GENERAL INFORMATION 1. Name (Block Letters) : SUBHANKAR RAY 2. Current Designation : Assistant Professor 3. Phone No. :+

Total Page:16

File Type:pdf, Size:1020Kb

GENERAL INFORMATION 1. Name (Block Letters) : SUBHANKAR RAY 2. Current Designation : Assistant Professor 3. Phone No. :+ GENERAL INFORMATION 1. Name (Block letters) : SUBHANKAR RAY 2. Current Designation : Assistant Professor 3. Phone No. :+ 91 98310 68256 4. E‐mail: : [email protected] 5. Educational Qualification (Graduation onwards): DEGREE YEAR UNIVERSITY B.A. 1996 Jadavpur University M.A. 2000 Jadavpur University Ph.D. 2009 Rabindra Bharati University 6. Teaching Experience : 10 Years 7. Field of Specialization : Bengali Drama 8. Courses Taught/ Teaching : i. History of Bengali Literature ii. Bengali Poetry iii. Bengali Novel iv. Bengali Short Stories v. Bengali Drama vi. Literary Theories 9. Conferences/ Seminars/Workshops: Whether International/ Title of Sl. Title of the paper National/State/ Conference/ Organized by No. presented Regional/College Seminar or University level 1. BiplobiRajniti O Tagore Study in Department of Bengali Language National Level Rabindranath New Perspective & Literature, University of Calcutta on 18- 19January, 2011 2. ‘HajarBacharerBandhan’, Rabindranath: Department of Bengali, National Level ‘DanaberUdyataMusthi’, AnyoMatray, Anyo Ramakrishna Mission ‘ManushChanka Raja’ Borne Vidyamandira&SahityaAkademi Ebong Rabindranath (Eastern Region) on 27- 29 January, 2011 3. RabindraNatak: EkabinshaShatak O Centre for Studies & Research on International Prabhutwabad O Protirodh Rabindranath Tagore, Level RabindraBharati University on 28-29 March, 2011 4. Swadhinata Uttar Bangla Swadhinata Uttar Department of Bengali,Bankuran National Level NatakerAngikNiyePoriksha - PanchasBachorer Christian College Niriksha Bangla &AikatanGabeshanaPatra on 14- NatakerGotiprakriti 15 March, 2012 5. Utpal Dutta: Ganajagaraner Bangla Natak: Department of Bengali,Rabindra International Bhasyakar Oitihya O Bharati University, 4 - 5 March, Level Adhunikata 2014 6. Nazruler Galpa: Antarita Bangla Department of Bengali,Rabindra International Kathakar Kathasahitya: Bharati University, 15- 16 Level Unish-Bish March, 2016 7. Taser Desh: Prayog Bhabna Sampratik Department of International Rabindra Samiksha Education,Jadavpur University, Level 26th August- 1st September, 2016 8. ‘A- Bhadraloker’ Natyajan Bangla Natak O Department of National Level Bijan Bijan Bhattacharya Bengali,Ramkrishna Mission Vidya Mandira, 20th September, 2016 9. Bijaner Natake Nari Bijan Department of Bengali, Fakir National Level Bhattacharyay : Chand College, and Dhruba Ekush Satake Phire Chand Halder College, 26th - 27th Dekha September, 2016 10. Paribhankarmi Ebang Alia University And Prabahaman International Bangla Galpa Bangla Charcha, 23rd January, Level 2017 10. Publication (i) Published Papers in Journals Sl. Title with page no. Journal ISSN/ Whether peer No ISBN reviewed. No. Impact factor, if any 1. Somen Chander ‘INDUR’: Boijnanik Tabu ISSN Buddhir Tatporje Ekalabya 0976- No 5thYear, Issue- 9463 3,2009 2. RabindraNatak: Kartritwabad Banam Tabu ISSN Samajchetanar Bikas (Page - 207 to Ekalabya 0976- No 211) 6th Year, Issue 9463 -1,2010 3. Amrapali: Nagarnati Theke Itihaser Tabu ISSN Nari (Page – 360 to 363) Ekalabya 0976- No Jan - Mar 9463 2012 4. KalchetanarKathakTapobijay Ghosh TabuEkalabya ISSN (Page – 286 to 299) Jan 2013 0976- No 9463 5. Tatmatuli, Sandhan ISBN No. DhangartuliArKeyaritolarBharatbarsh 2013 978- a 93- (Page – 123 to 134) 82094 -17-3 6. Bangla Natok O Sibram Chakraborty Path ISSN No January, 2014 2321- 6093 7. Chitrangada: Kathan Atmagata Angik ISSN No 2014-15 2348- 6244 8. Bangla Rajnoitik Natak Ebang Vidyamandira ISSN No Upendranath Das (Page 149 – 156) Patrika 2321- 2016-17 9072 9. Natyanirdeshak Kamal Kumar Urhalkatha ISSN No Mazumder Page (78-91) January, 2017 2350- 143X 10. Raybarir Arthonoitik Chinta (Page 15- Sahitya Angan ISSN DIIF Impact 24) 21st February, 2394- Value :1.028 2017 4889 (ii) Articles/ Chapters published in Books Sl. Title with page Book title, editor & ISSN/ISBN No. Whether No. no. publisher (Or, Renowned peer publishers) See Cat reviewed. 1-4 as above for scores 1. Trinakhanda: Banaphool: ISBN 13-978- No Jukti- SattarAbishkhar, 81-908061-8-3 MarjitaBuddhiB Edited by onamSamajikBu ManaranjanSardar&Ar ddhi un Kumar Sanfui (Page – 134- Publisher : 144) BangiyaKalakendra 2010 2. Tapaswi O Tapaswi O Tanangini : ISBN No TaranginirParsw PuranerNabarupayan 978-81-89827- acharitrora (Page Edited by Apurba De 64-9 159 - 166) Publisher : BangiyaSahityaSamsad 2011 3. GananatyaAndol Bangla ISBN No an : NatyacharchaOitijhya 978-81-921186- PrathamParba Uttaradhikar 5-9 (Page – 234 - Editor: Debabrata 260) Biswas Publisher : BanglarMukh 2012 4. Ayre Alo Aye Srijonsilpi Dui Purus: ISBN: 978-81- No Upendrakisore O 928110-2-4 Sukumar Publisher: Ramkrishna Mission Vidyamandira 2014 5. ‘Prithibite Rabindranather ISBN 978-93- No esechi, path Muktadhara 82094-68-5 Katbar jonye’: Edited by Sanat Kumar ‘Path’-er Sanket, Naskar, Diya ‘Sanket’ – er Publication path 2014 6. Paribahankarmi Prabahaman Bangla ISBN 978-93- No Ebang Bangla Charcha 82094-05-0 Galpa: Samaj- Nirbachita maner Bikshane Gabeshanadharmi (Page 428- 434) Prabandha Sankalan(1) Published by : Prabahaman Bangla Charcha Edited by Sanat Kumar Naskar, 2017 7. ‘Tutila Ki aji Sukumar Ray :Sristi O ISBN 978-93- No ghumer ghor? : Srasta 83093-45-8 Sukumar Sahitye Published by :Bidya Rajniti – Chinta Edited by Sanat Kumar (Page 79-97) Naskar, 2017 11. Research Guidance (PhD/ Phil, MA Project/ BA Project) : MA Project 20 12. Project (UGC/ DST/etc) : N.A. 13. Consultancy/ Extension work : N.A. 14. Membership of Academic Institution : Bangiya Sahitya Parishad (Life Member) 15. Awards : N.A. .
Recommended publications
  • Page 1 of 17 List of Literary Associations Recognized by Sahitya
    List of Literary Associations recognized by Sahitya Akademi (Updated on 10 May 2021) ASSAMESE 1) The General Secretary Asam Sahitya Sabha Chandrakanta Handique Bhavan, Jorhat 785 001 Assam 2) The President Sadou Asom Lekhika Samaroh Samity Sahid Chariali, Padum Pukhuripar, Tezpur – 784 001, Assam BENGALI 1) The Secretary Rabindra Bharati Society 5, Dwarakanath Tagore Lane Kolkata-700 007 Bengal 2) The Secretary Bangiya Sahitya Parishad 243/1, Acharya Parafullachandra Road Kolkata-700 006 Bengal BODO 1) The General Secretary Bodo Sahitya Sabha R.N. Brahma Hall Kokrajhar BATD-783 370 Assam 2) The President Bodo Writers’ Academy H.O. & P.O. Kajalgaon Dist. Chirang : Bodoland Assam-783385 Page 1 of 17 DOGRI 1) The General Secretary Dogri Sanstha (Regd.) Dogri Bhawan Karan Nagar Jammu Union Territory of Jammu & Kashmir 2) The Secretary Kavi Dattu Sahitya Sansthan (Vill. & P.O. Bhadoo, Tehsil: Bilawar Dist: Kathua, Jammu Union Territory of Jammu & Kashmir 3) The General Secretary Dogri Sahitya Sabha, Marh P.O. Halqa Dist: Jammu – 181206 Union Territory of Jammu & Kashmir 4) The General Secretary Duggar Manch 124, Dogra Hall Jammu-180 001 Union Territory of Jammu & Kashmir 5) The General Secretary Nami Dogri Sanstha 22-D, Lane No. 1 Tavi Vihar Sidra, Jammu-181 019 Union Territory of Jammu & Kashmir ENGLISH-No Literary Association GUJARATI 1) The Secretary Gujarati Sahitya Parishad Govardhan Bhavan, Gujarati Sahitya Parishad Marg, River Front, Ashram Road, P.B. No.4060, Ahmedabad-380 009 Page 2 of 17 2) The Secretary Gujarat Vidya Sabha H.K. Arts College Ashram Road Near Times of India Ahmedabad-380 009 3) The Secretary Gujarat Sahitya Sabha Room No.
    [Show full text]
  • 2021 Banerjee Ankita 145189
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The Santiniketan ashram as Rabindranath Tagore’s politics Banerjee, Ankita Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 THE SANTINIKETAN ashram As Rabindranath Tagore’s PoliTics Ankita Banerjee King’s College London 2020 This thesis is submitted to King’s College London for the Degree of Doctor of Philosophy List of Illustrations Table 1: No of Essays written per year between 1892 and 1936.
    [Show full text]
  • The Humanism of Satyajit Ray, His Last Will and Testament Shantanu Ray Chaudhuri
    AGANTUK – The Humanism of Satyajit Ray, His Last Will And Testament Shantanu Ray Chaudhuri It’s impossible to record the transition in the socio-political and cultural landscape of India in general and Bengal in particular without taking into account the contribution of Satyajit Ray. As author Peter Rainer says, ‘In Ray’s films the old and the new are inextricably joined. This is the great theme of all his movies: the way the past in India forever bleeds through the present.’ Today, Indian cinema, particularly Bollywood, has found a global market. But it may be useful to remember that if anyone can be credited with putting Indian cinema on the world map, it is Satyajit Ray. He pioneered a whole new sensibility about films and filmmaking that compelled the world to reshape its perception of Indian cinema. ‘What we need,’ he wrote in 1947, before he ever directed a film, ‘is a style, an idiom, a part of the iconography of cinema which would be uniquely and recognizably Indian.’ This Still from the documentary, The Music of Satyajit Ray he achieved, and yet, like all great artists, his films went Watch film here- https://bit.ly/3u8orOD beyond the frontiers of countries and cultures. His contribution to the cultural scene in India is limited not just to his work as a director. He was the Renaissance man of independent India. As a film-maker he handled almost all the departments on his own – he wrote the screenplay and dialogues for his film, he composed his own music, designed the promotional material for his films, designed his own posters, went on to handle the cinematography and editing, was actively involved in the costumes (literally sketching each and every costume in a film).
    [Show full text]
  • Barnita Bagchi (Utrecht University) Ār Konakhāne/'Somewhere Else
    Cracow Indological Studies Vol. XX, No. 2 (2018), pp. 163–178 https://doi.org/10.12797/CIS.20.2018.02.08 Barnita Bagchi (Utrecht University) [email protected] Ār konakhāne/‘Somewhere Else’: Utopian Resonances in Lila Majumdar’s Autobiographical Writing* SUMMARY: This article examines the autobiographical writings of Lila Majumdar, 1908–2007, a writer most famous for zany, fantastical, defamiliarizing, speculative fiction for children and young adults. Majumdar was an influential maker of cul- tural history. While her natal Ray/Raychaudhuri family comprised master entertain- ers who simultaneously brought reformist, innovative values into the public sphere of the arts, the leading woman writer from this milieu, in her autobiographical and memoir-based volumes Ār konakhāne (‘Somewhere Else’, [1967] 1989), Pākdaṇḍī (‘Winding, Hilly Road’, [1986] 2001), and Kheror khātā (‘Miscellany’ or ‘Scrapbook’, [1982] 2009), imaginatively created utopias. These ‘otherwheres’, to use a word that captures ­utopian connotations that she creates in her writing, give voice to the mar- ginal and the liminal. We find in her autobiographical writing the dual urge of longing for a utopian elsewhere, and a dissatisfaction with all the places one finds temporary mooring in. KEYWORDS: Lila Majumdar, modernity, utopia, gender, reformist, autobiography In memory of Professor Jasodhara Bagchi, 1937–2015, pathbreaking scholar of Bengali women’s writing and culture Remembering and haunted by lost and elusive spaces, connecting homes and worlds, building fragile everyday utopias, representing * An earlier version of this article was presented at an international work- shop on ‘Opening up Intimate Spaces: Women’s Writing and Auto biography in India’, at the Adam Mickiewicz University in Poznań, Poland.
    [Show full text]
  • Comics and Science Fiction in West Bengal
    DANIELA CAPPELLO | 1 Comics and Science Fiction in West Bengal Daniela Cappello Abstract: In this paper I look at four examples of Bengali SF (science fiction) comics by two great authors and illustrators of sequential art: Mayukh Chaudhuri (Yātrī, Smārak) and Narayan Debnath (Ḍrāgoner thābā, Ajānā deśe). Departing from a con- ventional understanding of SF as a fixed genre, I aim at showing that the SF comic is a ‘mode’ rather than a ‘genre’, building on a very fluid notion of boundaries between narrative styles, themes, and tropes formally associated with fixed genres. In these Bengali comics, it is especially the visual space of the comic that allows for blending and ‘contamination’ with other typical features drawn from adventure and detective fiction. Moreover, a dominant thematic thread that cross-cuts the narratives here examined are the tropes of the ‘other’ and the ‘unknown’, which are in fact central images of both adventure and SF: the exploration and encounter with ‘unknown’ (ajānā) worlds and ‘strange’ species (adbhut jāti) is mirrored in the usage of a lan- guage that expresses ‘otherness’ and strangeness. These examples show that the medium of the comic framing the SF story adds further possibilities of reading ‘genre hybridity’ as constitutive of the genre of SF as such. WHAT’S IN A COMIC? Before addressing SF comics in West Bengal, I will first look at some interna- tional definitions of comic to outline the main problematics that have been raised in the literature on this subject. In one of the first books introducing the world of comics to artists and academics, Will Eisner looks at the me- chanics of ‘sequential art’ (a term coined by Eisner himself) describing it as a dual ‘form of reading’ (Eisner 1985: 8): The format of the comic book presents a montage of both word and image, and the reader is thus required to exercise both visual and verbal interpretive skills.
    [Show full text]
  • Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction.
    [Show full text]
  • A Hermeneutic Study of Bengali Modernism
    Modern Intellectual History http://journals.cambridge.org/MIH Additional services for Modern Intellectual History: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM KRIS MANJAPRA Modern Intellectual History / Volume 8 / Issue 02 / August 2011, pp 327 ­ 359 DOI: 10.1017/S1479244311000217, Published online: 28 July 2011 Link to this article: http://journals.cambridge.org/abstract_S1479244311000217 How to cite this article: KRIS MANJAPRA (2011). FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM. Modern Intellectual History, 8, pp 327­359 doi:10.1017/S1479244311000217 Request Permissions : Click here Downloaded from http://journals.cambridge.org/MIH, IP address: 130.64.2.235 on 25 Oct 2012 Modern Intellectual History, 8, 2 (2011), pp. 327–359 C Cambridge University Press 2011 doi:10.1017/S1479244311000217 from imperial to international horizons: a hermeneutic study of bengali modernism∗ kris manjapra Department of History, Tufts University Email: [email protected] This essay provides a close study of the international horizons of Kallol, a Bengali literary journal, published in post-World War I Calcutta. It uncovers a historical pattern of Bengali intellectual life that marked the period from the 1870stothe1920s, whereby an imperial imagination was transformed into an international one, as a generation of intellectuals born between 1885 and 1905 reinvented the political category of “youth”. Hermeneutics, as a philosophically informed study of how meaning is created through conversation, and grounded in this essay in the thought of Hans Georg Gadamer, helps to reveal this pattern.
    [Show full text]
  • How to Write a Patriotic History of the Rebellion of 1857? Rajanikanta Gupta's 'Sipahi Juddher Itihas' and Multiple Faces
    1 How to Write a Patriotic History of the Rebellion of 1857? Rajanikanta Gupta’s ‘Sipahi Juddher Itihas’ and Multiple Faces of Loyalty, Anxiety and Dissatisfaction Ramendrasundar Trivedi (1864 – 1919), one of the great essayists and literary figures in the early decades of the 20 th century Bengal, once mused over his reading experiences in early school days. At the age of eight or nine, as a student of middle Anglo-vernacular school, he came across, in a magazine called ‘Bandhab ’, an article, which stated that quite a few history text books happened to be full of lies and misinformations. A number of books on the histories of Bengal and India, mostly written by eminent English scholars, belonged to this category. He clearly remembered his reaction even after thirty years. “I considered it totally unbelievable that there may be mistakes in the history writings of any English scholar. I was unaware of this side of the human character that great scholars would have written baseless stories, due to their partisanship . Moreover, it appeared to me absolutely ridiculous that the history books which I had to cram in order to avoid the slaps of my teacher contained mistakes” 1. That very article had announced that Rajanikanta Gupta 2 (1849-1900), then an unknown person, had taken up a project to write a comprehensive history of the Sepoy War in India; it would be written in vernacular and it would rectify many misconceptions currently nurtured and propagated by the English historians. Ramendrasundar, being an avid reader since his school days, was eagerly waiting for the forthcoming book for days and finally managed to devour the 1 Ramendrasundar Trivedi’s obituary on Rajanikanta Gupta in Sahitya, 11yr, Jaishtha, 1307 B.S.
    [Show full text]
  • Daughters of the Nation: Revisiting Women’S Speculative Writings in Bengal
    postScriptum: An Interdisciplinary Journal of Literary Studies 40 postScriptum: An Interdisciplinary Journal of Literary Studies ISSN: 2456-7507 <postscriptum.co.in> Online – Open Access – Peer Reviewed – DOAJ Indexed Volume VI Number i (January 2021): Special Issue on Bengali Identity Daughters of the Nation: Revisiting Women’s Speculative Writings in Bengal Stella Chitralekha Biswas PhD Researcher in Comparative Literature & Translation Studies, Central University of Gujarat The author‟s research interests include studies pertaining to colonial Bengal, sexuality archives, gender studies, juvenile literature, pedagogy, speculative fiction, etc. The tentative title for her PhD thesis is Childhood Re-configured: Asexuality, Gendering and Nationalistic Consciousness in Juvenile Literature of Colonial Bengal. Abstract This paper will look at speculative writings by women in Bengal, both in the colonial and post- independence years, in an attempt to locate the emergence of certain counter-tropes against the dominant trope of the masculinist hero. Taking select writings from Rokeya Racanabali (Complete Works of Rokeya Sakhawat Hossain) and Kheror Khata by Leela Mazumdar, it argues that the preconceived gendered discourses on socio-cultural roles and asymmetrical bifurcation of agency that were propagated through Bengali juvenile literature since the mid nineteenth century also contained certain disruptions. These women writers question the very notion of assertive native masculinity that was emblematic of the nationalist body politic, and promote an alternate model of female agency and power in an almost utopian manner. This paper also proposes arguments on the crucial accommodation of the Muslim woman’s voice within the larger question of women’s emancipation in Bengal that had appeared to concern itself with the Hindu bhadramahila class predominantly, through the speculative visions of Hossain.
    [Show full text]
  • Finding Sense Behind Nonsense in Select Poems of Sukumar Ray
    Journal of the Department of English Vidyasagar University Vol. 12, 2014-2015 Finding Sense Behind Nonsense in Select Poems of Sukumar Ray Rima Chakraborty Nonsense literature is generally categorized as part of the macrocosm of children’s literature. And there is no denying that as children we have all read such literary pieces with much amusement and delight. In 1900 G.K. Chesterton wrote that, if he were to be asked for the best proof of ‘adventurous growth’ in the nineteenth century, he would reply, “with all respect for its portentous science and philosophy, that it was to be found in the literature of nonsense” and that “this was the literature of the future” (Chesterton 43). Now, “Nonsense” as a literary genre is difficult to define in absolute terms. It is interpretation gone wild, but also lucid, as clearly appears in the works of the early practitioners of the form in the mid 19th century, namely Edward Lear and Lewis Carroll. It is true that the “modern nonsense” originated in the mid- 19th century, but it is equally true that the roots of the tradition can be traced back to some of its early practitioners and precursors- such as the anonymous nonsense of nursery rhymes, the ‘water poet’ John Taylor and the Bedlamite and mad talk of Shakespeare. Again, if the genre of literary nonsense is analyzed with reference to its contemporary socio-political scenario, it becomes clear that nonsense is actually a medium which allows the literary artist to point out various shortcomings of the society at large. So, as its name suggests, “non-sense” always exists in relation to, and as a comment on, “sense.” T.
    [Show full text]
  • February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 Minutes)
    February 18, 2014 (Series 28: 4) Satyajit Ray, CHARULATA (1964, 117 minutes) Directed by Satyajit Ray Written byRabindranath Tagore ... (from the story "Nastaneer") Cinematography by Subrata Mitra Soumitra Chatterjee ... Amal Madhabi Mukherjee ... Charulata Shailen Mukherjee ... Bhupati Dutta SATYAJIT RAY (director) (b. May 2, 1921 in Calcutta, West Bengal, British India [now India]—d. April 23, 1992 (age 70) in Calcutta, West Bengal, India) directed 37 films and TV shows, including 1991 The Stranger, 1990 Branches of the Tree, 1989 An Enemy of the People, 1987 Sukumar Ray (Short documentary), 1984 The Home and the World, 1984 (novel), 1979 Naukadubi (story), 1974 Jadu Bansha (lyrics), “Deliverance” (TV Movie), 1981 “Pikoor Diary” (TV Short), 1974 Bisarjan (story - as Kaviguru Rabindranath), 1969 Atithi 1980 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The (story), 1964 Charulata (from the story "Nastaneer"), 1961 Elephant God, 1977 The Chess Players, 1976 Bala, 1976 The Kabuliwala (story), 1961 Teen Kanya (stories), 1960 Khoka Middleman, 1974 The Golden Fortress, 1973 Distant Thunder, Babur Pratyabartan (story - as Kabiguru Rabindranath), 1960 1972 The Inner Eye, 1972 Company Limited, 1971 Sikkim Kshudhita Pashan (story), 1957 Kabuliwala (story), 1956 (Documentary), 1970 The Adversary, 1970 Days and Nights in Charana Daasi (novel "Nauka Doobi" - uncredited), 1947 the Forest, 1969 The Adventures of Goopy and Bagha, 1967 The Naukadubi (story), 1938 Gora (story), 1938 Chokher Bali Zoo, 1966 Nayak: The Hero, 1965 “Two” (TV Short), 1965 The (novel), 1932 Naukadubi (novel), 1932 Chirakumar Sabha, 1929 Holy Man, 1965 The Coward, 1964 Charulata, 1963 The Big Giribala (writer), 1927 Balidan (play), and 1923 Maanbhanjan City, 1962 The Expedition, 1962 Kanchenjungha, 1961 (story).
    [Show full text]
  • CONSTRUCTION of BENGALI MUSLIM IDENTITY in COLONIAL BENGAL, C
    CONSTRUCTION OF BENGALI MUSLIM IDENTITY IN COLONIAL BENGAL, c. 1870-1920. Zaheer Abbas A thesis submitted to the faculty of University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History. Chapel Hill 2010 Approved by: Yasmin Saikia Daniel Botsman Charles Kurzman ABSTRACT Zaheer Abbas: Construction of Bengali Muslim Identity in Colonial Bengal, c. 1870-1920 (Under the direction of Yasmin Saikia) This thesis explores the various discourses on the formation of Bengali Muslim identity in colonial Bengal until 1920s before it becomes hardened and used in various politically mobilizable forms. For the purpose of this thesis, I engage multiple articulations of the Bengali Muslim identity to show the fluctuating representations of what and who qualifies as Bengali Muslim in the period from 1870 to 1920. I critically engage with new knowledge production that the colonial census undertook, the different forms of non-fictional Bengali literature produced by the vibrant vernacular print industry, and the views of the English-educated Urdu speaking elites of Bengal from which can be read the ensemble of forces acting upon the formation of a Bengali Muslim identity. I argue that while print played an important role in developing an incipient awareness among Bengali Muslims, the developments and processes of identity formulations varied in different sites thereby producing new nuances on Bengali Muslim identity. ii TABLE OF CONTENTS Chapter INTRODUCTION……………………………………………………………..1 Debate on Bengali Muslim identity…………………………………..............3 I. CENSUS AND IDENTITY FORMATION: TRANSFROMING THE NATURE OF BEGALI MUSLIMS IN COLONIAL BENGAL…………16 Bengali Muslim society during Muslim rule………………………………18 Essentializing community identity through religion………………………23 II.
    [Show full text]