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Muhammad Umar Memon Bibliographic News
muhammad umar memon Bibliographic News Note: (R) indicates that the book is reviewed elsewhere in this issue. Abbas, Azra. ìYouíre Where Youíve Always Been.î Translated by Muhammad Umar Memon. Words Without Borders [WWB] (November 2010). [http://wordswithoutborders.org/article/youre-where-youve-alwaysbeen/] Abbas, Sayyid Nasim. ìKarbala as Court Case.î Translated by Richard McGill Murphy. WWB (July 2004). [http://wordswithoutborders.org/article/karbala-as-court-case/] Alam, Siddiq. ìTwo Old Kippers.î Translated by Muhammad Umar Memon. WWB (September 2010). [http://wordswithoutborders.org/article/two-old-kippers/] Alvi, Mohammad. The Wind Knocks and Other Poems. Introduction by Gopi Chand Narang. Selected by Baidar Bakht. Translated from Urdu by Baidar Bakht and Marie-Anne Erki. New Delhi: Sahitya Akademi, 2007. 197 pp. Rs. 150. isbn 978-81-260-2523-7. Amir Khusrau. In the Bazaar of Love: The Selected Poetry of Amir Khusrau. Translated by Paul Losensky and Sunil Sharma. New Delhi: Penguin India, 2011. 224 pp. Rs. 450. isbn 9780670082360. Amjad, Amjad Islam. Shifting Sands: Poems of Love and Other Verses. Translated by Baidar Bakht and Marie Anne Erki. Lahore: Packages Limited, 2011. 603 pp. Rs. 750. isbn 9789695732274. Bedi, Rajinder Singh. ìMethun.î Translated by Muhammad Umar Memon. WWB (September 2010). [http://wordswithoutborders.org/article/methun/] Chughtai, Ismat. Masooma, A Novel. Translated by Tahira Naqvi. New Delhi: Women Unlimited, 2011. 152 pp. Rs. 250. isbn 978-81-88965-66-3. óó. ìOf Fists and Rubs.î Translated by Muhammad Umar Memon. WWB (Sep- tember 2010). [http://wordswithoutborders.org/article/of-fists-and-rubs/] Granta. 112 (September 2010). -
Ishrat Afreen - Poems
Classic Poetry Series Ishrat Afreen - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Ishrat Afreen(25 December 1956) Ishrat Afreen (Urdu: ???? ?????; Hindi: ???? ?????; alternative spelling: Ishrat Aafreen; born December 25, 1956) is an Urdu poet and women's rights activist named one of the five most influential and trend-setting female voices in Urdu Literature. Her works have been translated in many languages including English, Japanese, Sanskrit and Hindi. The renowned ghazal singers Jagjit Singh & Chitra Singh also performed her poetry in their anthology, Beyond Time (1987). Famed actor Zia Mohyeddin also recites her nazms in his 17th and 20th volumes as well as his ongoing concerts. <b> Early Life and Career </b> Ishrat Jehan was born into an educated family in Karachi, Pakistan as the oldest of five children. She later took the pen name Ishrat Afreen. She was first published at the age of 14 in the Daily Jang on April 31, 1971. She continued writing and was published in a multitude of literary magazines across the subcontinent of India and Pakistan. She eventually became assistant editor for the monthly magazine Awaaz, edited by the poet Fahmida Riaz. Parallel to her writing career she participated in several radio shows on Radio Pakistan from 1970-1984 that aired nationally and globally. She later worked under Mirza Jamil on the now universal Noori Nastaliq Urdu script for InPage. She married Syed Perwaiz Jafri, an Indian lawyer, in 1985 and migrated to India. Five years thereafter, the couple and their two children migrated to America. They now reside in Houston, Texas with their three children. -
International Journal of English and Studies (IJOES)
SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed English Journal www.ijoes.in Vol-1, Issue-4, 2019 ISSN: 2581-8333 Indexed in ________________________________________________________________ GHAZAL: JOURNEY FROM PERSIAN TO ENGLISH ______________________________________________________________________________ Dr. R.P. Singh Professor of English University of Lucknow-226007 ______________________________________________________________________________ Abstract: It is an informative paper on the construct, form, and expansion of Ghazal as a poetic form. The origin of the word ‘Ghazal' goes back to the Arabic word ‘Ghazal' meaning ‘deer' in English. The reference finds roots to the act of hunting a deer. When a hunter shoots a deer in a moonlit night in the Arabian desert, the deer getting pierced with the arrow, runs around helplessly in search of water. In this state, the throat makes the sound like "gaz - gaz". A lover, in the same way, pines for his beloved, and feels emotional bleeding; this leads to the making of Ghazal. The paper discusses various aspects of Ghazal. Key Words: Ghazal, Sher, Matla, Takhallus. The Ghazal is a Persian word referring to a form of Persian poetry. It became popular in Urdu literature later. It is, generally speaking, a form of poetic expression describing platonic love. The locale, tone, and content –almost everything around Ghazal find a lover and his unattained love as the central concern. The narrator almost knows it too well that the meeting of the lovers is unattainable, yet they keep striving till the last. This pang and desire emanate into the verses of Ghazal. The complete Ghazal comprise of Shers (couplets); most of the Ghazal has less than fifteen shers, A good Ghazal has approximately five Shers. -
Urdu Syllabus
TUMKUR UINIVERSITY DEPARTMENT OF URDU'. SYLLABUS AND TEXT BOOKS UNDER CBCS SCHEME LANGUAGE URDU lst Semester B.A./llsc/B.com/BBM/BCA lffect From 20!6-tz lst Semester B.A. Svllabus: Texts: I' 1. Collection of Prose and Poetry Urdu Language Text Book for First Semister B.A.: Edited by: URDU BOS (UG) (Printed and Published by prasaranga, Bangarore university, Bangalore) 2. Non-detail : Selected 4 Chapters From Text Book Reference Books: 1. Yadgaray Hali Saleha Aabid Hussain 2. lqbal Ka Narang QopiChandt 'i Page 1 z' i!. .F}*$T g_€.9f.*g.,,,E B'A BE$BEE CBU R$E Eenlcprqrerlh'ed:.Ufifi9 TFXT B €KeCn e,A I SEMESTER, : ,1 1;5:. -ll-=-- -i- - 1. padiye Gar Bcemar. 'M,tr*hf ag:A.hmgd-$tib.uf i 1.,gglrEdnre:a E*yl{arsfrt$ay Khwaja Hasan Nizarni 3" M_ugalrnanen Ki GurashthaTaleem Shibll Nomani +. lfilopatra N+y,Ek Moti €hola Sclence Ki Duniya : 5. g,€land:|4i$ ..- Manarir,Aashiq flarganvi PelfTR.Y i X., Hazrathfsmail Ki Viladat .FJafeez,J*lan*ari Naath 2. Hsli Mir.*e6halib 3. lqbal 4. T*j &Iahat 5*-e-ubipe.t{i Saher Ludhianawi ,,, lqbal, Amjad, Akbar {Z Eaehf 6g'**e€{F} i ': 1.. 6azaf W*& 2;1 ' 66;*; JaB:Flis,qf'*kfiit" 4., : €*itrl $hmed Fara:, 4. €azgl Firaq ,5; *- ,Elajrooh 6, Gqzal Shahqr..Y.aar' V. Gazal tiiarnsp{.4i1sruu ' 8. Gaal Narir Kqgrnt NG$I.SE.f*IL.: 1- : .*akF*!h*s ,&ri*an Ch*lrdar; 3. $alartrf,;oat &jendar.Sixgir.Ee t 3-, llfar*€,Ffate Tariq.€-hil*ari 4',,&alandar t'- €hig*lrl*tn:Ftyder' Ah*|.,9 . -
Copyright by Mohammad Raisur Rahman 2008
Copyright by Mohammad Raisur Rahman 2008 The Dissertation Committee for Mohammad Raisur Rahman certifies that this is the approved version of the following dissertation: Islam, Modernity, and Educated Muslims: A History of Qasbahs in Colonial India Committee: _____________________________________ Gail Minault, Supervisor _____________________________________ Cynthia M. Talbot _____________________________________ Denise A. Spellberg _____________________________________ Michael H. Fisher _____________________________________ Syed Akbar Hyder Islam, Modernity, and Educated Muslims: A History of Qasbahs in Colonial India by Mohammad Raisur Rahman, B.A. Honors; M.A.; M.Phil. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2008 Dedication This dissertation is dedicated to the fond memories of my parents, Najma Bano and Azizur Rahman, and to Kulsum Acknowledgements Many people have assisted me in the completion of this project. This work could not have taken its current shape in the absence of their contributions. I thank them all. First and foremost, I owe my greatest debt of gratitude to my advisor Gail Minault for her guidance and assistance. I am grateful for her useful comments, sharp criticisms, and invaluable suggestions on the earlier drafts, and for her constant encouragement, support, and generous time throughout my doctoral work. I must add that it was her path breaking scholarship in South Asian Islam that inspired me to come to Austin, Texas all the way from New Delhi, India. While it brought me an opportunity to work under her supervision, I benefited myself further at the prospect of working with some of the finest scholars and excellent human beings I have ever known. -
A Review of the Contributions by Women to Urdu Literature in Earlier and Nearby Periods
American Journal of Educational Science Vol. 1, No. 4, 2015, pp. 152-158 http://www.aiscience.org/journal/ ajes A Review of the Contributions by Women to Urdu Literature in Earlier and Nearby Periods Robina Kausar 1, Muhammad Sarwar 2, *, Muhammad Shabbir 3 1Government Islamia College for Women, Department of Urdu, Faisalabad, Punjab, Pakistan 2Pakistan Atomic Energy Commission, Nuclear Institute for Agriculture & Biology, Department of Plant Protection, Faisalabad, Punjab, Pakistan 3Government College for Boys, Department of Statistics, Chak Jhumra, Faisalabad, Punjab, Pakistan Abstract Urdu literature has a long and colourful history, and it is perhaps the only language that can be enjoyed even if anybody does not understand it. Pakistan’s quest for new ideas on Urdu literature produced some of the most powerful prose and poetry from many excellent writers and poets including women. Although important women writers have appeared before creation of Pakistan, yet the present era saw a proliferation of prose and poetry by women which critiqued the cultural, social and political systems with profound insight and great passion. Speculatively, the reason for the existing of many fine women writers in Pakistan, as compared to almost rare in subcontinent, may be owing to the different ways in which women in Pakistan and Muslim women elsewhere are members of civil society and participate in the public sphere. Within the scope of this paper the main theme is to indicate the key role of women writers and poets, they have played in creating awareness among the folks not only what the womanhood passes through, but also the social constraints that mars their own development. -
Reproductions Supplied by EDRS Are the Best That Can Be Made from The
DOCUMENT RESUME ED 476 535 CS 511 995 TITLE Arabic Poetry: Guzzle a Ghazal! [Lesson Plan]. SPONS AGENCY Council of the Great City Schools, Washington, DC.; MCI WorldCom, Arlington, VA.; National Endowment for the Humanities (NFAH), Washington, DC. PUB DATE 2002-00-00 NOTE 8p. AVAILABLE FROM For full text: http://edsitement.neh.gov/lesson_index.asp. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Arabic; Class Activities; Cultural Context; Curriculum Enrichment; High Schools; *Language Arts; Learning Activities; Lesson Plans; Oral Tradition; *Poetry; *Rhyme; Skill Development; Student Educational Objectives; Units of Study IDENTIFIERS Poetic Forms; Standards for the English Language Arts ABSTRACT The Bedouins of ancient Arabia and Persia made poetry a conversational art form, and several poetic forms developed from the participatory nature of tribal poetry. Today in most Arab cultures, people may still experience public storytelling and spontaneous poetry challenges in the streets. The art of turning a rhyme into sly verbal sparring is considered a mark of intelligence and a badge of honor. The "ghazal" is an intricate pre-Islamic poetic form that is thought to have developed through the practice of poetic challenges. It is a series of couplets, called ushers," no more than a dozen or so, which are related, but not connecting in a narrative pattern. The first couplet, or "matia," has a rhyme pattern, " kaafiyaa," preceding a single word or short phrase, refrain, "radif," at the end of each line. Thereafter, every couplet shows a pattern wherein the first line does not rhyme, but the second line ends in the "kaafiyaa" and the "radif." Finally, the last couplet, the "maqta," contains the "takhallis," the poet's name or pen-name. -
Directorate of Higher Education Central Building, Pune-1 State Minority Scholarship (Part-2) Eligible Students List Renewal 2018-2019
Directorate of Higher Education Central Building, Pune-1 State Minority Scholarship (Part-2) Eligible Students List Renewal 2018-2019 Application ID Student Name Full Name of Institute Shri Dnyaneshwar Maskuji Burungale Science & DHESGS20170001 Aafreen Anjum Mu. Jawaid Arts College, Shegaon DHESGS20170002 Aaisha Siddiqua Mobinoddin PHULSING NAIK MAHAVIDYALAYA, PUSAD DHESGS20170003 Aaliya Anjum Mohd Hafiz G.V.I.SH. AMRAVATI Institute of Management Studies Mahavidyalaya, DHESGS20170004 Aaliya Parween Aleem Khan Warud Matoshri Shantabai Gote Arts, Commerce & DHESGS20170005 Aamreen Fatema Mohammad Aaref Science College, Washim DHESGS20170006 Aaqueeb Javed Mohd.Inam U. Rahim S.S.M.M.BED.COLLEGE PINGALAKSHIDEVI MAHAVIDYALAYA DHESGS20170007 Aasiya Parveen Shaikh Gaffar NERPINGLAI DHESGS20170008 Aasma Begum Bashir Ahmed The Institute of science M.C.E. Society's H.G.M.Azam College of DHESGS20170009 Aasma Ishaque Shaikh Education Matoshri Shantabai Gote Arts, Commerce & DHESGS20170010 Aatera Samreen Shaikh Farooque Science College, Washim Abdu MGM's College Of Computer Science & DHESGS20170011 L Sahurabdul Rauf IT,Nanded DHESGS20170012 Abdul Asifhsohel Gani DR. C.V. RAMAN SCIENCE COLLEGE SIRONCHA ARTS, COMMERCE AND SCIENCE COLLEGE, DHESGS20170013 Abdul Farheen Tabassum Khalique ARVI DHESGS20170014 Abdul Hameed Sk Karim G.V.I.SH. AMRAVATI DHESGS20170015 Abdul Haque Abdul Quadar PHULSING NAIK MAHAVIDYALAYA, PUSAD ARTS, COMMERCE AND SCIENCE COLLEGE, DHESGS20170016 Abdul Razique Abdul Razzaque ARVI DHESGS20170017 Addeba Afshan DEGLOOR COLLEGE DHESGS20170018 -
Tender Document for Procurement of Books for Library
UNIVERSITY OF EDUCATION LAHORE TENDER DOCUMENT FOR PROCUREMENT OF BOOKS FOR LIBRARY Issued to: ___________________ Tender No. UE/Tender/201 7 - 1 8 / 32 i Purchase Section, University of Education, Township, Lahore Table of Contents S# Description Page # 1 Invitation to the Bid 1 2 Instructions to the Bidders 1 Terms and Conditions of the Tender 3 3 Definitions 3 4 Tender Eligibility 3 5 Examination of the Tender Document 3 6 Amendment of the Tender Document 3 7 Tender Price 3 8 Validity Period of the Bid 4 9 Bid Security 4 10 Bid Preparation and Submission 4 11 Modification and withdrawal of the Tender 6 12 Bid Opening 6 13 Preliminary Examination 6 14 Determination of the Responsiveness of the Bid 7 15 Technical Evaluation Criteria 8 16 Financial Proposal Evaluation 8 17 Rejection and Acceptance of the Tender 8 18 Contacting the Procuring Agency 9 19 Announcement of Evaluation Report 9 20 Award of Contract 9 21 Letter of Acceptance (LOA) 9 22 Payment of Performance Guarantee (PG) 9 23 Refund of Bid Security (BS) 9 24 Issuance of Supply Order or Signing the Contract 9 25 Redressal of Grievances by the Procuring Agency 10 General Conditions of Supply Order /Contract 11 26 Delivery of Items 11 27 Liquidated Damages 11 28 Inspection and Tests 11 29 Release of Performance Guarantee (PG) 12 30 Contract Amendment 12 31 Termination for Default 12 32 Mechanism for Blacklisting 12 33 Force Majeure 12 34 Termination of Insolvency 13 35 Arbitration and Resolution of Disputes 13 36 Forfeiture of Performance Security 13 37 Payment 13 38 Warranty -
Appropriation of Hindustani Musical Elements in Vocal Parts of Malay Ghazal
43 Chintaka Prageeth Meddegoda Appropriation of Hindustani Musical Elements in Vocal Parts of Malay Ghazal Chintaka Prageeth Meddegoda, University of Visual and Performing Arts, Colombo, Sri Lanka [email protected] © 2016 University of Malaya. All rights reserved. Malaysian Journal of Performing and Visual Arts, Volume 2, 2016 Abstract The main task of this paper is to illustrate how Hindustani musical elements are employed in the vocal lines of Malay ghazal which have been obscured or modified and “Malayized” throughout the past decades. In current Malay ghazal practices known in Johor, a particular singing style called “Parsi” that primarily focused on a specific embellishment of the melodic line could be observed. Another particular element is called “sarigama-singing” (Arshad, 2013; Rahman B., 2012) that refers to melodic ornaments resembling the gamak and taan in Hindustani classical music. The adaptation and its outcome that have been documented in some selected ghazals confirm the existence of a discerning tolerance towards elements detached from their originating cultural environment. This paper discusses stereotypical melodic elements sung by Malay musicians in Malay ghazal. Although various raga elements can be detected in the vocal melodies, these elements are not acknowledged and are not terminologically familiar to Malay ghazal musicians. The detected ragas maintain one tonic, which means that the main fifth (Sa- Pa) applies as a frame for an entire given melody. The range in which Malay ghazal is sung does not exceed one octave. Nonetheless, the actual starting pitch is somewhat fixed through the fact that early harmoniums could not shift in pitch. Therefore, Malay ghazals are mainly played for a high pitched male or a lower pitched female voice. -
Translating a Poetic Discourse: Modern Poetry of Pakistan Reviewed by Qaisar Abbas
Pakistaniaat: A Journal of Pakistan Studies Vol. 2, No. 3 (2010) Translating a Poetic Discourse: Modern Poetry of Pakistan Reviewed by Qaisar Abbas Modern Poetry of Pakistan. Iftikhar Arif, Waqas Khwaja, eds. London: Dalkey Archive Press, 2011. ISBN-9781564786050. It’s a rarity to see English translations of Pakistani poetry from Urdu and region- al languages in one anthology. The well known contemporary Urdu poet, Iftikhar Arif, who is also the Chairman of National Language Authority, has accomplished this daunting task as its editor. The forthcoming anthology “Modern Poetry of Paki- stan” is an extraordinary work that offers a colorful mosaic of romantic, postcolo- nial, modernist and postmodernist streams in the contemporary poetic discourse in Pakistan. The anthology offers 148 poems by 44 poets in English translated from seven languages including Urdu and regional languages-Balochi, Kashmiri, Pun- jabi, Pashto, Saraiki and Sindhi. It includes stalwarts of Urdu poetry, Allama Iqbal, Faiz Ahmed Faiz, Hafeez Jalandhari, Ahmad Nadeem Qasmi, and Josh Malihabadi, and the post colonial generation of N.M. Rashid, Meeraji, Ahmad Faraz, Majeed Amjad, Habib Jalib, Kishwar Nahid, Parveen Shakir, Munir Niazi and Iftikhar Arif. The second cadre of poets includes Sarmad Sehbai, Zafar Iqbal, Fahmida Riaz, Mustafa Zaidi, Shabnam Shakil, Ada Jafri and Nasir Kazmi among others. The 344-page anthology will be published in January 2011 by Dalkey Archive Press from London and Champaign with a price tag of $16.95. However, it is not inclusion of Urdu poets but the contemporary poets of re- gional languages that makes this anthology an astounding work. It includes Sheikh Ayaz, Janbaz Jatoi, Tanveer Abbasi, Sehar Imdad and Pushpa Vallabh (Sindhi); Hasina Gul, Ghani Khan, Gul Khan Naseer, Amir Hamza Khan Shinwari and Sa- mandar Khan Samandar (Pushto); Taos Binhali (Kashmiri); Ata Shad (Balochi), and Ustad Daman, Sharif Kunjahi, and Ahmed Rahi (Punjabi). -
Dr. Md Samiuddin 2. Department : Urdu 3
SECAB’s A R S Inamdar Arts, Science & Commerce for Women, Vijayapura PROFILE 1. Name : Dr. Md Samiuddin 2. Department : Urdu 3. Designation : Assistant Professor 4. Date of Joining : 24-06-2010 5. Phone Numbers : 9341044679 6. E-mail ID : [email protected] 7. Educational Qualifications: Qualification Title/Course University Year Ateequllah Personality and Hyderabad Central Doctor of Philosophy 2009 Art University Dr Syed Sajjad Life and Hyderabad Central M.Phil 2004 Works University Gulbarga University, M.A Urdu 2003 Gulbarga Gulbarga University, Urdu, History, Pol-Science 2001 B.A Gulbarga 8. Positions Held/Career Profile : HOD, Assistant Professor, Member BOS, BOE 9. Teaching Experience :10 years 10. Area of Specialisation : Fiction & Drama, Poetry 11. Courses and Subjects Taught : B.A,B.Sc.,B.Com 12. Publications : List enclosed below 13. Conferences/Symposia/Workshops : Attended and organised Attended/Organised 14. Staff Training by University/other Institutions :Orientation & Refresher Courses 15. Participation in Curriculum Restructuring : Member of BOS in restructuring syllabus Of UG B.A B.Sc. B.Com,Urdu for all six semesters of KSWU, Vijayapua Publications: 1. "Urdu Main Tarjuma Nigari Dr. Syed. Sajjad ke Khususi Hawale se" Published by Munsif Daily, Hyderabad. On 08 May -2005 Page No.06. 2. "Mujtaba Hussain ki Khaka Nigari" Published by Govt. of Andhra Pradesh Magzine, Hyderabad. On January - 2006 Page No.14. 3. "Nazeer Akbar Abadi Ek Awami Shayar" Published by Eteemad Daily, Hyderabad. on 18 Dec-2006. Auraq-e-Adab Page No.01. 4. "Drama Zahak Ek Tanqeedi Mutala" Published by Monthly Andhra Pardesh. Hyd. On Jan- 2009.Page No.16.