The Partition of India (1947) brought an influx of refugees from across the border, which posed a serious threat to the limited resources that the country had at the time. In Bengal, this led to extreme expansion in and around the city of Kolkata and the inclusion of precarious hybrid identities that struggled with their pre-partition bhadralok sensibilities. This paper offers a reading of the Hungry Generation poems written in 1960s Bengal and how they portrayed the precarious identities that had taken root, especially in Kolkata.
Keywords: Hungryalist Generation, Bengali Bhadralok, Partition, Refugees, Translation, Excess

When Phantom comics got translated into Bengali, the 'viewders' (a portmanteau of viewers and readers since comics reading is an activity which requires both reading and viewing at the same time) were introduced to a hitherto unseen world of exotic jungles, spandex-clad supernatural superheroes, along with their reintroduction with a form of entertainment that was laced with colonial-hegemonic themes and undercurrents. While neocolonial influences take several forms of re-penetration in the erstwhile colonies (Nkrumah,1965) the most apparently innocent medium might be comics (Sarkar, 2020 p. 120). This paper will analyse selected newspaper strips, Anandabazar Patrika from March 2002 to May 2010 of Phantom comics translated into Bengali to question the re-iteration of pro-colonial perspectives inside them via Post-Colonial critical discourse analysis as established by Dipesh Chakraborty and Stuart Hall among others. The liberalisation push of the 90s provided rich dividends to the Indian markets after their encounters with foreign agencies which provided a context for the burgeoning of translated texts. The implications of the series of events created a market for foreign-produced comics in India. They reinforced the image of the white super-bodied European male saviour in the psyche of the Bengalis.
Keywords:Translation, Transition, Post Colonialism, Neo-Colonialism, Decolonisation.

Translating poetry demands more than linguistic accuracy; it requires a sensitive engagement with the poem’s tone and voice, which are central to its layered meanings and emotional impact. This paper explores the significance of preserving these elements in poetry translation, focusing on the English translations of Amrita Pritam’s work. It argues that tone, understood as the emotional colouring of words, and voice, defined as the distinctive presence and perspective in the poem, are crucial for conveying the poet’s intent and maintaining the integrity of the preceding text. Through an examination of Pritam’s diverse poetic voices, shaped by themes ranging from personal longing to social critique, the study investigates how translators interpret and reproduce these features. The paper further considers how the translator’s choices affect the reader’s experience and understanding of the source material. Ultimately, it highlights the importance of tone and voice in ensuring that translated poetry resonates with the same depth and complexity as the original.
Keywords: Poetry Translation, Tone, Voice, Punjabi Poetry, Literary Style.