Folkloristic Understandings of Nation-Building in Pakistan
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Defiantly MEN
TR AVEL Amsterdam INSPIRED GIFTS MOTHER’S DAY Behind the scenes with DUKHTAR LONDON COLLECTIONS: defiantly MEN APRIL/MAY 2015 $4.99 CAD | Dhs 18.08 AED | £3.28 DIA An exclusive Q&A 2 SHE CANADA HOSPITALITY DEVELOPMENT ENTERTAINMENT The Sunray Group is a dynamic and innovative organization specializing in the fast-growing hospitality industry in such areas as hotel development and management, property development and entertainment. The Group is successfully building an ever-increasing portfolio of award-winning brands, which include partnerships with Marriott Hotels, Best Western, Choice Hotels, McDonald’s and Tim Horton’s. The Sunray Group currently owns and operates 15 hotels across Ontario and Quebec. Most recently the Group has expanded into the entertainment industry, collaborating with some of India’s finest talent to bring to Canadian audiences. www.sunraygroup.ca | [email protected] | 1011 Bloor Street East, Oshawa, ON SHE CANADA 3 Editor/Publisher KAMRAN ZAIDI Executive Editor PRIYA KUMAR Associate Editor ZARMINA RAFI Assistant National Account Director ALY ZORN Art Layout Lead SAABIRA VANKER Travel Contributor ZEBUNNISA MIRZA Health & Wellness Contributors JOHN GODFREY, MAZEENA KHAN Features Contributors DANIELLE MORLEY, RIDA AHMED Marketing Manager ERUM ZEHRA Subscription Inquiries: Please go to http://shemagazine.ca/subscribe To Contact SHE Canada: Write to SHE Canada, 1999 Avenue Rd., Toronto, ON, M5M 4A5 Or [email protected], Facebook: SHECanada Twitter: @SHECanada For Advertising Inquiries: Please contact Kamran Zaidi, 416 644 7788, 416 878 0SHE [email protected] SHE MAGAZINE CANADA IS A REGISTERED TRADEMARK OF KAMRA ON PRODUCTIONS INC. COPYRIGHT © 2015 KAMRA ON PRODUCTIONS INC. ALL RIGHTS RESERVED. -
An Indian Englishman
AN INDIAN ENGLISHMAN AN INDIAN ENGLISHMAN MEMOIRS OF JACK GIBSON IN INDIA 1937–1969 Edited by Brij Sharma Copyright © 2008 Jack Gibson All rights reserved. No part of this book may be reproduced, stored, or transmitted by any means—whether auditory, graphic, mechanical, or electronic—without written permission of both publisher and author, except in the case of brief excerpts used in critical articles and reviews. Unauthorized reproduction of any part of this work is illegal and is punishable by law. ISBN: 978-1-4357-3461-6 Book available at http://www.lulu.com/content/2872821 CONTENTS Preface vii Introduction 1 To The Doon School 5 Bandarpunch-Gangotri-Badrinath 17 Gulmarg to the Kumbh Mela 39 Kulu and Lahul 49 Kathiawar and the South 65 War in Europe 81 Swat-Chitral-Gilgit 93 Wartime in India 101 Joining the R.I.N.V.R. 113 Afloat and Ashore 121 Kitchener College 133 Back to the Doon School 143 Nineteen-Fortyseven 153 Trekking 163 From School to Services Academy 175 Early Days at Clement Town 187 My Last Year at the J.S.W. 205 Back Again to the Doon School 223 Attempt on ‘Black Peak’ 239 vi An Indian Englishman To Mayo College 251 A Headmaster’s Year 265 Growth of Mayo College 273 The Baspa Valley 289 A Half-Century 299 A Crowded Programme 309 Chini 325 East and West 339 The Year of the Dragon 357 I Buy a Farm-House 367 Uncertainties 377 My Last Year at Mayo College 385 Appendix 409 PREFACE ohn Travers Mends (Jack) Gibson was born on March 3, 1908 and J died on October 23, 1994. -
Heer in Popular Imagination: a Comparative Analysis of the Historical and the Modern Media Image of Heer By: Malik Haq Nawaz Danish Department of English Govt
Heer in Popular Imagination: A Comparative Analysis of the Historical and the Modern Media Image of Heer By: Malik Haq Nawaz Danish Department of English Govt. Postgraduate College, Gojra & Munawar Iqbal Ahmad, PhD Associate Professor Department of English, International Islamic University, Islamabad, Pakistan . Abstract Heer is a popular lore and its female protagonist, Heer, is embedded in the public’s imagination both due to the written text and the visual narratives that adapted it for popular consumption. Postmodernism rejects the distinction between the high and the popular art as a modernist heresy. In order to explore the relevance of postmodernism, an attempt is made here to study a song “Kheriyan Day Naal”, which has won applauds from the audience for its rich vocals (sung by Shafqat Amanat Ali, one of the finest singers of Pakistan). Apart from its rich vocals by this classical/pop singer, the visuals of the song call for an in-depth analysis. The song illustrates the traces of postmodernism in its video when metanarratives of the past are being challenged and new mininarratives are produced and mediated. Key terms: Postmodernism; folklore; Heer Introduction “Kheriyan day Naal” is not just a song. In fact, it refers to the tragedy of Heer Ranjha, the most prominent figures of romance and unrequited love, like Romeo and Juliet, Sussi and Punhoon, Laila and Majnoo, and Shereen and Farhad. Heer was a simple girl in the village of Siyyal in district Jhang of Punjab, while Ranjha belonged to Takht Hazara. They both belonged to the tribes that nourished old enmities against each other. -
New Sufi Sounds of Pakistan: Arif Lohar with Arooj Aftab
Asia Society and CaravanSerai Present New Sufi Sounds of Pakistan: Arif Lohar with Arooj Aftab Saturday, April 28, 2012, 8:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City This program is 2 hours with no intermission New Sufi Sounds of Pakistan Performers Arooj Afab lead vocals Bhrigu Sahni acoustic guitar Jorn Bielfeldt percussion Arif Lohar lead vocals/chimta Qamar Abbas dholak Waqas Ali guitar Allah Ditta alghoza Shehzad Azim Ul Hassan dhol Shahid Kamal keyboard Nadeem Ul Hassan percussion/vocals Fozia vocals AROOJ AFTAB Arooj Aftab is a rising Pakistani-American vocalist who interprets mystcal Sufi poems and contemporizes the semi-classical musical traditions of Pakistan and India. Her music is reflective of thumri, a secular South Asian musical style colored by intricate ornamentation and romantic lyrics of love, loss, and longing. Arooj Aftab restyles the traditional music of her heritage for a sound that is minimalistic, contemplative, and delicate—a sound that she calls ―indigenous soul.‖ Accompanying her on guitar is Boston-based Bhrigu Sahni, a frequent collaborator, originally from India, and Jorn Bielfeldt on percussion. Arooj Aftab: vocals Bhrigu Sahni: guitar Jorn Bielfeldt: percussion Semi Classical Music This genre, classified in Pakistan and North India as light classical vocal music. Thumri and ghazal forms are at the core of the genre. Its primary theme is romantic — persuasive wooing, painful jealousy aroused by a philandering lover, pangs of separation, the ache of remembered pleasures, sweet anticipation of reunion, joyful union. Rooted in a sophisticated civilization that drew no line between eroticism and spirituality, this genre asserts a strong feminine identity in folk poetry laden with unabashed sensuality. -
Lover Archetype in Punjabi Classical Poetry
The ‘Lover’ Archetype in Punjabi Classical Poetry Azra Waqar∗ Abstract Archetypes are primitive mental images which we encounter in art, literature and sacred text and they evoke a deep feeling within us. The most important archetypes represent four dimensions of personality to four levels of awareness and functions with one archetype for each gender. Archetypes can help us better understand our own journey of life, increase communication between our conscious and unconscious and trigger a greater sense of meaning and fulfilment in life. Archetypes first appear in folklore, in characters and symbols as they are a part of our collective unconscious. In Punjabi classical poetry, Ranjha, the lover is the archetype who represents love. He is the main character in the poetry of Shah Hussain, Bulleh Shah and Waris Shah. The poetry of these three poets are discussed in the following article, representing Ranjha, (the lover), as an essential part of our lives. The lover feels something missing in the society or in his life and leaves home and becomes a traveller. The main theme of the poetry of these three classical Punjabi poets is the story of his journey and his encounter with different obstacles in the way of finding love and beauty. An archetype is a primitive mental image inherited from the earliest human ancestors, is supposed to be present in the collective ∗ Former, Senior Research Fellow, National Institute of Historical and Cultural Research, Centre of Excellence, Quaid-i-Azam University, Islamabad. 132 Pakistan Journal of History and Culture, Vol.XXX, No.1 (2009) unconscious and serves as an example of human behaviour by which we can better understand ourselves and those around us. -
Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment. -
Persian Language
v course reference persian language r e f e r e n c e زبان فارسی The Persian Language 1 PERSIAN OR FARSI? In the U.S., the official language of Iran is language courses in “Farsi,” universities and sometimes called “Farsi,” but sometimes it is scholars prefer the historically correct term called “Persian.” Whereas U.S. government “Persian.” The term “Farsi” is better reserved organizations have traditionally developed for the dialect of Persian used in Iran. 2 course reference AN INDO-EUROPEAN LANGUAGE Persian is a member of the Indo-European Persian has three major dialects: Farsi, language family, which is the largest in the the official language of Iran, spoken by 50 world. percent of the population; Dari, spoken mostly in Afghanistan, and Tajiki, spoken Persian falls under the Indo-Iranian branch, in Tajikistan. Other languages in Iran are comprising languages spoken primarily Arabic, New Aramaic, Armenian, Georgian in Afghanistan, Iran, Pakistan, India, and Turkic dialects such as Azerbaidjani, Bangladesh, areas of Turkey and Iraq, and Khalaj, Turkemenian and Qashqa”i. some of the former Soviet Union. INDO-EUROPEAN LANGUAGES GERMANIC INDO-IRANIAN HELLENIC CELTIC ITALIC BALTO-SLAVIC Polish Russin Indic Greek Serbo-Crotin North Germnic Ltin Irnin Mnx Irish Welsh Old Norse Swedish Scottish Avestn Old Persin Icelndic Norwegin French Spnish Portuguese Itlin Middle Persin West Germnic Snskrit Rumnin Ctln Frsi Kurdish Bengli Urdu Gujrti Hindi Old High Germn Old Dutch Anglo-Frisin Middle High Germn Middle Dutch Old Frisin Old English Germn Flemish Dutch Afrikns Frisin Middle English Yiddish Modern English vi v Persian Language 3 ALPHABET: FROM PAHLAVI TO ARABIC History tells us that Iranians used the Pahlavi Unlike English, Persian is written from right writing system prior to the 7th Century. -
Considerations About Semitic Etyma in De Vaan's Latin Etymological Dictionary
applyparastyle “fig//caption/p[1]” parastyle “FigCapt” Philology, vol. 4/2018/2019, pp. 35–156 © 2019 Ephraim Nissan - DOI https://doi.org/10.3726/PHIL042019.2 2019 Considerations about Semitic Etyma in de Vaan’s Latin Etymological Dictionary: Terms for Plants, 4 Domestic Animals, Tools or Vessels Ephraim Nissan 00 35 Abstract In this long study, our point of departure is particular entries in Michiel de Vaan’s Latin Etymological Dictionary (2008). We are interested in possibly Semitic etyma. Among 156 the other things, we consider controversies not just concerning individual etymologies, but also concerning approaches. We provide a detailed discussion of names for plants, but we also consider names for domestic animals. 2018/2019 Keywords Latin etymologies, Historical linguistics, Semitic loanwords in antiquity, Botany, Zoonyms, Controversies. Contents Considerations about Semitic Etyma in de Vaan’s 1. Introduction Latin Etymological Dictionary: Terms for Plants, Domestic Animals, Tools or Vessels 35 In his article “Il problema dei semitismi antichi nel latino”, Paolo Martino Ephraim Nissan 35 (1993) at the very beginning lamented the neglect of Semitic etymolo- gies for Archaic and Classical Latin; as opposed to survivals from a sub- strate and to terms of Etruscan, Italic, Greek, Celtic origin, when it comes to loanwords of certain direct Semitic origin in Latin, Martino remarked, such loanwords have been only admitted in a surprisingly exiguous num- ber of cases, when they were not met with outright rejection, as though they merely were fanciful constructs:1 In seguito alle recenti acquisizioni archeologiche ed epigrafiche che hanno documen- tato una densità finora insospettata di contatti tra Semiti (soprattutto Fenici, Aramei e 1 If one thinks what one could come across in the 1890s (see below), fanciful constructs were not a rarity. -
Claiming Territory: Colonial State Space and the Making of British India’S North-West Frontier
CLAIMING TERRITORY: COLONIAL STATE SPACE AND THE MAKING OF BRITISH INDIA’S NORTH-WEST FRONTIER A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Science by Jason G. Cons January 2005 © 2005 Jason G. Cons ABSTRACT In this thesis, I examine the discursive construction of colonial state space in the context of British India’s turn of the century North-West Frontier. My central argument is that notions of a uniform state space posited in official theorizations of the frontier need to be reexamined not as evidence of a particular kind of rule, but rather as a claim to having accomplished it. Drawing on new colonial historiographies that suggest ways of reading archives and archival documents for their silences and on historical sociological understandings of state-formation, I offer close readings of three different kinds of documents: writing about the North-West Frontier by members of the colonial administration, annual general reports of the Survey of India, and narratives written by colonial frontier officers detailing their time and experience of “making” the frontier. I begin by looking at the writings of George Nathanial Curzon and others attempting to theorize the concept of frontiers in turn of the century political discourse. Framed against the backdrop of the “Great Game” for empire with Russia and the progressive territorial consolidation of colonial frontiers into borders in the late 19th century, these arguments constitute what I call a “colonial theory of frontiers.” This theory simultaneously naturalizes colonial space and presents borders as the inevitable result of colonial expansion. -
Economic and Revenue Sector for the Year Ended 31 March 2019
Report of the Comptroller and Auditor General of India on Economic and Revenue Sector for the year ended 31 March 2019 GOVERNMENT OF GUJARAT (Report No. 3 of the year 2020) http://www.cag.gov.in TABLE OF CONTENTS Particulars Paragraph Page Preface vii Overview ix - xvi PART – I Economic Sector CHAPTER I – INTRODUCTION About this Report 1.1 1 Audited Entity Profile 1.2 1-2 Authority for Audit 1.3 3 Organisational structure of the Office of the 1.4 3 Principal Accountant General (Audit-II), Gujarat Planning and conduct of Audit 1.5 3-4 Significant audit observations 1.6 4-8 Response of the Government to Audit 1.7 8-9 CHAPTER II – COMPLIANCE AUDIT AGRICULTURE, FARMERS WELFARE AND CO-OPERATION DEPARTMENT Functioning of Junagadh Agricultural University 2.1 11-32 INDUSTRIES AND MINES DEPARTMENT Implementation of welfare programme for salt 2.2 32-54 workers FORESTS AND ENVIRONMENT DEPARTMENT Compensatory Afforestation 2.3 54-75 PART – II Revenue Sector CHAPTER–III: GENERAL Trend of revenue receipts 3.1 77 Analysis of arrears of revenue 3.2 80 i Arrears in assessments 3.3 81 Evasion of tax detected by the Department 3.4 81 Pendency of Refund Cases 3.5 82 Response of the Government / Departments 3.6 83 towards audit Audit Planning and Results of Audit 3.7 86 Coverage of this Report 3.8 86 CHAPTER–IV: GOODS AND SERVICES TAX/VALUE ADDED TAX/ SALES TAX Tax administration 4.1 87 Results of Audit 4.2 87 Audit of “Registration under GST” 4.3 88 Non/short levy of VAT due to misclassification 4.4 95 /application of incorrect rate of tax Irregularities -
Issue-42 September 2014
1 Vol 1, Issue 42 www.syncmag.ca | 01st Sep - 30th Sep 2014 2 Vol 1, Issue 42 www.syncmag.ca | 01st Sep - 30th Sep 2014 3 Vol 1, Issue 42 42. DUKHTAR Cover: HINA RABBANI KHAR MIX PRAGMATISM & POLITICAL ASTUTENESS In Sync: 05 Obama In UK For Nato Summit Jolie’s Bridal Gown Adorned With Her Children’s Art Sync Features: 08 Political Turmoil In Pakistan Sync Pink: 13 How to Make Massage on Head? Sync Relationship : 42 10 Reasons to Believe In Marriage Dairy Of The Month: 45 My First Bike The House Of Sania Maskatiya Damas Showcased New Jewelry Collection 17. Hina Rabbani Khar 24. ICO Parade 2014 Kayseria Presented At Mercedes-Benz Fashion Week www.syncmag.ca | 01st Sep - 30th Sep 2014 4 Vol 1, Issue 42 Editor’s Letter Dear Readers, The list of topics covered and items curated in this issue is long, and on the spectrum of peculiarity it runs from whimsical to freakin’ strange. A small sampling: cool kimonos, best chocolates, hunky tweets of your fav celebs, Angelina Jolie wedding gown, the story behind Pakistan’s Independent feature film “Dukhtar” garnering global acclaim and becoming first ever Pakistani film to screen at Toronto International Film Festival, sneak peak from the #AzadiSquare Pakistan- how’s the passion of Pakistani Nation is roaring for #NayaPakistan demanding election reforms and re-elections, a more precise report on what’s going on in Pakistan and where it is standing politically and globally. Read more on Tainment pages for the best and worst happenings in b’town and Hollywood; get to know what rumors have! Have look at reel review featuring the Guardians of the Galaxy; know about the star cast, production, direction, story line and more! We also featured some hot and spicy street looks from New York Fashion Week and lots more fashion happenings from around the globe. -
15. Punjabi in the (Late) Vernacular Millennium
Anne Murphy 15. Punjabi in the (Late) Vernacular Millennium Abstract. This exploratory essay considers in preliminary terms some of the regis- ters of vernacular literary production in Punjab, and to suggest what the writing of a history of Punjabi language literary production might look like with a broader view to both vernacular and cosmopolitan literary production in the region. Punjabi’s emergence must be understood in dynamic relation to the presence of Sadhukarrī, Braj, and emergent Hindustani in the region, as well as the formative presence of Persian. The multiplicity of its articulation points largely outside of the convention- al centres associated with vernacular literary production—the court and the formal religious institution—provide Punjabi with a distinctive location, although it simul- taneously maintained enduring and important ties to such centres. It is suggested that this may account for some of the particular valences of Punjabi language use; more work is required, however, to fully characterize this, and to explicate fully the interconnection between Punjabi cultural production and that in other languages. Keywords. Punjabi, Vernacular, Cosmopolitan, Punjab, Braj. Punjabi cultural production in the early modern period sits uneasily within the understanding of the ‘vernacular millennium,’ described so well by Sheldon Pol- lock, where new language choices emerged in relation to newly defined cultural zones linked to the emergence of ‘vernacular polities’ in contradistinction to, but reliant upon, a prior cosmopolitan idiom that was supralocal.*1 The goal of this * This essay is based on a paper first delivered at the 12th International Conference on Early Modern Literatures of North India (ICEMLNI) at the University of Lausanne, Swit- zerland, 15–19 July 2015; a later version was delivered at the Congrès Asie et Pacifique in Paris, France, 9–11 September 2015.