Shahzia Batool - Poems
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
01-BQ(Taarruf-E-Quran)Eng.Pdf
TARTEEB Arz-e-Murattib .................................................................... 4 Taqdeem .............................................................................. 6 Ta'aruf-e-Qur'an .................................................................. 13 Surah Al-Fateha ................................................................... 31 Surah Al-Baqarah ................................................................. 153 Bayaanul Qur'an 4 Ta'aruf-e-Qur'an ARZ-E-MURATTIB Qur'an Hakeem nau-e-insaani ke liye Allah Ta'ala ka aakhri aur takmeeli paighaam-e-hidayat hai, jise Nabi aakhiruz zamaan -ki daawat–o-tableegh mein markaz-o ﷺ Muhammad Rasool Allah ne is Qur'an ki bunyaad par na ﷺ mahwar ki haisiyat haasil thi. Aap sirf duniya ko ek nizam-e-adal-e-ijtemayi ataa farmaya balke is aadilana nizaam par mubni ek saleh mu,ashirah bhi bilfa,al qayem kar ke dikhaya. ne is Qur'an ki rehnumayi mein inqilaab ke tamaam marahil ﷺ Aap taye karte hue nau-e-insaani ka azeem tareen inqilaab barpa farmadiya. Chunache, Qur'an mehaz ek kitaab nahi “Kitaab-e-Inqilaab” hai, aur is sha,oor ke baghair Qur'an Majeed ki bahut si ahem haqeeqatein Qur'an ke qaari par munkashif nahi hosaktein. Allah Ta'ala jaza-e-khair ataa farmaye Sadar Mausis Markazi Anjuman Khaddaam Al-Qur'an Lahore aur Baani-e-Tanzeem Islami Mohtaram Doctor Israar Ahmed Hifzhu Allah ko jinhone is daur mein Qur'an Hakeem ki is haisiyat ko bade wasee paimaane par aam kiya hai ke ye kitaab apni deegar imtiyazi haisiyaton ke saath saath Muhammad ke barpa kardah inqilaab ﷺ ka aala-e-inqilaab aur Aap ﷺ Rasool Allah ke mukhtalif marahil ke liye bamanzila (manual) bhi hai, lehaza is ka ki daawat–o-tahreek aur inqilaabi jaddojahad ﷺ muta,ala Anhuzoor ke tanazur mein kiya jaana chaahiye aur iske qaari ko khud bhi “Minhaj par mubni inqilaabi jaddojahad mein shareek hona ”ﷺ inqilaab Nabwi chaahiye. -
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. -
Urdu Ug Cbcs Syllabus-01.Pdf
UNIVERSITY OF MYSORE DEPARTMENT OF STUDIES IN URDU MANASAGANGOTRI MYSORE-570 005 B.A Programme (Optionals) DSC – Discipline Specific Course (Core) Sem. Course Title of the paper L – T - P Total Credit I DSC - 1 Dastan aur Masnavi 5 – 1- 0 6 II DSC - 2 Novel aur Marsiya 5 – 1- 0 6 III DSC - 3 Drama aur Gazlein 5 – 1- 0 6 IV DSC - 4 Afsanay aur Manzomath 5 – 1- 0 6 DSE – Discipline Specific Elective (Soft Core) Sem. Course Title of the paper L – T - P Total Credit V DSE-1 1. Tareekh-e-Zaban-o- 5-1-0 6 Adab 2. Tanqeed Arooz-o- 5-1-0 6 Balagath 3. Special author Altaf Hussain Hali VI DSE-2 1. History of Urdu 5-1-0 6 literature 2. Urdu mein Khaka 5-1-0 6 Nigari 3. Urdu Afsana 5-1-0 6 GE – Generic Elective (Open Elective) Sem. Course Title of the paper L – T - P Total Credit V GE-1 1. Tarjuma Nigari 1-1-0 2 2. Urdu Sahafath VI GE-2 1. Iblag-e-Aamma 1-1-0 2 2. Computer -2- Urdu Syllabus under CBCS BA/B.SC Programme (Language) AECC – Ability Enhancement Compulsory Course (MIL) Language Sem. Course Title of the paper L – T - P Total Credit I AECC-1 Prose and Poetry 2-1-0 3 II AECC-2 Prose and Poetry 2-1-0 3 III AECC-3 Prose and Poetry 2-1-0 3 IV AECC-4 Drama and Poetry 2-1-0 3 SEC Skill Enhancement Course Sem. -
Honouring a Legend Zafri Mudasser Nofil “Kinara”, “Khushboo”, “Angoor”, “Libaas” , “Meera”, Everyone Knows Shilpa Shetty Kundra's Entrepreneurial Skills
SUNDAY, APRIL 27, 2014 (PAGE-4) BOLLYWOOD BUZZ PERSONALITY "Business is a part of life" Honouring a legend Zafri Mudasser Nofil “Kinara”, “Khushboo”, “Angoor”, “Libaas” , “Meera”, Everyone knows Shilpa Shetty Kundra's entrepreneurial skills. “Lekin” and “Maachis”. The prestigious Dada Saheb Phalke He has worked on the small screen as well; Along with her businessman husband Raj Kundra, she has award could not have been conferred having created outstanding series like “Mirza on a more deserving person than Ghalib” and “Tahreer Munshi Premchand now launched her gold bullion and jewellery veteran lyricist-ffilmmaker and Ki”. He wrote lyrics for several Doordar- poet Gulzar. He was chosen for shan serials including “Hello Zindagi”, the highest official recognition “Potli Baba Ki” and “Jungle Book”. company - Satyug Gold. Sreya Basu in conversation for film personalities in India Gulzar was awarded the Sahitya for outstanding contribution Akademi Award in 2002, the Padma with the actress in Mumbai on her latest project. to the growth and develop- Bhushan in 2004. He has won a ment of Indian cinema. number of National Film Awards After trying your hand in wellness of today. A seven-member jury and 20 Filmfare Awards. He won and fitness business (Iosis Medi You launched Satyug Gold in three cities consisting of eminent the Oscar for best original song Spa), cricket (Rajasthan Royals co- (Bandra in Mumbai, Pune and Ahmedabad) artistes unanimously rec- ‘Jai ho’ with Rahman for “Slum- owner), film production simultaneously on the same day. What ommended the 79-year- dog Millionaire” in 2009. In 2010, (Dishkiyaaoon) and real estate made you come up with the idea? old Gulzar for the presti- Gulzar also won the Grammy (grouphomebuyer.com), you are I was running out of time. -
Seeing Like a Feminist: Representations of Societal Realities in Women-Centric Bollywood Films
Seeing like a Feminist: Representations of Societal Realities in Women-centric Bollywood Films Sutapa Chaudhuri, University of Calcutta, India The Asian Conference on Film & Documentary 2014 Official Conference Proceedings Abstract One of the most notable contemporary trends in Indian cinema, the genre of women oriented films seen through a feminist lens, has gained both critical acclaim and sensitive audience reception for its experimentations with form and cinematic representations of societal realities, especially women’s realities in its subject matter. The proposed paper is based on readings of such women centric, gender sensitive Bollywood films like Tarpan, Matrubhoomi or The Dirty Picture that foreground the harsh realities of life faced by women in the contemporary patriarchal Indian society, a society still plagued by evils like female foeticide/infanticide, gender imbalance, dowry deaths, child marriage, bride buying, rape, prostitution, casteism or communalism, issues that are glossed over, negated, distorted or denied representation to preserve the entertaining, escapist nature of the melodramatic, indeed addictive, panacea that the high-on-star-quotient mainstream Bollywood films, the so-called ‘masala’ movies, offer to the lay Indian masses. It would also focus on new age cinemas like Paheli or English Vinglish, that, though apparently following the mainstream conventions nevertheless deal with the different complex choices that life throws up before women, choices that force the women to break out from the stereotypical representation of women and embrace new complex choices in life. The active agency attributed to women in these films humanize the ‘fantastic’ filmi representations of women as either exemplarily good or baser than the basest—the eternal feminine, or the power hungry sex siren and present the psychosocial complexities that in reality inform the lives of real and/or reel women. -
International Journal of Multidisciplinary Approach And
International Journal of Multidisciplinary Approach and Studies ISSN NO:: 2348 – 537X Indian cinema’s future at Oscars Paromita Gupta DSJ, University of Delhi, Delhi, India ABSTRACT Cinema is the reflection of our society. It acts as a mirror by reflecting the reality of our societies. Just like any other professional field, cinema is also bestowed with the recognition for who or what is the best among all. This comes in various formats including the pan world accepted and celebrated Academy Awards or Oscars. As per 2018 report by Statista, over 5,823 films were produced by leading film markets including India and China. From 1948 till 2019, Italy has topped the chart by winning 11 best International Feature Film, followed by France with 9 wins, while Mexico and South Korea became the newest member with Roma in 2018 and Parasite in 2019 respectively. Indian cinema is the world's largest film industry in terms of film production, with an annual output of 1,813 feature films as of 2018, and Bollywood is its largest film producer, with 364 Hindi films produced annually as of 2017. KEYWORDS: Oscars, Indian cinema at world level, Parallel Cinema, Bollywood, Film Federation on India INTRODUCTION The Oscars was first held in 1929, and is also the oldest of the four major annual American entertainment awards. The Awards has faced backlash for lack of diversity which is based on the statistics since 1929. To honour the foreign language films, the Special Achievement/Honorary Award was introduced in 1947. These awards, however, were not handed out on a regular basis (no award was given in 1953), and were not competitive since there were no nominees but simply one winning film per year. -
Reasoning Ability Number of Particiapants - 3237
TCS Ninja National Level Mockk Test Result Channel B.Tech 9566634509 Reasoning Ability Number of Particiapants - 3237 Purchase the video course with 391 TCS Ninja Specific questions here: Concepts covered: Numerical Ability Verbal Ability Reasoning Ability Purchase link: https://imjo.in/ZS7U3w Price : Rs. 100/- Sample Video: https://youtu.be/-HEL_buoxyg Use the SEARCH Option (or) CTRL+F option to find your name Name Score out of 30 Number of Students ahead of you Arathi J 22 0 M-18-0243 21 1 Dipali Pawar 21 2 Ann Mohan Chacko 21 3 Vaishnavi Anil Bhamare 21 4 Sara Paul 20 5 Jain Neel 20 6 Amith Kumar 20 7 Nikunj Viramgami 20 8 preet 20 9 Manogna 20 10 Aishwarya 19 11 Kanika 19 12 Raksha Ganyarpawar 19 13 Neel jadhav 19 14 Hey Gandhi 19 15 Mrugen patel 19 16 ANANYA KR 19 17 Subbareddy Bana 19 18 Srusti J R 19 19 Jinesh Shah 19 20 Pratik B. 19 21 Bhakti Takne 19 22 hardik 19 23 Priyanka 19 24 Kshitija Chavan 19 25 Abhimanyu Wagh 19 26 Chetakshi Hajare 19 27 Diksha Soni 19 28 ANJALI K M 19 29 Tilak Kalas 19 30 TCS Ninja National Level Mockk Test Result Channel B.Tech 9566634509 G. Madhuri 19 31 Tushar Panchangam 19 32 Srijith Bhat 19 33 madhumitha 18 34 Jainam D. Belani 18 35 Manan Patel 18 36 Paheli Bhaumik 18 37 Harshil Shah 18 38 Disha Kotari 18 39 Morusu Yogesh 18 40 Amer Khan 18 41 SHAIK KHALID MATEEN 18 42 Abbas Ali Shaik 18 43 Shaik Mahammed Muzamil 18 44 Yogeshwari R 18 45 Akshit Chaudhary 18 46 Solanki Akash 18 47 Yuvraj Sharma 18 48 Varun Kumar 18 49 Nainitha N Shetty 18 50 Shweta 18 51 Shreyas Shetty 18 52 Preetam Ghosh 18 53 Nikhil -
Mirza Asadullah Khan Ghalib / Diwã¢Ne-Ghalib
Mirza Asadullah Khan Ghalib / Diwân-e-Ghalib: Complete Translation Into English, Including All the Ghazals, Qasidas, Masnavis, Qitas & Quatrains of the Published Diwan and a Selection from the Unpublished Diwan / Ghalib Institute, 2003 / 2003 It includes all the works of the published Diwan (Ma'ruf) as well as a selection of the unpublished (complete) Diwan known as the Nuskha-e-Hamidia. About the Author: Daughter of a distinguished medical practitioner, the author was inculcated a love of Urdu and Persian poetry at an early age by both parents, especially her erudite mother. The present work is a complete translation in rhymed verse, of the whole of the published Diwan including the ghazals, qasidas (panegyrics), masnavis, qitas and quatrains. Most of the material, not included in the published Diwan as such, but usually published with it, is also presented as Addendum I. This also includes the Sehra or marriage chaplet, subject of a famous controversy with the Poet Laureate, Zawq. The first step in the selection of the trial jury is the selection of a "jury panel". When you are selected for a jury panel you will be directed to report, along with other panel members, to a courtroom which a case is to be heard once a jury is selected. The judge assigned to that case will tell you about the case and will introduce the lawyers and the people involved in the case. You will also take an oath, by which you promise to answer all questions truthfully. Remember that the lawyers are not trying to embarrass you, but are trying to make sure that members of the jury do not have opinions or past experiences which might prevent them from making an impartial decision. -
On Remakes and Translations: a Study of the Tangle Between Hindi Films and Popular Culture with Special Reference to Paheli
On Remakes and Translations: a Study of the Tangle between Hindi Films and Popular Culture with Special Reference to Paheli Ipsita Sengupta In the Beginning: on Mass Culture and Popular Culture How to differentiate between mass culture and popular culture? Is there even a difference? Theodor W. Adorno famously suggested that mass media reserves the right to dizzying reductions, monolithic aggression and false representation; entitled producers of mass culture propagated through mass media seek to convert the audience into complicit addicts of stereotypes of their invention and infliction, stereotypes that further entrench the status quo, its alarming innocence and embedded inequities/exclusions.1 Such an understanding of mass media and mass culture axiomatises the existence of popular culture as the binaristic counter – that ecology of culture authentic and organic, created cultivated remade and preserved in collaboration, by the people across generations. Given our 2017 spatial-temporal locations, is it possible to charter and preserve the afore- mentioned alterative territories for mass culture and popular culture, positing them thereby as binaries piously inoculated and invisibilised from each other? The plurality of “locations” unfortunately embeds a hunger for unitaries in the contemporary glocal2 context; competing media houses clone programmes of entertainment and spectacles of outrage, with variations limited to titles or the time-slot. Their charter regarding the media non-people or non-news, to be exiled 1Horkheimer, Max, and Theodor W. Adorno. “The Culture Industry: Enlightenment as Mass Deception.” Dialectic of Enlightenment: Philosophical Fragments. Trans. Edmund Jephcott. Ed. Gunzelin Schmid Noerr. California: Stanford University Press, 2002. 94-136. Print. Also, Adorno, Theodor W. -
Anthems of Resistance
A Celebration of Progressive Urdu Poetry Anthems of Resistance So what if my pen has been snatched away from me I hav dipped my fingers in the blood of my heart So what if my mouth has been sealed, I have turned Every link of my chain in to a speaking tonge Ali Husain Mir & Raza Mir 1 Anthems of Resistance A Celebration of Progressive Urdu Poetry Ali Husain Mir & Raza Mir IndiaInk 2 Brahma’s Dream ROLI BOOKS © Ali Husain Mir and Raza Mir, 2006 First published in 2006 IndiaInk An imprint of Roli Books Pvt. Ltd. M-75, G.K. II Market New Delhi 110 048 Phones: ++91 (011) 2921 2271, 2921 2782 2921 0886, Fax: ++91 (011) 2921 7185 E-mail: [email protected]; Website: rolibooks.com Also at Varanasi, Bangalore, Jaipur Cover : Arati Subramanyam Layout : Narendra Shahi ISBN: 81-86939-26-1 Rs. 295 Typeset in CentSchbook BT by Roli Books Pvt. Ltd. and printed at Syndicate Binders, New Delhi 3 CONTENTS Acknowledgements A Note on Translation and Transliteration Preface 1 Over Chinese Food: The Progressive Writers’ Association 2 Urdu Poetry and the Progressive Aesthetic 3 Saare Jahaan Se Achcha: Progressive Poets and the Problematic of Nationalism 4 From Home to the World: The Internationalist Ethos 5 Dream and Nightmare: The Flirtation with Modernity 6 Progressive Poetry and Film Lyrics 7 Voh Yaar Hai Jo Khushboo Ki Taraah, Jis Ki Zubaañ Urdu Ki Taraah 8 An Exemplary Progressive: The Aesthetic Experiment of Sahir Ludhianvi 9 Javed Akhtar’s Quiver of Progressive Arrows: A Legacy Survives 10 New Standard Bearers of Progressive Urdu Poetry: The Feminist Poets 11 A Requiem .. -
Born Kamal Haasan 7 November 1954 (Age 56) Paramakudi, Madras State, India Residence Chennai, Tamil Nadu, India Occupation Film
Kamal Haasan From Wikipedia, the free encyclopedia Kamal Haasan Kamal Haasan Born 7 November 1954 (age 56) Paramakudi, Madras State, India Residence Chennai, Tamil Nadu, India Occupation Film actor, producer, director,screenwriter, songwriter,playback singer, lyricist Years active 1959–present Vani Ganapathy Spouse (1978-1988) Sarika Haasan (1988-2004) Partner Gouthami Tadimalla (2004-present) Shruti Haasan (born 1986) Children Akshara Haasan (born 1991) Kamal Haasan (Tamil: கமலஹாசன்; born 7 November 1954) is an Indian film actor,screenwriter, and director, considered to be one of the leading method actors of Indian cinema. [1] [2] He is widely acclaimed as an actor and is well known for his versatility in acting. [3] [4] [5] Kamal Haasan has won several Indian film awards, including four National Film Awards and numerous Southern Filmfare Awards, and he is known for having starred in the largest number of films submitted by India in contest for the Academy Award for Best Foreign Language Film.[6] In addition to acting and directing, he has also featured in films as ascreenwriter, songwriter, playback singer, choreographer and lyricist.[7] His film production company, Rajkamal International, has produced several of his films. In 2009, he became one of very few actors to have completed 50 years in Indian cinema.[8] After several projects as a child artist, Kamal Haasan's breakthrough into lead acting came with his role in the 1975 drama Apoorva Raagangal, in which he played a rebellious youth in love with an older woman. He secured his second Indian National Film Award for his portrayal of a guileless school teacher who tends a child-like amnesiac in 1982's Moondram Pirai. -
International Journal of English
INTERNATIONAL JOURNAL OF ENGLISH: LITERATURE, LANGUAGE & SKILLS Volume 7 Special Issue 1, August 2018 ISSN 2278-0742, www.ijells.com ‘Literature & Film’ Special Issue August 2018 2278 -0742 This page is intentionally left blank 2 Page Page Volume 7 Special Issue 1 www.ijells.com August 2018 2278 -0742 Editor’s Note Dear Readers and Contributors, The field of ‗Literature & Film‘ as a unity is still unexplored and has untapped potential. One way of understanding is the comparative analysis from the book to the film. The questions then are ‗which version is better‘ and ‗what areas can be improved or included‘ etc. We have come to understand the complexity of film as a mode of representation, a narrative and further, a discourse. The tools of interpretation and analysis applied to literature can also be applied to ‗Film‘. Film is a text and hence the theories of literature plus the potential of generating its own unique theory coexist. This is the first of many more series to come. We, at IJELLS would like to keep the proposition open to have one special issue on ‗Literature & Film‘ every year. Happy Reading! Dr. Mrudula Lakkaraju Editor, ‗Literature & Film‘ Special Issue IJELLS 3 Page Page Volume 7 Special Issue 1 www.ijells.com August 2018 2278 -0742 Contents Editor’s Note --------------------------------------------------------------------------------------------------03 Contents --------------------------------------------------------------------------------------------------------04 Representation of Kashmir in Haider via Hamlet- Paradise