Programme N°186
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Folklore and Folkloristics; Vol. 4, No. 2. (December 2011) Bengali Graphic
Folklore and Folkloristics; Vol. 4, No. 2. (December 2011) Article-4 Bengali graphic novels for children-Sustaining an intangible heritage of storytelling traditions from oral to contemporary literature - Dr. Lopamudra Maitra Abstract The paper looks into graphic novels acting as an important part of preserving and sustaining a part of intangible heritage and a specific trend of socio-cultural traditions pertaining to children across the globe- the art of storytelling. In West Bengal, the art of storytelling for children sustains itself through time through various proverbs, anecdotes, rhymes and stories, handed down from generations and expressing more than mere words in oral tradition. Occupying a significant aspect of communication even in recent times, the publication and recent popularity of several graphic novels in Bengali have reintroduced several of these stories from oral tradition yet again with the help of popular culture. Along with the plethora of such stories from oral tradition is the recent range of literature for children in Bengali. Thus, the variety of graphic novels include various stories which were collected and published from oral traditions nearly a hundred years back, to the most recent creations of printed literature for children. The conceptions embrace the efforts of stalwarts of Bengali children’s literature, including, Dakkhinaranjan Mitra Majumdar, Upendrakishore Raychowdhury, Sukumar Ray, Satyajit Ray, Shibram Chakraborty, Narayan Gangopadhyay, Premendra Mitra and others. Exploring a significant part of the intangible heritage of mankind- the art of storytelling for children survives across the globe in varied and myriad hues of expression- with two significant contributors occupying centre stage- the narrator and the listener. -
Satyajit Ray Season Reveals the Enduring Versatility and Masterly Satyajit Ray: Part Two Style of the Indian Director
22 The second part of our major Satyajit Ray season reveals the enduring versatility and masterly Satyajit Ray: Part Two style of the Indian director. But his later output is marked by a darkening mood that reflects Ray’s This second part of Ray’s career begins And his exquisite historical drama about on a sunny note. The Adventures of the British military takeover of Lucknow ambivalence towards the society he lived in, Goopy and Bagha was his most popular in 1856, The Chess Players, was equally argues Andrew Robinson. film in Bengal, with children and adults concerned with individual morality singing its Bengali songs on the streets as with political systems. But his two for months. ‘Maharaja, We Salute You’ detective films, The Golden Fortress was spontaneously sung by the crowds and The Elephant God, based on his at Ray’s funeral in 1992. own Holmes-and-Watson-style Bengali But then his mood darkened, first into the duo, betrayed a declining belief in official wincing irony of Days and Nights in the justice. In Deliverance, a stark attack on Forest, afterwards into a political trilogy: the cruelty of Untouchability, Ray moved The Adversary, Company Limited about as far from the hopefulness of and The Middleman. From 1969, the Pather Panchali as it was possible to go. Naxalite movement inspired by Maoism Ray’s last three films, though not without rocked Bengal through terrorist acts his trademark comedy, were urgent by young Bengalis, followed by horrific warnings to his fellow citizens against police and army reprisals, and a period religious fundamentalism and social of national Emergency declared by Indira corruption. -
Conditions of Visibility : People's Imagination
CONDITIONS OF VISIBILITY: PEOPLE’S IMAGINATION AND * GOOPY GYNE BAGHA BYNE MIHIR BHATTACHARYA 1. The disappearance of the female The only members of the female sex in Goopy Gyne Bagha Byne (henceforth GGBB) happen to be the two princesses offered as prize to the two plebeian adventurers. The girls do not speak, nor do they act; they appear to have neither any volition nor agency; obedient to the strict coding for women, they do not in fact look at any one, including their prospective grooms (much to the disappointment of Bagha, who is keen to have a reality check on the object of his dreams), and they lift their veil only when they are startled by the magic change of costume by Goopy and Bagha. Incidentally, that is the only occasion in the narrative when the viewer catches a glimpse of the girls’ faces, because the earlier long shot of Manimala, the Shundi King’s daughter, was kept deliberately indistinct. Appropriately enough, she is placed high on a balcony of the lofty palace, glimpsed by the two commoners standing humbly on the ground. The spectator has to share the point-of-view of Goopy and Bagha, both physically and psychologically. It is thus that a traditional material goal (the princess usually comes with half a kingdom)1, which will formalize the closure, enters the narrative. And it is here that the inescapable logic of the folktale, which ordains the princess as a distant prize to be won by a plucky - and lucky- adventurer, meets the diegetic demands of suspense articulated by Bagha at the moment of * (aka The Adventures of Goopy Gyne Bagha Byne),1968. -
Auditorium DU Musée GUIMET 6, Place D'iéna PARIS
DONT GRÂCE AU SOUTIEN DE L’AMBASSADE DE L’INDE EN FRANCE DU 8 SEPTEMBRE AU 29 OCTOBRE 2010 AUDITORIUM DU MUSÉE GUIMET 6, PLACE D’IÉNA PARIS 16e Renseignements et réservations 01 40 73 88 18 [email protected] programme 1.indd 1 12/07/10 11:49:49 par France Bhattacharya, professeur émérite des Mercredi 13 octobre à 12h15 Universités, programme Inde et Asie du sud, Fondation Maison des sciences de l’homme LA GRANDE VILLE (MAHANAGAR) Fiction de Satyajit Ray, 1963, 2h11’, noir et blanc, Tagore a su dépasser les limites géographi- VO bengali STF ques et culturelles que lui imposait sa naissan- FILMS ce pour devenir une figure emblématique de la Mahanagar est un film moderne et féministe sur Mercredi 8 septembre à 12h15 sagesse et de la largeur de vue indiennes sur la position d’une femme de la classe moyenne plusieurs continents et cela à jamais. Grâce à qui accède difficilement mais admirablement TROIS FEMMES (TEEN KANYA) son génie et à son influence, la « Renaissance au monde du travail et qui, face à un cas de Fiction de Satyajit Ray, 1961, 2h57’, noir et blanc, du Bengale » n’a pas été une formule hyperbo- conscience, répond par un acte de solidarité. VO bengali STF lique contestée. C’est aussi la première rencontre cinématogra- D’après trois nouvelles de Rabindranath Tagore, phique entre Satyajit Ray et Madhabi Mukherjee scénario et musique de Satyajit Ray. FILMS avec qui il tourne l’année suivante l’inoubliable Le directeur de la poste (Postmaster), 56’ Lundi 27 septembre à 12h15 Charulata. -
Café Dissensus We Dissent
Café Dissensus we dissent About Us Editorial Board Announcements Previous Issues Cafe Dissensus Everyday Submissions Contact Us Aesthetic enclosure and insurgent critique in Ray’s fantasy fables SEARCH CAFE DISSENSUS by Café Dissensus on May 6, 2021 Search By Sayandeb Chowdhury CREATIVE COMMONS 1 LICENSE Satyajit Ray’s Goopy Gyne Bagha This work is licensed under a Creative Byne (The Adventures of Goopy Commons Attribution-NonCommercial- and Bagha, 1969, hereafter NoDerivs 3.0 Unported License. Goopy Gyne) and the follow-up fantasy Hirok Rajar Deshe (In the Land MAGAZINE PAGE HIT STATS of Diamond King, 1980) are two parts of a trilogy of fabular musicals for children.[1] Or so is what they have been mostly, if 674,913 hits not always, remembered as. Ray had often felt that films for FOLLOW CAFE DISSENSUS children made locally were unable to satisfactorily capture their ON TWITTER imagination. More often than not, those films sentimentalized childhood, or treated them as part of a sealed world full of over- virtuous creatures. So when Ray’s young son Sandip beseeched him to make a film that was less adult and adroit than his usual lot, it stayed with him. His son’s pleading, says Andrew Robinson, “chimed with Satyajit’s own desire to reach out to children by giving them something vital, original, and Bengali, which he felt did not necessarily mean having a child actor.”[2] This also meant going back to a familial commendation. As Robinson adds, “Goopy and Bagha released the pent-up love of fantasy in Satyajit Ray that is given free rein in his grandfather’s and father’s work… its Tweets by @CafeDissensus inspiration comes from Upendrakisore, while that of The Kingdom Cafe Dissensus Retweeted Praveen Thallapelli of Diamonds derives more from Sukumar; its word play and juggling @Praveen_Tulasi of ideas are much akin to his plays.”[3] On the new developments in #Telangana led by @Eatala_Rajender There is a problem, however, in seeing the two films exclusively as I write on Self-Respect, Etala Rajender and TRS (@trspartyonline) in @CafeDissensus Everyday. -
Model Specimen Paper 1 English - I
Model Specimen Paper 1 English - I Answer 1. (a) In my college days, I made many friends who came from different backgrounds, caste and creed. Three of us—all of different castes—became close friends at college. Even outside the college, we frequently visited each other’s houses without hesitation. However, I had another friend who was completely different from all other boys not only in our class but in the entire college. He stood out in a crowd due to his unique sense of dressing. He was a Buddhist monk from erstwhile Burma (now Myanmar). Although a monk, he had come to graduate in History from Delhi University and had further planned to do his Masters in Buddhist history from Calcutta University. His name was Anupam Lobo. There were other students from various countries e.g., South Africa, Romania, Canada etc., but this boy stood out amongst all. At first he would maintain his distance from everybody, confining himself to his room. He stayed in the college hostel but never invited any one to his room. During the first year, he was seldom seen at any social hang-outs. He liked to be secluded and seemed to be either eccentric or egotistic or simply an introvert. Little did we know about the reason behind his strange demeanour. He would be seen during classes taking notes and putting up questions occasionally, in all graveness. He never missed a class which showed his devotion towards his studies. The only other place that he seemed to frequent was the library where he could be seen studying about the Buddhist culture and history. -
DETECTIVE FICTION Feluda Is One of Satyajit Ray's Greatest Creations
DETECTIVE FICTION Feluda is one of Satyajit Ray’s greatest creations but is he too brilliant for the movies? Although Ray’s version of ‘Sonar Kella’ is a fan favourite, ‘Joi Baba Felunath’ points to the perils of adaptation. Nandini Ramnath Jun 07, 2021 · 10:30 am Soumitra Chatterjee in Joi Baba Felunath (1979) | RD Bansal Productions Satyajit Ray’s novel The Mystery of the Elephant God begins with a peek into its creator’s precise mind. The private detective Feluda berates the hyperbole-prone novelist Jatayu for describing the Durga puja celebrations in Varanasi as “spectacular”. The word is banal and doesn’t explain why the event is important, Feluda tells Jatayu. When Jatayu elaborates, “I still remember my eyes and ears being dazzled by what I saw,” Feluda finally approves. This description appeals to the senses, he says. Ray adapted the book into a movie in 1979. Joi Baba Felunath was Ray’s second Feluda adaptation after Sonar Kella. In both films, the same set of actors played the casually sexy sleuth, his loyal cousin and sidekick Topshe and their hilarious pulp fiction writer friend Jatayu. Giving Soumitra Chatterjee, Siddhartha Chatterjee and Santosh Dutta company in Joi Baba Felunath was Utpal Dutt as the sinister Maganlal Meghraj. The Bengali-language movie, which is being streamed on Mubi India, is entertaining enough. Yet, it underscores the conundrum of a brilliant director unable to keep up with his brilliant writing. Ray cut out the plot points that were possibly difficult to film and changed the ending, weakening the mystery in the process. -
Statelessness, Politics of Self and Other, Gender Battle, Issue of Species Superiority, International Politics, Marginalized
International Journal of English Literature and Social Sciences (IJELS) Vol-4, Issue-1, Jan - Feb, 2019 https://dx.doi.org/10.22161/ijels.4.1.36 ISSN: 2456-7620 Statelessness, Politics of Self and Other, Gender Battle, Issue of Species Superiority, International Politics, Marginalized Voices and A Comparative Analysis of Al-Hakim’s Egypt and Today’s Egypt in Fate of a Cockroach Partha Sarathi Mandal Research Scholar, Raiganj University, West Bengal, India Email: [email protected] Abstract— Fate of a Cockroach (1973) brilliantly value. This play is an inspired, thoughtful and portrays statelessness, policy paralysis, lethargy in taking vigorous denunciation of Egyptian (and Arab) effective decision, overpowering clutches of a self- politics and policies as he saw them in the years declared cockroach King who is unable to take any immediately prior to the June War and his last direct decision in order to eliminate the threats coming from the dramatic word on Abd an Nasir. ants vis-à-vis this play also showcases a struggle for survival. The cockroach’s tireless fight for freedom is —Richard Long inspiring for us because life is not a bed of roses; it is full Turning and turning in the widening gyre of challenges and pricks. If a ruler fails to lead his nation The falcon cannot hear the falconer; he is not eligible for the post. Individualistic cockroaches Things fall apart; the centre cannot hold; stand in complete opposite to the ants who believe in the Mere anarchy is loosed upon the world, mantra of collective efforts. Today’s Egypt also under the presidency of Sisi desperately needs peace and stability —William Butler Yeats because Sisi is accused of his authoritarian and QUEEN Don’t apologize! My position is like yours. -
Retrospektive Oktober 1999
Retrospektive Viennale 1999 *•"? >t ■'■ S--Ä •• > g. • • ' Ä'S * •!-V , •: ,'i >. '• ? V >\ "..-f. •• ■ ■' { •' • -?v*|llf •liSlfli'?' • f- pH Ii' CESTERREICHISCHES FILMMUSEUM 1 ■ :)/wn Oktober 1999 i |j* RETROSPEKTIVE Unter dem Ehrenschutz des indischen Botschafters S.E. Yogesh Mohan Diwari und in Anwesenheit von Bijoya Ray und Sandip Ray IN ZUSAMMENARBEIT MIT ADITI NATH SARKAR R.D BANSAL DILIP BASU • <AMAL BASU • KETTY BEUNEL SARBANI BHATTACHARYA • D.B. BISWAS N, CHOÜDOURY KITTY COOPER • CHRISTIAN DIMITRIU SJE. YOGESH MOHAN DIWARI HERVE DUMONT ANDY ENGEL MICHAEL FRIEND - CAT HERINE C.AUTIEF SUBIR GUHA WINFRIED GÜNTHER ■ SURESH JINDAL • ERIC LIKNAITZKY • DAN NISSEN BHARAT RANA SANDIP RAY PARTHA SATPATHY HIMACHAL SOM BERNARD UHLMANN GERARD VAUGEOIS ACADEMY FILM ARCHIVE, BEVERLY HILLS ARTIFICIAL EYE COMPANY. L< )NDON ASSOCIATED ENTERPRISES. CALCUTTA AURORA FILM CORP. PRIVATE LTD., CALCUTTA BALAKA MOVIES, CALC.UTTA • CHITRANJALI PROPRIETORS, CALCUTTA CINEMATHEQUE SUISSE, LAUSANNE CONTEMPORARY FILMS, ijoNDON DANISH FILMINSTITUTE. THE, KOPENHAGEN • DEVKI CHI! RA PRODUCTJONS INDISCHE BOTSCHAFT, WIEN FLAF SEKRETARIAT, BRÜSSEL FILMS DE LA GOUTTE D'OR. PARIS LES FILMS DE L'ATALANTE, PARIS • FREUNDE DER DEU rSCHEN K1NEMAIHEK. BERLIN GOVERNMENT ÖF IND1A. FILM DIVISION GOVERNMENT ÖF WEST BENGAL INDIAN COUNCIL FOR CULTURAL RELATIONS (K'CR), NEW DELHI INDUS FILMS LITTLE CINEMA CALCUTTA PVT LTD.. CALCUTTA NANDAN WEST-BENC.AL FTLM-CENTER. CALCUTTA NATIONAL CENTRE FOR THE PERFORMING ARTS. BOMBAY • NATIONAL FILM DEVELOPMENT CORPORATION LTD.. BOMBAY PIYALI -
Ogo Bodhu Sundari Free Movie Download
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Husband Name POST NAME Gender 1 NURNIHAR KHATUN SK HALIM
Father/ Husband Sl No Name Address POST NAME Gender Name PURBA BARDHAMAN 1 NURNIHAR KHATUN SK HALIM GODA MONDAL PARA 26 BURDWAN Assistant Cashier Female PIN 713101 RADHAGOBINDA DIST-PURBA 2 SUBHRAJIT ROY CHANCHAL ROY PO-NATUNGANJ Assistant Cashier Male PALLY RAJGANJ BARDHAMAN 713103 ABDUL OUYAB ALI DIST-COOCHBEHAR 3 GOLGER ALI AHAMED VILL+PO-SHILGHAGRI PS-BOXIRHAT Assistant Cashier Male AHAMED 736131 DIST-PURBA BABLU PROSAD VILL-POLEMPORE PO- 4 SUJAN CHAKRABORTY BARDHAMAN Assistant Cashier Male CHAKRABORTY MACHKHANDA 713103 RATHTALA,PURATAN PO- 5 SOMASREE DAS SUBHASH DAS DIST-BWN,713102 Assistant Cashier Female COLONY KANCHANNAGAR RAJ COLLEGIATE 6 SAPTARSI ROY RAJAT BARAN ROY NATUNGANJ BARDHAMAN-713102 Assistant Cashier Male SCHOOL ROAD VIVEKANANDA DIST-PURBA 7 MALAY CHATERJEE RAJGANJ PO-NATUNGANJ Assistant Cashier Male CHATERJEE BARDHAMAN 713102 UDAY KUMAR DIST-PURBA 8 SUCHANDAN GHOSH VILL+PO-DIGNAGAR PS-AUSGRAM Assistant Cashier Male GHOSH BARDHAMAN 713128 TINKONIA , GOOD'S PURBA 9 ARUN MONDAL ASHOKE MONDAL WEST BENGAL , 713101 Assistant Cashier Male SHED ROAD BARDHAMAN 293 PARUI MAIN 10 ABHISEK MAZUMDER ASIT MAZUMDER KOLKATA 61 Assistant Cashier Male ROAD HARINARAYANPUR BARDHAMAN 11 RINKY PRASAD ARJUN PRASAD Assistant Cashier Female NAGER PARA 713101 VILL-POLEMPUR,PO- PS- DIST-PURBA 12 RAJDEEP SARKAR PRASANTA SARKAR Assistant Cashier Male MACHKHANDA KHANDAGHOSH BARDHAMAN 713103 RATHTALA PS-BARDHAMAN DIST-PURBA 13 SONALI OJHA BISWAJIT OJHA AAMBAGAN PO- Assistant Cashier Female SADAR BARDHAMAN 713102 KANCHANNAGAR Father/ Husband Sl No -
Cover January 2021
Contents MONTHLY BULLETIN, JANUARY 2021 From the Desk of the General Secretary 1 ¤ô@ýÌ î„y‹þyîû ¤?¡ !þ›S%éØþyl 25 माननीयसस्ं 啃 तिमं配ी्ादौरा:ए्ररपोर㔟 2 }•þôä ô%öì‡yþ›y™Äyëû तिमानचक्रवि酀 Uttara Chakraborty (Sen) (1944-2020) 29 Notice of 237th Annual General Meeting 4 Benjamin Zachariah Agenda of Monthly Meeting of January 2021 6 Tribute from Scholars of Women’s History 30 238th Foundation Day Celebration Programme 7 Aparna Bandyopadhyay Uttara Chakraborty and the Making of Soumitra Chatterjee and Satyajit Ray’s Time Past and Time Present 33 Apur Sansar : Some Reflections 9 Subhas Ranjan Chakraborty MadhuSingh Ramkrishna Chatterjee Soumitra Chatterjee and Pradosh C. Mitter: Professor Vinay Kumar Srivastava Feluda’s Celluloid life and an alter-ego! 12 (3.12.1952-23.12.2020) 35 Rudrani Mukherjee Satyabrata Chakrabarti ö¤ï!ôe ‹þöìRyþ›y™Äyöìëûîû !íöìëûØþyîû ‹þ‹Åþy 15 Maradona’s Moments: FIFA World Cup, !lôÅ¡ îöìr˜Äyþ›y™Äyëû Argentina and Bengali Fandom 36 গভীর শনর㖜ন পদথ সুধীর চক্রব쇍釀 17 Kausik Bandyopadhyay ö˜îy!¢¤ ô%öì‡yþ›y™Äyëû Madhuśrenika : A God, Human or Guild? 40 ¤˜îû ôæþߺ¡ 20 Ranjusri Ghosh xyöì¡y‹þ†þ / ö¤ï!ôe ‹þöìRyþ›y™Äyëû An Umalingana Stone Image from In Memory of Alokeranjan Dasgupta 21 Raina, Purba Bardhaman 45 Rangan Kanti Jana Subhoranjan Dasgupta Books from Reader’s Choice 46 Alokeranjan: Reminiscence Early Indian History and Beyond: Essays in Honour of from a German Scholar 23 B. D. Chattopadhyaya Kuntak Chatterji Hans Harder ̶ নকশি কাঁথা মা-ভাষা কথন বুদ্ধদেব বদ㖦্াপাধ্ায় পরবাদস কশব অদ�াকরঞ্জন 25 অ쇁ণ 嗁মার চক্রব쇍釀 Books Accessioned during December 2020 53 Cover Description The portrait of Netaji, preserved in Raj Bhavan, was painted by Professor Isha Mahammad on November 2005.