Bhajan Book Shree Shirdi Sai Pathanugamee Trust (Regd.)

Total Page:16

File Type:pdf, Size:1020Kb

Bhajan Book Shree Shirdi Sai Pathanugamee Trust (Regd.) Bhajan Book Shree Shirdi Sai Pathanugamee Trust (Regd.) Shree Shirdi Sai Pathanugamee Trust (Regd.) Bhajan Book SAI ASHTOTRAM ............................................................................................................................... 11 BABA’S AARTIS .................................................................................................................................. 14 KAKAD AARTI (SUNRISE AARTI) – 07:00 AM ....................................................................................... 15 MADHYAN AARTI (NOON AARTI) – 12:00 PM ...................................................................................... 20 DHOOP AARTI (SUNSET AARTI) – 6:30 PM ......................................................................................... 24 SHEJ AARTI (NIGHT AARTI) – 8:30PM ................................................................................................. 29 SRI VISHNU SAHASRANAMAM ........................................................................................................ 32 BHAJANS 43 1. A TEMPLE IN MY HEART ............................................................................................................... 45 2. AAKE TERE DWAR SUNLE BHAKT NE PUKAARA ....................................................................... 45 3. AASEYAA BIDALAARE SHRI SAINAATHA .................................................................................... 45 4. AAYENGE JAROOR BABA AAYENGE JAROOR ........................................................................... 46 5. AB SAMJHE SABSE BADAA SAI NAAM BABA ............................................................................. 46 6. ABHAYAMAYYA ABHAYAMAYYA SHIRDI NATHARE .................................................................. 47 7. ACCHUTAM KESHAVAMKRISHNADAMODARAM ........................................................................ 47 8. AGAR HAATH RAKH DE MERE SAR PE SAI ................................................................................ 48 9. ALLAH ALLAH SAI BABA ................................................................................................................ 48 10. ALLAH SAI LELO SALAM… ........................................................................................................ 48 11. ALLAH SAI MAULA SAI .............................................................................................................. 49 12. ALLAH TERO NAAM, ISHAWAR TERO NAAM .......................................................................... 49 13. AMBIKA TANYA VINAYAKA ....................................................................................................... 50 14. ANAND ANAND MANGAL GAAO ............................................................................................... 50 15. ANANDA SAGARA MURALIDHARA ........................................................................................... 50 16. ANKH ME ANSOO TUTA HUA DIL ............................................................................................. 50 17. ANKHE BAND KARU YA KHOLU ............................................................................................... 51 18. ARZIYAN SAARI MAIN ............................................................................................................... 52 19. ATMA RAMA ANANDA RAMANA ............................................................................................... 53 20. AYE MAALIK TERE BANDE HUM .............................................................................................. 53 21. AYODYA PATI RAMA ................................................................................................................. 54 22. BABA AAO MERE KIRTAN MEIN ............................................................................................... 54 23. BABA MERI RAKSHA KARNA .................................................................................................... 54 24. BABA MOHE DARAS DIKHANE AAJA ....................................................................................... 55 25. BABA TERE CHARANON KI ....................................................................................................... 56 26. BADAA CHITH CHORA BRINDAVAN SANCHARA .................................................................... 56 27. BADE DAYALU HO ..................................................................................................................... 56 28. BADI DOORSE MAINTERE DAR PE AAYAA ............................................................................. 57 Shree Shirdi Sai Pathanugamee Trust (Regd.) www.shirdisaipathanugamee.org | [email protected] S.P.1 Shree Shirdi Sai Pathanugamee Trust (Regd.) Bhajan Book 29. BERILLA YENNAYA BANDHU .................................................................................................... 57 30. BETHE SAJ SAJ KE BABA ......................................................................................................... 58 31. BHAJ RE SADGURU SAI CHARANAM ...................................................................................... 58 32. BHAJANA BINA… ....................................................................................................................... 58 33. BHAJAN KARO MANWA GOVIND HARE .................................................................................. 59 34. BHAJO RE MAN TUM ................................................................................................................. 59 35. BHAJO RE SADAA MAN SAINATHA JAI JAI ............................................................................. 59 36. BHAJOMAN RAM BHAJOMAN RAM .......................................................................................... 60 37. BHAKTO KE LIYE BABA DWAR APNA KHOLA HAI .................................................................. 60 38. BHAVA BHAYA HARANA VANDITA CHARANA ........................................................................ 61 39. BHIKSHA DE DE MAAI ............................................................................................................... 61 40. BILVASHTAKAM ......................................................................................................................... 62 41. BOLA BANDARI BABA…. ........................................................................................................... 63 42. BOLO BOLO SAB MIL BOLO ...................................................................................................... 63 43. BOLO HARE RAM NAAM ........................................................................................................... 63 44. BOLO JAI SAIBABA JAI JAI SAIBABA ....................................................................................... 63 45. BOLO NARAYANA ...................................................................................................................... 64 46. BOLO OM SAI RAM BOLO OM SAI RAM .................................................................................. 64 47. CHAHE HAAR HO CHAHE JEET HO ......................................................................................... 65 48. CHALO RE SHIRDI ME HAI PAWAN DHAAM ............................................................................ 65 49. CHALO RE SHIRDI ME HE PAVAN DHAM ................................................................................ 66 50. CHANDAN KA TUNE TILAK LAGAAYAA ................................................................................... 66 51. CHARANAA GATHI ..................................................................................................................... 67 52. DAADE LAMBE PEDE NEBAI IS JEEVAN DE PAAR ................................................................ 67 53. DAR DARMAINTO BHATAK RAHA THA .................................................................................... 68 54. DARASH DIKHAO MERE SAI NANDALALA .............................................................................. 69 55. DARBAR ME SHIRDIWALE KE .................................................................................................. 69 56. DASHRATH NANDAN RAMCHANDRA PRABHU ...................................................................... 70 57. DASHRATHA NANDAN RAMA DAYA SAGAR ........................................................................... 70 58. DATTHA GURU DATTHA ........................................................................................................... 70 59. DAYA KARO MERE SAIMAINGUM KA MAARA HU .................................................................. 71 60. DAYA KARO SAINAATH KRIPA KARO DAATA ......................................................................... 71 61. DAYA KARO SHIV GANGADHARI ............................................................................................. 72 62. DAYA SADHA BARSAO MAATA JAI .......................................................................................... 72 63. DAYA TERI KRIPA TERI, SHARAN MEIN TERI AAYE HAIN .................................................... 72 64. DEEN DAYALA HARI PARAM DAYALA ..................................................................................... 73 65. DEEPAVALI MANAYI SUHANI ................................................................................................... 73 66. DEEWANA TERA AAYA - A SAI QUAWALI ............................................................................... 73 67. DHEERAJ RAKH VO REHAMAT KI BARKHA BARSA
Recommended publications
  • A Portrayal of People Essays on Visual Anthropology
    A PORTRAYAL OF PEOPLE Digitized by the Internet Archive in 2018 with funding from Public.Resource.Org https://archive.org/details/portrayalofpeoplOOunse A PORTRAYAL OF PEOPLE Essays on Visual Anthropology in India Co-published by ANTHROPOLOGICAL SURVEY OF INDIA INDIAN NATIONAL TRUST FOR ART AND CULTURAL HERITAGE INTACH 71, Lodhi Estate New Delhi-110 003 ANTHROPOLOGICAL SURVEY OF INDIA West Block 2, Wing 6, First Floor R.K. Puram New Delhi 110 066. ©ASI, INTACH, 1987. © For individual contributions with authors. Printed at Indraprastha Press (CBT) 4 Bahadur Shah Zafar Marg, New Delhi 110002. CONTENTS Foreword v Introduction ix An Examination of the 1 Need and Potential for Visual Anthropology in India Rakhi Roy and Jayasinhji Jhala Anthropological Survey of 20 India and Visual Anthropology K.S. Singh History of Visual Anthropology 49 in India K.N. Sahay Perceptions of the Self and Other 75 in Visual Anthropology Rakhi Roy and Jayasinhji Jhala My Experiences as a Cameraman 99 in the Anthropological Survey Susanta K. Chattopadhyay The Vital Interface 114 Ashish Rajadhyaksha The Realistic Fictional Film: 127 How far from Visual Anthropology? Chidananda Das Gupta Phaniyamma and the Triumph 139 of Asceticism T.G. Vaidyanathan Images of Islam and Muslims 147 on Doordarshan Iqbal Masud Man in My Films 161 Mrinal Sen/Someshwar Bhowmick The Individual and Society 169 Adoor Gopalakrishnan/Madhavan Kutty Notes on Contributors 174 FOREWORD It has often been said that India lives in many centuries at the same time. The complex network of diversity that stretches across time and space has made India a paradise for anthropologists.
    [Show full text]
  • Routledge Handbook of Indian Cinemas the Indian New Wave
    This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium.
    [Show full text]
  • W-36 ENTRANCE EXAMINATIONS
    w-36 ENTRANCE EXAMINATIONS - 2O2O M.P.A. THEATRE ARTS Duration: 2 hours Max. Marks : 50 Hall Ticket No. INSTRUCTIONS L Write your Hall Ticket No. in the OMR Answer Sheet given to you. Also, write your Hall Ticket No. in the space provided above. 2. Each question carries one mark and there is Neeative narkins of 0.33 for each wrong answer. 3. Answers are to be marked on the OMR Answer Sheet following the instructions provided thereon. 4. Please handover the OMR Answer Sheet at the end oflhe examinalion to the Invigilator. You may take the Question Paper after the examinations is over. 5. No additioial sheet will be provided. Rough work can be done in the Qu€stion paper itself. 1. Peter Brook's intercultural theatre production. A) Shakuntalarn B). Mother courage C) Mahabharata D) Constant Prince 2. Kuthambalam is traditionally corlsidered to be the peformance space for A) Krishnaattam B) Kutiyaattam C) Ramanaattam D) Oilaattam ,0-=b 3. Which is the Oscar award winning film for the year 2019? A) Parasite B) Black Panther C) Neighbour's Window D) Joker 4. According to Natyasastra, Naataka is one t]?e of A) Arthaprakiti B) Uparoopaka C) Dasaroopaka D) Karana 5. The play directed by the noted dircctor Ratan Thiyydn based on the story ofemperor Ashoka is A) Chakravl,uha B) Kalingayuddha C) Devanaampiya D) Uttara Priyadarshi 6. Kerala Kalamandalam was founded by? A) Amrnatuloor Manimadhava Chakyar B) Vallathol Narayana Menon C) G. Shanham Pillai D) K.N. Panikkar 7. The Sanskrit play, "Daridra Charudattam', was written by _ A) Sudraka B) Bhavabhuti C) Bhasa D) Visakhadatta 8.
    [Show full text]
  • EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
    UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col.
    [Show full text]
  • Volume-15-Harmony-1458-Songs.Pdf
    HINDI 1458 Song No Song Name Singer Movie/Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13309 Aa Re Preetam Pyaare Sarosh Mamta Sharma Rowdy Rathore Volume-8 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 13310 Aaj Hai Sagaai Abhijeet Alkaji Pyaar To Hona Hi Tha Volume-8 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj Khushi Se Jhum Raha Sara Asha Bhonsle Suntan Volume-5 14437 Aaj Ki Raat Mohammed
    [Show full text]
  • 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.
    [Show full text]
  • Of Sixth Edition
    BAYAAZ OF SIXTH EDITION All these nohay are available on: www.youtube.com/OldNohay (Links included with the text of each Nauha) Request to recite Surah-e-Fatiha for: Asghar Mirza Changezi (ibne Mirza Mumtaz Hussain) Noor Jehan Begum (binte Syed Wirasat Ali Rizvi) Agha Meher Qasim Qizalbash (ibne Agha Mumtaz Hussain) Naveed Banoo, Saeed Banoo & Fahmeed Banoo (binte Raza Haider Rizvi) All the Shayar E Ahlebait and Nauhakhwans who have passed away And All Momineen and Mominaat English Transliteration of Contents 1. Janab Aale Raza .................................................................................. 13 1.1. Pukari laash pe Zehra mere Hussain Hussain ....................................................13 1.2. Salaam Khak-na shi no n-pa .......................................................................................13 2. Janab Afsar Lucknowi Sahib ............................................................... 15 2.1. Raat aadhi aa gayi ai Jaan e Madar ghar mein aao .........................................15 3. Janab Ahsan Tabatabai Sahib ............................................................. 16 3.1. Karbala aaye thay Shah, Dunia se jaane ke liye ................................................16 4. Janab Ali Raza Baqri Sahib ................................................................. 17 4.1. Asghar Huñ Maiñ Asghar .........................................................................................17 5. Mohtarma Akthar Sahiba .................................................................... 18 5.1.
    [Show full text]
  • Pakistani Televisions' Content in 2020 Television Can Play A
    JMCS | JOURNAL OF MEDIA AND COMMUNICATION STUDIES Volume 1, Issue 2. July 2021 Programs for Children: Pakistani Televisions’ Content in 2020 Nabila Tabassum1 Abstract Television can play a significant role in nation building and children are generally viewed to be playing a vital role in building the image of a nation. Due to its significance, recent years have seen a worldwide rise in the media content that focuses children as the target audience. Several studies had investigated Pakistani televisions’ content with reference to adults, women and youth audiences. Studies related to children had mostly focused on the impact of television content on children or children's attitudes towards television content. However, the impact of educating and entertaining television on Pakistani children has received limited attention. Therefore, this paper initiated to examine the role of Pakistani television channels to educate or entertain Pakistani children, during January-December 2020. The foremost objective of this paper is to examine the proportion of children's programs in the top four Pakistani entertainment television channels. For this reason, the transmissions of top five Pakistani general entertainment television channels were taken into account included; Hum TV HD, ARY Digital, Geo Entertainment, and ARY Zindagi. The study found only a few programs for children that were fulfilling the purposes of entertaining and educating. Hence, Pakistani television channels are not fulfilling their responsibility in nation-building, as being a social agent of change, the media is responsible to play a key role in building their character and improving the ethical standards of Pakistani children. Keywords: Children Programs, Entertainment, Nation Building, Pakistani Television, Social Responsibility.
    [Show full text]
  • Duvidha / Zwei Gesichter
    25. internationale filmfestspiele berlin 5. internationales berlin forum 29.6.-6.7. des jungen films 1975 DUVIDHA die Wahrheit nicht verbergen. Sie akzeptiert ihn, obwohl sie weiß, Zwei Gesichter daß er nicht ihr Mann ist. Sie leben drei Jahre lang zusammen. Die Frau wird schwanger. Die Nachricht, daß ein Kind erwartet wird, erreicht den Ehemann. Land Indien 1973 Er eilt nach Hause. Der Vater und die Dorfbewohner haben es nun Produktion Mani Kaul Production gewissermaßen mit Zwillingsbrüdem zu tun. Der Vater möchte den richtigen Sohn als Betrüger aus dem Haus werfen, aber den Dorfbe• wohnern bereitet es ein Vergnügen, den reichen Kaufmann in einer Regie, Drehbuch Mani Kaul peinlichen Lage zu sehen, und sie fordern Gerechtigkeit. Die Frau Nach einer Geschichte von Vijayadan Detha bringt ein Mädchen zur Welt und weigert sich, zu der peinlichen Geschichte etwas zu sagen. Kamera Navroze Contractor Die 'Brüder' werden von den Dorfbewohnern vor Gericht geführt. Musik Ramzan Khan, Ffammu Khan Unterwegs fragt der richtige Bruder den Geist, wer er eigentlich Ton Biswas sei. Der Geist sagt, daß er unter der Haut von Frauen lebe und ein Recht habe, alle Frauen zu lieben. Der richtige Bruder ist von der Schnitt Ravi Patnaik Zweideutigkeit dieser Antwort angewidert. Kurz darauf begegnen sie einem Schäfer, der sich erbietet, den Fall zu entscheiden. Der Darsteller Ravi Menon Schäfer findet mit Hilfe von drei Proben die Wahrheit heraus, Raisa Padamsee lockt den Geist in einen Sack und läßt ihn in einen Brunnen wer• Hardan fen. Der echte Bruder kehrt triumphierend nach Hause zurück. Als Shambudan die Frau davon hört, schweigt sie.
    [Show full text]
  • 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 ..
    [Show full text]
  • Constructing Pathways to Translation: a Study in Translation Pedagogy and Process [From English Into Urdu and Vice Versa]
    i CONSTRUCTING PATHWAYS TO TRANSLATION: A STUDY IN TRANSLATION PEDAGOGY AND PROCESS [FROM ENGLISH INTO URDU AND VICE VERSA] PART II By Nighat Shakur NATIONAL UNIVERSITY OF MODERN LANGUAGES ISLAMABAD May 2008 ii TABLE OF CONTENTS Page Chapter 05 RESEARCH METHODOLOGY AND DATA ANALYSIS----------01 5.1 Methodology-----------------------------------------------------------------------------01 5.1.1 Types of Research------------------------------------------------------------------02 5.1.2 Content Analysis------------------------------------------------------------------02 5.1.3 Objectives of Research-----------------------------------------------------------02 5.1.4 Unit of Data Analysis-------------------------------------------------------------02 5.1.5 Rationale of Data Analysis-------------------------------------------------------03 5.1.6 Sampling: Purposive Sampling; Maximum Variation Sampling-----------03 5.1.7 Size of Sample---------------------------------------------------------------------04 5.1.8 Data Collection Method: Data Triangulation---------------------------------04 5.1.9 Coding Categories-----------------------------------------------------------------05 5.1.10 Standards of Data Collection and Data Analysis----------------------------05 5.2 ANALYSIS OF THE NOVEL: THE OLD MAN AND THE SEA (THE SOURCE TEXT)-------------------------------------------------------------------------07 5.3 The Author: Ernest Hemingway--------------------------------------------------------07 5.4 Themes in the ‘Old Man and the Sea’-------------------------------------------------08
    [Show full text]
  • Akhtar Jawad - Poems
    Poetry Series Akhtar Jawad - poems - Publication Date: 2015 Publisher: Poemhunter.com - The World's Poetry Archive Akhtar Jawad(8-2-1945) I was born on 8th of February,1945 at 8 AM www.PoemHunter.com - The World's Poetry Archive 1 3d Computer Program A great scientist on his flying horse, Orbiting in a very big elliptical orbit, Once upon a time came very close, To my insignificant too small orbit, My small path he almost touched, Remained for quiet some times, In touch and in love as well, Took samples of my soil, Took samples of my air, Took samples of my fire, Took samples of my water, And finally samples of my light. He is a great artist, Painted a picture of mine, On a white canvas of love, And when I delivered a child, He took my child, To a beautiful garden, A garden of flowers, And the fruits, But my son was alone, All praise to the cloning, His mate was created. My son tasted the pleasant fruit, Pre-matured and before the time, And they were sent back, To me once again! With pains and blood, And undesired death! And when ugliness blackened my face, He sent his robots, At my thoughtful soil, The autumn was changed, In a spring for some time, His voice messages, Were played on flutes, www.PoemHunter.com - The World's Poetry Archive 2 In the bells that ring, At dawn and dusk, And in the loud human voices, All the tunes inspire to love, And paint the beauty, Of the great scientist! Now he is too far, In a path out of reach, The robots don't come, But the loving scientist, Expects from the two, Now matured enough, To keep my face, Neat and clean, Green and fertile, And let evolution, To travel on a path, That leads to a land, Where death is dead, I am aware of success, I am aware of failures, I am a mother, I know my children.
    [Show full text]