Results 1 – 12 of 18 (a story for juvenile). Feb 1, by Akhtaruzzaman Elias Akhtaruzzaman Elias: Racanasamagra by Akhtaruzzaman Elias. Akhtaruzzaman Elias. K likes. Akhtaruzzaman Elias is a major Bengal fiction writer particularly noted for his subtle sense of humor, realistic use of. Akhtaruzzaman Elias: (* +) wrote only two novels – Chilekothar Sepai ( Sentry of the Attic, ) and Khoabnama (Dream- Elegy, ) but he has.

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We are find out the link of Salimullah khan’s writing on Akhtaruzzaman Elias. Please, follow the link: Recently Salimullah Khan wrote an essay on Akhtaruzzaman Elias.

Akhtaruzzaman Elias Intermingles Dreams, Myths and Realities

Here is the link: With an active political viewpoint, he wrote several short stories and essays, which are also noteworthy addition a,htaruzzaman our literature.

Azam also discussed on Elias’ literary style, namely, the ‘photographic reality’, ‘class-consciousness’ and ‘thematic use of Old Dhaka’ in his writings. Faruque Wasif focused on Elias’ efforts to revive the indigenous elements in Bengali literature.


But the original stream of our literary past was also present side by side through our expressions.

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My interest in Elias evolves through this point of view. He successfully created a post-realistic discourse in his two epic novels.

Khizir one of the major characters in Chilekothar Sepai with all his madness stands as a counter image, a schizophrenic revolt against the ‘rational’ Elais Enlightenment. Elias’ younger brother, noted critic Khalequzzaman Elias also spoke at the programme.

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Salimullah Khan on Elias. Cultural struggle and Akhtaruzzaman: A book on Akhtaruzzaman Elias written by Shubhoranjan Dasgupta.

The book is an evaluation of the creativity and ideology of Akhtaruzzaman Elias, a brilliant novelist and short story writer of Akhtaruzzamam.

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Elias died at eliaz unripe age of 54 and wrote only two novels- Chilekothar Sepai Sentry of the Attic and Khowabnama Dream-Elegy. The Author examines Elias’s poetry, short stories, two novels, and his cosmovision and then analyses the varied responses of the readers of Bangladesh. Here, aesthetic judgement is refracted through the prism of ideology.


In fact, by applying the theories of the neo-Marxians and post-moderns Theodor Adorno, Frederic Jameson, Jacques Derrida and others akhtaruzaman the creative texts of Elias, he demonstrates how theory and praxis come to be interwoven is a comparatist’s discourse.

This is the first evaluation of Elias written in English, an author whom illustrious writers like Mahasveta Devi and Hasan Azizul Haque regard as a ‘wonder’. Based on a sensitive and meticulous deconstruction of Elias’s texts, it should encourage readers to proceed to the texts themselves.

The Appendices reveal the personality of Elias, and the comprehensive Bibliography will help researchers interested in Elias, modern literary theory and sociology of literature.