#Bengali interpreter

[laclasseworld-blog]

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[conferenceinterpreterhyderabad]

Bengali conference interpreter Hyderabad

In the dynamic city of Hyderabad, where cultural diversity thrives, the role of a Bengali conference interpreter becomes indispensable in facilitating seamless communication. The Bengali conference interpreter in Hyderabad is a linguistic expert adept at bridging language gaps between Bengali speakers and participants in conferences, business meetings, or other professional gatherings. Armed with fluency in both Bengali and English, these interpreters contribute to the success of conferences by ensuring accurate transmission of information and maintaining the integrity of multilingual discussions. Beyond language proficiency, they bring cultural sensitivity and a deep understanding of diverse contexts to the table, making them vital contributors to the city's cosmopolitan environment. As Hyderabad continues to host a myriad of conferences and events, the Bengali conference interpreter plays a pivotal role in enhancing cross-cultural understanding and fostering collaboration on various fronts.

[conferenceinterpreterinmumbai]

Bengali to English Conference Interpretation Services

In the cosmopolitan landscape of global conferences and meetings, our Bengali to English Conference Interpretation Services stand out as a beacon of linguistic proficiency and cultural understanding. Based on the principle that effective communication is crucial for the success of any international gathering, our skilled interpreters bring a wealth of experience to bridge the language gap between Bengali and English speakers. Whether it's a business summit, academic conference, or cultural exchange, our interpreters ensure that every participant is able to fully comprehend and actively engage in the discussions. Their mastery of both languages extends beyond mere translation, as they capture the nuances and subtleties, preserving the integrity of the message. With a commitment to excellence, our Bengali to English Conference Interpretation Services contribute to the seamless exchange of ideas, fostering a truly inclusive and collaborative environment on the global stage.

[tiapoa26]

Bengali Miku…but she is getting married

to whom? I'd say a leek, but you can interpret your head canons :>

(i need tips to draw metal jewellery ;v;)

[sambhavami]

sharad chandra ki poornima,

ras-barsa ki raat,

kadam-tale kanha khade,

liye muraliya haath. (x)

One of my absolute favourite bollywood retakes on old bhakti-era literature, this song holds a special place in my heart alongside songs such as Radhike Tune Bansari Churayi (x), Radha Na Bole (x), Bansuri Tihari Nanda-lal (x), Thumak Thumak Mat Chalna (x), and Murali Manohar Krishna Kanhaiya (x).

It's very interesting to see the sub-genres of Radha maan-bhanjan (x) or Shuk-Shari conversationals (x) (prominently seen in Bengali folk as a unique genre, but elements of it are obviously found countrywide and beyond) living on, beyond Geeta-Govindam, and resurfacing at honestly, very unexpected moments!

It invokes a special feeling, when songs such as these explore Radha and Krishna navigating a normal (albeit tumultuous) relationship with the tadka of constant 'break-ups' and 'patch-ups', with the flute, standing in for 'intimacy', and it's interpretations standing in between. Dehi pada-pallavam-udaaram...(x)

It is truly heartwarming to see how this one historically controversial couple have somehow saturated the soul of our country with such an indelible passion, that even in the present day at least 1/10 songs chosen in random will include at least a cheeky nod to their love. In so many forms, in so many contexts, with almost every state in India contributing at least one unique chapter in their story.

It would be true academic achievement too to be able to delve into the Radha-Krishna traditions of each Indian state, and map their dependence as well as independence from each other!

Another interesting facet to be observed is how fluidly bollywood has always adapted regional literature (here I must say, I can only speak for Hindi/Bengali remakes). While the foremost example would obviously be the infamous "Piya Ghar Aaya" by Bulle Shah (x), but there have been so many such songs that have quietly slipped under the radar. Another semi-famous example would be Turab's Neeki Lagat Mohe (x), being remade into the famous "Pyar Kiya Toh Darna Kya" (x).

In the context of Radha-Krishna, one example that comes to mind is Md. Rafi's Radhike Tune Bansari Churayi (x), which is adapted from K L Saigal's rendition of Surdas' Radhe Pyari De Daro Na (x), which was then also adapted synonymously into a Hindi-language Meera Bhajan (x) by Hridayanath and Lata Mangeshkar.

When the original songs are as old as they are, I feel we cannot outright accuse the makers of malicious plagiarism. However, it is imperative to at least record these transition links, even if only to make life a little easier for future archaeologists!

[hadeth]

عن أَبي هُرَيْرَةَ ـ رضى الله عنه ـ قَالَ جَاءَ رَجُلٌ إِلَى النَّبِيِّ صلى الله عليه وسلم فَقَالَ يَا رَسُولَ اللَّهِ أَىُّ الصَّدَقَةِ أَعْظَمُ أَجْرًا قَالَ ‏ "‏ أَنْ تَصَدَّقَ وَأَنْتَ صَحِيحٌ شَحِيحٌ، تَخْشَى الْفَقْرَ وَتَأْمُلُ الْغِنَى، وَلاَ تُمْهِلُ حَتَّى إِذَا بَلَغَتِ الْحُلْقُومَ قُلْتَ لِفُلاَنٍ كَذَا، وَلِفُلاَنٍ كَذَا، وَقَدْ كَانَ لِفُلاَنٍ ‏"‏‏.‏ صحيح البخاري ومسلم حديث ١٤١٩ - ١��٣٢

Narrated Abu Huraira: A man came to the Prophet (peace be upon him) and asked, "O Allah's Messenger (peace be upon him)! Which charity is the most superior in reward?" He replied, "The charity which you practice while you are healthy, niggardly and afraid of poverty and wish to become wealthy. Do not delay it to the time of approaching death and then say, 'Give so much to such and such, and so much to such and such.' And it has already belonged to such and such (as it is too late)." Sahih al-Bukhari 1419 In-book reference : Book 24, Hadith 23 //  Sahih Muslim 1032a In-book reference : Book 12, Hadith 119

 فيه: أن أعمال البر كلما صعبت كان أجرها أعظم، لأن الصحيح الشحيح إذا خشي الفقر، وأمل الغنى صعبت عليه النفقة، وسول له الشيطان طول العمر، وحلول الفقر به، فمن تصدق في هذه الحال، فهو مؤثر لثواب الله على هوى نفسه، وأما إذا تصدق عند خروج نفسه فيخشى عليه الضرار بميراثه والجوار فى فعله. شرح صحيح البخاري لابن بطال

شرح ألفاظ الحديث:

ه(( شَحِيحٌ )): أي شحيح النفس، فالشح يكون في النفس؛ قال تعالى: { وَأُحْضِرَتِ الْأَنْفُسُ الشُّحَّ } [النساء: 128]، والشح أعمُّ من البخل، وقيل: هو البخل مع حرص، وجاء في رواية عند البخاري ((وأنت صحيح حريص))، والمعنى أن في نفسك رغبة كبيرة للمال، وأما قوله: (صَحِيحٌ)؛ أي: صحيح الجسم من غير مرض مخوف؛ لأن المرض المخوف هو الذي ينقطع به أمل الإنسان من الطمع في الدنيا وما فيها، بخلاف بعض الأمراض التي لا تقطع الطمع ولا تؤثر به، ويشهد لهذا المعنى آخر الحديث.

ه(( تَخْشَى الْفَقْرَ وَتَأْمُلُ الْغِنَى)): تأمُل؛ أي: تطمع، وتأمل الغنى؛ أي تطمع بالزيادة، والرواية الأخرى عند مسلم أبلغ وأشد: ((تخشى الفقر وتأمل البقاء))؛ أي تخشى الفقر مع طول في العمر؛ لأن من كان كذلك يكون أشد شحًّا بالمال، بخلاف من يخشى ويأمل الغنى، لكنه لا يأمل بطول بقائه فهو أخف حالًا.

ه(( حَتَّى إِذَا بَلَغَتِ الْحُلْقُومَ))؛ أي: إذا بلغت الروح الحلقوم، والحلقوم هو مجرى النفس، والمقصود إذا قاربت الروح بلوغ ذلك؛ لأنها لو بلغت حقيقة لم يصح حينئذ شيء من تصرفات المحتضر باتفاق الفقهاء؛ كما نقله النووي؛ [انظر شرح مسلم حديث (1032) ].

ه(( قُلْتَ: لِفُلاَنٍ كَذَا. وَلِفُلاَنٍ كَذَا )): أي بدأت توصي وتقول: أعطوا فلاناً كذا من المال وأعطوا فلاناً كذا من المال.

ه((وَقَدْ كَانَ لِفُلاَن )): أي قد صار أمر مالك لوارثك.

من فوائد الحديث:

الحديث دليلٌ على أن الصدقة في حال الحياة والصحة أفضل من التصدق بعد الموت، (كأن يوصي أنه إذا مات يتصدقوا بشيء من المال)، وكذلك أفضل من الصدقة في المرض؛ لأن الإنسان حال الصحة تصعب عليه الصدقة غالبًا لما يخوفه به الشيطان من الفقر، قال تعالى: { الشَّيْطَانُ يَعِدُكُمُ الْفَقْرَ وَيَأْمُرُكُم بِالْفَحْشَاء } البقرة: 268، ولما يزيِّن له الشيطان من إمكان طول البقاء، والحاجة إلى المال.

قال ابن بطال - رحمه الله -: "لَما كان الشح غالبًا في الصحة، فالسماح فيه بالصدقة أصدق في النية وأعظم للأجر بخلاف مَنْ يئس من الحياة، ورأى مصير المال لغيره؛ [انظر الفتح حديث (1419) ]. شرح الحديث

Al-Haafiz ibn Hajar (may Allah have mercy on him) said: “The hadeeth indicates that paying off debts and giving in charity during one's lifetime when one is in good health is better than doing so after death or when one is sick. The Prophet (peace and blessings of Allah be upon him) referred to that when he said: ‘When you are in good health and being cautious, hoping to be rich…’ because when a person is in good health it is usually harder for him to give money, because the Shaytaan makes him fear for it and makes attractive to him the idea that he may live a long life and need that money, as Allah says (interpretation of the meaning): ‘Shaytaan (Satan) threatens you with poverty’[al-Baqarah 2:268] ... for the full Explanation : English , اردو

Hadith Translation/ Explanation : English French Spanish Turkish Urdu Indonesian Bosnian Russian Bengali Chinese Persian Tagalog Indian Uyghur Kurdish: https://hadeethenc.com/en/browse/hadith/4252

[niarchery]

is it really fair for f*shjellylou to say Lous was only made Black because "they had to"? Obviously they couldn't directly adapt slaveowner Louis from the books, but the care and enthusiasm with which the writers shaped show-Louis' story to reflect his experience and struggles as a Black man in America make me think this decision was more than just a hasty raceswapping to tick off some box on a DEI checklist. No matter how amc execs & producers disrespect Jacob Anderson & Assad Zaman, I'm going to continue believing that the writers want to keep exploring the stories they created for Louis/Claudia/Armand until proven otherwise.

No you're right, I really disagree with that part. I think anyone with a brain watching the first two seasons could see how much love and care was poured into writing and creating the show, especially while shaping its main character Louis along with his black family and community in NOLA, and it makes little sense to then assume that the creatives of the show had made Show!Louis black to 'simply fulfill Murica's enforced diversity quota'.  

That being said, ofc the show is not perfect (we saw how S2 suffered some writing and pacing issues -largely because of the writer's strike- especially the finale) and I think to maintain writing quality in S3 in terms of the storylines of the characters of color, the show still needs to maintain a diverse writing room. I know that they've recruited a Bengali playwright to help with Armand's storyline especially his backstory of sexual slavery, but other than that I think the fact that the current writing room looks otherwise quite white doesn't exactly ease people's worries re: Louis's S3 storyline. And the show executives' attitude towards their own actors of color only adds to that anxiety: I mean aside from the whole FYC ordeal, we also know that Jacob had previously revealed to Naomi Ekperigin (former host of S1's now discontinued official podcast who, along with many black youtube content creators who received screeners for S1, was abruptly cut off by AMC with little to no explanation after S1 had ended) and had expressed his disappointment that he and his other costars of color weren't allowed to discuss race during the entirety of the S2 press tour. I think this pattern of AMC deliberately phasing out all conversations about race throughout S2's press run in order to pander to a wider and whiter audience has also generated rumors that they are now phasing out Jacob from IWTV press altogether, even during moments when Jacob's absence was actually due to his personal choice to spend time with his family or to work on new music.

Overall though, I do notice a pattern of that particular Tumblr user and their corner of the fandom making posts that bring attention to a couple of actually valid concerns re: AMC execs's discriminatory behavior, backed up with actual facts, and then in the same breath sharing the most bad faith interpretation of the situation, especially re: the motives of every single party involved. They sure love to be enraged over their own exaggerated, imagined scenarios lol and I just think that type of approach (fearmongering for likes) have no place in this conversation which requires nuance. 

[strlitetheatre]

⠀⠀⠀ˏˋ°•*⁀➷ hey , over here !

come on down , meet me at the bleachers .. ｡･ﾟﾟ･

⠀||⠀𝑰𝑵𝑻𝑹𝑶 𝑰𝑵𝑻𝑹𝑶 𝑰𝑵𝑻𝑹𝑶 !!⠀||

༊*·˚ adult [ 19 , sept 22 ] . any / all pronouns .  virgo ☉ taurus ☾ aries ↑ .  desi [ bengali ] , canadian .  queer ; bisexual , genderfluid , polyamorous .  isfp / infj ,  1w9 .  uni student , ongoing psych major .  neurodivergent , mentally ill , terrible memory . nonhuman ?

⠀⠀⠀⠀⠀⠀✼　 ҉ 　✼　 ҉ 　✼

༊*·˚ eye emojis helwo .. im so intimidated by hatchetblr LMFAO but im DINO or BEAR !! i hope to have a good fun time ,'] my inactive asf main blog is @sleebiebear , the weird-activity hf oc rp blog i share with my wife [ @misshollowayss ] is @swinginthehatchet , my FRESH NEWBORN sideblog is @watcherwrld and my reblog account is @strlitestage if anyone even caresss and i currently have art comms open ! ask me about it if u want :p

LINKS⠀:⠀pinterest⠀spotify⠀art ig⠀ao3

༊*·˚ more about this blog under the cut !!

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༊*·˚ on the topic of the blog itself , i feel like its kinda obvious but to state it again ; this is a mainly STARKID / HATCHETFIELD-CENTRIC BLOG !! hatchetfields been a pretty big fixation for the past few months for me and Boy do i have thoughts on it as well as starkids other projects . there will [ hopefully ] be pretty 50/50 ratio on my own posts vs reblogs , but whenever i go on about a certain chara or charas , i will be tagging accordingly !! i like sorting :33 and in terms of warnings , ill try to tag certain things that need trigger and / or content warnings , but also theres a lot of crazy shit going on in hatchetfield !! i cant even remember everything but ill tag depending on posts !!

DNI⠀:⠀basic dni criteria we all know it . terfs . ai users or enablers / enjoyers . vivziepop / helluva boss / hazbin hotel enthusiasts sorry i just am not too comfy w that .

BYF⠀:⠀i will mainly be interacting w other starkid-related blogs n posts , if you are 16 or below or just have 'minor' in your bio i dont mind if you interact but i most likely will not interact / follow back just because im not fully comfy w that . i do need tonetags and i will use tonetags regularly ! i do make kms / kys jokes but most of the kys jokes will most likely be in the context of me talking abt characters and will be tagged accordingly .

⠀⠀⠀⠀⠀⠀✼　 ҉ 　✼　 ҉ 　✼

༊*·˚ in terms of whooo i’ll be talking about ,  i usually have a few specific characters rotating my brain like a revolvin door ,  but on top of canon hatchetfield characters ,  i also have a lot of ocs for hatchetfield !!  i will most likely throw some of them into the wind every now and then because oc creation is a big outlet for me and a key way of how i show my love for a media !  if i make an oc for it u KNOW im in deep lol ,  but for now i’ll mostly have a concise list of charas i’ll mainly be talking about on here ,’] ofc this list is not set in stone and i’ll prolly talk about a lot more !

༊*·˚ i ALSO indulge very heavily in . a good amount of oc/canon shipping ,  non-canon shipping ,  and multi-shipping ,  so i may speak on that sometimes too .  if thats a bother to anyone then feel free to click off ,  idrc !  i do it because its fun and im abnormal about characters lmfao ,  but i know its not everyones cup of tea .  just a warning !!

CANON⠀:⠀[ my interpretations of ] the spankoffski family ,  the matthews family ,  the chasity family [ specifically mark and karen ] ,  the jägerman family ,  ruth fleming , charlotte sweetly ,  the workin boys ,  emma perkins ,  gary goldstein , linda monroe ,  the foster family ,  pokotho ,  bliklotep ,  t’noy karaxis , jason jepson , melissa dean , roman murray .

ORIGINAL CHARACTERS⠀:⠀dania + didrika kumar ,  olive matthews [ yeah we alr know where this ones going ] ,  penelope + samson kline ,  fredrick + erica + james buchanan ,  goldie rosalind cross [ ... lol ] ,  cj + gabriel elijah + elodie mae walker ,  blake + beau + brahm devaney ,  adonis heliach-ancunín ,  benjamin kingston , genevieve grosven , yori + himika + hansik kutsuki , evelina florentino , quinn dersey , jay macnamara [ ..... LOL. ] , magdalena whitstone .

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༊*·˚ i was gonna talk abt my taggin system but bah. literally just put #dino talks hatchetfield or any characters full name [ ex. #dino talks paul matthews or dino talks whatever family ] , #dino yaps , or #dino does art , and smth will def show up .

༊*·˚ ted and pete + tinky + ted + mark graphics / dividers by @misshollowayss . blinky + tinky + pokey gifs by @cherrieguroo .

[cripple-punk-dad]

Sometimes I think "is stage management really the right career for a crippled AuDHD guy" and then I stay up all night in the throes of passion for spreadsheets and script formatting and do a prep weeks worth of paperwork in like 6 hours for a friend's (not even, we have exactly one class together and have interacted a total of three times) 4 week unpaid production of an interpretive dance version of a famous Bengali playwright's utterly devastating (but hopeful) script (Tagore's The Post Office)

You just can't get that in any other job, you really can't.

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[conferenceinterpreterhyderabad]

Bengali conference interpreter Hyderabad

A Bengali interpreter can be a vital guide in a conference where ideas flow easily, creativity is at its peak, and innovation is at the forefront. OUR BENGALI interpreter not only interprets but also comprehends cultural nuances, capturing the core of each message and weaving a tapestry of thoughts that transcends language barriers.As speakers express themselves, the interpreter orchestrates a conversation symphony, transforming words into a painting of comprehension. The experienced supervision of our Bengali interpreter produces a mosaic of creativity and harmony, allowing attendees to engage totally, actively contribute, and absorb knowledge thoroughly.Language becomes a bridge, not a barrier, and the presence of a Bengali interpreter enriches the conference by infusing each interaction with openness and inquiry, creating an environment where varied perspectives blend and understanding emerges. With ideas ready to take flight, the interpreter acts as a catalyst for brilliance, ensuring connections transcend words.

[conferenceinterpreterinmumbai]

Bengali to English Conference Interpretation Services

Our Conference Interpreters from Bengali to English are highly skilled and knowledgeable experts who offer you the best interpretation services available.They know the customs of both cultures and speak Bengali and English with ease. This implies that they offer authentic and precise Interpretations to guarantee the success of your events.They operate in a variety of environments, such as trade exhibitions, corporate conferences, international conferences, courtrooms, and educational seminars.

[jeannereames]

Dr. Reames, a simple question from someone interested in history but who is not part of the academic world: in order to study Alexander the Great and Ancient Greece in general, how much Ancient Greek does one have to learn? Would you need to learn Demotic Greek or the many other dialects, such as the one from Macedonia? As in, you’d need to learn one or more versions of Ancient Greek?

Thank you in advance! I always enjoy your responses!

How Much Greek Do I Need to Read about Alexander?

It depends on how far you want to go…what’s your end-goal?

If you’ve no desire to make it a profession, the good news is you need very little Greek.

Most ancient Greek and Latin texts are available in translation in the major languages of (European) Classical studies: English, French, German, Italian. Now, if you want them in Polish, or Japanese, or Bengali, you’ll have more of an issue. But the Loeb Classical Library (and LOEB ONLINE) has English translations of virtually all extant (still existing) Greek and Latin sources, and if you’ve got access to a (larger) college library, they probably have them, even if you have to ask them to get things out of storage. Latin is red (PA6156); Greek is green (PA3612). Budé is the French version of Loeb, btw.

Loeb texts also have Greek and Latin on the facing page, but I mention them because they’ve got translations of (almost) everything. One can find cheaper versions without the Greek/Latin from Penguin, Oxford, et al. But those don’t have, say, Aelian, or Athenaeus, or the obscure texts of Plutarch’s Moralia. Loeb does. That said, the Alexander histories (Arrian, Curtius, Plutarch, Diodoros, and Justin) are all available in relatively cheap translations. Much earlier, in answer to a different ask, I listed our main sources on Alexander, extant and lost. It’s a longer read, but perhaps of interest.

(See below for more online sources in translation.)

So, no, you don’t need Greek. But, if you’re at least moderately serious about reading beyond pop history, you will want to learn a few Greek words to better “get” Greek sensibilities. Say, timē (τιμή), which means honor/public standing/esteem, but has all these attendant connotations. If you start reading the Serious Stuff (articles and academic books), authors will throw these around so it’s useful to know them, as they tend to carry an entire freight of meaning we don’t want to explain every time we use them. These are words I make my students learn in my intro to Greek History class (2510), so there aren’t many. (Undergrads put up with only so much, ha.) For Alexander, it’s also useful to know the Greek names of some units, such as the Somatophylakes (the royal Bodyguard of 7), or the Hypaspists (the specialist hoplite phalanx, not the same as the Foot Companions), or even the name of the long pike (sarissa). But you can make do quite well with a vocab of maybe 30± Greek terms.

It's only if you want to pursue research at the advanced (graduate) level that you’d need Greek. Even then, it’s mostly Attic Greek. The only time you’d need dialects is for quite specific study and/or epigraphy (inscriptions). Epigraphers are language specialists. Most of us, even the “pros,” don’t work at that level. But yes, if you’re getting into extensive examinations of passages, it’s good to understand the language for yourself, not have to trust a translation. Translations are, by definition, interpretations.

I hope that encourages some folks to embark on reading the original (primary) sources. Of more import for these is to understand HISTORIOGRAPHY. Even those who can read the Greek, but lack historiographic training, tend to take stuff at face-value when they shouldn’t.

Go HERE for a discussion of historiography (with regard to Alexander). Again, it’s part of a specific ask, but I explain why we need to know something about the historians who are writing our texts, in order to understand those texts. It’s another longer read, but essential.

Almost forgot! If you prefer video, I've also talked about the sources on TikTok: Part I: Intro & Lost Alexander Sources and Part II: Extant Alexander Sources

Some Useful Online Sources to Bookmark:

Perseus (at Tufts.edu): clunky as hell because it’s old (in internet years), but indispensable. English/Greek/Latin/other texts in translation and original language, plus all sorts of other tools, including an image bank. Pitfall: these are translations outside copyright, so old and sometimes problematic. Still, it’s free, and so-so much stuff here. Every person dealing with the ancient Med world has this one on speed-dial. (You can find other online sources with various texts, but Perseus has, again, almost everything; it’s the online Loeb.)

Stoa Org Static: a version of the original where you don’t have to sign in. Takes you to various super-helpful pages, including the Online Suda (a Byzantine encyclopedia you can search: look up “Hephaistion” there. *grin*) Bunch of other helpful links.

Wiki Digital Classicist hypertext list of topics ranging from the Beasley Library (of pottery) to the Coptic Gnostic Library and various online journals. Just click around, see what’s there.

Topos Text: clickable map of places which includes all references to them in ancient sources. So if, say, you want to know where X places is, mentioned in Arrian, you can find it on the map.

PHI Searchable Greek Inscriptions: I have used the tar out of this. It’s much easier than Inscriptiones Graecae, and comes with English translations.

More Online Resources: more links. This is just one of various collections out there.

Again, ALL this stuff is free. Even when you may have to pay (like Loeb Online), the amount of material you can now lay hands on even without a uni library is fantastic.

JSTOR: requires a subscription, but, if you’re a college student or can get access via a uni library, you can look up material for free. Problem: JSTOR has different subscription packages, and only the really big Class-A Research schools have large holdings for Classics. I’m regularly foiled in things I need, as my library is smaller. I use ILL (Interlibrary Loan) a lot. If you can’t get what you want via your school JSTOR or ILL, sometimes you can purchase a solo copy of an article via JSTOR Google Scholar. But (hint) always check the journal’s website itself. It might be cheaper there! (The Ancient History Bulletin, for instance, is super-cheap; check their archives. Karanos [Macedonia only] is FREE.) Same thing sometimes with books. Certain publishers have rental options, Open Access, etc.

Also Academia.edu first: Your savior…if the author is a member, and has uploaded the paper you want. We frequently face restrictions on what we’re allowed to upload, and when. Yet we may list an article we can’t yet release publicly. That doesn’t mean we won’t send it to you privately via email if you message us and ask nicely. 😊 Especially if you’re not providing an entire wishlist, or asking for a book for free. It depends on the person, and whether they have a PDF.

[argyrocratie]

"Old Eastern Europe under the four empires (Hohenzollern, Habsburg, Romanov and Ottoman) in spite of all the half-hearted or simply bogus reforms after 1848 remained, with the exception of the Western fringe and a few other pockets of modernity, an agrarian caste society where the overwhelming majority of the population lived in personal servitude, humility, deference, illiteracy, corvée and scurvy, not to speak of an ecclesiastical reign and brutal terror by the gendarmerie and feudal flunkeys. The propertyless peasants, not any longer called serfs but half-slaves in all but name, apart from the occasional blind jacquerie or pogrom (more often than not incited by the Court in order to frighten the gentry and the restive burghers and proles in the feeble towns) were not able to do anything to improve their living conditions.

Socialist revolutionaries had to address the problem of ‘backward’ caste society first where most of the ‘bourgeoisie’ were mediaeval-type petty merchants, mostly quite poor and ignorant, and the ‘proletariat’ were mostly journeymen artisans, living in the interstices of a still largely feudal society where, apart from the landowning aristocracy and the Soldateska, the military caste, political disenfranchisement was pretty general. In the relatively wealthy and modern Hungary, less than seven percent of the population had the vote, and electoral fraud, ballot-stuffing and police intimidation had been a matter of course even in those extra safe circumstances. Opposition MPs were thrown out from the Chamber by armed police upon an order by the Speaker – and this was the Austro-Hungarian belle époque, not the darkest Siberia.

(...)

In the absence of an autochthonous, home-grown bourgeoisie this decisive step away from agrarian caste society was to be taken by a strategic alliance between the proletariat and the intelligentsia. But these social groups themselves were rather peculiar in Eastern Europe, possessing a pre-modern, caste character also. The industrial proletariat in the East was mostly immigrant, allogenous workforce. In Bohemia and Hungary even, labour union members did not speak Czech or Hungarian, but German (in the first socialist trial in Hungary in 1871 the royal tribunal had to use interpreters to take the depositions of the defendants neither of them –leaders of the Hungarian workers’ movement – being able to understand Magyar), not to speak of the well-known Swiss (and Gentile) radical, Rudolf Rocker, who was forced to learn Yiddish when he wanted to address working-class anarchists in the East End of London (today he should learn Bengali). To be a proletarian socialist in Eastern Europe meant to be separated ethnically (in a mostly German-speaking cosmopolian or ‘internationalist’community) and denominationally or confessionally (in a community of non-believers or non-practising, lapsed Christians or agnostics) very remote from the rest of the people.

The revolutionary intelligentsia– however unfashionable it is to mention this – was mostly Jewish. So it is hardly surprising that, according to a survey by the respected Russian historian Aleksandr Ushakov, out of 12 members of the Bolshevik central committee, 9 were Jewish, all the 11 members of the Menshevik central committee were Jewish, out of 15 members of the right-wing Social Revolutionaries (SR) 13 were Jewish, of the 12 members of the left SR 10, the Moscow committee of the anarchists had 5 members, 4 being Jewish. If by no means so extreme,the same was true in the labour movements in the Austro-Hungarian Monarchy, the Balkans and the Arab Middle East then nominally still ruled by the Sublime Porte.

Max Weber has spoken of ‘pariah capitalism’ (elaborated by the Belgian revolutionary Marxist, Abram Léon during the second world war) and this was up to a point ‘pariah socialism’, the bold project of the isolated urban proletariat and the impoverished, uprooted intellectuals whose largely imaginary world was rounded off by the myth of the advanced West of which more later. Many memoirs on the Eastern left report that the parliamentary socialists in the distant Reichstag in Berlin or in Vienna had been the object of an adulation quite unsuspected in those imperial capitals: Bebel, Liebknecht, Adler, Renner, Bauer were regarded as latter-day saints, people who have got the respect and dignity denied to their less fortunate Oriental brethren, rather like the Rastafarians in the Caribbean admired Haile Selassie, a black man who was emperor and the Lion of Judah."

-Gáspár Miklós Tamás, "A Capitalism Pure and Simple" (2007)

[weirdass-hazard]

So I saw a lot of criticism by the Sanghis that Hindu mythology is not something one should write fanfiction about or that it's a religion, and therefore people shouldn't interpret and create stories of their own. But let me tell you something: the culture of fanfiction and re-interpretation of Hindu mythology is not at all new; it has been going on for decades.

So, as I said before in the blog, I am a Bengali, so most of the examples I will give are from Bengali literature. So Krishna is a huge part of these fandoms, and a lot of people write and draw things related to him. But this is definitely not a new thing; it has been going on since the time of Joydev's Geeta Govinda and Vidyapati's Vaishnav Padabali. There is a famous poem by Rabindranath Tagore:

শুধু বৈকুণ্ঠের তরে বৈষ্ণবের গান!

পূর্বরাগ, অনুরাগ, মান অভিমান,

অভিসার, প্রেমলীলা, বিরহ মিলন,

বৃন্দাবন-গাথা,—এই প্রণয়-স্বপন

শ্রাবণের শর্ব্বরীতে কালিন্দীর কূলে,

চারি চক্ষে চেয়ে দেখা কদম্বের মূলে

সরমে সম্ভ্রমে, —এ কি শুধু দেবতার!

Which translates to

"Are the songs of Vaishnav for Baikuntha alone?

Courting, attachment, sulkiness, sensitiveness,

Tryst, dalliances, parting and union, theme of,

The songs of Brindaban – this dream of love,

In the Shraban night on the bank of the Kalindi

The meeting of the four eyes under the Kadambatree

In blushing adoration - are these all for the Lord?

Most of the Vaishnav Padaboli and Radha Krishna Leela poets were very much influenced by their personal lives, which makes sense because they never really saw Radha Krishna with their own eyes, so obviously they need some kind of reference and muse for their works. For example, it is said that Vidyapati drew inspiration from the real relationship between a man and woman in that contemporary period for Radha and Krishna. He created the character of Radha from the very image of an adolescent, joyous young girl of that time period. His radha has a lot of human qualities. Then Chandidas, another important poet, apparently based Radha on his own lover, Rami. Rami was a lower-caste woman with whom Chandidas had an affair, but he couldn't marry her because it was not socially acceptable. Chandidas's Radha is portrayed as a sad woman, mourning for her lover from the very beginning, even before she meets Krishna, and it didn't change even when she was united with Krishna, as she was based on Rami, a woman who could never be with the man she loved due to society. Apart from them, the poets who composed Radha Krishna hymns during and after the rise of Sri Chaitanya in Bengal started including Chaitanya in their poetry. They wrote hymns dedicated to Chaitanya alongside Krishna; some of them even started crafting similar descriptions and personalities for both Radha and Chaitanya. It's from their narrative that Radha's love for Krishna symbolises devotees love for god; it was literally Krishna x Chaitanya. CHAITANYA FANFIC!!)

Apart from Vaishnav Padabali, we can also find examples of such works in Sakhta Padabali. For example, the whole concept of Durga pujo in Bengali is inspired by married women visiting their paternal family once a year with their children. The poets basically localised the mighty goddess Durga as a young girl married to Shiva, who is old and penniless. Several poets, like Ramprasad Sen and Kamalakanto (I don't remember his title), wrote hymns from the point of view of Menaka (Parvathi's mother) as she begged Giriraj (Parvati's father) to bring her daughter back. She chides Giriraj for marrying her young daughter to Shiva, who is old and penniless and roams in the crematorium with his ghost acquaintances. She worries about her young daughter suffering all alone in the Himalaya with no one to take care of. Isn't this also a kind of fanfiction? Where goddesses are made into normal women?

Also, if we talk about Mahabharat and the Ramayana, they also had fanfiction even before the rise of Wattpad and Tumblr. All the translations (except a few) adopted these epics in such a way that they could fit into their culture and contemporary society. It's a known fact that Tulsidas's Ramayan deviates a lot from the original one (Maya Sita, vegetarianism, etc.).

So in a way, it can be a retelling of some sort. So if we are shitting upon the culture of retelling and fanfiction, we should also talk about these examples, not only the modern ones. The truth is that retellings and fanfictions are necessary for these types of stories to survive. It makes sense that one modifies these age-old stories so they can fit into contemporary society. Every piece of ancient literature, be it the Greek epics, the Bible, or Hindu mythology, has its own share of retelling and fanfiction. These are not owned by a certain group of people; they don't have the right to gatekeep. People can and should explore these stories from their own point of view. They have the right to rewrite and retell the stories from a modern perspective. So before you chide a blog on Tumblr for writing Mahabharata-inspired fanfiction or incorrect quotes or bully them for writing a canonically incorrect ship,or critices them for writing self insert fic with Krishna stop and think for a second.