Thematische Bibliographien / Tarashankar

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile

Auswahl der wissenschaftlichen Literatur zum Thema „Tarashankar“

Autor: Grafiati
Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Tarashankar"

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Roy, Binayak. „South Asian Village and the (Im)Possibility of Utopia. Tarashankar Bandyopadhyay’s The Tale of Hansuli Turn“. Metacritic Journal for Comparative Studies and Theory 8, Nr. 2 (19.12.2022): 119–37. http://dx.doi.org/10.24193/mjcst.2022.14.08.

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Tarashankar Bandyopadhyay’s The Tale of Hansuli Turn depicts a utopic, autochthonous, and indigenous rural community, the Kahars, in a state of transition. The marginalized community is certainly not a homogeneous and monolithic one, there are stratifications in professional identities; women are forced to migrate to be employed in workshops or rail-line employment. The airbase and airplanes during World War II signify offstage imperial and existential catastrophe. The narrative celebrates change and subtly sympathizes with the rebel Karali, who has embraced the gospel of development and is a harbinger of radical change, returning to Hansuli Turn, with the promise of a new beginning after the destruction of the old order. A “New Hansuli Turn” is born after negotiations with the colonial order. Unlike many other postcolonial texts, The Tale of Hansuli Turn re-conceives the present by re-telling the past without being nostalgic. Its vision of the future is a transformation of the present.
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2

Ray, Rajat Kanta. „The Kahar Chronicle“. Modern Asian Studies 21, Nr. 4 (Oktober 1987): 711–49. http://dx.doi.org/10.1017/s0026749x0000929x.

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Untouchable agricultural servants in the Indian countryside are among the lowliest people on earth. Such illiterate folk leave no written record to enable historians to comprehend their world from their own angle of vision. To write their history from below, historians have to search for contemporaneous observations which—even though made by an outsider—show some degree of empathy with their consciousness. The gifted novelist is able to enter recesses of the mind which elude the most acute scientific investigator. Among the several Bengali novels which have taken for their theme the wretched of the earth, perhaps the most empathetic is the Kahar Chronicle of Tarashankar Banerjee which thankfully avoids painting their life in unrelieved black. In Hansuli Banker Upakatha, the novelist, a small landlord in Birbhum district, descends to the bottom of rural society to give us—as far as possible for a gifted novelist of gentry origin—a view from within.
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3

Sen, Priyanjali. „Author–Screenwriter– Director (1930s–1950s): Articulating Authorship Through Self-Adaptations and Film Novelisations in Bengali“. BioScope: South Asian Screen Studies 11, Nr. 2 (Dezember 2020): 169–86. http://dx.doi.org/10.1177/0974927620983952.

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During the 1930s, one of the significant factors that strengthened the connection between Bengali literature and film was the emergence of certain key figures who straddled overlapping roles as author–screenwriter–director, frequently adapting their own literary works and reframing the contentious ‘authorship issue’ that arises between writer and filmmaker. By focusing on three such figures—Premankur Atorthy (1890–1964), Sailajananda Mukhopadhyay (1901–1976) and Premendra Mitra (1904–1988)—this essay examines the manner in which self-adaptations served to transfer the power of the literary author to the nascent cinematic auteur, particularly through the intermediary process of screenwriting. The essay also draws attention to the practice of film novelisations that was mobilised since the mid-1940s by Mitra and others like Jyotirmoy Roy and Panchugopal Mukhopadhyay, where novels were written based on cinematic works, akin to French cinéromans and contrary to ‘authorless’ novelisations by ghostwriters. In subsequent years, film novels were written by director Hemen Gupta, writers Tarashankar Bandopadhyay, Shaktipada Rajguru and Kalkut, which brings to light a largely unexplored dimension of the relationship between Bengali film and literature.
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4

Deb, Aparna. „Tarashankarer Nari: Antaranga Bishleshoner Aloke“. International Journal of Humanities & social Science studies (IJHSSS) 4, Nr. 2 (30.09.2017): 11. http://dx.doi.org/10.29032/ijhsss.v4.i2.2017.11-20.

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5

Bhattacharya, Sourit. „Regional Ecologies and Peripheral Aesthetics in Indian Literature: Tarashankar Bandyopadhyay’s Hansuli Banker Upakatha“. South Asian Review, 19.04.2021, 1–16. http://dx.doi.org/10.1080/02759527.2021.1905482.

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Dissertationen zum Thema "Tarashankar"

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Mukhopadhyay, Ranjit Kumar. „Tarashankarer uponyase rarer prokriti, paribesh o jibon তারাশংকরের উপন্যাসে রাঢ়ের প্রকৃতি , পরিবেশ ও জীবন“. Thesis, University of North Bengal, 1985. http://hdl.handle.net/123456789/1715.

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2

Sen, সেন Subarna সুবর্ণা. „Boishnab podabolir tattyo o darshon provabito bangla kothashahitya (nirbachito Bankimchandra-Rabindranath- Saratchandra oTarashankar): ekti anweshon বৈষ্ণব পদাবলীর তত্ত্ব ও দর্শন প্রভাবিত বাংলা কথাসাহিত্য (নির্বাচিত বঙ্কিমচন্দ্র -রবীন্দ্রনাথ-শরৎচন্দ ও তারাশঙ্কর ) : একটি অন্বেষণ“. Thesis, University of North Bengal, 2021. http://ir.nbu.ac.in/handle/123456789/4349.

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3

Mukhopadhyay, Kamdeb. „Tarashankarer Choto Galpe samaj Tatto তারাশঙ্করের ছোটগল্পে সমাজতত্ত্ব“. Thesis, University of North Bengal, 1997. http://hdl.handle.net/123456789/1628.

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Bücher zum Thema "Tarashankar"

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Tārāśaṅkara Bandyopādhyāẏera choṭagalpe bishaẏa o mānusha: Tarashankar Bandhopadhyaer chhotogolpe bishay o manush. Kalakātā: Āruṅā Prakāśana, 2013.

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Buchteile zum Thema "Tarashankar"

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Ray, Rajat K. „The Rural World of Tarashankar Banerjee: Social Divisions and Psychological Cross-currents“. In Rural India, 275–314. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003461463-10.

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2

Chaudhuri, Supriya. „The Village in Bengali Modernity“. In The Oxford Handbook of Modern Indian Literatures, C23S1—C23N5. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.23.

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Abstract This chapter argues that it is the village, rather than the city, that emerges in Bengali literature and art of the past century as the crucible of modernity—the site where conflicts of land and capital, science and religion, work and property, and language and education must be worked out, and the ideology of nation-building understood. The realities of the village—inhabited, escaped, or returned to—are held in tension with the destructive, confusing, half-imaginary allure of the city. This opposition serves as a paradigm of the modern itself, in its contradictions, failures, and unexpected conjunctions. Moreover, rural or regional histories cannot be understood without reference to the deep ecologies of the Bengal delta, with its constantly shifting land-water-human relations. This chapter examines the complexities of this task of representation in three major novels of the period: Putulnācher Itikathā (The Tale of the Puppet-Dance, 1936) by Manik Bandyopadhyay (1908–1956), Hāñsulī Bāñker Upakathā (The Tale of Hansuli Bend, 1946) by Tarashankar Bandyopadhyay (1898–1971), and Titās Ekti Nadīr Nam (Titas is the Name of a River, 1956) by Advaita Mallabarman (1914–1951).
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