Abstract

INTRODUCTION PART I: FICTION INTO FILM: THE PROCESS AND THE PRODUCT: 1. Meenakshi Mukherjee, 'His Films, Their Stories' 2. Vijaya Singh, 'Fiction to Film: A Brief History and a Framework for Film Adaptations' 3. Somdatta Mandal, 'Two Masters One Text: Satyajit Ray's Transcreation of Ghare Baire' 4. Anuradha Ghosh, 'Some Aspects of Inter-semiotic Translation: A Study of Satyajit Ray's Interpretation of Tagore' 5. Jayita Sengupta, 'Ray's Narrative Vision and Synaesthetic Appreciation of Tagore in Ghare Bairey' PART II: TAGORE, RAY AND THEIR WOMEN: 6. Shohini Ghosh, 'Disobedient Women /Disobedient Detours' 7. Supriya Chaudhuri, 'Space, Interiority and Affect in Charulata and Ghare Baire' 8. Tutun Mukherjee, 'Tagore's Women Protagonists through Ray's Camera: Re-presenting the Shifting Concepts of History, Culture and Identity' 9. Asha Kuthari Chaudhuri, 'Thak / Freeze-- Negotiating Narrative Positions in Adaptation: Female in Tagore's The Broken Nest and Ray's Charulata' 10. Brinda Bose, 'From 'Noshto Nirh' to Charulata: Ray's Creation of an Audio-Visual 'Aura' for Tagore's Fiction' 11. Vishnupriya Sengupta, Enigma of Departure: A Re-interpretation of Rabindranath Tagore's Noshto Neerh and Satyajit Ray's Charulata' PART III: PREMCHAND, RAY, AND THE GAME OF CHESS: 12. Frances W. Pritchett, 'The Chess Players: From Premchand to Satyajit Ray' 13. Jasbir Jain, 'Critiquing Colonialism through Cinematic Frames: Shatranj Ke Khilari and Ghare-Baire' 14. Shreya Bhattacharya, 'De-coding the Moves of Colonial Chess: Premchand/Satyajit Ray's Shatranj Ke Khiladi' 15. Tarini Pandey, 'Shatranj Ke Khiladi: Games and their Repercussions' 16. Deepti Zutshi, 'From Sadgati to Sadgati: Ideological Aspect of Satyajit Ray's Adaptation of Premchand' LIST OF CONTRIBUTORS

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