Intermediate Urdu Syllabus SASLI 2019
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The Role of Poetry Readings in Dispelling the Notion That Urdu Is a Muslim Language
International Journal of Humanities and Social Science Vol. 4, No. 10; August 2014 The Role of Poetry Readings in Dispelling the Notion that Urdu is a Muslim Language Hiba Mirza G-1, Maharani Bagh New Delhi – 110 065 India Abstract Looking at the grim scenario of the future of Urdu in India, and its overwhelming identification with a particular community (i.e., Muslims) have indeed contributed in creating a narrow image of sectarian interests. However, the concern of the intellectuals about its declining trend, seems to be melting, if we take the case of Mushaira (poetic symposium). Through interviews with both the organisers and the attendees of Delhi Mushairas I collected a serious of impressions that speak to the role of a Mushaira in advancing a cosmopolitan, rather than a communal image of Urdu. Uniting people through poetry, mushairas temporarily dissolve differences of caste, creed and religion. Keywords: Urdu, Narrow image, declining, communal, cosmopolitan Urdu hai mera naam, main Khusro ki paheli Main Meer ki humraaz hun, Ghalib ki saheli My name is Urdu and I am Khusro’s riddle I am Meer’s confidante and Ghalib’s friend Kyun mujhko banate ho ta’assub ka nishana, Maine to kabhi khudko musalma’an nahin maana Why have you made me a target of bigotry? I have never thought myself a Muslim Dekha tha kabhi maine bhi khushiyon ka zamaana Apne hi watan mein hun magar aaj akeli I too have seen an era of happiness But today I am an orphan in my own country - Iqbal Ashar - (Translation by Rana Safvi) 1.0 Introduction India is a pluralistic society. -
Social Transformation of Pakistan Under Urdu Language
Social Transformations in Contemporary Society, 2021 (9) ISSN 2345-0126 (online) SOCIAL TRANSFORMATION OF PAKISTAN UNDER URDU LANGUAGE Dr. Sohaib Mukhtar Bahria University, Pakistan [email protected] Abstract Urdu is the national language of Pakistan under article 251 of the Constitution of Pakistan 1973. Urdu language is the first brick upon which whole building of Pakistan is built. In pronunciation both Hindi in India and Urdu in Pakistan are same but in script Indian choose their religious writing style Sanskrit also called Devanagari as Muslims of Pakistan choose Arabic script for writing Urdu language. Urdu language is based on two nation theory which is the basis of the creation of Pakistan. There are two nations in Indian Sub-continent (i) Hindu, and (ii) Muslims therefore Muslims of Indian sub- continent chanted for separate Muslim Land Pakistan in Indian sub-continent thus struggled for achieving separate homeland Pakistan where Muslims can freely practice their religious duties which is not possible in a country where non-Muslims are in majority thus Urdu which is derived from Arabic, Persian, and Turkish declared the national language of Pakistan as official language is still English thus steps are required to be taken at Government level to make Urdu as official language of Pakistan. There are various local languages of Pakistan mainly: Punjabi, Sindhi, Pashto, Balochi, Kashmiri, Balti and it is fundamental right of all citizens of Pakistan under article 28 of the Constitution of Pakistan 1973 to protect, preserve, and promote their local languages and local culture but the national language of Pakistan is Urdu according to article 251 of the Constitution of Pakistan 1973. -
Urdu & Hindi Poetry Generation Using Neaural Networks
Urdu & Hindi Poetry Generation using Neural Networks Urdu & Hindi Poetry Generation A system to overcome writer’s block by suggesting machine-generated prompts for aspiring poets. Shakeeb A. M. Mukhtar Computer Science & Engineering, Vishwakarma Institute of Technology, Pune, Maharashtra, India, [email protected] Pushkar S. Joglekar Computer Science & Engineering, Vishwakarma Institute of Technology, Pune, Maharashtra, India, [email protected] One of the major problems writers and poets face is the writer’s block. It is a condition in which an author loses the ability to produce new work or experiences a creative slowdown. The problem is more difficult in the context of poetry than prose, as in the latter case authors need not be very concise while expressing their ideas, also the various aspects such as rhyme, poetic meters are not relevant for prose. One of the most effective ways to overcome this writing block for poets can be, to have a prompt system, which would help their imagination and open their minds for new ideas. A prompt system can possibly generate one liner, two liner or full ghazals. The purpose of this work is to give an ode to the Urdu/Hindi poets, and helping them start their next line of poetry, a couplet or a complete ghazal considering various factors like rhymes, refrain, and meters. The result will help aspiring poets to get new ideas and help them overcome writer’s block by auto-generating pieces of poetry using Deep Learning techniques. A concern with creative works like this, especially in the literary context, is to ensure that the output is not plagiarized. -
Literary Herald ISSN: 2454-3365 UGC-Approved Journal an International Refereed English E-Journal Impact Factor: 2.24 (IIJIF)
www.TLHjournal.com Literary Herald ISSN: 2454-3365 UGC-Approved Journal An International Refereed English e-Journal Impact Factor: 2.24 (IIJIF) Rekhti: Poetry of Dissent and Subversion Abhishek Pundir PhD Research Scholar Department of English Jamia Millia Islamia Abstract: The paper deals with a lesser known genre of Urdu Poetry, Rekhti. The dominant mode of writing poetry is Rekhta, which focuses on certain male-centric sensibility, and emphasises on experiences from a male perspective. As a counter to the dominant Rekhta, Rekhti lays bare women experience, and their responses to the complexities of life. In the present paper I read Rekhti as a poetic mode to express dissent against the dominant structures in the realm of aesthetic and what is considered as suitable content for poetry. The fact that most of the Rekhti poets were men of certain standing in society who deliberately mocked women and their mannerism, sexuality and much more points at the garb that has been deployed to cover their own sexuality. Key Words: Dissent, Subversion, Homosexuality, Urdu Poetry, Aestheticism Rekhta, the dominant genre of poetry in Urdu, is mystical in nature and accentuates heterosexual love by presenting it in themes of separation and longing. Contrary to it, Rekhti is non-mystical and speaks unabashedly of earthly aspects of love, not attempting any metaphysics; the love depicted can be homosexual or heterosexual. The important point of departure in tradition of rekhti, as above mentioned distinctions are amorphous and largely depend on reader‟s vantage point, is of diction and gender of „mashuq‟(beloved) and „ashiq‟(lover). -
History Review Indian Economic & Social
Indian Economic & Social History Review http://ier.sagepub.com/ A Review Symposium : Literary Cultures in History Indian Economic Social History Review 2005 42: 377 DOI: 10.1177/001946460504200304 The online version of this article can be found at: http://ier.sagepub.com/content/42/3/377.citation Published by: http://www.sagepublications.com Additional services and information for Indian Economic & Social History Review can be found at: Email Alerts: http://ier.sagepub.com/cgi/alerts Subscriptions: http://ier.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav >> Version of Record - Oct 18, 2005 What is This? Downloaded from ier.sagepub.com at SOAS London on June 28, 2012 A Review Symposium / 377 A Review Symposium: Literary Cultures in History Sheldon Pollock, ed., Literary Cultures in History: Reconstructions from South Asia, Berkeley/Delhi: University of California Press/Oxford University Press, 2003, xxix, 1,066 pp., price $80.00. The review symposium is not a form that readers of the IESHR are likely to have seen with great frequency in this journal, with the possible exception of the reviews some two decades ago of the two volumes of the Cambridge Economic History of India. Occasionally, however, the appearance of a work of great ambition and scope calls for such a response, and this is the case of the work under review here, itself the product of a long gestation process, initiated by Sheldon Pollock and Velcheru Narayana Rao, and brought to fruition, after a number of conferences and meetings, under the sole editorship of Pollock at the University of Chicago. -
Mixed Language and the Examples of Hinglish and Rekhti
University of Montana ScholarWorks at University of Montana Global Humanities and Religions Faculty Publications Global Humanities and Religions Spring 2009 Eloquent Parrots; Mixed Language and the Examples of Hinglish and Rekhti Ruth Vanita University of Montana - Missoula, [email protected] Follow this and additional works at: https://scholarworks.umt.edu/libstudies_pubs Part of the South and Southeast Asian Languages and Societies Commons Let us know how access to this document benefits ou.y Recommended Citation Vanita, Ruth, "Eloquent Parrots; Mixed Language and the Examples of Hinglish and Rekhti" (2009). Global Humanities and Religions Faculty Publications. 2. https://scholarworks.umt.edu/libstudies_pubs/2 This Article is brought to you for free and open access by the Global Humanities and Religions at ScholarWorks at University of Montana. It has been accepted for inclusion in Global Humanities and Religions Faculty Publications by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The Newsletter | No.50 | Spring 2009 16 The Study Eloquent Parrots Mixed language and the examples of hinglish and rekhti However, many rekhti poems do not contain either proverbs or exclamatory addresses. They are merely written in less Persianised Urdu than is mainstream rekhta poetry. Conversely, some rekhta poems, such as those of Jur’at, do contain these exclamations. What then was ‘women’s language?’ Was it a code spoken by women that men did not understand? Clearly not. Most rekhti was written by men and not just by a few men privy to a secret language of women but at the height of its popularity, by numerous poets. -
The Impact of Persian Language on Indian Languages
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 4, No. 11, pp. 2360-2365, November 2014 © 2014 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.4.11.2360-2365 The Impact of Persian Language on Indian Languages Ali Akbar Khansir Bushehr University of Medical Sciences, Bushehr, Iran Nasrin Mozafari Bushehr University of Medical Sciences, Bushehr, Iran Abstract—The purpose of the paper is to examine the impact of Persian language on many Indian Languages like Bengali, Punjabi, Urdu, Gujarati, Telugu, and Hindi etc. For historical reasons, Indian languages have borrowed a great number of Persian words and phrases from Persian language that they have been using in the society of India. Old Persian Language, Middle Persian Language, and Modern Persian Language will be examined .Many Indian languages and Persian languages are part of the Indo-European languages. India and Iran have always had close relationship with each other; this relationship has been observed even before the advent of Islam. The time of Persians king was available trade ties between two nations who travelled with their ships and passed from Persian Gulf to Indian Ocean. The above Indian languages will be discussed briefly in this paper. Index Terms—Persian language, Indian languages, old Persian language, middle Persian language, modern Persian language I. INTRODUCTION The aim of this brief article is to highlight the impact of Persian language on Indian Languages. Gleason (1961) pointed out that "Indo-European is the largest and most important language family, from the point of view of both the social importance of the major language in the group, and their interest to linguists. -
The Indian Mushairah: Traditions and Modernity
Ludmila Vasilyeva (Moscow) THE INDIAN MUSHAIRAH: TRADITIONS AND MODERNITY Look – the gathering of the mushairah is adorned with nobles and aristocrats. Sober elders and young men sit side by side dressed in long robes and heavy turbans. Someone has only a dagger, someone else has strapped on a sword. Some are so elderly that white beards have made their old age radiant. Some, in their youthfulness, have happened to bid farewell to their beards – now how should they wear beards, for the law of consistency of style would be broken… Muhammad Husain Azad1 A spacious square, covered with mats, its major part being shadowed by a gigantic tent il- luminated by countless lamps of every colour. Men in great numbers are evenly seated in rows upon the mats – it seems that the whole city has assembled here! The atmosphere is festive and ceremonial. It’s a mushairah [ mush ā’irah ] famed grey-haired poets along with their young and less known colleagues are to read out their poems. To enjoy this recital the dwellers of the city and its suburbs began to flock to the square long in advance. The mushairah helps to forget and drive away the troubles and problems of everyday life; only the realm of poetry remains in which the audience will stay till dawn: as a rule, city mushairah opens late in the evening and ends at sunrise. The chairman announces a poet` s name and places the mike before one of the men seated upon the dais. The audience holds its breath in anticipation. The poet reads out the first line and all of a sudden the whole crowd, many thousands, -
22 Literature in Persian and Other Indo – Iranian Languages
ISBN 978-92-3-103876-1 LITERATURE IN PERSIAN 22 LITERATURE IN PERSIAN AND OTHER INDO – IRANIAN LANGUAGES K. Aini, R. Farhadi and Irfan Habib Contents LITERATURE IN PERSIAN .............................. 692 Principal prose works .................................. 693 Major poets of Transoxania, Khurasan, Iran and India ................. 698 Lexicography ...................................... 706 LITERATURE IN PASHTO .............................. 707 LITERATURE IN THE INDIC LANGUAGES OF PAKISTAN AND NORTH-WESTERN INDIA ....................................... 710 Kashmiri ......................................... 710 Panjabi .......................................... 711 Sindhi .......................................... 712 Hindustani (Urdu and Hindi) .............................. 712 THE LANGUAGES OF AFGHANISTAN ....................... 714 Notes to Table 1 ..................................... 716 691 ISBN 978-92-3-103876-1 LITERATURE IN PERSIAN Part One LITERATURE IN PERSIAN (K. Aini) In Central Asia at the beginning of the sixteenth century, Iran and Transoxania were divided between two opposing forces, the Shaybanids under Shayban¯ ¯ı Khan¯ (1500–10), expanding from the north-east to the west, and the Safavids under Shah¯ Isma¯c¯ıl I (1501–24), expanding from the west to the east. The Shaybanid state in Transoxania, with its capital at Bukhara, and the Safavid state in Khurasan and Iran, with its capital at Tabriz, were established on territory ravaged by war. The third regional state was the Mughal empire, founded by Babur,¯ a descendant -
QUEER VOICES in URDU REKHTI POETRY in INDIA 1Mayuri Dutta 1Research Scholar 1Dept
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) QUEER VOICES IN URDU REKHTI POETRY IN INDIA 1Mayuri Dutta 1Research Scholar 1Dept. of Foreign Languages, Gauhati University. ABSTRACT Representation of the lived reality of diverse human experiences through literature is one of the most powerful methods of communication. One of such multitudinous experiences can be located in the realm of sexual orientation and sexual identity. In fact queer approaches to literature accommodate various plural possibilities with regard to sexual identity categories, sexual relations and sexual politics. Queer literature provides the platform to address the issues and concerns of the non-heteronormative people. Rekhti poetry which originated in the city of Lucknow provided a fertile ground for the flourishing of cultural diversity and thereby facilitated the registering of queer voices in the early 18th and 19th century in India. Rekhti poetry refers to Urdu poetry written mostly by men disguising female personae during those times. Rekhti poetry foregrounds the marginalized female voices including within its ambit female-female romantic relations in 18th and 19th century India. A close reading of Rekhti poetry lays bare the lives of women during that period and vividly projects their everyday realities. This paper is an attempt to examine the queer world of Rekhti poetry where the well-established binary categories of gender and sexuality namely, male/masculine, female/feminine are systematically deconstructed. This paper further seeks to analyze Rekhti poetry’s celebration of female sexuality which was controlled and regulated by the male poets who wrote them mostly for the purpose of titillation. -
Garçin De Tassy
garçin de tassy Hindustani Language and Literature tr an sla t or’ s no te: Presented here is the translation of selected pas- sages from the 1874 report (Garçin de Tassy 1875) in the series of annual reports published by the French Orientalist and Indologist Garçin de Tassy under the title La Langue et la Littérature Hindoustanies. Garçin de Tassy, whose full name was Joseph Héliodore Sagesse Vertu Garçin de Tassy (Garçin being the surname of his father and Tassy that of his mother), was born in Marseille on 25 January 1794. He was exposed to the community of Egyptians living in Marseille because of his familyís in- volvement in trade with the Middle East (Gaborieau 2000, 130). Having learned Arabic from some Egyptian Copts, he decided to pursue scholarly studies in Oriental Languages, rather than be a part of his familyís busi- ness enterprises. So in 1817 he moved to Paris and studied Arabic, Persian, and Turkish for four years under the renowned Orientalist Silvestre de Sacy (1758–1838), earning a diploma from the Sorbonne in 1821. His first impor- tant work was the annotated translation of ʿIzz ad-Dīn al-Muqaddasīís Kashf al-Isrār fī Ḥukm-i a-uyūr wa al-Azhār, published in 1821 under the title Les Oiseaux et les Fleurs, Allégories Morales díAzz-eddin Elmocaddessi. It was followed by French translations of a Turkish book on Islam, a Persian poem by Saʿdī, and the Arabic poem known as Qaṣīdah al-Burdāʾ, pub- lished together in 1822. In 1822, Garçin de Tassy was recruited to serve as Secretary in the office of his teacher Silvestre de Sacy at Collège de France. -
Garcin De Tassy the Authors of Hindustani and Their Works
garcin de tassy The Authors of Hindustani and Their Works* [The Biographies] Sanskrit, the language of ancient Aryans, was never the popular language of India, the land of seven rivers, sapta sindhu, as called by the Vedas.1 In plays, this language is placed in the mouths of high-class characters only, while women and the plebeians speak the variants of a dialect called Prakrit (ill-formed) as opposed to Sanskrit (well-formed).2 As the Indians assure us,3 Prakrit, which was always commonly used in Delhi and was * Garcin de Tassyís Les Auteurs Hindoustanis et Leurs Ouvrages díAprès les Biographies Originales (The Hindustani Authors and Their Works, as Described in the Primary Biographies), translated here, mentions a number of individuals by last name only, and several works by abridged titles, making the references unclear at times. The Dictionary of Indian Biography (Buckland 1906) has been very useful in identifying some of the individuals mentioned, especially the European scholars. Similarly, the Catalogue of the Arabic, Persian, and Hindustany Manuscripts (Sprenger 1854) and the History of Hindi Literature (Keay 1920) have been of service in identifying or disambiguating several persons and works cited by de Tassy. Iíve added a subtitle to the opening section as the original appears without one. óTr. (1) Regarding dates, where two years are separated by a slash (/), the first refers to the Islamic calendar and the second to the Common Era, for example: 1221/ 1806–07; where the year stands alone, it is followed by ah or ce, except that ce is not given for years after the thirteenth century ce.