Academic literature on the topic 'Ghazals, Urdu'
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Journal articles on the topic "Ghazals, Urdu"
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Tariq, Nida, Iqra Ijaz, Muhammad Kamran Malik, Zubair Malik, and Faisal Bukhari. "Identification of Urdu Ghazal Poets using SVM." Mehran University Research Journal of Engineering and Technology 38, no. 4 (2020): 935–44. http://dx.doi.org/10.22581/muet1982.1904.07.
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Urdu literature has a rich tradition of poetry, with many forms, one of which is Ghazal. Urdu poetry structures are mainly of Arabic origin. It has complex and different sentence structure compared to our daily language which makes it hard to classify. Our research is focused on the identification of poets if given with ghazals as input. Previously, no one has done this type of work. Two main factors which help categorize and classify a given text are the contents and writing style. Urdu poets like Mirza Ghalib, Mir Taqi Mir, Iqbal and many others have a different writing style and the topic of interest. Our model caters these two factors, classify ghazals using different classification models such as SVM (Support Vector Machines), Decision Tree, Random forest, Naïve Bayes and KNN (K-Nearest Neighbors). Furthermore, we have also applied feature selection techniques like chi square model and L1 based feature selection. For experimentation, we have prepared a dataset of about 4000 Ghazals. We have also compared the accuracy of different classifiers and concluded the best results for the collected dataset of Ghazals.
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Vasilyeva, Lyudmila A. "The Problems of Studying the Creative Heritage of Mir Taqi Mir." Papers of the Institute of Oriental Studies of RAS, no. 28 (2020): 19–34. http://dx.doi.org/10.31696/2587-9502-2020-28-019-034.
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The article deals with the main difficulties that a researcher may face studying the legacy of the classical Urdu poet Mir Taqi Mir. During his life time Mir was accorded wide recognition as a great poet of North India and nowadays his ghazals are still popular and loved by Urdu speaking people. The main difficulties of a researcher concern many inaccuracies in biographic facts, principles of selecting ghazals to be analysed, the difficulties in translating ghazals to other languages and some other problems. The majority of papers on Mir are in Urdu. The study of Mir’s literary heritage by Russian philologists was practically frozen in the last century, and nowadays it seems relevant to continue it.
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Khan, Muhammad Asif, Asma Aftab Khan, and Aamer Shaheen. "“Negotiation of Difference”: A Study of the English Translations of Ghalib’s Urdu Ghazal." Global Language Review V, no. II (2020): 32–41. http://dx.doi.org/10.31703/glr.2020(v-ii).04.
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The Ghazal is a well-known genre of Urdu poetry. The translation of Ghazal into the English language poses specific challenges. Translating Ghalib, one of the greatest ghazal writers, into English, is a special case under consideration. Several translators have produced their versions of Ghalib’s Urdu ghazals. The present study is an effort to evaluate the performance of six translators who rendered a particular ghazal of Ghalib in the English language. The study utilizes the distinction between ‘literal’ and ‘sense-for-sense’ translation as perceived by Nida (2000 [1964]), and Vermeer (2000). The translations have been analyzed on the basis of three research questions which encompass the aspects of the type of translation, the form of the Ghazal, and the poetic appeal. The study offers useful insights into the translation of Ghazal into the English language.
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Vasilyeva, L. A. "The ghazal of Mir Taqi Mir: the formation of the poetic and literary language of Urdu." Orientalistica 3, no. 3 (2020): 820–48. http://dx.doi.org/10.31696/2618-7043-2020-3-3-820-848.
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Mir Taqi Mir is a classic Urdu poet of the 18th century, an outstanding master of ghazal genre. With his work, Mir Taqi Mir proved that his native Urdu language possessed a vocabulary fit to express the finest nuances of poetic speech. He also made evident that the ghazals written in Urdu were not entirely imitations of those written in Persian, which formed the poetical basis of Urdu poetry. The article argues that the Mir Taqi Mir's heritage can be considered as a milestone in the evolutionary development of both poetical and literary language of Urdu. Throughout his life, the poet remained in a creative search. Working on a certain poetical theme, he often made recourse to it trying to bring out maximum possibilities for its realization by means of his native language. Analysis of numerous examples in the article can be considered as an effort to ascertain how borrowed poetical traditions were domesticated and how this process facilitated the selection of vocabulary and standardization of common literary language of Urdu.
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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.
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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
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Khan, Muhammad Yaseen. "Edit distance-based search approach for retrieving element-wise prosody/rhymes in Hindi-Urdu poetry." Indian Journal of Science and Technology 13, no. 39 (2020): 4189–201. http://dx.doi.org/10.17485/ijst/v13i39.1489.
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Background: Prosody (rhyming words) is a connatural element of poetry, throughout its reach, across thousands of languages in the world. Since medieval era, the Indic poetry (principally the Hindi/Urdu poetry) has created an impactful flamboyance w.r.t the subjects, styles, and other creative aspects in poetry. Besides the message of heartfelt poetry, we see the Qafiya (i.e., rhyming words) is the core element, without which we may not consider anything Hindi/Urdu poetry but merely a piece of writing; alongside it, Radif (i.e., a phrasal suffix to qafiya) is also considered next to the intrinsic part in Ghazals. In this regard, the contributions of this paper are one–the development of an optimal technique for the prosodic (qafiya) suggestions/retrieval in Hindi/Urdu poetry; and two–the qafiya suggestions based on the attached subsequent radif. Methods: The work in this paper involves usage of a 13.46 M tokens tri-script corpus of poetry. Instead of phonetic value matching, the proposed methodology employs four different Edit Distances (i.e., Levenshtein, Damerau–Levenshtein, Jaro–Winkler, and Hamming distance) as the comparison measures for prosodic suggestions. Findings: The proposed work shows better results in comparison to ‘Qaafiya Dictionary’ powered by rekhta.org. Moreover, w.r.t the inter-metric similarity and running time Jaro–Winkler appears to be the most optimal algorithm for the rhyme suggestion, whereas the Levenshtein distance is the laziest technique. Novelty/Applications: This work benefits researchers of Indic natural language processing for lexical look-ups and analysis of creative literature, especially poetry.
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Khan, Qaisar, and Muhammad Ramzan Pahore. "Ideology and Representation of the Nation: Aggressor and Transgressor in Film Sarfarosh." Progressive Research Journal of Arts & Humanities (PRJAH) 2, no. 1 (2021): 79–94. http://dx.doi.org/10.51872/prjah.vol2.iss1.25.
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This paper analyses the narrative of Bollywood film Sarfarosh which portrays the ethnic, cultural and religious issues between majority Hindu-minority and Muslim communities in India with projection of identifying politics between India and Pakistan. Further, it t reveals that Pakistan army constitutes spies who are behind the plot of cross border terrorism and supplies of arms through their local agents in the Indian state of Rajasthan. The agents and their activities are projected as the machineries that are firmly responsible for a series of havocs and killings of innocent people in the most of cities and towns within their reach. Through crafting the notions of national (in) securities, the film picks up an Urdu Ghazal singer, the Pakistani who migrated from Rajasthan during the partition of the subcontinent in 1947. The singer as a metaphor of terrorism often sings Ghazals among Indian dignitaries in the front of his weaponry smuggling to India. The paper finds out that the historical traumatic event of partition is used for posing the Muslim minorities, „Other? as cultural methodological device, whereas Pakistanis understood as extremely dangerous enemy of the Indian nation. The identity politics of the film results the conflicting ideologies of Hinduism and Islam. This is due to the cultural industry?s ideological apparatus for making strategies to manage and maximize the profits by seeking wider audiences through its well- established capitalist system. Bollywood cinematic apparatus should be cautious of essentialist form of nationalist narratives and the post partition conflicts should be avoided for authentic peaceful culturalsocial relationships between India and Pakistan.
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Kanwal, Samreen. "Urdu Ghazal Tradition in Blue Bar." Makhz 2, no. I (2021): 117–28. http://dx.doi.org/10.47205/makhz.2021(2-i)9.
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Mukhia, Harbans. "The Celebration of Failure as Dissent in Urdu Ghazal." Modern Asian Studies 33, no. 4 (1999): 861–81. http://dx.doi.org/10.1017/s0026749x99003522.
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Recent years have brought a spate of serials centred on the theme of Urdu ghazal to the Indian television screens. The image of the ghazal in these serials is one of a kind of rhymed verse sung by courtesans in their ‘kothas’ (residence-cum-performance locales), under the appreciative eye of the poet, and often lustful eye of a decrepit zamindar whose purse is heavy but judgement is light. The singing is accompanied by some dancing, a few musical instruments being played by the courtesan's hangers-on, and unceasing rounds of liquor. The ambience in which the performance is enveloped is meant to convey what modern sensibilities would construe as decadence.
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Yasmin, Rubina. "Romantic Elements in Urdu Ghazal of Muhammad Jaan Atif." Makhz 1, no. II (2020): 72–79. http://dx.doi.org/10.47205/makhz.2020(1-ii)6.
Full textDissertations / Theses on the topic "Ghazals, Urdu"
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Liboiron, Paul Adrien. "The transformation of plot in the couplet of the Urdu Ghazal : an examination of narrative." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/30140.
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This thesis examines a selection of verses taken from the Urdu divan of Mirza Asadullah Khan Ghalib. Ghalib is considered by many to be the preeminent writer of the classical Urdu ghazal (circa 1750-1850). Although the examination is restricted to Ghalib's verse, the problem it investigates is broader in nature and involves questions which some aspects of the ghazal raise with respect to the reader's involvement. An essential feature of the ghazal form is the fact that, although the ghazal poem consists of a set of couplets, each couplet of a ghazal is itself a complete text with respect to its content The question, then, is "how does the reader become involved in a form limited to two lines of text?" This thesis discusses the question from a narratological perspective: the couplet involves the reader by telling a story.
The narrative of the couplet differs from what one normally thinks of as narrative in that the significance of its plot is derived, not from a series of episodes arranged in chronological order, but from a thematic continuity which links couplet to couplet within the tradition as a whole. The world of the ghazal is inhabited by a few characters, the principal being the lover and the beloved, whose behaviour and attitudes are determined largely by a set of well-defined conventions. The characters who appear in the individual couplet are already familiar from the dramas to which these characters have been subjected in previous readings of other couplets. However, unlike the characters in a traditional novel whose histories connect a great variety of events within a chronological framework, the couplet is extremely limited in term of the number of chronological connections it can establish. The depiction of time in the ghazal is radically different from the often elaborate histories presented in forms such as the novel. The world of the ghazal is merely suggested. Consequently, the reader's role in reconstructing the world of the text is of particular importance in compact forms such as that of the ghazal. The contention of this thesis is that the restrictions imposed by the couplet on plot structure has been compensated for by the cultivation of a narrative style in the ghazal text which often forces the reader to become aware of the process of discovering the drama of the text. The first chapter begins with an introduction to the thesis, and is followed by an introduction to the formal features of the ghazal text and some of the important themes of the tradition. The second chapter presents a review of critical writings in English on the Urdu ghazal. The third chapter presents a discussion of methodology. In this chapter I use Peter Rabinowitz' analysis of the reader's beliefs in my attempt to define what I mean by the reader's involvement in the world of the text. According to Rabinowitz, a fictional work invites its reader to pretend that its plot is a historical account, even though the reader knows that the world of the text is imaginary. To account for the reader's dual role, Rabinowitz divides the reader's beliefs into what he calls the "authorial audience" and the narrative audience." Briefly, the authorial audience can be viewed as the competent reader, the one who possesses the required knowledge to understand the text, to decipher its allusions, but who knows the world of the text is a fiction. The narrative audience sees the fictional text as a description of events that "really" happened. My investigation of the reader's attempt to discover the world of the text is from the point of view of the narrative audience. The third chapter attempts to apply Rabinowitz' views to some general features of the plot structure in the ghazal text. The fourth and final chapter examines the ways in which the ghazal text forces the reader to become aware of the process of discovering the world of the text.<br>Arts, Faculty of<br>Asian Studies, Department of<br>Graduate
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Kirk, Gwendolyn Sarah. "Half-drawn arrows of meaning : a phenomenological approach to ambiguity and semantics in the Urdu Ghazal." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3219.
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In this paper I explore the role of ambiguity in the creation of meaning in the Urdu ghazal. Ghazal, the predominant genre of Urdu poetry, consists of a series of thematically unrelated yet metrically and prosodically related couplets, each densely packed with multiple and complex meanings. Ambiguity, both lexical and grammatical, is a key technique in the poetics of this genre. Here I not only analyze the different ways ambiguity manifests itself but also the way it has historically been and continues to be mobilized by poets and practitioners of the genre to further imbue each couplet with culture-specific, socially relevant meanings. Breaking with previous approaches to Urdu poetry and poetics, I examine ambiguity in the ghazal with reference to theoretical traditions in linguistic anthropology of ethnopoetics, performance and verbal art, and ethnographic examination of poetic praxis. Finally, addressing various phenomenologies of language, I propose a phenomenological turn in the study of this poetry in order to better theorize processes of meaning creation on both an individual and wider ethnographic level.<br>text
Books on the topic "Ghazals, Urdu"
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Saudā, Mirzā Muḥammad Rafiʻ. Dīvān-i g̲h̲azaliyāt-i Urdū. Hājrah Valīulḥaq, 1985.
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Purohita, Rameśa. Angurī: Gujarātīmāṃ pahelī ja vakhata Urdū gajhalanā śeronī vishayavāra rajūāta, rasāsvāda. Navabhārata Sāhitya Mandira, 1994.
Find full textBook chapters on the topic "Ghazals, Urdu"
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Narang, Gopi Chand. "The Neoclassicists." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0006.
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By the early twentieth century, Urdu literature had grown in variety and richness—it consisted of not only divans of ghazals but novels, dramas, historical accounts, biographies, and even books on medicine and astronomy. However, the ghazal as a genre had suffered a reversal, first by a movement by some British educationists aimed at promoting poems, and then by the loss of master poets like Dagh, Hali, and Shibli, without any replacement by the poets of the same caliber. Under such circumstances, it was left to poets like Hasrat Mohani, Akbar Allahabadi, Allama Iqbal, Chakbast, and Yagana to take up the ghazal’s banner. All of them helped in its vigorous restoration and revival with a captivating lyrical touch.
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Narang, Gopi Chand. "The Progressives." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0007.
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Several Urdu poets drew their inspiration from revolutions in Russia and China and advocated similar transformation in India. The Progressive Writers’ Movement, established by Mulk Raj Anand and Sajjad Zaheer, held its first conference in 1936. The ghazal had been marginalized for quite some time due to a misconception by some progressives that the ghazal was anti-progressive. Thankfully, poets like Faiz Ahmed Faiz kept writing ghazals using love and Sufi phraseology with new revolutionary import. Faiz reframed concepts of love and beauty to be in tune with the needs of changing times. This chapter makes the point that literature and fine arts are social acts, and if creativity is impeded and freedom of the mind is compromised, poetry will lack freshness and spontaneity. Thus, in spite of the harsh criticism of some mistaken people, the ghazal reappeared in a decade or two and thrived together with the wave of rising social consciousness and revolutionary zeal.
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Narang, Gopi Chand. "The Genesis and Evolution of India’s Composite Culture." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0001.
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This opening chapter provides an overview of how the Urdu ghazal evolved into a dynamic and musical form of poetic genre, and expounds on how a variety of factors, including the inflow of Islamic influences into the traditional Indian culture steeped in Hindu way of life, the spread of Bhakti Movement, the birth of indigenous strains of Sufism, and the contribution of great singers, made the ghazal gain great popularity with the masses.
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Narang, Gopi Chand. "The Concept of Love." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0002.
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Chapter 2 explains the meaning of love in the context of the Urdu ghazal, especially during the classical period. Physical and transcendental aspects of love get special attention in this discussion. A major portion of the chapter is devoted to Delhi and Lucknow schools of ghazal writing and how they differed from one another. The chapter ends with great literary contributions of two giants of the Urdu ghazal, namely Mir Taqi Mir and Mirza Ghalib.
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Narang, Gopi Chand. "The Concept of Beauty." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0003.
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Like love, the concept of beauty is another overarching theme in the Urdu ghazal. The chapter makes the point that the concept of beauty was not borrowed from the Persian poetry. Rather, it emerged as a result of melding of Hindu and Muslim sub-cultures. Early examples of Dakani poetry illustrates this point with the help of specific examples. The chapter recognizes Sufism as another major influence.
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Narang, Gopi Chand. "The Concept of Self." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0004.
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One significant aspect of the Urdu ghazal is that it is not simply a lyrical accretion of feelings and emotions—it contains ideas, thoughts, and philosophical viewpoints. This chapter examines the Urdu ghazal in light of various streams of thought about human nature, about personal identity (self), and about human beings’ relationship with God. Besides being a source of enjoyment, the Urdu ghazal also served as a cohesive force for promoting pluralistic culture of India, while at the same time further bonding its intrinsic ethnic multiplicity.
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Narang, Gopi Chand. "The Rhetorical Aspects of the Urdu Ghazal." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0005.
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The Urdu ghazal is truly an Indian invention. Although initially it borrowed themes and legendary references from the Persian and Arab cultures, with the passage of time it became the mirror-image of blended Indian culture. The chapter explains how the ghazal incorporates Indian mythologies like the Ramayana and the Mahabharata, social and geographical features like rivers, festivals, customs and rituals, flowers and flowering trees, birds and animals, seasons and climate, cities and places, and finally music and ragas.
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Narang, Gopi Chand. "The Modernists and the Postmodernists." In The Urdu Ghazal, translated by Surinder Deol. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0008.
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This chapter opens with a conceptual history of literary movements like modernism and postmodernism in Europe, and goes on to discuss the origins of these trends in Urdu literature, particularly Urdu poetry, about which much has not been written before. This chapter also contains samples of representative ghazal verses from a wide variety of modern and postmodern poets, including Javed Akhtar and Gulzar.