This study examines the complex dynamics of translating culturally-specific rhetorical devices through a comparative analysis of thirteen English and French translations of a pleonastic verse from Ṭarafa's pre-Islamic Mu'allaqa. While pleonasm serves as a standard rhetorical device in classical Arabic poetry, carrying specific aesthetic and functional purposes, it is generally avoided in Western poetic traditions. The research demonstrates how translators navigating between these different literary systems must reconcile competing demands: preserving the source text's literary features while adhering to target language poetics. Through close comparative reading of translations spanning from 1782 to 2000, the study reveals that successful literary translation depends not merely on linguistic equivalence, but on the translator's ability to recreate the functional aesthetics of the original within the literary conventions of the target culture. The findings contribute to comparative literature discourse by illuminating how translators' choices reflect their cultural and disciplinary traditions, personal interpretative frameworks, and understanding of both source and target poetic systems. This research advances our understanding of cross-cultural literary transmission and the role of translation in shaping comparative literary studies, particularly in bridging Classical Arabic and Western poetic traditions.

This critical presentation examines A donde tú vayas, iré (2016), a novel by Jewish-Mexican writer Victoria Dana. Dana, a Mexican of Syrian descent who honed her craft in the literary workshop of Miguel Cossío Woodward, has published two novels: Las Palabras Perdidas (2012) and A donde tú vayas, iré. In her second novel, the protagonist and narrator, Latife, embarks on a journey to uncover the story of her parents' migration from Syria.

The novel focuses on the perpetuation of patriarchal discourse through its female characters. This analysis, conducted from an intersectional and feminist theoretical perspective, explores how the narrative illustrates the continuation of patriarchal norms within the family sphere.

The story is narrated from the perspective a young girl Latife, a Jewish woman who, with her family along with her family, escapes from Damascus to immigrate to Mexico in the aftermath of the revolution period. While Mexico initially promises change, offering a contrast to the violence of the war in her homeland after the fall of the Ottoman Empire, the anticipated transformations do not significantly alter the status of women in the novel.

Skillfully, the author establishes a dialogue between the past and the present, revealing the persistence of patriarchal practices embodied by women, despite the passage of time and changes in geography. This analysis highlights the novel’s exploration of the complex interplay between historical context, migration, and gender dynamics.

Through its characters, particularly the female ones, Dana underscores how societal expectations and traditional gender roles endure, even in the face of significant social and geopolitical changes. By exposing the continuity of patriarchal structures across time and space, the novel invites readers to reflect on how deeply entrenched power dynamics shape the lives and experiences of women.

Though very first institutional engagement with comparative literature in South Asia emerged from the perspective of Bengali literature, but it took long time in Bangladesh to begin. The institutional introduction of comparative literature as a full-fledged program occurred in 2015 at Jahangirnagar University. Apart from this, some universities used to offer a singular course or academic discussion on this literary discipline. And numerous writings in the field of comparative literature have emerged outside the formal institutional practices, primarily driven by individual initiatives. A prominent figure in this domain is Professor and playwright Munier Chowdhury. In 1969, he authored a significant work based on comparative literature, entitled 'Tulanamulak Samalochana'. Additionally, Munier Chowdhury expressed a desire to establish a dedicated department for this discipline at Dhaka University. At present, Prof. Azfar Hossain, Dr. Shamim Reza, Dr. Suman Sazzad, Musfikur Rahman are working for the development of comparative literature in Bangladesh. This scattered intervention creates difficulties to the new researcher of the field.

This paper aims to analyze the current scenario, development, and future of comparative literature in Bangladesh. Since it has a become sovereign country with its own national literature corpus, it demands a new critical examination of the trends and developments of comparative literature in Bangladesh. It also seeks to map how literary history and trends have shaped Bangladeshi literature and how Comparative Literature should evolve in this context. This study will explore a few developments in this regard.

The type of unrequited which I will be taking is depicted through a relationship which is not fulfilled because of different reasons. The image which will be the identifying marker for Unrequited love as a state of being is the waiting of a lover for his/her beloved. The beloved waiting for love for a very long time which will further continue till forever is what makes the basic image for unrequited love for this assignment.

In the Bengali poetic system, the image of unrequited love is a very common theme which comes up again and again throughout different narratives. While working on Sufism and its emergence in the Bengali language. The idea of unrequited love is shown as a dominant image which shows the state of the devotee as well as lovers. I will be focusing on the image of one (lover or devotee) waiting for their beloved (can also be divine). I will start with an introduction to the image which I will be focusing upon. Then moving on, will try to show this in the poetic system of other Indian languages. I have worked with Baul Geet previously, which gave me the starting image due to dominance in the Sufi.

As we focus on the image of unrequited love, we see the same across poetic systems of various language’s cultures as well. It shows the same image i.e. the state of being. The image which I will be focusing upon is the waiting of the lover for his or her beloved. For lyric mode in Bengali, I will be taking a poem by Tagore. The lovers in these poems are the people expressing their love, while on the other hand, beloveds are the people who do not reciprocate or are not able to accept that love.