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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. -
Persian Manuscripts
A HAND LIST OF PERSIAN MANUSCRIPTS By Sahibzadah Muhammad Abdul Moid Khan Director Rajasthan Maulana Abul Kalam Azad Arabic Persian Research Institute, Tonk RAJASTHAN MAULANA ABUL KALAM AZAD ARABIC PERSIAN RESEARCH INSTITUTE RAJASTHAN, TONK 2012 2 RAJASTHAN MAULANA ABUL KALAM AZAD ARABIC PERSIAN RESEARCH INSTITUTE RAJASTHAN, TONK All Rights Reserved First Edition, 2012 Price Rs. Published by RAJASTHAN MAULANA ABUL KALAM AZAD ARABIC PERSIAN RESEARCH INSTITUTE RAJASTHAN, TONK 304 001 Printed by Navjeevan Printers and Stationers on behalf of Director, MAAPRI, Tonk 3 PREFEACE Maulana Abul Kalam Azad Arabic Persian Research Institute, Rajasthan, Tonk is quenching the thirst of the researchers throughout the world like an oasis in the desert of Rajasthan.The beautiful building of Maulana Abul Kalam Azad Arabic and Persian Research Institute Rajasthan, Tonk is situated in the valley of two historical hills of Rasiya and Annapoorna. The Institute is installed with district head quarters at Tonk state Rajasthan in India. The Institute is 100 kms. away at the southern side from the state capital Jaipur. The climate of the area is almost dry. Only bus service is available to approach to Tonk from Jaipur. The area of the Institute‟s premises is 1,26,000 Sq.Ft., main building 7,173 Sq.Ft., and Scholar‟s Guest House is 6,315 Sq.Ft. There are 8 well furnished rooms carrying kitchen, dining hall and visiting hall, available in the Scholar‟s Guest House. This Institute was established by the Government of Rajasthan, which has earned international repute -
Art in Between Empires: Visual Culture & Artistic
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons ART IN BETWEEN EMPIRES: VISUAL CULTURE & ARTISTIC KNOWLEDGE IN LATE MUGHAL DELHI 1748-1857 Yuthika Sharma Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Yuthika Sharma All rights reserved ABSTRACT Art in between Empires: Visual Culture & Artistic Knowledge in Late Mughal Delhi 1748 -1857 Yuthika Sharma This dissertation focuses on the artistic culture of late Mughal Delhi spanning the last century of Mughal rule and the administration of the English East India Company in North India, from the mid-eighteenth to the mid-nineteenth centuries. It brings a hitherto unrecognized period of artistic accomplishment to light and studies the transformations within painting culture in the multicultural Anglo-Mughal society of Delhi. Rather than being fixated on the continuum of Mughal painting over centuries, this dissertation suggests that the art of the late Mughal period should be studied on its own terms as a response to immense socio-political and cultural changes. At its core this study is concerned with dissolving the stylistic barriers between Mughal and Company painting in the late eighteenth and nineteenth centuries. I take up the question of what the term ‘late Mughal painting’ entails and discuss how the term privileges the notion of a court centric culture of painting in an era when the Mughal court was only one of many venues of artistic expression. On the other hand, I highlight the inadequacy of the term ‘Company painting’ to address the variegated nature of works produced under East India Company patronage in this period. -
Durham E-Theses
Durham E-Theses Some development in Urdu poetry since 1936 Shakir, Faqir Hussain How to cite: Shakir, Faqir Hussain (1969) Some development in Urdu poetry since 1936, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10062/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT COPY This work is devoted to discuss the developments in Urdu poetry since 1936. A brief account of the developments in poetical language, various verse-forms and themes of Urdu poetry till Iqbal (1877-1938) has been given in the introductory chapter. The second chapter is on the poetical language of Urdu poetry. In it, the influence of English language, the use of Hindi words and phrases and the employment of colloquial vocabulary in Urdu poetry of the last thirty years is discussed at some length. -
THE TWO SCHOOL THEORY OP URDU LITERATURE by CARLA
THE TWO SCHOOL THEORY OP URDU LITERATURE By CARLA RAE PETIEVICH M.A., The University of California, Berkeley, 1979 A.B., The University of California, Berkeley, 1977 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July, 1986 ©Carla Rae Petievich, 1986 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ftsxAN STUDICS The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date \C Qcrro&eg. \9%$> DE-6 (3/81) ABSTRACT The Two School theory, perhaps the most prevalent in Urdu literary criticism, holds that the Delhi School and the Lucknow School comprise the bulk of classical poetry. The two schools are named after the cities of Delhi and Lucknow, Muslim India's two greatest centers of Urdu culture. Dihlavi poetry (the poetry written in Delhi), considered by critics to be truer to the Persian literary tradition than the poetry of Lucknow, is described as emphasizing mystical concerns, Persian styles of composition, and a straightforward, melancholy poetic diction. -
PROMINENT ULAMAA, PRIOR to 100 YEARS Islamic-Laws Ulamaa Biographies - XKP
PROMINENT ULAMAA, PRIOR TO 100 YEARS Islamic-laws Ulamaa Biographies - XKP Published: 2012 Categorie(s): Non-Fiction, Religion, Biography & autobiography, Edu- cators, Philosophers, Religious, Education and Study aids, Family & rela- tionships, Reference, Islam, History of Religions , Faith transmission Tag(s): islam xkp islamic ulama ulema ulamaa maraje marja taqleed ayatullah tusi taoos hilli tabrezi sheikh sayed alim education qummi kafi 1 Chapter 1 SHAIKH MOHAMMED BIN YAQOOB BIN ISHAQ KULAINI - Al KAFI - 250-329 AH Birth: His exact year of birth has not been recorded. However, it is mentioned that his birth had already taken place by start of the imamate of the 11th Imam, which lasted from 254 A.H to 2560 A.H. Thus if he was 9-10 years old at this time, (an age when children begin to understand matters), then he must have been born around 250 A.H. He was born in the village of Kulain, about 38 kms from the Iranian city of Raiy, which was an important city at that time. His father was also a scholar. Thus Mohammed bin Yaqoob al Kulayni was born around 250Ah, which was the period of imamate of the 10th Imam, and then when he was a little older, it was the period of the imamate of the 11th Imam. Kunniyat: His kunniyat (agnomen) was Abu Ja’far. An interesting coincidence is that the name of all the three compilers of the 4 basic books of ahadeeth( al-kafi, Man la Yahdharuhul Faqih, Te- hdheeb ul ehkam and Istibsaar fi mukhtatafil akhbar) is Mohammed, and the kunniyat of all of them was Abu Ja’far. -
Mukhammas Genre in the Second Half of the XIX Century and the Beginning of the XX Century and the Principles of Its Evolution
ISSN: 2350-0328 International Journal of Advanced Research in Science, Engineering and Technology Vol. 7, Issue 11 , November 2020 Mukhammas genre in the second half of the XIX century and the beginning of the XX century and the principles of its evolution KhujaqulovSirojiddinXolmaxmatovich Doctor of Philosophy (Ph.D) Samarkand State University. ABSTRACT: The article discusses the evolution of the mukhammas genre in the national enlightenment and jadid literature, the principles of evolution of this genre, the place of the generalliterary process in the system of literary genres, its new principles, theme and ideological content, examples of works of jadid and enlightened poets. Traditional and innovative features in comparative typological monograph, analytical-comparative, descriptive and critical aspects are analyzed. KEY WORDS: jadid, enlightenment, poetry, language, style, literary, aesthetic, ghazal, manifestation, terminology, traditional, genr, ghazal, masnavi, qasida, oda, murabba, mukhammas, musaddas, and tarje'band, tarkibband, qita, rubai, mustazad. I.INTRODUCTION In the history of national literary science, there is no separate research work on the system of lyrical genres of enlightenment and modern literature and the principles of its evolution. This problem has not been studied in the science of literature in monographic point of view. Some scholarly views on certain minor lyrical genres are also presented in general and overview in analyzes within the literary process. However, the study of this issue, the principles of evolution of literary genres, the coverage of poetic landscapes of the period, their analysis in terms of form and content are the most important tools for a deeper understanding of the general landscape and features of the literary process. -
List of Digitized Book
LIST OF DIGITIZED BOOK ACC.NO TITLE LANGUAGE 3748 AM WINNING URDU 5249 ASOOL MAHISHAT FIRST PART B.A KAY LIYA URDU 27607 NAATIN URDU 845 AYEAR MORE OR LESS URDU 126062 BI ARBI (P.B.U.H) PART 1 URDU 35918 BZ-E-DORAAN URDU 58074 DEEWANI JIRAR URDU CA_4737 EME SAHAB URDU 31751 FA AL AIMANN URDU 30065 FAUL YAMAN URDU 113501 FHAT AL INS URDU 25171 FRAT KA BUCH URDU 8692 FSIYATI AHSUL URDU Page 1 of 316 LIST OF DIGITIZED BOOK 30138 FSIYAT-I-AFFA URDU 34069 FTAHUL YAMAN URDU 1907 FTAHUL YAMAN BATASHYAT URDU 24124 GAMA-I-TIBISHAZAD URDU 58190 GAMAT UL ASRAR URDU 3509 GD SAKHN URDU 64958 GMA SARMAD URDU 114806 GMAH JAVEED URDU 30328 GMAY ZAR URDU 180689 GSH FIRQAADI URDU 126188 HBZ HAYAT URDU 23817 I AUR PURANI TALEEM URDU 38514 IR G KHAYAL URDU 63302 JANGI AZADI ATHARA SO SATAWAN URDU Page 2 of 316 LIST OF DIGITIZED BOOK 27796 KASH WA KASH URDU 24338 L DAMNIYATI URDU 57853 LAH TASLEEM URDU 5328 MEYATI KEMEYA KI DARSI KITAB URDU 36585 MOD-E-ZINDAGI URDU 113646 MU GAZAL FARSI URDU 1983 PAD MA SHEIKH FARIDIN ATTAR URDU ASL101 PARISIAN GRAMMER URDU 109279 QASH-I-AKHIR URDU 36043 QOOSH MAANI URDU 7085 QOOSHA RANGA RANG URDU 59166 QSH JAWOODAH URDU 38510 QSH WA NIGAAR URDU 23839 RA ZIKIR HUSSAIN(AS) URDU Page 3 of 316 LIST OF DIGITIZED BOOK 456791 SAB ZELI RIYAZI URDU 5374 SEEBIYAT URDU 55986 SHRIYATI MAJID FIRST PART URDU 56652 SIRUL SHQEEN WA GAZLIYAT WA QASAYID URDU 47249 TAIEJ ALZAHAN WAFIZAN AL FIKAR URDU 11195 TAK KHATHA URDU ASL124 TIYA KALAM URDU 109468 VEEN BHARAT URDU CA_4731 WA-E-SHAIDA URDU ASL_286 YA HISAAB URDU 39350 ZAM HIYA HIYA URDU -
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 -
Poetics of the Ghazal Genre in Uzbek Poetry of the Second Half of the XX Century
PSYCHOLOGY AND EDUCATION (2021) 58(1): 2423-2430 ISSN: 00333077 Poetics Of The Ghazal Genre In Uzbek Poetry Of The Second Half Of The XX Century Shahnoza Muhitdinovna Rakhmonova Alisher Nava’i Tashkent state university of the Uzbek language and literature, PhD, Senior teacher [email protected] ABSTRACT The article reveals the role of the ghazal genre in the development of poetic form and content in Uzbek poetry in the second half of the twentieth century. The poems of Uzbek poets Habibi, Sabir Abdulla, Chustiy, Charkhiy, Erkin Vahidov, Abdulla Aripov are the basis for the analysis. The main theme of the article is to cover the issues related to the prosody characteristics and content of the simple ghazal, ghazal-i qit’a, ghazali musajja’, ghazali muvashshahi ta’rikh and reversible ghazal metre in the works of these artists. It also discusses ghazal muvashshahi ta’rikh, which are not found in the history of Uzbek literature, and the possibilities of ghazal types with reversible prosody are analyzed. Keywords: aruz, prosody, genre, ghazal, simple ghazal ghazal-i qit’a, ghazali musajja’, ghazali muvashshahi ta’rikh, reversible ghazal metre. Article Received: 18 October 2020, Revised: 3 November 2020, Accepted: 24 December 2020 Introduction the main poetic genres of our classical literature, The second half of the twentieth century were widely used. Uzbek poetry, with its content, forms of Poets of this period, such as Zokirjon expression and artistic means, forms a special Kholmuhammad oghli Habibi, Sabir Abdulla, stage in the history of Uzbek literature. During Nabikhuja Nurillakhuja oghli Chustiy, Askarali this period, the main focus of poetry was on Charkhiy, Erkin Vahidov, Abdulla Aripov, Jamol depicting changes in life and people’s thinking in Kamol, Matnazar Abdulhakim were masters of their entirety. -
Twentieth-Century Urdu Literature
Published in Handbook of Twentieth-Century Literatures of India, ed. by Nalini Natarajan, Greenwood Press, Westport, CT, 1996. TWENTIETH-CENTURY URDU LITERATURE1 Omar Qureshi This introductory summary, of the course of Urdu literature in the twentieth century must continuously refer back to the nineteenth. This becomes necessary because, depending on one’s point of view, it was Urdu’s destiny or misfortune to gradually become identified as the lingua franca of the Muslims of India in the latter half of the last century. Consequently, the still unresolved dilemmas of the politics of Muslim identity in South Asia are difficult to separate from their expression in and through the development of Urdu. For our purposes then, the most significant consequence of the failed rebellion of 1857 was the gradual emergence of group identity among the recently politically dispossessed and culturally disoriented Muslim elite of North India. This effort to define Indian Muslim nationhood in the new colonial environment placed issues of past, present and future identity at the center of elite Muslim concerns. Not only were these concerns expressed largely in Urdu, but the literary legacy of Urdu formed the terrain through and on which some of the more significant debates were conducted. The Muslim leadership that emerged after 1857 looked to this pre-colonial literary legacy as an authentic, but highly problematic repository of the Indian Muslim identity; and the Urdu language itself as the most effective medium for the renewal and reform of the Muslims of British India. As Muslim identity politics gathered strength in colonial India, and Urdu was turned into the print language of the emerging nation, discussions of an apparently purely literary nature became a veritable mirror of ideological and sociopolitical change among India’s Muslims. -
The Power, Subjectivity, and Space of India's Mughal Architecture
monumental matters monumental matters The Power, Subjectivity, and Space of India’s Mughal Architecture Santhi Kavuri-Bauer Duke University Press | Durham and London | 2011 © 2011 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by April Leidig-Higgins Typeset in Garamond Premier Pro by Copperline Book Services, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. In memory of my father, Raghavayya V. Kavuri contents Acknowledgments ix Introduction 1 1 Breathing New Life into Old Stones: The Poets and Artists of the Mughal Monument in the Eighteenth Century 19 2 From Cunningham to Curzon: Producing the Mughal Monument in the Era of High Imperialism 49 3 Between Fantasy and Phantasmagoria: The Mughal Monument and the Structure of Touristic Desire 76 4 Rebuilding Indian Muslim Space from the Ruins of the Mughal “Moral City” 95 5 Tryst with Destiny: Nehru’s and Gandhi’s Mughal Monuments 127 6 The Ethics of Monumentality in Postindependence India 145 Epilogue 170 Notes 179 Bibliography 197 Index 207 acknowledgments This book is the result of over ten years of research, writing, and discus- sion. Many people and institutions provided support along the way to the book’s final publication. I want to thank the UCLA International Institute and Getty Museum for their wonderful summer institute, “Constructing the Past in the Middle East,” in Istanbul, Turkey in 2004; the Getty Foundation for a postdoctoral fellowship during 2005–2006; and the Graham Foundation for Advanced Studies in the Fine Arts Grant Award for a subvention grant toward the costs of publishing this book.