?????? ????? ??????? ????? ?? ?????? ?????? ???????? ??????? ??? '?????? ????' ???????? ???? ????????? ??? ?????? ??????, ?????? ????????? ????? ????? ??????? ???? ???????? ?????????, ???? ??????? ????? ????? ??????, ????-?? ????-???? ? ??????? ???? ???????? ???? ??????? ????????? ????????? ??????? ???????? ????? ?? ????????? ?????-?????? ??????? ???? ??? ???????? ?????????? ?? ?????????? ?? '?????? ????' ???????? ????? ??????? ???????? ????? ?????? ???????? ??????? ?????-??????, ?????-???????? ? ????????? ?????? ?????? ???? ???????? ????????? '????' ???? ???? ????? ???? ??? ??? ??? ?????? ?? ????? ?????? '?????? ????'? ????? ?? ??? ?????? ??? '?????? ????' ?????? ????????? ???? ??? ?????-????????, ?????????? ? ?????? ???? ???-???????-????????? ??? ??? ???? ?? ??????? ????? ?? '?????? ????' ????????

চুল্লু কাকা

???????  ???????????? ???? ????? ????? ????? ???????? ?? ???????? ???? ????? ???????? ?????? ??????? ???? ??????? ????? ?????? ?? ??????? ???? ?? ?? ???????? ????? ?? ??????? ???? ??? ??? ????? ??? ????? ??? ???? ???? ??????? ??? ???? ??? ???? ????????? ?????? ????????? ??? ??? ???????? ??????? ??????? ????? ???, ?????? ???? ????? ???? ??? ?????? ???? ???? ????????? ????? ?? ????? ???????? ??????? ???????? ????????? ??????? ???? ??, ???? ????? ????????? ??????? ???? ???? ????????? ??? ???, ?????? ??????? ???? ???? ???? ????? ???????????? ??????? ?????? ?????? ?????? ??????????? ?? ?????????????????? ??????? ????????  ??????????? ????? (????-????) ???? '?????????' ??????? ??????:???? ?????, ???? ?????  ???? ???? ??????????????? ??? ???, ????? ????????????  ??????? ?????? ???????? ??-?????? ???????????? ??????? ???  ????? ?????, ???? ?????? ???? ???????????? ??????? ???  ????? ??? ??? ?????? ???? ??? ?? ????????????? ??????? ?????? ????????? ???: ?? ?????????????? ????? ?????? ?????? ?????, ?? ????? ? ??????? ??? ???????, ?? ??????????? ??????? ?????, ??? ? ????? ???? ???? ????, ??? ?????????? ???? ???? ????? ???????, ??? ?? ???????? ???? ????? ??? ??????? ???? ????, ?????? ????? ??????? ??????? ??????? ?????? ???? ???? ????, ??? ????? ???? ?? ???????? ??????? ??????? ???? ??????? ?????? ???????? ???????? ???????????? ???? ?????? ???? ????? ?? ??????? ???? ?????? ?????? ?? ?????? ???????? ????? ????"????? ??? ????" ???? ???? ???? ????? l ?????? ????????? ???? ???? ?????? ?? ?? ????.l

বাংলা ছোট গল্প

Poetry is basically an interplay of words and rhythm. It often employs the blending of ideas and imagination. Poet's heart is attuned to the changing patterns of the society and its surroundings, its landscapes and seasons, its sorrow and malice, its dream and hope. In this collection of poems, 'Some Resonance Some Desire', I instigate a different kind of possibility in poetry and a more sustained of attention to language. The resonance and desire widen the space for individual feeling, for self-examination, for second judgements, for admission. The book has three segments, 'Effulgence', 'Cadence' and 'Tapestry' and each section carries curiosity about the ways in which our physical world and selves are pulled continually toward disbanding and dispersal. My poems in this collection employ many of the forms of poetry, like free verse, sonnet, haiku, senryu, haibun, and memoir that draw the readers in through the gleam of images and metaphors resulting a distilled poetic mien. The language operates here at different ways. I discover in poetry that I am not participating in something which can-not be explained or apprehended by reason or understanding alone. I participate in the imaginary. This writing has a subtlety that uniquely prompts new techniques and language usage. And the image, which Wyndham Lewis refers as 'primary pigment' of poetry, relates to the painterly content of the language. It has an opulent element, a mental component as well. There is something reassuring about the harmony that emerges from the images.  Here the poems sink into images and sensations that finally draw out the essence of the composite. Each of us is a seeker in quest of fulfilment. Desire for the other means we are not entirely appropriate, not entirely complete unto ourselves. We need each other- the poet and the reader. The encounter is unprecedented- the poet brings certain resonance, certain desire, the reader certain understandings certain experiences. As they say, there is no poetry without desire. The poet and a reader are brought together through a midway path, an ingenious act of devotion, a poem. Our desire and need for each other are mutual. I always evoke various subjects and does not stop crossing the lines from traditional to more contemporary writing styles and urge my readers to join me in this journey. I believe everything depends on the reciprocity, the intimate interrelationship between the poet, the poem and the reader.

Some Resonance  Some  Desire

???????? ???????? ??? ???? ?????? ????? ?? ...???? ????? ????? ?? ?? ? ????? ????.??????? ?????? ??? ?????? ????? ???? ???? ???...????? ???? ???? ?????????? ???? ???????? ???????? ???? ?????? ????? ???? ??? .????? ???? ????? ?? ??  ?? ????? ??? ???? ?????...?????? ????? ???? ????? ?? ????..???? ???? ???? ??? ?????????? ??? ?????.

নৈঃশব্দের প্রতিবাদ্

??????????????? ?????? ????????? ???????:????????? :??????????? : ???????????????? : ??????? ??????? , ????? , ???????????? ???-? ????? ????? ??????? ??? ??? ????? ??? ????? ????????????? ???????? ??? ?????? ??? ???? ?????? ???? ???? ????????????? ?? ???? ???? ???? ?????? ????? ????? ???? ????

কাগজের প্রতিবাদ

Kaleidoscope is an optical device consisting of mirrors that reflect images of bits of coloured glass in a symmetrical geometric design through a viewer. The design may be changed endlessly by rotating the section containing the loose fragments. The name is derived from the Greek words kalos ("beautiful"), eïdos("form"), and skopeïn ("to view"). The kaleidoscope was invented by Sir David Brewster  in 1817. Poets have  expressed their thoughts through poetic language to express the colours of life in our book "Kaleidoscope -an anthology of International Poets."   Kaleidoscope -Anthology of International Poets is dedicated to Rabindranath Tagore -First Asian Nobel Prize Winner for his unique poetry book-:Gitanjali' in 1913 I had the pleasure of deciding upon the title of this Anthology, which clearly indicates the diverse patterns of lyricism in all its innovative fluidity as well as in radical idiomatic structures signifying our present day existence and innovative styles of poetic composition. It is tragic that today we live in a conflict-ridden world of increasing greed, materialism, consumerist and militaristic depredations. Poetry hence remains that intrinsic, scintillating spark and Rhapsody of Life that keeps us going with its rejuvenating energy. Poetry is, indisputably, the genesis of all literary expressions through the ages, since the birth of ancient civilizations. It is the first language of humanity which has always offered us the strength and lilting sensitivity to live, challenge, satiate, understand and tranquillize. Poetry is that inspirational fire which makes us imbibe the quintessential force mobilizing us towards the goodness of life, humanity and the urgent goal of peace and universal brotherhood. Keeping these values in mind and significant aspects of life intact, we decided upon three primary themes for poetic compositions to be included in this anthology--- viz. (a) Love or Romantic poems, (b) Nature poems and (c) Contemporary perspectives, issues and experiences. Hence it is natural that a large area of varied themes have been covered, included and integrated in this Collection of Poetry from across different geo-spaces,  cultures and ethnicities which render the rainbow hues of a highly layered and rich pluralism in this poetic text. The thematic, conceptual and idiomatic components offered by various poets make it interesting, profound and thought-provoking for the reader. The varied phraseology, diction, thought-processes, prosodic tools of enrichment from this array of poets makes this Anthology truly kaleidoscopic. Wishing our readers Happy Reading with further discussions and consequent intensive engagement.. I hope all the poems written by renowned International Poets will win the heart of poetry lovers around the world. Unus MollaCEO-International  Culture  Centre           International Publishing Centre

Kaleidoscope-Anthology of International Poets

The anthropology of irresistible illness is the field of applied and fundamental anthropological examination that spotlights the connection among sociocultural, organic, political, monetary, and biological factors engaged with the etiology, pervasiveness, experience, influence, social grasping, counteraction, and treatment of irresistible sicknesses. The main zeroed anthropological work on irresistible sickness began inside the post-World War II time of 1950, in another age, described by means of global improvement intended to help considerably less created worldwide areas to get Western/Japanese phases of mechanical and metro improvement. Biocultural or biosocial approaches to infectious disease anthropology are at the heart of the emerging field. Each cultural and social aspect in the environmental setting has a significant impact on infectious illness transmission to humans. Biocultural/biosocial approaches to infectious illness begin with the idea that infection always goes beyond biology in that it is the result of interaction on a variety of levels. Biologically, one of those phases is unquestionably present. For infectious disease to occur, pathogenic microorganisms, bacterial and viral pathogens, protozoa, helminths, and other organisms must be present. Infectious illness transmission has been linked to human behaviour for more than a century. Infectious illness outbreaks are largely determined by human activity.

Infectious Diseases

"The Permanent Transient " Vol III has usually been unwrinkling in piercing the readers' digest in the end. The disrobing of idealism in transmogrifying the objective vein in romantic realism has been def. My relation with the language and diction has been mycorrhizal. I seek and suck nutrition in using literary terms while composing my poems. The basic has been to guide my precious students in learning new vocabulary for the building of the stock of words. This is necessary for, you see if you go to a shop for a garment and find only a piece of dress you like to buy leaves no choice. That's called Hobson's choice. Either you have to get that one or you have to leave the shop. In a similar fashion, if I tell my students only a word that would go overhead. If I instead give more choices or words on a single term, at least, they could retain one at least. That's what I want to disseminate in my poems in a larger scheme of things. Every new poem alters the language of the subaltern (the term 'subaltern' connotes many a controversy). It means lower status. In other words, it designates the colonial populace who are socially, geographically and geopolitically ostracized from the hierarchy of power of an imperial colony and from the metropolitan homeland of an Empire. I say the Jarawas of the North Andaman and Middle Andaman have not been subalterns for they had the inclination and penchant for expression. Could we call them subalterns? On deeper plane the intelligentsia in part could also be termed as subaltern, I aver. However, I think my poem has been the offshoot of peace. For me each sprout of my diction brought or revolutionised a messiah. The objective realisation of travail one is definitely crippled to bring forth second time in composing such a trailblazing birth of poetry. The rundown after composing a poem has been artistically magnifying. The feeling of having written, and the feeling of making in the process has been satisfying. As a poet I have been the subaltern, and try to speak with the readers!

চুল্লু কাকা

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