R Kantor Dissertation Copy 3

Total Page:16

File Type:pdf, Size:1020Kb

R Kantor Dissertation Copy 3 Copyright by Roanne Leah Kantor 2015 The Dissertation Committee for Roanne Leah Kantor Certifies that this is the approved version of the following dissertation: CARTOGRAPHIES OF ENGAGEMENT: THE PARALLELS AND INTERSECTIONS OF LATIN AMERICAN AND SOUTH ASIAN LITERATURE IN THE TWENTIETH CENTURY Committee: César Salgado, Supervisor Elizabeth Richmond-Garza Rupert Snell Syed Akbar Hyder Héctor Domínguez-Ruvalcaba CARTOGRAPHIES OF ENGAGEMENT: THE PARALLELS AND INTERSECTIONS OF LATIN AMERICAN AND SOUTH ASIAN LITERATURE IN THE TWENTIETH CENTURY by Roanne Leah Kantor, BA, MA 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 May 2015 Acknowledgements A dissertation and the degree of which it is the culmination are not solitary efforts. My first hearty thanks belong to the members of my committee, for their willingness to follow me on this adventure to a “far-off, unknown” destination. Special thanks are due to my committee chair, César A. Salgado, for always believing in and defending this project, and to Elizabeth Richmond-Garza, for her thorough and patient attention to each chapter. I am also very grateful to two UT professors who were not on my committee but whose advice and support have been invaluable to my graduate career: Karen Grumberg and Snehal Shingavi. In addition to the support offered by the program in Comparative Literature, dissertation would not have been possible without the intellectual environment facilitated by the LLILAS-Benson and the South Asia Institute at the University of Texas. I also owe debts of gratitude for those who supported particular chapters. My thanks to Syed Akbar Hyder and Daniel Majchrowicz for organizing the safarnamah roundtable where “My Heart, My Fellow Traveler” was born. Thanks also to Max Bruce, Sean Pue, Chris Moffat, and the participants of the 2015 Yale Modern South Asia Workshop for helping to develop it over the course of the next year. “Transmigrations” would not have been possible without the generous support of the Tinker Foundation, and the scholars and archivists whom it allowed me to meet during my research in Chile. Thanks especially to Ricardo Loebell for his exceptional generosity, and to Debra Castillo, for acting as a champion of this chapter. Thanks to Ignacio López-Calvo, Cristián Ricci, and the anonymous reviewers at Transmodernity for their astute comments iv on the article version of “Chasing Your (Josie) Bliss,” a piece that went through many evolutions before finding its final shape. Finally, my deepest thanks are due to the friends and family who accompanied me on this journey. Thank you to my colleagues in the UT Program in Comparative Literature – especially Frank Strong, Katie Logan, Dusty Hixenbaugh and Hannah Alpert-Abrams – my colleagues in South Asian Studies at Cornell University – especially Andrew Amstutz and Anaar Desai-Stephens – and my friend and long-time colleague Rebecca Lippman at UCLA, whose valuable insights have helped shape this work. Thanks to my beloved family both natal and affine. Among these, I owe special thanks to my parents, Susan and Glenda, my in-laws Patricia and Alan, and most especially, to my sister Sonja, my own “twin in a different landscape,” who has gone through everything – including writing a book – in parallel with me. Thank you last and most of all, to my husband Hayden, who was there for me every step of the way, and who has always been my most careful and constant reader. v CARTOGRAPHIES OF ENGAGEMENT: THE PARALLELS AND INTERSECTIONS OF LATIN AMERICAN AND SOUTH ASIAN LITERATURE IN THE TWENTIETH CENTURY Roanne Leah Kantor, Ph.D The University of Texas at Austin, 2015 Supervisor: César Salgado “Cartographies of Engagement: The Parallels and Intersections of Latin American and South Asian Authors,” establishes comparisons between Latin American authors who lived in South Asia and their South Asian contemporaries from 1906 to the present. Working in South Asian literatures in English, Hindi and Urdu, and Latin American literature in Spanish, this project recovers a century-long literary exchange between two previously unassociated regions and suggests a shared trajectory of professionalization for authors in the Global South. In the first half of the twentieth century, authors from both regions traveled abroad as a means of supporting themselves – whether through cultural exchanges, diplomatic postings, or in visiting positions with foreign universities. I suggest that their growing commitment to transnational solidarity was not a precondition for these travels, but the product of them. In the second half of the century, authors from both regions experienced a radical shift as their writing gained cache in the global north. I therefore conclude by demonstrating the connections between the emergence of Latin American Boom literature and its translation into English in the 1960s, its influence on the subsequent generation of South Asian Anglophone writers, and their own emergence as a global phenomenon beginning in the 1980s with Midnight’s Children. vi In bringing together two world areas that are rarely associated, it reveals a paradox in contemporary methods of comparative literary scholarship: even as disciplines expand to accommodate an ever greater diversity of language traditions, the frameworks for comparing those traditions remain remarkably narrow. In mapping the circulation of authors and texts around the globe, literary scholars have typically relied on just two different types of what I call “literary cartographies.” First, “cartographies of domination,” describe historical relations of power, as elaborated in postcolonial and decolonial theories. Second, “cartographies of contiguity,” describe relations based on physical proximity and historical routes of exchange, such as area studies designations or the more recent “oceanic turn.” By contrast, this project carves out methodological space for “cartographies of engagement,” which highlight the routes of authors and texts that contravene larger patterns of political domination and economic exchange. vii Table of Contents List of Figures ........................................................................................................ xi Introduction: On Literary Cartography .................................................................. 1 Introduction .................................................................................................... 1 What is Literary Cartography? ....................................................................... 2 Routes over Territories: What is Cartography of Engagement? .................... 5 East of the Sun and West of the Moon: Locating the Ethics of “Engagement” ............................................................................................................. 10 Let’s Get Engaged: Comparison as Tactics ................................................. 13 Contents ....................................................................................................... 15 Part I: Parallels .................................................................................... 15 I. “My Heart, My Fellow Traveler”: Webs of Engagement and the Itineraries of Faiz Ahmed Faiz ......................................... 15 II. Trans-migrations: A Chilean Novelist, an Indian Poet, and Transcending the Limits of Queer Regionalism ............... 16 Part II: Intersections ............................................................................ 17 III. Chasing your (Josie) Bliss: The Troubling Critical Afterlife of Pablo Neruda’s Burmese Lover ........................................ 17 IV. Sojourners: The Shared Stylistics of Latin Americans Living in India .................................................................................. 18 V. “Chronicle of a Boom Foretold: The Rise of South Asian Literature in Light of Latin America” ............................... 19 “My Heart, My Fellow Traveler”: Webs of Engagement and the Itineraries of Faiz Ahmed Faiz .................................................................................................. 21 Introduction: Perfect Understanding ............................................................ 21 Fragile Futurity: Prison Verses 1948-1954 .................................................. 27 Faiz and The Rawalpindi Conspiracy Case ........................................ 29 Neruda and the Ley Maldita ................................................................ 30 Aesthetics of Confinement .................................................................. 32 Visions for the Future: Cuban Prose, 1973 .................................................. 38 The Soviet Sphere ............................................................................... 38 viii Safarnamah-e Cuba ............................................................................ 39 The Aesthetics of Revolution .............................................................. 41 Conclusion ................................................................................................... 44 Trans-Migrations: A Chilean Novelist, an Indian Poet, and Transcending the Limits of Queer Regionalism .................................................................................. 46 Introduction .................................................................................................. 46 Conversion Therapy: The Queer
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Urdu & Hindi Poetry Generation Using Neaural Networks
    Urdu & Hindi Poetry Generation using Neural Networks Urdu & Hindi Poetry Generation A system to overcome writer’s block by suggesting machine-generated prompts for aspiring poets. Shakeeb A. M. Mukhtar Computer Science & Engineering, Vishwakarma Institute of Technology, Pune, Maharashtra, India, [email protected] Pushkar S. Joglekar Computer Science & Engineering, Vishwakarma Institute of Technology, Pune, Maharashtra, India, [email protected] One of the major problems writers and poets face is the writer’s block. It is a condition in which an author loses the ability to produce new work or experiences a creative slowdown. The problem is more difficult in the context of poetry than prose, as in the latter case authors need not be very concise while expressing their ideas, also the various aspects such as rhyme, poetic meters are not relevant for prose. One of the most effective ways to overcome this writing block for poets can be, to have a prompt system, which would help their imagination and open their minds for new ideas. A prompt system can possibly generate one liner, two liner or full ghazals. The purpose of this work is to give an ode to the Urdu/Hindi poets, and helping them start their next line of poetry, a couplet or a complete ghazal considering various factors like rhymes, refrain, and meters. The result will help aspiring poets to get new ideas and help them overcome writer’s block by auto-generating pieces of poetry using Deep Learning techniques. A concern with creative works like this, especially in the literary context, is to ensure that the output is not plagiarized.
    [Show full text]
  • Bahá'u'lláh's Persian Poems Written Before 1863
    Bahá’u’lláh’s Persian Poems Written Before 1863 Julio Savi1 A provisional list of Bahá’u’lláh’s Persian poems written before 1863 is provided. These poems are described as an early fruit of the mys- tical experiences Bahá’u’lláh had in the Síyáh-Chál of Teheran in October 1852. Those experiences produced in Him an irresistible ‘fire of love’ that He sang in those poems. Bahá’u’lláh’s love was not a common love, it was “that spiritual attraction and that ecstatic love of the lovers of the Beauteous One for the beauty within their own self”2, which later on `Abdu’l-Bahá described in His ‘Commentary to the Tradition of the Hidden Treasure’. Bahá’u’lláh uses in these compositions the language of the ancient Persian mystical poets, but He also introduces new perspectives. Persian ancient mystical poems are mostly pervaded by an incurable feeling of separation and remote- ness and by the consequent pain. Bahá’u’lláh also mentions the pains of the lover. They are the pains the lover should be ready to accept if he wants to come closer to his Beloved. The Beloved says to his lover: "If thine aim be to cherish thy life, approach not our court; / But if sacrifice be thy heart’s desire, come and let others come with thee”. However, whereas the pains of the lover in the ancient Persian poetry were hopeless, Bahá’u’lláh’s poems also speak of the joys of nearness and reunion, which are made possible by the presence of the Beloved Himself Who “Like unto Joseph in Egypt, moves now through alleys and bazaars” and “hath renewed the world through His Cause, / And quickened the spirit of Jesus by His breath”.
    [Show full text]
  • Mirza Ghalib - Poems
    Classic Poetry Series Mirza Ghalib - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Mirza Ghalib(27 December 1797 – 15 February 1869) Mirza Asadullah Baig Khan (Urdu/Persian: ???? ??? ???? ??? ???) was a classical Urdu and Persian poet from India during British colonial rule. His also known as 'Mirza Asadullah Khan Galib', 'Mirza Galib', 'Dabir-ul-Mulk' and 'Najm-ud-Daula'. His pen-names was Ghaliband Asad or Asad or Galib. During his lifetime the Mughals were eclipsed and displaced by the British and finally deposed following the defeat of the Indian rebellion of 1857, events that he wrote of. Most notably, he wrote several ghazals during his life, which have since been interpreted and sung in many different ways by different people. He is considered, in South Asia, to be one of the most popular and influential poets of the Urdu language. Ghalib today remains popular not only in India and Pakistan but also amongst diaspora communities around the world. <b> Family and Early Life </b> Mirza Ghalib was born in Agra into a family descended from Aibak Turks who moved to Samarkand after the downfall of the Seljuk kings. His paternal grandfather, Mirza Qoqan Baig Khan was a Saljuq Turk who had immigrated to India from Samarkand (now in Uzbekistan) during the reign of Ahmad Shah (1748–54). He worked at Lahore, Delhi and Jaipur, was awarded the subdistrict of Pahasu (Bulandshahr, UP) and finally settled in Agra, UP, India. He had 4 sons and 3 daughters. Mirza Abdullah Baig Khan and Mirza Nasrullah Baig Khan were two of his sons.
    [Show full text]
  • Appropriation of Hindustani Musical Elements in Vocal Parts of Malay Ghazal
    43 Chintaka Prageeth Meddegoda Appropriation of Hindustani Musical Elements in Vocal Parts of Malay Ghazal Chintaka Prageeth Meddegoda, University of Visual and Performing Arts, Colombo, Sri Lanka [email protected] © 2016 University of Malaya. All rights reserved. Malaysian Journal of Performing and Visual Arts, Volume 2, 2016 Abstract The main task of this paper is to illustrate how Hindustani musical elements are employed in the vocal lines of Malay ghazal which have been obscured or modified and “Malayized” throughout the past decades. In current Malay ghazal practices known in Johor, a particular singing style called “Parsi” that primarily focused on a specific embellishment of the melodic line could be observed. Another particular element is called “sarigama-singing” (Arshad, 2013; Rahman B., 2012) that refers to melodic ornaments resembling the gamak and taan in Hindustani classical music. The adaptation and its outcome that have been documented in some selected ghazals confirm the existence of a discerning tolerance towards elements detached from their originating cultural environment. This paper discusses stereotypical melodic elements sung by Malay musicians in Malay ghazal. Although various raga elements can be detected in the vocal melodies, these elements are not acknowledged and are not terminologically familiar to Malay ghazal musicians. The detected ragas maintain one tonic, which means that the main fifth (Sa- Pa) applies as a frame for an entire given melody. The range in which Malay ghazal is sung does not exceed one octave. Nonetheless, the actual starting pitch is somewhat fixed through the fact that early harmoniums could not shift in pitch. Therefore, Malay ghazals are mainly played for a high pitched male or a lower pitched female voice.
    [Show full text]
  • 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.
    [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]
  • Revisiting the Canon Through the Ghazal in English
    Revisiting the Canon through the Ghazal in English Chandrani Chatterjee Milind Malshe Abstract At the dawn of English education in India the popularity of certain genres led to the adaptation, transformation and assimilation of these forms in the Indian languages. However, in this East-West encounter, not only were the European forms appropriated by the Indian writers, one of the Eastern forms, viz. the ghazal, was taken up by writers in English. This paper traces the origin of the ghazal as a distinct form, its development in the poetry of Mir (c 1723-82) and Ghalib (1797-1869) before discussing how this genre was adapted and experimented with, by some writers in English. In this process we try to address some issues like translation, adaptation and transformation and also what factors affect the composition and institution of a canon. I Ghazal as a form is supposed to have originated in Arabia in the late seventh century. 1 It is said to have developed from the nasib , which itself was an amorous prelude to the qasida (an ode). Qasida was a panegyric to the emperor or his noblemen. It has been observed that because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form to be introduced in India from the Persian and Arabic literary traditions: “Ghazal means literally conversation, most often between lovers. It has a strict form Translation Today Vol. 3 Nos. 1 & 2, 2006 © CIIL 2006 Chandrani Chatterjee 184 Milind Malshe bound by rules, containing from a minimum of five to a maximum of seventeen couplets.
    [Show full text]
  • The Elegiac Carnations by Daud Kamal on Death of Faiz Ahmed Faiz
    JEWELLED GRACE OF NOVEMBER LEAVES: THE ELEGIAC CARNATIONS BY DAUD KAMAL ON DEATH OF FAIZ AHMED FAIZ Komal Shahzadi Department of English International Islamic University, Islamabad ABSTRACT Rendering eulogies is not a novel phenomenon. The tradition seems to be as old as the tragedy of death itself. East or West, the memory of dears-departed is commemorated through elegies ormerthia-nigari (writing poems of bereavement). If the deceasedperson happens to be a poet, in Urdu literary tradition of epitaphs,he is showered with the poetic-carnations having references to his own poetry.Whereas in English versification of such poems is called pastoral elegies where a gradual shift from utter sense of loss, to consolation in memorable thoughts of the late-bardto a sense of resolution could be seen.This paper attempts to critically analyse Daud Kamal’s poem, Ascent written on death of Faiz Ahmed Faiz. In this elegy Daud Kamal seems to combine the oriental and occidental traditionsas a living example of his theory of Compass of love: “There is no /east or west /in the vast compass /of love” (Khwaja, 1988,p.50). Further, he has stylised this poem in a witty pattern of “eight” that reveals a lot about Faiz Ahmed’s poetry and his own poetic person. Key words: Daud Kamal, Faiz Ahmed Faiz, Pakistani poetry, pastoral elegy I know all deaths are difficult but you breathe in the lotus-fire of an astronomical hope. I only see petals of blood falling, falling. (Daud Kamal, Rough Hewn Beams : lines 16-23) Thus “weeps Daud Kamal for Faiz Ahmad Faiz” 1, who died on 20th November, 1984.
    [Show full text]
  • Mir Taqi Mir - Poems
    Classic Poetry Series Mir Taqi Mir - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Mir Taqi Mir(1723 - 1810) Mir Taqi Mir (Urdu: ??? ??? ???), whose real name was Muhammad Taqi (Urdu: ???? ???) and takhallus (pen name) was Mir (Urdu: ???) (sometimes also spelt as Meer Taqi Meer), was the leading Urdu poet of the 18th century, and one of the pioneers who gave shape to the Urdu language itself. He was one of the principal poets of the Delhi School of the Urdu ghazal and remains arguably the foremost name in Urdu poetry often remembered as Khuda-e-sukhan (god of poetry). <b> Life </b> The main source of information on Mir's life is his autobiography Zikr-e-Mir, which covers the period from his childhood to the beginnings of his sojourn in Lucknow. However, it is said to conceal more than it reveals, with material that is undated or presented in no chronological sequence. Therefore, many of the 'true details' of Mir's life remain a matter of speculation. Mir was born in Agra, India (then called Akbarabad and ruled by the Mughals) ca. August or September 1723 in a family of Arab origins. His philosophy of life was formed primarily by his father, a religious man with a large following, whose emphasis on the importance of love and the value of compassion remained with Mir throughout his life and imbued his poetry. Mir's father died while the poet was in his teens. He left Agra for Delhi a few years after his father's death, to finish his education and also to find patrons who offered him financial support (Mir's many patrons and his relationships with them have been described by his translator C.
    [Show full text]
  • Winger-Johnthompsonphylliswebbandtherootsofthefreeverse.Pdf
    NOTE TO USERS This reproduction is the best copy available. UMI® John Thompson, Phyllis Webb, and the Roots of the Free-Verse Ghazal in Canada by Rob Winger, B.A., B. Ed., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute for Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada August, 2009 © 2009, Rob Winger Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-60125-9 Our file Notre reference ISBN: 978-0-494-60125-9 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these.
    [Show full text]