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Books_in_English





Parabaas Moviestore




 
AOAin

c cɮ-j (cɮ-44)

O^q r @Tkn cɮ.. il ZJB UT cɮ ... jce d @UT ɰ@f A..TAv w^ j S@ UwU .... c@ g rɮ AS cpA-BU B UT ..

B (ei_jana....@....)



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w\v ~T dH Uwa | ~ jq oS w\ @r @dS | cɮ ~T Zc gU Uw, sZSq @B @ c@ q, cɮ ZU gAU S |

m Oncf (skc15....@....)



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oSFcɰ BSq UZ@ Tf S, cɮ@, jce Hmrf ~UO@ of Oncf@ |

B O^ (rchanda....@....)



TfBS TS-j R @ cI (cɮ-44)

~kc !

TS TZBf (somnath....@....)



Tf S mH: wf Wv@ (cɮ-44)

Mrs. Gita Ghatak was an incredible Rabindrasangeet singer who enthralled her audience over several generations. In addition, she was a fantastic teacher of a variety of subjects -- she was my 4th grade class teacher at South Point School in Calcutta -- and I have many fond memories of the same. However, I am very disappointed by several aspects of this article: first, I absolutely disagree with the author's observations about Gita Aunty's style of singing -- I SAW her sing many many times -- and, like many others, she did use to close her eyes or make facial expressions while singing -- the author's point about her making eye contact (and criticizing other singers for not doing the same) is FAR from reality. Second, I don't think criticizing other singers adds to Gita Aunty's glory, and I don't think this is something she would have been very happy about (if she read this article). I don't think this article meets Parabaas' quality standards.

Subhasish Mitra (subh.m....@....)

The author responds:

My observations are as follows:

1. I have seen Smt. Gita Ghatak sing, in public and private, for about half a century, and my observations are only mine, without any prejudice to any other observer or listener. Somebody else may certainly have the right to observe differently.

2. It is quite apparent from my monograph (I hope), how I feel for the style of singing of Gita Ghatak. I did not mention any other name, in which case Sri Subhasish Mitra might have reasons to think that I am criticizing other singers. I am fully aware and agree with him that that would not add to Gita Ghatak's glory. Singing with closed eyes is considered a serious flaw in singing style, and it has been condemned in Bharat's NatyaShastra and other ancient texts. I have mentioned it only to highlight Gita Ghatak's style to the contrary, without any conscious intention to hurt anybody's feelings. As far as I remember her singing style, it will always be alive in my memory for her bright and smiling eyes roaming over the eyes of the audience. I strongly believe that not only listening to her, but seeing her sing is an unforgettable experience in Tagore Song.

I hope Sri Mitra will please endeavour to see my point -- it is not terribly different from his.

Thanking Sri Mitra,

Samir Sengupta



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~A^T woF (probasi_ari....@....)



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jaɦR, fcc@ cɮ-26 @ cɮ-30-j ocA@gc @Ar S^S gTH@AAS TA@ػS TU@ Tɮ@@ Z ~So @c---gU Uwc jq ~r | - ɰ@



cAH Oncf w\ TAv (cɮ-44)

cAH Oncf w\ TAv Zc ^ Uwa ; U TBT aAcR OTl@ |

f OMof, @U@ɩ (cdpnk...@...)



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f OMof, @U@ɩ (cdpnk...@...)



TfBS TS-j R @ cI (cɮ-44)

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SɮfT, b@ (nasim52...@...)



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gcgkA gOs (bhava...@.....)



sro OMof UcU @Ac (cɮ-42)

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wMf (sgnd...@.....)



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wMf (sgnd...@.....)



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wMf (sgnd...@.....)



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qA --

rATU (roypommot...@.....)



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AF ~--o--H UwU |

jTS w\ ɩ A c @ U ASB@ oSF TS @̩T | ~ US Sq Ucc aAc |

UT BS@q |

gcgkA gOs (bhava_biju...@.....)



˻ Oncf ԰Av @Ac (cɮ-42)

~S@AS ˻ Oncf UZ gU UwU |

AcrK @ Sf o wa T j@ TS aJ wU |

US drf (Lunrushdi...@.....)



~dHg TArc aAc (cɮ-4o)

aAcAU Zcq ^ | TArcɰ-j j AA@ mީF ~a ~S@q BS S | Z Zc gU UwU |

@@AU ATn (kakoli.mitra...@.....)



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Fe@ jwqS |

B (rajat_here...@.....)



PrUS @ SFɮ oecrK (cɮ-42)

gU UwAS | ~B@U@ c SFɮ d ~S@ Fr AS, rK c A, @S UAB@U @SFrS AcS |

cAr Oncf (devachakra...@.....)



f ATn AS q@ػ A\T lc 2008 (cɮ-42)

~oH UwU |

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f OMof (cdpnkr@...@.....)



sro OMof UcU @Ac (cɮ-42)

Zc gU | c, ceU @Ac ԮTIU ? cr, cr, qB. | ^먽 @, ~ ^먽 @ |

f OMof (cdpnkr@...@.....)



j@T ~AU @Ac ~rff (cɮ-42)

Zc gU Uwa | ~ UZ Oq |

f OMof (cdpnkr@...@.....)



Tf S c^ cXoc c A ~oAS@ ceU @Ac emAH@ ig (c.c. Acgw)

Tf Sw ~UOSAv gU UwU | cr A@a Ac@ Aa jq cqAv @S @Ac @S mS SAS c aS en^ | Tf S pA jce AcO q ~UOS SS Av Zc gU UwU |

dS c^FoF



Tfcc UZAv ~oH Uwa |

j@ AASAo-mSf @cF-e@US AccS j-S ިSި AcO -- gcvq ~SSF |

A@ا j@v r : cXo J e@US @U@ɩ c AEOTc cq @S @Ac@ @ذO mS SAS @S ? AEOTc cq A@ @S cCAU @Ac AUZ BSS S ? ceUrR @S @Ac STTn Sq @S? cc T, @Ac wU A@ c @Ac-An@ ɴ-j a @v BdA AaU ?

f OMof (cdpnkr@...@.....)



Nandini Gupta's translation `The Land Where I Found It All' (Buddhadeva Bose Section)

Actually this is to tell you how much I love your site. I am a South Indian who was brought up in Bengal. Your site subtly embodies that very culture that Budhadeva Bose speaks of when he describes Santiniketan in an inimitable manner. Thanks for being there, parabaas.com - I am so grateful.

Lata Iyer (lathamaha@....)



I would like to know if you are going to continue the chapters (at the end, it says "To be continued") in the subsequent issues of parabaas. I grew up in a non-Bengali environment in Madhya Pradesh, and as such my Bengali is very poor - I never learnt it formally. However, I can read Bengali quite well, and have books by Rabindranath as well as an account of his life. Still, I have to look for difficult or unknown words in a dictionary. A Bengali-English dictionary would help, but I cant find one. They are probably available in India and England. I have been living outside India for the past 46 years.I find your e-mails interesting and useful to read with the little time that I can spare in my other activities.

Asit Choudhuri (asit..@.....)

TfSQf c^ ArcSH

ArcSH c c^ Aa r An@ A@ا TSK ArcSH @ TfSQf c^ Zc gU UwU | AXo cA^@ OAn ~SFA@AU UZ@ @UT B R cUfU w\\ cU gA ^ @ o a |

dS c^FoF



AcS U-j TUOS : cCUST (cɮ-41)

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dS c^FoF



q^SfU r w\ Ac R w (cɮ-41)

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q^SfU A@ا AUZaS cr | rK Rq cAU@ m ~wTS ZFSv A@ @\S ? q^SfU q-TU U ɮA RS@q ABڮ @A |

oSFcɰ |

(cdpnkr...@.....)



rr©f gOs w\ K ~U (cɮ-41)

rr©f gOs UZ K ~U ަUT | UAZ@ UZ ɩ gU A@ا w\v j@v Acv gU ~a | rgw T s cݮ 18 (T O@A 18 ca c | ިAUr O@A, r Acgw ) cݮ jZS 90 s @f @ ? ~v j@v wUTU sha S ?

ATArZ (himadrishekhar...@.....)

UZ@ :

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BAK cS (rajarshideb...@.....)



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j@^ --

TS (manosjchowdhury@.....)



~U@ c^ cf^S R TS^ OoF (cɮ-40)

TS^ OoF ~U@ UZ ަ dH UwU | j@T UZ ~ Oq |

q^SfU r (indranil_dg@.....)



Zc ^ UZ | Zc gU Uwa |

f OMof (cdpnkr@.....)



@MAr@ S-j c^ wAAc cJOR (cɮ-40)

A@a AO^ @cS S, ~T HFAݩ wAa | c TcqU S ~ cq @AvS @q ~ @AS @ި@ OS | ~FSAR FrS sc ...

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UZv BSfݩ ~a ; A@ا AB-AvAg S-Z UZv ަ Aw c T S U |

rTf@ S (samikn@.....)



˻ Oncf @Ac ԩ޻H (cɮ-40)

FSvɮAv@ |

Ac (bishub@.....)



AO^S @بШ @AcUS (cɮ-40)

In the issue #40, I liked 'kabi-sammelan' by Chirantan Kundu very much. I want to know if this can be printed in any other local paper?

Also, the link to the feedback section of issue #40 is not opening up. All the 'k' letters are coming as @ symbol. Is there any fix available for this problem?

Tultul Chakraborty (ctultul@.....)

~S@ UZAv ~SFn aS cF ~Uɰgc BSc | UZ ަ s ~Aco AhaU v ~r @A o Aa | -- ɰ@



dH Uwa |

SfUA Oncf (niladri.pappun@.....)



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T (samudra.duttagupta@.....)



Zc gU a |

˻ i@ (ppathak@.....)



FSvɮAv@ |

Brf r (jayashridg@.....)



sro OMof @Ac jq Tk @Ac (cɮ-40)

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˻AT WK (mail_partha23@.....)



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rfcBFA gOs cScf a w\, ^ w\ ; ިS AS SmvUAB@ BAw U | j@ZAS ACS aAc @U gU |

f OMof (cdpnkr@.....)

fQ BU ~T ~Ue@@ j@v cAr cFm aS ! A@ا LLR ~m ~m aAc sw @ ha--cScf-Aq d @ U | -- ɰ@



AO^S @بШ @Ac S ceU

Zcq Tswf a | jv cr gU UwU | c B @ަ @ ? cUUR sZS U-ASvS ~ S, j ^ PrA\@ AcrS @v Sɦ cS TTSF B ! sAR ԮempA SAa B !

jTS ~ cAU UZ Oq |

~So @c ޮf TAU@-@ AS @Ac ~ɮ@ cɮ-j |

c rK, ~AgS^S AO^S |

~AABl wʨAU (arigan@.....)



~oH Uwa AO^S @بШ @Ac S ceU |

f OMof (cdpnkr@.....)



a^ Acv gTH@AAS wFUw @@AS

I am very much impressed with the content of this write up. The literature is beautiful and descriptive. It is also an important writing for students and researchers. I wish to read many such articles.

Best wishes,

Tapan K. Chaudhuri (tapan@........)



~AT ̵S c ~S^ ~FSvAT

Excellent. Full of Knowledge and information. Style of writing is also appreciable. I liked it very much. This type of writing should be promoted by us to make the common people more and more concious.

Atanu Bhattacharjee (atanu@.ppc......)



wMf w\ @dH-@ATSf

Many, many thanks for this perfect story.

Milon Khan(milon.khan.81@....)



cBFA gOs w\ ԴBU j@ IJ@

Zc gU |

~T (ahmeed@....)



PrUS @-j ocA@ SFɮ oecrK

ަ gU Uwa | UZ PrUf Ag^ oS | aAcAvR gU |

BBFA (chakraj..@....)



sro OMof w\ ~ASA^

Too good and inherently elaborated

Arindam C. (arindam_chat@....)



@cf wS-j w\ q a ըAv

@cf wS-j c^ ~oH BST, w\ UZR s j ̰rf BS AaU S | j@ @s ~oH ~SgkA a -- ~AT ~T T BfcS A@ W @UT, q -- j@q w\, BfcS @a @fgc BfcS rK @aS ~T v A@sR AZAS | OZ ZU BSF oSFcɰ | @cf wS ~ UZ ަ Oq | UZ@ jce cɮ, g@q oSFcɰ ... ~T TF @U ~AT j@v AUT cSɩT jq w\v AS |

SɮfS ~Z (nasrinakh...@....)



gAcsa, @JAsa, Aa |
~of @Aa |

UZ@ S ɩ-@UT @ |

@MAr@ ~T (koushikahmd@...)



R̬بU ! ~S@AS j@v w\ ަUT s A@aQH gAca |

Tɮ@ UAS (salehin@...)



Srf Oncf w\ ԮWS wS An

w\Av gU UwU | UZ@ @ ~Ue@HR cr ^ |

BBFA(chakraj..@....)



cAH Oncf w\ cS

cɮ-j @Ar cAH Oncf s c w\q ~AT Aa | cU wU ~AT ~AT j@@ RS UZ g | c qASe @Ar 4-5v w\ -oS vS ~Sgc @Aa S | sTS jq cS w\Av dAv OTl@ UR Ai@gc sS rK U S | av TAv ~erv sS ~ j@Av ~SF w\ scA a cU TS |

~AT c ~T T ~ ~S@q UZ@ @a @ 6-7 ca ~w ަ ZJAv, US ARU, c ԮfT^ sXo T w\ ~ ~r @Aa |

BBFA(chakraj..@....)



Superb

@\ީd (kalpataru..@....)

(cɮ-41, 2008)



cɮ-j UZ ~S AOA^ T^cF iS




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