Academic literature on the topic 'A famous Urdu poetry book'
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Journal articles on the topic "A famous Urdu poetry book"
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Dr. Abdul Wajid Tabassum and Sadia Aziz. "Iqbal's Concept Of Shaheen: Historical Perspective( In the eyes of Saleem Ahmed)." Dareecha-e-Tahqeeq 2, no. 3 (March 21, 2022): 95–102. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i3.22.
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Salim Ahmad is a renowned Urdu poet, essayist and critic of Urdu literature. He is famous for his creative writings in which he analyzes the classical poets in different ways. One can disagree with his point of view but his questions can not be denied which he raises about the poetry of Meer,Ghalib,Hali and Iqbal.Iqbal is his favorite poet. In his writings and poetry we can see the influence of Iqbal’s poetry and thought. He has written the book “ Iqbalakshair” in which he has raised many questions about the poetry and thought of Iqbal. This book is considered to be the most controversial in the history of Iqbal studies. The article is also a critical review of one of the essays of Salim Ahmad’s “ Iqbal ka aksharikardar—shaheen” included in his book “ Iqbal akshair
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Khan Khattak, Dr Satar. "Comparative Study of Allama Iqbal’s Urdu and Persian Composition of ode." DARYAFT 14, no. 01 (October 31, 2022): 87–110. http://dx.doi.org/10.52015/daryaft.v14i01.213.
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Allama Muhammad Iqbal started his poetry from Urdu ode or amatory verses. But very soon he started his poetry in Persian. Iqbal realized that the skirt of Urdu language is very narrow for his ideas and thoughts. He recognized that Urdu is a young inexperienced language. Urdu is spoken, written and reading in a limited part of the subcontinent. On the other hand person is an old and experienced language of the world and is spoken, written and reading in a vast part of the Muslim world. Persian language keeps the most valuable assets of poetry and prose. The Persians odes of Allama Iqbal are found in Piyam-e-mashriq and Zaboor-e-Ajam. Some Urdu odes of Iqbal are found in Bang-e-Dara and Zarb-e-kaleem, but the most important odes are found in his famous book of Urdu poetry named as Bal-e-jibreel. This collection of poems by Allama Iqbal is very important, because what is clearly stated in his Persian odes, is what is indicated in Bal-e-Jibreel. The first part of Bal-e-Jibreel consists of ghazals. Essentially, these ghazals portray the same meaning that the Persian ghazals imply. However, the experimental writing of these ghazals, the sheer talent employed in this book are as climactic in terms of poetry.
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Abdullatif, Noor Isa, and Isra Hashim Taher. "The Old Vs. New Indian Culture in Anita Desai's In Custody." Al-Adab Journal 3, no. 142 (September 15, 2022): 47–58. http://dx.doi.org/10.31973/aj.v3i142.3829.
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Anita Desai (1937- ) is a contemporary Indian novelist, short story, and children's books writer. She introduces psychological novels to India. Her works are highly symbolic. In her novels, she discusses cultural themes like the clashes of Eastern and Western cultures and the conflicts between Indian cultures and religions. In In Custody (1984), she discusses many cultural themes focusing on the death of the old valuable culture of India after Partition and the birth of a new culture.
In In Custody (1984), Desai depicts the changes that India has witnessed in post-colonial period. She focuses on the ruined ancient Indian culture which has been replaced by a new materialistic one at the hands of the British colonization. She concentrates on the death of art and poetry specially the death of Urdu poetry and language which are associated with the glorious culture once India had in the past. Deven, the protagonist, whose ambition is to be a great poet in Urdu is forced to teach Hindi instead of Urdu which is rarely used. The novelist narrates the journey of Deven who struggles to revive Urdu poetry by interviewing the famous Urdu poet, Nur. Deven faces many obstacles during his journey. These obstacles are represented in the change India has witnessed and in the change of people's motives and mentality. The paper discusses the influence of the Partition and the British colonialism on the Indian culture and the change India witnessed due to the Partition between Muslims and the Hindus.
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Muhammad Jahanzaib, Samina Ashraf, and Ghulam Fatima. "Awareness Level of Visually Impaired College Students about Urdu Poets and Poetry in Punjab: A Qualitative Inquiry." Journal of Business and Social Review in Emerging Economies 6, no. 3 (September 30, 2020): 1151–55. http://dx.doi.org/10.26710/jbsee.v6i3.1380.
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Language has been the most popular source of communication in human society since the start of civilization. The tradition of Folk Tales appeared as the foundation of literature in ancient times. Poetry is a significant way of expression in human literature. Urdu language possesses uncountable master pieces of prose and poetry. Visually impaired persons have proved themselves as literature lovers, good readers and visionary poets in past and present. This study is an effort to depict the awareness level of visually impaired college students about Urdu poets and their creations. The population of the study consisted of all visually impaired students enrolled in public and private sector colleges located in the district Lahore and Okara. A self developed and validated structured interview schedule containing 10 open ended questions was used to collect data from conveniently selected sample of 30 visually impaired students (males= 18, females=12). Descriptive statistics (percentages of responses) were calculated, collected information was coded; major themes were derived and interpreted by qualitative data analysis technique. The Study reflected that the visually impaired college students were having a lot of information about Urdu poets and their creations although there seemed a lack of in depth knowledge. They reported the lack of talking books and material in Braille on Urdu poetry of great and famous poets. They suggested the establishment of talking libraries throughout the country. Major findings were reported, conclusions were drawn and recommendations were made to Punjab Higher Education Department.
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Tahir, Pervez. "Introducing Iqbal the Economist." Pakistan Development Review 40, no. 4II (December 1, 2001): 1167–76. http://dx.doi.org/10.30541/v40i4iipp.1167-1176.
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The Iqbal Memorial Lecture was instituted in 1994 when the Pakistan Society of Development Economists (PSDE) celebrated the completion of a decade of steady progress. A brief announcement stated: “The Iqbal Memorial Lecture attributed to the national poet [Emphasis added], Allama Muhammad Iqbal has been included in the programme for the first time. Professor Ian M. D. Little is delivering that lecture” [Secretary’s Report (1994), p. 1472]. Iqbal, the poet and philosopher par excellence, has made incisive remarks or comments on economic and social issues in his poetry, philosophical writings, and in the course of his discourses as well as some famous letters, particularly those written to the Quaid-i-Azam, Muhammad Ali Jinnah, the founder of Pakistan. But these do not make Iqbal an economist. The Secretary of the PSDE was, therefore, careful in observing that the lecture commemorates our “national poet”. However, it will be of great interest to this largest national congregation of economists and other scholars concerned with development to know that the very first published book of Iqbal related neither to poetry nor philosophy, but economics. It was written in Urdu. He also taught the subject at undergraduate and Master’s level, even though he had not studied it as a student. At the Government College, Lahore, Iqbal studied English, Philosophy and Arabic for his B.A. and then completed the M.A. in Philosophy.
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Dr. Sadaf Ambreen, Dr. Bismina Siraj, and Ms. Nuzat Rauf. "NAZAR ABID’S NAATIYA POETRY." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 166–72. http://dx.doi.org/10.56276/tasdiq.v4i2.131.
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Naat is the versified poetry in honour of the Prophet of Islam, Muhammad (PBUH). From his famous companion Hassaan Bin Sabit till now every Muslim poet desires to write some verses in his honour. So Dr. Nazar Abid tried this. He compiled Berg-e-Naat. Dr. Nazr Abid has so far made Urdu ghazal a major source of his poetic expression, but now he is fortunate to be attracted to Urdu Naat as well. At the same time, it is a source of expression for various aspects of the Seerah. His collection of Natiya poetry. Berg-E-Naat was published in February 2022. This article presents a literal analysis of the dedicated poetry of Dr. Nazar abid with particular reference to its thought and artistic aspect of Naat. In which he showed his love through words.
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Supriyadi, Moh, and Rizal Murtaqi. "Al-Jinas fi Diwan li al-Imam al-Syafi’i." Dzil Majaz: Journal of Arabic Literature 2, no. 1 (March 4, 2024): 51–66. http://dx.doi.org/10.58223/dzilmajaz.v2i1.183.
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The well-known beginning of Urdu poetry in this country was in the year 1450 AD, and hundreds of poets emerged and became famous during those long periods. He received several titles from the state, and he had published collections, and others. There are famous poets such as Anis, Dabir, Hali, Akbar Allahabadi, Amjad al-Khidarabadi, and these Poets whose poetry in Urdu literature is considered an argument, and what is cited in it. There are those poets mentioned, such as: Dagh, Anis, and Dabeer. They said visuals containing five hundred pistols, or six hundred pistols, and each pistol contains three verses, and the Urdu language after this is a language that has absorbed all meanings and descriptions. the beautiful. Therefore, the researcher seeks to research this collection, and the researcher chose this research to be the topic of research in his research, and the researcher must focus his research on the science of Badi’, which had not been researched before, meaning the sensitive one in the collection of Al-Shafi’i.
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Hashmi, Alamgir, and Mahmood Jamal. "The Penguin Book of Modern Urdu Poetry." World Literature Today 62, no. 1 (1988): 187. http://dx.doi.org/10.2307/40144266.
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Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad." Orientalistica 3, no. 5 (December 29, 2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.
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The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.
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Shaheen, Dr Wajeeha, and Dr Qamar Abbas. "Dr. Tahir Taunsvi’s Composition of Poems." DARYAFT 15, no. 01 (June 22, 2023): 69–86. http://dx.doi.org/10.52015/daryaft.v15i01.308.
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Dr. Tahir Taunsvi is a distinguished researcher, critic and poet of Urdu language and literature. The most important aspect of his literary work is based on research and criticism. He made useful contributions in the field of Urdu poetry as well. His poetry book was published by “Bazam e Elam o Fun Pakistan” in 2001 AD. This book consists of impressive poems, poetics , “Hamd”, “Naat”, “Manqabat” and “Slaam”. His poems connect the readers to the tradition of Urdu poetry. It also reflects the modern themes and style. In his poems he expresses great love for Prophet Muhammad (PBUH), his sacred family and Islamic culture. His poems also reflect the themes of love, great human values and historical consciousness. In this article, the author has presented a brief evaluation of his poetry with reference to his poems.
Books on the topic "A famous Urdu poetry book"
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Russell, Ralph. A thousand yearnings: A book of Urdu poetry and verse. New Delhi, India: Speaking Tiger, 2017.
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The Penguin book of modern Urdu poetry. Harmondsworth, Middlesex, England: Penguin Books, 1986.
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RALPH RUSSELL/EDITED BY MARION MOLTENO. A Thousand Yearnings: A Book of Urdu Poetry & Prose. SPEAKING TIGER, 2017.
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Editions, Insight, and Darcy Reed. William Shakespeare: Famous Loving Words [TINY BOOK]. Insight Editions, 2020.
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Huttner, Hilary. Mystical Delights: Mystical Experiences of Famous Poets (A Frontline Book). Frontline Systems Inc, 1996.
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Lagy, D. M. Famous Poetry Word Search Book for Adults: Most Famous Poems Collection for Adults in a Word Search, Fun and Relaxing Word Search for Poems Lovers. Independently Published, 2022.
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Brooks, Rebecca. Jim Morrison Adult Coloring Book: Legendary American Poetry Master and Famous Rock and Roll Icon, the Doors Frontman and Best Singer of the 80s Inspired Adult Coloring Book. Independently Published, 2019.
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Jones, Chris. Fossil Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.001.0001.
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Fossil Poetry provides the first book-length overview of the place of Anglo-Saxon in nineteenth-century poetry in English. It addresses the use of Anglo-Saxon as a resource by Romantic and Victorian poets in their own compositions, as well as the construction and ‘invention’ of Anglo-Saxon in and by nineteenth-century poetry. Fossil Poetry takes its title from a famous passage on ‘early’ language in the essays of Ralph Waldo Emerson, and uses the metaphor of the fossil to contextualize poetic Anglo-Saxonism within the developments that had been taking place in the fields of geology, palaeontology, and the evolutionary life sciences since James Hutton’s apprehension of ‘deep time’ in his 1788 Theory of the Earth. Fossil Poetry argues that two phases of poetic Anglo-Saxonism took place over the course of the nineteenth century: firstly, a phase of ‘constant roots’ whereby Anglo-Saxon is constructed to resemble, and so aetiologically to legitimize, a tradition of English Romanticism conceived as essential and unchanging; secondly, a phase in which the strangeness of many of the ‘extinct’ philological forms of early English is acknowledged, and becomes concurrent with a desire to recover and recuperate the fossils of Anglo-Saxon within contemporary English poetry. A wide range of eighteenth- and nineteenth-century works of antiquarianism, philology, and Anglo-Saxon scholarship forms the evidential base that underpins the advancement of these two models for understanding the place of Anglo-Saxon in nineteenth-century poetry. New archival research and readings of unpublished papers by Tennyson, Whitman, and Morris is also presented here for the first time.
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Batt, Jennifer. Class, Patronage, and Poetry in Hanoverian England. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859666.001.0001.
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This book explores the complex and contested relationships that existed between class, patronage, and poetry in Hanoverian England by examining the life and work of Stephen Duck, the ‘famous Threshing Poet’. In 1730, Duck became the most famous agricultural labourer in the nation when his writing won him the patronage of Queen Caroline. The man, and the writing he produced, intrigued contemporaries. How was it possible, they asked, for an agricultural labourer to become a poet? What would a thresher write? Did he really deserve royal patronage, and what would he do with such an honour? How should he be supported? And was he an isolated prodigy, or were there others like him, equally deserving of support? Duck’s remarkable story reveals the tolerances, and intolerances, of the Hanoverian social order. This book sheds new light on the poet’s early life, revealing how the farm labourer developed an interest in poetry; how he wrote his most famous poem, ‘The Thresher’s Labour’; how his public identity as the ‘famous Threshing Poet’ took shape; and how he came to be positioned as a figurehead of labouring-class writing. It explores how the patronage Duck received shaped his writing; how he came to reconceive his relationship with land, labour, and leisure; and how he made use of his newly acquired classical learning to develop new friendships and career opportunities. And it reveals how, after Duck’s death, rumours about his suicide came to overshadow the achievements of his life. Both in life, and in death, this book argues, Duck provided both opportunity and provocation for thinking through the complex interplay of class, patronage, and poetry in Hanoverian England.
Book chapters on the topic "A famous Urdu poetry book"
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Mahmudabad, Ali Khan. "Introduction." In Poetry of Belonging, 1–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190121013.003.0001.
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Today, during a time of severe political polarization in India, Urdu literature and poetry and their attendant ‘spaces’ continue to find broad audiences. Indeed, Urdu poetry remains a medium that is deployed as a trenchant critique of the vagaries of political discourse and the communal polarization that is taking place in India. The formal and informal spaces of poetry remain crucial arenas for not only understanding the anxieties of the past and the contradictions of the present but also for discovering the possibilities of the future. The introduction discloses he aim of the book, which is to highlight the ways in which various Muslim intellectuals, often through poetry, interrogated what it meant to be Muslim and what they imagined India to be.
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Frampton, Stephanie Ann. "The Roman Poetry Book." In Empire of Letters, 109–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915407.003.0006.
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After discussing the now famous papyrus fragment discovered in 1979 in Lower Nubia and covered with lines of poetry identified with the elegist Cornelius Gallus, this chapter focuses on reconstructing the material habitus of Latin poetry within the Roman bookroll. Reviewing programmatic passages in Ennius, Plautus, Catullus, Ovid, and especially Horace and Virgil, the chapter shows many of the ways that Roman authors made reference to writing and textual materiality within their work to signal and often to resist intimacy with readers in the world outside of their poems. Focusing on the symbolic importance of the special copies that authors may have had prepared for friends and patrons, known now as “presentation copies,” these readings ultimately help to illuminate the surprising rarity of explicit references to writing in Virgil, an author, like others, exquisitely concerned with managing relationships with elite readers by way of his texts.
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Hetherington, Paul, and Cassandra Atherton. "Women and Prose Poetry." In Prose Poetry, 199–223. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.003.0009.
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This chapter highlights the tradition of English-language prose poetry by women. It explores what women's prose poetries may be — not only in terms of content and approach but in terms of technique and emphasis. The chapter begins by looking at Holly Iglesias's seminal text, Boxing Inside the Box: Women's Prose Poetry (2004), which is the most comprehensive study of women's prose poetry to date. Iglesias advocates for the liberation of women prose poets, using the prose poem box as a metaphor for their containment. Beginning with Carolyn Forché's famous and disturbing prose poem about male power and brutality, “The Colonel,” and ending with C. D. Wright's hybrid prose poem essay, Iglesias's book celebrates women prose poets by giving them space and prominence. Ultimately, the neglect of many women prose poets did not occur because women were not writing prose poems; it is just that many women were not writing the kinds of prose poems that fit the prevalent critical view of what successful prose poems might look like.
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Fowler, Don. "Pyramus, Thisbe, King Kong: Ovid and the Presence of Poetry." In Roman Constructions, 156–68. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198153092.003.0007.
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Abstract The story of Pyramus and This be as told by the Minyeides in book 4 of Ovid’s Metamorphoses (4. 55-166) is one of his most famous tales, above all perhaps because of its performance by the rustics in Shakespeare’s Midsummer Night’s Dream. Shakespeare produced a more tragic version of the underlying story in Romeo and Juliet, and its reception in European literature, art, and music has inspired more than one book-length study.
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Stewart, Dustin D. "Interlude." In Futures of Enlightenment Poetry, 187–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857792.003.0007.
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The book as a whole emphasizes a productive discontinuity between various eighteenth-century poets and both their Miltonic sources and their Romantic successors. Two interludes, however, qualify this picture by showing how a mortalist poetics, shared by the late Milton and some early Romantic writers, persisted in between the two in certain quarters of Enlightenment England. The second interlude interprets Thomas Gray’s Elegy Written in a Country Churchyard (1751), still perhaps the eighteenth century’s most famous poem, alongside William Cowper’s Sapphic lyric “Hatred and Vengeance, My Eternal Portion” (1774). While Gray’s elegy presents a disembodied heaven as no freer or happier than a common burial site, and worse for being more isolated, Cowper’s bleak poem imagines that hell offers his soul a kind of protection that he lacks during his embodied life on the earth’s surface.
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Caplan, David. "“In That Thicket of Bitter Roots”: The Ghazal in America." In Questions Of Possibility, 43–60. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195169577.003.0003.
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Abstract in 1968 the ghazal entered american poetry. the year 1969 marked the centennial anniversary of the death of Mirza Ghalib, a Persian and Urdu poet and one of the form’s masters. In anticipation of the anniversary, Aijaz Ahmad, a Pakistani literary and cultural critic living in New York, solicited several well-known American poets to work on a pamphlet of translations for the centennial. Because none of the poets knew Urdu, the text’s original language, Ahmad supplied them with literal translations from which they crafted their collaborative versions. Ahmad’s queries generated much more enthusiasm than he anticipated. His project expanded from a pamphlet into a handsome 174-page book, Ghazals of Ghalib, published by Columbia University Press. Several of the translations also appeared in major American and Indian literary periodicals. The book’s contributors included four future Pulitzer-Prize winners who already enjoyed a certain stature in the literary community: W. S. Merwin, Adrienne Rich, William Stafford, and Mark Strand. Moving from translation to original composition, Rich started “Ghazals (Homage to Ghalib)” in July 1968, only a few months after Martin Luther King’s assassination and less than thirty days after Robert Kennedy’s death.
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Jolowicz, Daniel. "Achilles Tatius and Vergil’s Aeneid." In Latin Poetry in the Ancient Greek Novels, 188–220. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.003.0006.
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Chapter 5 attends to Achilles Tatius’ engagement with Vergil’s Aeneid. The argument focuses on three main lines of enquiry (in all of which it is clear that Achilles is capitalizing on the erotic potential on offer in Vergil’s epic). Section 5.2 argues that Achilles models Melite’s plea for sex with Clitophon (articulated in two speeches) on Dido’s plea that Aeneas stay in Carthage (also articulated in two speeches), thus reducing Dido’s tragic hope for marital-political security to a wish for a single session of sex (Melite is successful in her wish). Section 5.3 takes as its subject the flushed cheeks of Leucippe in Book 1 (to which Clitophon responds erotically) and argues that it is modelled on the famous blush of Lavinia in Aeneid 12 (which fires Turnus with love). Section 5.4 ranges over a number of phraseological overlaps between Achilles and the Aeneid suggestive of a close engagement (especially in connection with the storm in Aeneid 1 and the character of Coroebus in Aeneid 2).
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White, Robert. "Biography of a Book." In Keats's Anatomy of Melancholy, 19–36. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474480451.003.0002.
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This chapter traces the progress towards publication of Keats’s collection which eventually appeared in 1820, its title page reading, ‘LAMIA, ISABELLA, THE EVE OF ST AGNES, AND OTHER POEMS. | BY JOHN KEATS, AUTHOR OF ENDYMION || LONDON: PRINTED FOR TAYLOR AND HESSEY, 1820’. Stung by the savage reviews and commercial failure of his previous efforts, Poems (1817) published on 10 March, 1817, and Endymion: A Poetic Romance published in early May, 1818, Keats was understandably disheartened when contemplating further publications. However, by September 1819 he was, according to Woodhouse, writing to the publisher John Taylor, willing ‘to publish the Eve of St Agnes & Lamia immediately: but Hessey told him it could not answer to do so now’. On 10 October he had spoken of writing ‘Two or three’ poems in which he wishes ‘to diffuse the colouring of St Agnes eve throughout a Poem in which Character and Sentiment would be the figures to such drapery’. He hopes that writing such poems ‘in the course of the next six 3 years, would be a famous gradus ad Parnassum altissimum—...’. Writing on 17 November, 1819, he asserted ‘I have come to a determination not to publish Anything I have now ready written’, a corpus which in fact included all the poems which were to be included in 1820. The definite decision to put together the ‘Lamia’ collection was made between the date of the letter to Taylor (17 November, 1819) and a relatively buoyant letter to his sister Fanny written on 20 December, 1819. The collection was published in late June, 1820. The result was one of the greatest poetry collections of all time, though it has rarely been considered in this integrated light since editors and critics invariably consider each poem in the chronology of its composition rather than their contribution to a unity which is greater than the sum of the parts.
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Costello, Bonnie. "The Demagogue and the Sotto Voce." In The Plural of Us. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691172811.003.0002.
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Pronouns are crucial tools for any poet. They create dramatic relation and perspective, but because they are insubstantial they allow for abstraction and inclusion. No poet was quite so preoccupied with pronouns as W. H. Auden, who reflects on them often in his poetry and essays. This chapter considers Auden's relatively neglected poem “Law Like Love,” which incorporates many of the pronominal registers explored throughout this book. In this poem Auden reveals his skepticism about public orators and their absolutes, and turns against the rhetoric of his own most famous public poems, “Spain” and “September 1, 1939.” In “Law Like Love,” Auden finds alternatives for realizing the civic function of poetry.
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Miola, Robert S. "Anthony Copley." In Early Modern Catholicism, 452–54. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0072.
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Abstract A Catholic poet who responded to Spenser’s Faerie Queene in A Fig for Fortune (1596, see poetry), Anthony Copley (1567–1609?) also published a book of jests, Wits, Fits, and Fancies (1595). Largely translated from a Spanish work, La Xoretta spagnola, Copley published the book to ‘minister content and merriment ‘(sig. A3) to readers. Wits, Fits, and Fancies displays the kinds of humour evident in the drama of the period, rich in puns, wordplay, and character stereotypes. Including jokes about doctors, worldly clerics, and famous church Wgures, the selections below also touch upon serious religious issues of the time, the persecution of Jews and the dissolution of the monasteries.
Conference papers on the topic "A famous Urdu poetry book"
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Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.
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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.
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Marculescu, Corina. "INSPIRE, CONNECT, PERSUADE: MIX TECHNOLOGY AND ART IN TEACHING PRESENTATION SKILLS." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-011.
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Do what you love. Inspire your audience. Have fun. These are some of the secrets behind the power and the success of Steve Jobs's presentations. As Communication Coach Carmine Gallo points out, while most presenters simply convey information, Jobs inspires; his presentations inform, engage, astound and electrify the audiences. My paper, too, was inspired by Steve Jobs, one of the most extraordinary speakers of our time, as were my EFL seminars and my students (Business and Engineering majors) when watching his videotaped 2007 speech unveiling the iPhone and his famous, memorable Commencement Speech at Stanford in 2005 (one of the greatest reflections on life we have ever heard). Using Steve Jobs's 2007 iPhone launch as a case study, the present paper proposes a humanistic approach of the technology-enhanced teaching of presentation skills, a more humanistic philosophy of teaching in general. Steve Jobs himself strongly believed that the best ideas emerge from the intersection of technology and the humanities. In fact, in today's postmodern world, the boundaries between technology and art are no longer clearly defined. In other words I will show that technology allows a humanistic approach to teaching and that the success of a presentation resides first of all in the human element. It is the passion of the teacher/speaker about the subject, their own personality and naturalness infused into the presentation that inspires the audience. It is the presenter's capacity to make it simple for the audience and to give them a show instead of simply delivering information that engages the audience. Moreover, inspiring presenters like Steve Jobs do not sell a product; they sell an experience, something to enrich people's life. All these are ways of emotionally connecting with the audience; winning the audience over ensures the success of the presentation. Multimedia and Internet technologies allow the teacher to present more information more effectively; students can see and hear things, events, demonstrations, etc. that otherwise would only have been described or explained in a lecture or textbook. However, as shown above, good teaching involves much more than the simple transfer of material or specific skills. In teaching, the major challenge is to convey excitement, to incite curiosity and to provide the students with the psychological incentives they need to work hard. The paper also highlights another significant aspect, namely the analogy between Steve Jobs's technology-aided presentations, building up to a memorable moment, and the art of story-telling. Like Steve Jobs who treats every slide as if it were a piece of poetry, American writer and graphic designer Nancy Duarte knows that it is not about the slides, but about the power of the story. In her book Resonate: Present Visual Stories that Transform Audiences (2010), Duarte assimilates the presentation with a screenplay, using tension, conflict and resolution to connect with the audience, creating, like Steve Jobs, what she calls a STAR moment: "Something They'll Always Remember".
Reports on the topic "A famous Urdu poetry book"
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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.
Full textAbstract:
The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.