Heart, Daughter of My Dreams: Kālī and Umā in the Devotional Poetry of Bengal. By Rachel Fell McDermott. New York: Oxford University Press, 2001. Pp. xvii+ 437. $65.00.Singing to the Goddess: Poems to Kālī and Umā from Bengal. By Rachel Fell McDermott. New York: Oxford University Press, 2001. Pp. viii+189. $19.95." History of Religions 42, no. 3 (2003): 262–65. http://dx.doi.org/10.1086/375102.

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Sarkar, Bihani. "Jesse Ross Knutson : Into the Twilight of Sanskrit Court Poetry: The Sena Salon of Bengal and Beyond. (South Asia Across the Disciplines.) Berkeley and Los Angeles: University of California Press, 2014. £41.95. ISBN 978 0 520 28205 6." Bulletin of the School of Oriental and African Studies 79, no. 2 (2016): 438–40. http://dx.doi.org/10.1017/s0041977x16000379.

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Pauwels, Heidi. "Into the Twilight of Sanskrit Court Poetry: The Sena Salon of Bengal and Beyond. By Jesse Ross Knutson. Berkeley: University of California Press, 2014. x, 210 pp. ISBN: 9780520282056 (cloth, also available in paper and as e-book)." Journal of Asian Studies 77, no. 4 (2018): 1119–21. http://dx.doi.org/10.1017/s0021911818001304.

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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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Furui, Ryosuke. "Into the Twilight of Sanskrit Court Poetry: The Sena Salon of Bengal and Beyond. By Jesse Ross Knutson. Berkeley, Los Angeles and London: University of California Press, 2014. Pp. x + 210. ISBN 10: 0520282051; ISBN 13: 978-0-520-28205-6." International Journal of Asian Studies 13, no. 2 (2016): 243–45. http://dx.doi.org/10.1017/s1479591416000097.

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Chatterji, Roma. "Book reviews and notices : RACHEL FELL McDERMOTT, Mother of my heart, daughter of my dreams. Kālī and Umā in the devotional poetry of Bengal. New York: Oxford University Press, 2001. xvii + 437 pp. Figures, plates, notes, bibliography, glossary, index. AND RACHEL FELL McDERMOTT, Singing to the goddess. Poems to Kālī and Umā from Bengal. New York: Oxford University Press, 2001. vii + 189 pp. Figures, plates, notes, index." Contributions to Indian Sociology 36, no. 3 (2002): 570–72. http://dx.doi.org/10.1177/006996670203600314.

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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.

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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters

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Шарма Сушіл Кумар. "Indo-Anglian: Connotations and Denotations." East European Journal of Psycholinguistics 5, no. 1 (2018): 45–69. http://dx.doi.org/10.29038/eejpl.2018.5.1.sha.

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A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with th

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"Poetry from Bengal. Translated from Bengali by Ron D.K. Banerjee." Babel. Revue internationale de la traduction / International Journal of Translation 36, no. 4 (1990): 236. http://dx.doi.org/10.1075/babel.36.4.12ron.

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Sarangi, Jaydeep. "‘Time writes its own script ...’ A Conversation with Sharmila Ray." Writers in Conversation 5, no. 2 (2018). http://dx.doi.org/10.22356/wic.v5i2.35.

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Sharmila Ray is an Indian poet and non-fiction essayist writing in English, anthologised and featured in India and abroad. Her poems, short stories and non-fictional essays have appeared in various national and international magazines and journals since the late 1990s. She is an Associate Professor and Head of the Department of History at City College, Kolkata. She was on the English Board of Sahitya Akademi. She was the editor of The Journal (Poetry Society India) and looked after a column ‘Moving Hand Writes’, Times of India, Kolkata. Currently she is the vice-president of the Intercultural

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Sarangi, Jaydeep, and Anurima Chanda. "Writing Back." Writers in Conversation 7, no. 1 (2020). http://dx.doi.org/10.22356/wic.v7i1.68.

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Shyamal Kumar Pramanik is an author on social and political values and an engaging writer of Dalit literature and movement. His works glitter with pain, angst and social good will. For him, writing is a commitment, social and political. Dalit literature is born out of ideological warfare. Pramanik is a socially committed artist with many works under his belt. All his works lead us to a better society based on justice, equality and fraternity.His collection of Dalit poetry titled Aguner Bornomala was first published in 2000 in Bengali. In 2019, it was published in English as Fiery Garland of Le

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Mitra, Zinia, and Jaydeep Sarangi. "The Hungryalist Movement in Bengal: A Conversation with Malay Roychoudhury." Writers in Conversation 6, no. 2 (2019). http://dx.doi.org/10.22356/wic.v6i2.53.

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Malay Roychoudhury (1939) is an Indian Bengali poet, playwright, short story writer, essayist and novelist who founded the Hungryalist movement in the 1960s which changed the course of avant-garde Bengali literature and painting. His best-known poetry collections are Medhar Batanukul Ghungur, Jakham and Matha Ketey Pathachhi Jatno korey Rekho; and his novels Dubjaley Jetuku Proshwas and Naamgandho. He has written more than hundred books. He was given the Sahitya Academy award, the Indian government's highest honour in the field, in 2003 for translating Dharamvir Bharati's Hindi fiction Suraj K

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Chatterjee, Chandrani, and Milind Malshe. "Translation and Literary Genres: A Case Study of Poetry in Bengali and Marathi." Translation Today 2, no. 2 (2005). http://dx.doi.org/10.46623/tt/2005.2.2.ar9.

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Chatterjee, Chandrani. "Genres and Multilingual Contexts: The Translational Culture of Nineteenth-Century Calcutta." Translation Today 15, no. 1 (2021). http://dx.doi.org/10.46623/tt/2021.15.1.ar2.

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Nineteenth-century Calcutta has been widely researched to understand its role in the making of a ‘modern’ India. However, the ‘translational’ culture of this period has not received enough attention. The present article traces what it terms Calcutta’s ‘translational culture’ by examining a palimpsest of languages and genres through the mediating role of translation. Nineteenth-century was a time when several languages were competing for space in the making of modern Bengali prose. Most of the writers of the time were negotiating a plural and multilingual domain and experimenting withnew styles

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