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Kapalkundala is a Bengali romance novel by Indian writer Bankim Chandra Chattopadhyay. Published in 1866, it is a story of a forest-dwelling girl named Kapalkundala, who fell in love with and married Nabakumar, a young gentleman from Saptagram. Eventually, she finds herself unable to adjust to city life.
Kapalkundala (1866) is a novel by Bankim Chandra Chatterjee. Set in Dariapur, Contai, Kapalkundala was Chatterjee’s second novel. Recognized as a pioneering work of Bengali literature with universal romantic themes, Kapalkundala has been adapted several times for film and television, most recently for a popular Indian Bengali soap opera of the same name. On his way home to Saptagram from a pilgrimage to Gangasagar, Nabakumar encounters a Tantric sage in the forest. After exchanging their greetings, the sage captures the young gentleman in order to sacrifice him to the goddess Shamshaan Kali. Rescued by the sage’s foster daughter, the beautiful Kapalkundala, Nabakumar marries her the next day. Despite their happiness, the past refuses to let them live in peace. As the sage plots his revenge, Nabakumar’s first wife, who left him after converting to Islam, has returned seeking forgiveness. As doubt begins to penetrate their bond, Nabakumar and Kapalkundala lose sight of the only thing that matters: each other. Tragic and timeless, Kapalkundala is a brilliant romance from a legendary figure in Bengali literature. With a beautifully designed cover and professionally typeset manuscript, this edition of Bankim Chandra Chatterjee’s Kapalkundala is a classic of Bengali literature and utopian science fiction reimagined for modern readers.
The First Volume Of This Collector S Edition Brings Together Five Of Bankimchandra S Best-Known Works In English Translation. Set In The Bengal Of Emperor Jehangir S Time, Kapalkundala Tells The Story Of Nabakumar, A Young Woman Named Kapalkundala Whom He Rescues From A Tantric Intent On Human Sacrifice, And The Beautiful Lutfunnisa Who Has Sold Her Heart On Marrying Him. In Bishabriksha (The Poison Tree), Set In Bankimchandra S Own Time, Nagendra Is Torn Between His Devoted Wife Suryamukhi And The Bewitching Young Widow Kundanandini. Unable To Prioritize Either Of The Women He Cares For, Nagendra Ends Up Losing Both. Indira Is A Lighthearted Tale Of Playful Intrigues: Upendra Does Not Realize That His Wife Indira Is Now Working As A Cook In His Friend S House, And Is Given A Royal Run-Around By Indira And Subhasini, Her Employer. Krishnakanta S Will Is A Tragedy Of Lust, Infidelity, Greed And Death Revolving Around Govindalal, His Wife Bhramar, The Attractive Widow Rohini, And A Stolen Will. Rajani, The Story Of A Blind Girl And Two Men, Sachindra And Amarnath, Is A Psychologically Taut Tale; It Is The First Indian Novel Where Characters Narrate Their Stories In The First Person. Evoking The Bengal Of Yore In All Its Hues, Bankimchandra S Novels Explore Love And Relationships And The Manner In Which Society Shapes Them. Translated Exclusively For Penguin, These Superbly Crafted Novels Are Sure To Hold Readers In Thrall Today Just As They Did Over A Century Ago.
The first volume of this collector's edition brings together five of Bankimchandra's best-known works in English translation. Set in the Bengal of Emperor Jehangir's time, Kapalkundala tells the story of Nabakumar, a young woman named Kapalkundala whom he rescues from a tantric intent on human sacrifice, and the beautiful Lutfunnisa who has sold her heart on marrying him. In Bishabriksha (The Poison Tree), set in Bankimchandra's own time, Nagendra is torn between his devoted wife Suryamukhi and the bewitching young widow Kundanandini. Unable to prioritize either of the women he cares for, Nagendra ends up losing both. Indira is a lighthearted tale of playful intrigues: Upendra does not realize that his wife Indira is now working as a cook in his friend's house, and is given a royal run-around by Indira and Subhasini, her employer. Krishnakanta's Will is a tragedy of lust, infidelity, greed and death revolving around Govindalal, his wife Bhramar, the attractive widow Rohini, and a stolen will. psychologically taut tale; it is the first Indian novel where characters narrate their stories in the first person.
Shakespeare and Indian Nationalism aims to articulate the reception of Shakespeare by the 19th-century Indian intelligentsia from Bengal and their ambivalent approach to the Indian Renaissance and consequent nationalist project. Showcasing the cultural politics of British imperialism, this volume focuses on six early nationalist writers and their engagement with Shakespeare: Hemchandra Bandopadhay (1838–1903), Girishchandra Ghosh (1844–1912), Purnachandra Basu (1844–unknown), Iswarchandra Vidyasagar (1820–1891), Bankimchandra Chattopadhaya(1838–1894), and Rabindranath Tagore (1861–1941). Drawing on Antonio Gramsci’s theory of hegemony and a host of prominent writers of cultural politics, nationalism and Indian history, this interdisciplinary approach combines postcolonial studies and Shakespeare studies in an attempt to reconcile the existence of an unbridled admiration for an English cultural icon in India alongside the rise of nationalism and a fierce resistance to British rule. The book, finally, moves to re-explore Shakespeare's position in academic, political and popular nationalist discourses in postcolonial India.
This volume brings together scholarship on indigenous forms of travel to decolonize travel theory. It looks at certain minoritarian-vernacular traveling cults – very rarely examined – that compel us to rethink, on the one hand, the conventional tropes of and rationales for travel; and, on the other hand, notions of (post)coloniality, nationalism and modernity in the context of India. The book illustrates the enduring problematic of the ‘colonial episteme’: how it deploys pervasive categories through which travel practices are sought to be understood, and why such categories are inadequate in accounting for the vernacular traveling cults in question. In studying the vernacular world-making in and through these cults, this book offers critical insights on how they defy the log(ist)ics of the ‘imperial categories’ and why they must be read as expressions of decoloniality. An important contribution to travel studies, the book will be an indispensable resource for students and researchers of South Asian studies, travel theory, Indian literary and cultural studies, cultural history and anthropology, sociology, and decoloniality.
The book is about Bankim Chandra Chatterji's life and his contributions towards the freedom struggle.
In Unveiling Desire, Devaleena Das and Colette Morrow show that the duality of the fallen/saved woman is as prevalent in Eastern culture as it is in the West, specifically in literature and films. Using examples from the Middle to Far East, including Iran, India, Pakistan, Bangladesh, Thailand, Japan, and China, this anthology challenges the fascination with Eastern women as passive, abject, or sexually exotic, but also resists the temptation to then focus on the veil, geisha, sati, or Muslim women’s oppression without exploring Eastern women’s sexuality beyond these contexts. The chapters cover instead mind/body sexual politics, patriarchal cultural constructs, the anatomy of sex and power in relation to myth and culture, denigration of female anatomy, and gender performativity. From Persepolis to Bollywood, and from fairy tales to crime fiction, the contributors to Unveiling Desire show how the struggle for women’s liberation is truly global.
Anandamath is a Bengali fiction, written by Bankim Chandra Chattopadhyay and published in 1882. It is inspired by and set in the background of the Sannyasi Rebellion in the late 18th century and is considered one of the most important novels in the history of Bengali and Indian literature. The book is set in the years during the famine in Bengal in 1770 CE. It starts with by introducing the readers to a couple, Mahendra and Kalyani, who are stuck at their village Padachinha without food and water in the times of famine. They decide to leave their village and move to the next closest city where there is a better chance of survival. During the course of events, the couple gets separated and Kalyani has to run through the forest with her infant to avoid getting caught by robbers. After a long chase, she loses consciousness at the bank of a river.