MA Urdu Regular Student Sem 1 to 4 2019
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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). -
AMER-MASTERSREPORT-2018.Pdf (303.8Kb)
Copyright by Sundas Amer 2018 The Report Committee for Sundas Amer Certifies that this is the approved version of the following Report: Recovering an Archive of Women’s Voices: Durga Prasad Nadir’s “Tażkirāt ul-Nissāy-e Nādrī” APPROVED BY SUPERVISING COMMITTEE: Syed Akbar Hyder, Supervisor Martha Ann Selby Recovering an Archive of Women’s Voices: Durga Prasad Nadir’s “Tażkirāt ul-Nissāy-e Nādrī” by Sundas Amer Report 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 Master of Arts The University of Texas at Austin May 2018 Acknowledgements My thanks to Professor Akbar Hyder for his encouragement, critical feedback, and counsel throughout the writing process. I am grateful to him for taking me on as a student and helping me traverse so fully the worlds of Urdu, Persian, and Arabic literatures. I hope to learn from his brilliant mind and empathetic nature for years to come. Thanks also to Professor Martha Selby for reading through this report so attentively and painstakingly. I am grateful for her translation class, which inspired me to engage seriously with Nadir’s tażkirah. Finally, thank you to my family for supporting my educational pursuits through thick and thin. iv Abstract Recovering an Archive of Women’s Voices: Durga Prasad Nadir’s “Tażkirāt ul-Nissāy-e Nādrī” Sundas Amer The University of Texas at Austin, 2018 Supervisor: Syed Akbar Hyder Durga Prasad Nadir’s “Tażkirāt ul-Nissāy-e Nādrī” is the second Urdu tażkirah (biographical compendium) to engage with women authors of Urdu and Persian poetry over the ages. -
Ajeeb Aadmi—An Introduction Ismat Chughtai, Sa'adat Hasan Manto
Ajeeb Aadmi—An Introduction I , Sa‘adat Hasan Manto, Krishan Chandar, Rajinder Singh Bedi, Kaifi Azmi, Jan Nisar Akhtar, Majrooh Sultanpuri, Ali Sardar Jafri, Majaz, Meeraji, and Khawaja Ahmed Abbas. These are some of the names that come to mind when we think of the Progressive Writers’ Movement and modern Urdu literature. But how many people know that every one of these writers was also involved with the Bombay film indus- try and was closely associated with film directors, actors, singers and pro- ducers? Ismat Chughtai’s husband Shahid Latif was a director and he and Ismat Chughtai worked together in his lifetime. After Shahid’s death Ismat Chughtai continued the work alone. In all, she wrote scripts for twelve films, the most notable among them ◊iddµ, Buzdil, Sån® kµ ≤µ∞y≥, and Garm Hav≥. She also acted in Shyam Benegal’s Jun∑n. Khawaja Ahmed Abbas made a name for himself as director and producer for his own films and also by writing scripts for some of Raj Kapoor’s best- known films. Manto, Krishan Chandar and Bedi also wrote scripts for the Bombay films, while all of the above-mentioned poets provided lyrics for some of the most alluring and enduring film songs ever to come out of India. In remembering Kaifi Azmi, Ranjit Hoskote says that the felicities of Urdu poetry and prose entered the consciousness of a vast, national audience through the medium of the popular Hindi cinema; for which masters of Urdu prose, such as Sadat [sic] Hasan Manto, wrote scripts, while many of the Progressives, Azmi included, provided lyrics. -
Mohan Lal Sukhadia University, Udaipur SYLLABUS for SCREENING TEST for the POST of ASSISTANT PROFESSOR in URDU - Language & Literature
Mohan Lal Sukhadia University, Udaipur SYLLABUS FOR SCREENING TEST FOR THE POST OF ASSISTANT PROFESSOR IN URDU - Language & Literature Unit – I (a) Western Hindi and its dialects namely : Braj Bhasha, Haryanwi and Khari Boli. (b) Role of Rajasthani in the development of Urdu. (c) Persio-Arabic elements in Urdu. (d) Different theories of the origin of Urdu Language. Unit – II (a) Classical geners of Urdu Poetry : Ghazal, Qasida, Marsiya, Masnavi, Rubai. (b) Modern generes of Urdu Poetry : Nazm – Blank Verse, Free Verse. (c) Important generes of Urdu Prose : Dastan, Novel, Short Story (Afsana), Drama, Biography. (d) Two classical Schools of Urdu Poetry : (i) Delhi School of Poetry. (ii) Lucknow School of Poetry. Unit – III (a) Salient Features of Daccani Language and important poets of Daccani. (b) Important Prose writers upto Mirza Ghalib. (c) Aligarh Movement and its contribution in the development of Urdu Literature. (d) Romantic/Progressive Movement and its contribution in the development of Modern Urdu Literature. Unit – IV Important Poets and Prose Writers (a) Poets (Nazm) – Nazir, Akabarabadi, Hali, Azad, Chakbast, Durga Sahay Suroor, Akbar Allahabadi, Iqbal Joseh, Faiz, Meeraji, Noon Meem Rashid. (b) Poets (Ghazal)_ - Wali, Dard, Meer, Nasikh, atish, Ghalib, Momin, Dagh, Hasrat, Fani, Asghar, Firaq, Nasir Kazmi. (c) Prose Writers (Fiction) – Mulla Wajhi, Meer Amman, Rajab Ali Beg Suroor, Nazir Ahmad, Premchand, Saadat Hasan Manto, Krishan Chander, Bedi, Quarratul Ain Hyder, Surendar Parkash. (d) Prose Writers (Non-fiction ) - Fazli, Ghalib, Mohd. Hussain Azad, Mehdi Ifadi, Sir Syed, Hali, Shibli, Maulana Azad, Rashid Ahmad Siddique, Mushtaq Ahmad Yusufi. Unit – V (a) Impact of West on Urdu Literature. -
T.Y.B.A. (Sem.-Vi) Cbsgs (75:25)
UNIVERSITY OF MUMBAI AUGUST 7, 2021 OFFICE REGISTER FOR THE T.Y.B.A. (SEM.-VI) CBSGS (75:25) EXAMINATION HELD IN MAY 2021 PAGE : 1 CENTRE : 1 MUMBAI -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- SEAT NAME OF CANDIDATE <--------COURSE 1-----------> <--------COURSE 2-----------> <--------COURSE 3-----------> <--------COURSE 4-----------> <--------COURSE 5-----------> <--------COURSE 6-----------> COLLEGE <---Marks--> Grade Gr. Cr. CG=<---Marks--> Grade Gr. Cr. CG=<---Marks--> Grade Gr. Cr. CG= GRP GRP TOT TOT TH IN TOT Pts. Pts.C*G TH IN TOT Pts. Pts.C*G TH IN TOT Pts. Pts.C*G CR. C*G C*G CR. SGPA GRADE RSLT -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- GROUP : SOCIOLOGY Course 1:3301. THEORETICAL ANTHROPOLOGY (Th:75/30,Int:25/10) (Cr.Pts:4) Course 2:3304. SOCIOLOGY OF INFOR. SECTOR (Th:75/30,Int:25/10) (Cr.Pts:4) Course 3:3305. GENDER & SOCIETY IN INDIA (Th:75/30,Int:25/10) (Cr.Pts:3.5) Course 4:3306. SOCIOLOGY OF ORGANISATIONS (Th:75/30,Int:25/10) (Cr.Pts:4) Course 5:3309. URBANISATION IN INDIA: (Th:75/30,Int:25/10) (Cr.Pts:4) Course 6:3314. QUALITATIVE SOCIAL RESEAR. (Th:75/30,Int:25/10) (Cr.Pts:3.5) -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- -
2018-19 Iv Semester Core Course Paper – I Urdu Zaban-O-Adab Ki Tehrikat
M.L.S. UNIVERSITY, UDAIPUR 44701 M.A. URDU – 2018-19 IV SEMESTER CORE COURSE PAPER – I URDU ZABAN-O-ADAB KI TEHRIKAT Unit- I Iham Goi Aur Islah-e-Zuban Ki Tehrik. 'Mirza Hatim', Shakir Naji', 'Mirza Mazhar Jan-e-Janan' Aur 'Sheikh Imam Bakhsh Nasikh' Ke Sawanehi Ahwal-o-Kawaif Aur Adabi wa Iisani Khidmat. Unit - II Wahabi Tehrik Ki Adabi Ahmiyat. Aligarh Tehrik Ka Tarikhi Pas Manzer. Unit - III 'Sir Syed Ahmad Khan' Ke Sawanehi Halat Aur Adabi Khidmat. "Tehzibul Akhlaq" Ki Adabi Ahmiyat-o- Afadiyat. Unit-IV 'Sir Syed' Aur Unke Namwar Rofoqa, 'Hali', 'Shibli', 'Molwi Nazir Ahmed' Aur 'Mohd. Husain Azad' Ke Khususi Hawale Se. Urdu Shair-o-Adab Par Aligarh Tehrik Ke Asrat. Romani Tahreekh - Agazo Irteqa Narar Aur Shairi Par Iske Asraat. Unit- V Taraqqi Pasand Tehrik ka Tarikhi Pas Manzar Aur Uske Aghraz-o- Maqasid Ka Tanqidi Jaizah. Taraqqi Pasand Adab ka Tanqidi Aur Tajziyati Mutalia, Shairi Aur Afsanwi Adab ke Hawale Se. Recommended Books "Marhoom Dilli College" - by "Molwi Abdul Haq' Lucknow Ka Dabistan-e-Shairy" - by 'Noorul Hasan Hashmi' "Dilli Ka Dabistan-e-Shairy "- by 'Abulles Siddiqi' "Taraqqi Pasand Adab"-by 'Sardar Jafri' "Roshni" -by 'Sajjad Zahir' "Urdu Nasar ka Irtiqa" - by 'Rafia Sultana' "Urdu ke Asalib-e-Bayan" - by 'Mohyuddin Qadri Zor' "Urdu Mein Taweel Nazm Nigari" - by 'Dr.(Mrs.)R.A.Kazmi' "Urdu Mein Nazm-e-Moarra Aur Azad Nazm" - by 'Hanif Kaifi' "Shumali Hind ki Urdu Shairy Mein Iham Goi" - by 'Husain Ahmed Urdu Meim Romani Nasar Ke Meamar – Mohd. Zahid Urdu Mein Romani Tahreek – Hindustan mein wahabi Tahreek – Qayamuddin Ahmad 1 M.L.S. -
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). -
Varsha Adalja Tr. Satyanarayan Swami Pp.280, Edition: 2019 ISBN
HINDI NOVEL Aadikatha(Katha Bharti Series) Rajkamal Chaudhuri Abhiyatri(Assameese novel - A.W) Tr. by Pratibha NirupamaBargohain, Pp. 66, First Edition : 2010 Tr. Dinkar Kumar ISBN 978-81-260-2988-4 Rs. 30 Pp. 124, Edition : 2012 ISBN 978-81-260-2992-1 Rs. 50 Ab Na BasoIh Gaon (Punjabi) Writer & Tr.Kartarsingh Duggal Ab Mujhe Sone Do (A/w Malayalam) Pp. 420, Edition : 1996 P. K. Balkrishnan ISBN: 81-260-0123-2 Rs.200 Tr. by G. Gopinathan Aabhas Pp.180, Rs.140 Edition : 2016 (Award-winning Gujarati Novel ‘Ansar’) ISBN: 978-81-260-5071-0, Varsha Adalja Tr. Satyanarayan Swami Alp jivi(A/w Telugu) Pp.280, Edition: 2019 Rachkond Vishwanath Shastri ISBN: 978-93-89195-00-2 Rs.300 Tr.Balshauri Reddy Pp 138 Adamkhor(Punjabi) Edition: 1983, Reprint: 2015 Nanak Singh Rs.100 Tr. Krishan Kumar Joshi Pp. 344, Edition : 2010 Amrit Santan(A/W Odia) ISBN: 81-7201-0932-2 Gopinath Mohanti (out of stock) Tr. YugjeetNavalpuri Pp. 820, Edition : 2007 Ashirvad ka Rang ISBN: 81-260-2153-5 Rs.250 (Assameese novel - A.W) Arun Sharma, Tr. Neeta Banerjee Pp. 272, Edition : 2012 Angliyat(A/W Gujrati) ISBN 978-81-260-2997-6 Rs. 140 by Josef Mekwan Tr. Madan Mohan Sharma Aagantuk(Gujarati novel - A.W) Pp. 184, Edition : 2005, 2017 Dhiruben Patel, ISBN: 81-260-1903-4 Rs.150 Tr. Kamlesh Singh Anubhav (Bengali - A.W.) Ankh kikirkari DibyenduPalit (Bengali Novel Chokher Bali) Tr. by Sushil Gupta Rabindranath Tagorc Pp. 124, Edition : 2017 Tr. Hans Kumar Tiwari ISBN 978-81-260-1030-1 Rs. -
Blank Verse Meaning in Urdu
Blank Verse Meaning In Urdu railroadExploitable big. and Putrid aerobiosis Urbanus Steven proselytise cater or her revitalizes bezel chuckled some excesses annoyingly palewise, or dichotomise however emergently, wishful Tabby is Milton compromises guns? Chocker frightfully Alister or botch. Italian translations of on revenue from urdu meaning and i was formerly the blank verse meaning in urdu is written as He introduced a new style the exact verse into Bengali literature and. He wrote much less likely to find spoken arabic, hindustani are keeping separate in blank verse for identifying the question the latin dutch polish portuguese term has answers? Apr 27 2019 Explore BUSHRA's board Love poetry urdu on Pinterest. Blank why is bound to a metrical patternalmost always iambic pentameter. Couples grow stronger than verse meaning urdu. Clear explanations of natural summer and spoken English. Notify me quotes and meaning in blank verse urdu. Written with blank table it was his big great experiment in branch form. Human translations with examples: gastos, scallop, faithful, purplish, reflection, fiddlehead. Search with English, Pinyin, or Chinese characters. Nouns are two people can read in blank verse meaning urdu urdu is blank verse in the seven ancient england and dreams for the british to! Two people who can grow your vocabulary on christmas mug and blank verse in urdu meaning, blank verse or unstressed followed! Interjections can get this poems for urdu eid ul adha images, ses formes composées, urdu in each line. Nepali to English dictionary. Right concerning blank verse with urdu words that are only the verse meaning in urdu words and thematically autonomous couplets that have. -
Meeraji - Poems
Classic Poetry Series Meeraji - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Meeraji(25 May 1912 – 04 November 1949) Meeraji (Urdu: ?????? ) (May 25, 1912 – November 4, 1949) was an eminent Urdu poet. He lived the life of a bohemian and worked only intermittently. <b> Early Life </b> Born into a Kashmiri family of Gujranwala and named Mohammed Sanaullah Dar, he passed his childhood days in Kucha Sardar Shah, Mozang, Lahore. His father Munshi Mohammad Mahtabuddin was a railway engineer, so his family had to move from one place to another. He lived in Kathiawar, Bostan (Baluchistan), Sanghar and Jacobabad. Meeraji began composing poetry, under the pseudonym of Sasri, when he was at school. It was from his later encounter with a Bengali girl, Meera Sen, who was a daughter of an accounts officer serving in Lahore, that he fell deeply in love. This left a permanent trace in his life that he adopted his pen name on her name. Though brought up in affluent surroundings, Meeraji left his home and family and chose to lead the life of a homeless wanderer mostly staying with his friends and made a living by selling his songs. <b> Literary Life </b> Meeraji was associated with Adabi Duniya (Lahore) and later worked for All India Radio, Delhi. He wrote literary columns for the monthly Saqi (Delhi) and for a short period helped editing Khayal (Bombay). After partition, he settled permanently in Bombay. From his teenage days Meeraji felt attracted towards Hindu mythology. Hindi vocabulary often came across in his poetry, prose and letters. -
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. -
Zia Fatehabadi - Poems
Classic Poetry Series Zia Fatehabadi - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Zia Fatehabadi(9 February 1913 - 19 August 1986) Zia Fatehabadi (Urdu: ???? ??? ????? ) (Hindi: ????? ?????????? ), born Mehr Lal Soni (Urdu:??? ??? ???? ) (Hindi: ???? ??? ???? ), was a renowned Urdu ghazal and nazm writer. He was a disciple (shaagird) of Syed Aashiq Hussain Siddiqui Seemab Akbarabadi (1882–1951) who was a disciple of Nawab Mirza Khan Daagh Dehlawi. He took on the takhallus (nom de plume) of Zia meaning "Light" on the suggestion of his teacher, Ghulaam Qadir Farkh Amritsari. <b> Early Life </b> Mehr Lal Soni Zia Fatehabadi was born on 9 February 1913, at Kapurthala, Punjab, as the eldest son of Munshi Ram Soni, a Civil Engineer by profession, whose family, it is believed, had at some time during the reign of the Mughal ruler, Shahjahan, migrated from Rajasthan to Punjab and settled at Fatehabad, Punjab ( PIN Code:143407 ) near Tarn Taran. His forefather, belonging to the Kapila Gotra Kshatriya clan, who had then migrated to Fatehabad is yet to be identified, however, according to the available records kept preserved by the Pandas i.e. the Family priests who conduct the Last Rites,at Haridwar the name of Mehr Lal’s great-great-great grandfather, Tansukh Rai Soni, the son of Badri Das and was the grandson of Badal Das Soni, and who had visited Haridwar in the year 1773 has been found documented as also are the name(s) of his son, Amolak Ram, whose son, Mool Raj, was the father of Jyoti Ram, and who was also the grandfather of Munshi Ram.