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Journal articles on the topic 'Ghazals'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Grewal, Sara Hakeem. "The Ghazal as “World Poetry”: Between Worlding and Vernacularization." Comparative Literature 74, no. 1 (March 1, 2022): 25–51. http://dx.doi.org/10.1215/00104124-9434498.

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Abstract While the ghazal has appeared in many linguistic traditions, its diversity is undermined by the imposition of a singular definition of this genre, which is further compounded by the overly simplistic identification of ghazal as lyric; these lyricized readings of the ghazal as both transhistorical and transnational rely on a discourse of “worlding” as an imperial project of cultural recovery and homogenization. In contrast, this article employs the methodology of historical poetics to argue via a reading of meta-ghazals in Persian, Urdu, and English that reading practices around the ghazal—including definitions of the genre that variously emphasize form versus theme—change according to the historical and geographical context of its circulation. However, by celebrating the ghazal’s travel as seemingly apolitical and/or ahistorical, the discourse of world poetry, particularly in the reception of the ghazals of Agha Shahid Ali, participates in an ongoing imperialism in world literary study. In contrast, we can read the ghazals of Adrienne Rich as exemplifying the tradition of vernacularization that has enabled the ghazal’s movement between languages, such that her work, like the work of historical poetics as a methodology, honors the history of the form’s travel through its appearance in contemporary American English.

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2

Rahmonova, Shahnoza. "The Metrical Features of Chustiy’s Ghazals." Golden scripts 1, no. 1 (March 10, 2019): 103–29. http://dx.doi.org/10.52773/tsuull.gold.2019.1/dcuo5963.

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Chusti’s poems in the genre of ghazals especially with their metric aspect in such writings as “Khayotnoma” (1988), “Sadokat gullari” (1992), “Ko‘ngil tilagi” (1994) are reserched in this article. Moreover, we will see the peculiarities of each couplet (string) based on the requirements of the ghazal in the proportion of ideas and images, the unity of meaning and form in the poet’s view. Chusti actively used the system of aruzi bahri (metric term) rajaz, muhtass, mutakarib, musari, hazaj, ramal in his ghazals. We can see that the ghazals were created in these metric systems fit into 52 songs of “Shashmakom”. And also the analyzed the genres of ghazals and the value of the themes. In addition, the metric of Chusti’s ghazals is compared with the metric properties of the poems of Alisher Navoi and Zahiriddin Muhammad Babur. Their parallels, similarities, themes and content are highlighted with definite examples. Interaction with oral folklore and folk songs of ghazals are researched. In addition, it was said that the individual ghazals of Chustiy are not compatible with the rules of aruz, in particular, the ghazal “Khaddan ziyada”, “Keling tezrak, Karakalpak”. During the analysis of these ghazals, they were found to be more consistent with the rules of fingerprint metrics. And also for the first time, the article presents statistical data on the ghazal of Chusti.

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3

Rebronja, Semir. "AL-GHAZAL – ARABIAN LOVE POEM IN THE PRE-ISLAMIC AND UMAYYAD PERIOD." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 12 (December 15, 2014): 241–60. http://dx.doi.org/10.51728/issn.2637-1480.2014.12.241.

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The paper treats the Arabic love poetry and its main features in the pre-Islamic and Umayyad period. The formation, development and characteristics of this poetry are closely related to the nature of the poet, as well as the place of its origin. Based on this, we distinguish between urban and desert ghazals. From the point of stylistic peculiarities, as well as the poet‘s commitment to the aim of his poetry, urban ghazals are equalled with hedonistic and desert ghazals with uzrit or Platonic ghazals. The origins date back to the early periods and the beginning of the Arabic literary tradition. And the oldest poems that we have today begin with an introductory love prologue, which had a significant place at the very beginning of the pre-Islamic kasidah and was a prelude to further poet’s singing. The love poem was transferred to the Umayyad period, but in a new form and with new linguistic-stylistic peculiarities, and also, the Umayyad epoch was the period of independence of ghazals as an independent poetic genre. This has put the ghazal in a rightful place in Arabic literature and in the future it will very rarely have the role from the period of a pre-Islamic kasidah, when it was only one sequence in the poet‘s singing. Keywords: ghazal, love poetry, kasidah, hedonistic ghazal, platonic love

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Eshonqulov, Husniddin. "Peculiarities of the artistic construction of Alisher Navoi's romantic ghazals." Golden scripts 3, no. 1 (March 10, 2021): 69–86. http://dx.doi.org/10.52773/tsuull.gold.2021.1/fdfi6444.

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The article reveals the peculiarities of the artistic structure of Alisher Navoi's romantic ghazals based on the analysis. It deals with the great poet's skill in the use of visual aids and rhyming techniques related to word repetition. Navoi, aware of the question-and-answer style in the ghazals of his great predecessors such as Hafiz and Lutfi, raised the traditional question-and-answer session between the lover and the lover in the ghazal "Jong'a chun dermen..." It is defined as the artistic discovery of peculiarities, such as the beginning, the course of events, rising actions, climax, and the conclusion. The artistic skills of the great poet in the use of the art of tardi’aks are analyzed, and the analysis of the formation of a unique semantic-compositional structure of romantic poems with the help of such pictorial means based on word repetition is revealed. The analysis also reveals the peculiarities of the musajja ghazals based on the poet's ghazal verses, the influence of the rhyme and internal radifs on the artistic structure of the ghazal, and the fact that Navoi's musajja ghazals were written not only in the hazaj, but also in the rajaz and ramal.

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[Bodha Raj Dhakal], बोधराज ढकाल. "पाठकको दृष्टिकोणमा पगेनीको प्रणयवेदका ऋचाहरूः पाठकीय प्रवृत्तिको अध्ययन [Pageni’s Hymns of Pranaya Veda from the Reader’s Perspective: A Study of Affective Stylistics]." Prithvi Journal of Research and Innovation 3, no. 1 (June 2, 2021): 83–93. http://dx.doi.org/10.3126/pjri.v3i1.37437.

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प्रस्तुत अनुसन्धानात्मक लेखमा प्रकट पगेनी ‘शिव’ को प्रणयवेदका ऋचाहरू गजलसङ्ग्रहमा प्रस्तुत पाठकीय प्रवृत्तिको विश्लेषण गरिएको छ । गजलका प्रवृत्तिहरूलाई पाठकीय सिद्धान्तमा ढालेर गरिने विश्लेषणलाई पाठकीय प्रवृत्ति भनिन्छ । यहाँ लेखकीय अभिमत वा लेखकसँग कुनै सरोकार नराखी निर्वैयक्तिक रूपमा पाठकीय प्रवृत्तिका आधारमा कृतिको विश्लेषण गरिएको छ । प्रणयवेदका ऋचाहरू गजलसङ्ग्रहलाई प्राथमिक स्रोत सामग्री र गजल सिद्धान्तसँग सम्बन्धित ग्रन्थहरू, समालोचनात्मक कृतिहरू, समीक्षात्मक लेखहरू तथा शोध सामग्रीहरूलाई द्वितीय स्रोतका सामग्रीको रूपमा लिइएको छ । यस लेखमा गजलीय सिद्धान्तका मान्यताहरूलाई आधार मान्दै पाठपरक विधिमार्फत विश्लेषण गरिएको छ । पाठकीय परिवृत्तका आधारमा विश्लेषण गर्दा प्रतिनिधिमूलक रूपमा गजलहरूका उदाहणहरू प्रस्तुत गरिएको छ । पाठकीय प्रवृत्तिका संरचनागत, विषयगत, अर्थगत र शैलीगत आधारहरूमध्ये संरचनागत र विषयवस्तुगतका आधारमा विश्लेषण गरिएको छ । संरचनागत प्रवृत्तिका आक्षरिक, शेर, काफिया, रदिफ र तखल्लुसहरूको प्रयोग गजलहरूमा भए पनि अक्षरगत र शेरगत प्रयोगमा एकरूपता भएको देखिँदैन । तखल्लुसको प्रयोग पनि गजलीय सिद्धान्तको मूल मर्मअनुरूप नगरी केवल प्रयोगका लागि मात्र प्रयोग गरेको देखिन्छ । गजलहरूको विषयवस्तुगत पक्षलाई नियाल्दा प्रायः सबै गजलहरूको विषय प्रणयपरक वा श्रृङ्गारिक (संयोग) रहे पनि एउटा गजलको विषय श्रृङ्गारिक कम तर नेपाली संस्कृति पक्ष सबल रहेको देखिन्छ । यसै गरी केही गजलहरू शब्दगत र भावगत रूपमा अति अश्लील रहेका छन् तापनि विषयवस्तुको कोणबाट यिनका गजलहरू मुसलसल शैलीमा प्रस्तुत भएका छन् । [This article analyzes the reading tendency presented in Hymns of Pranaya Veda, a collection of ghazals, authored by Prakat Pageni 'Shiva'. An analysis of the trends in ghazal based on the reader response theory is called reading tendency. Here, the work is analyzed based on the impersonal reading without any relation to the author's opinion. Examples of ghazals are presented representatively when analyzing the work. The ghazal collection itself is considered as the primary source material and the secondary sources include the texts related to ghazal theory, critical works, critical articles and research materials. In this article, the analysis is based on the basic tenets of ghazal and reader response theory. The analysis is based on the structural and thematic angles out of the structural, thematic, semantic and stylistic bases of the reader’s responses. Although there is abundant use of the components of ghazals like structured uses of the alphabets, sher, kafia, radif and takhallus, there does not seem uniformity in the use of sher and the alphabets. The use of takhallus also seems to have been used without following the basic tenets of the ghazal theory. Looking at the thematic aspect of ghazals, the subject matter of almost all ghazals is romantic or erotic (coincidentally) but the content of one ghazal seems to be less erotic but more Nepali cultural. Similarly, some ghazals in the collection are very vulgar both verbally and emotionally. However, from the point of view of subject matter, the ghazals have been presented in Musalsal.]

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Haydarova, Gulhayo Ahmadaliyevna. "NAVOI AND SOBIR ABDULLA." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (April 30, 2021): 149–54. http://dx.doi.org/10.26739/2181-1490-2021-2-17.

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This article illustrates the influence of Alisher Navoi's ghazals on Sabir Abdulla’s ghazal, one of the representatives of Uzbek poetry in twentieth century. This effect is illustrated by the art of “talmeh” which a literary type of poet. The art of “talmeh” used in the poems of Alisher Navoi and Sabir Abdulla is compared and the aspects of tradition and originality are identified. Talmeh which was used in Sabir Abdulla’s works is divided into groups according to the theme. At the same time, the art of “talmeh” in Uzbek literature and the phenomena of allusion, which are widely studied by world researchers, are compared and similarities and differences are identified. In the process, Sabir Abdulla's ability to use “talmeh” was also assessed. The influence of Navoi's ghazals on the poet's work is considered, and the reasons for deviating from the norms of tradition are explained in detail.Key words: talmeh, allusions, poetic ideas, names of historical figures, Sabir Abdulla's ghazali-yya, aspects of tradition and originality, art of iyham, types of talmeh, special dictionary, talmehs with limited use

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7

Huseynova, Ziyafat. "Reflection of Political and Social Influences on the Ghazal Genre in Azerbaijani Literature in the 20th Century: Aliagha Vahid's Literary Works." ENTHYMEMA, no. 34 (March 2, 2024): 121–35. http://dx.doi.org/10.54103/2037-2426/22214.

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The essay focuses on the problems that hindered the ghazal genre from developing and how the poet kept the tradition alive in Azerbaijani literature at the start of the 20th century. We used Aliagha Vahid’s literary creativity for our project since he lived through this period in Azerbaijan, experienced all of its hardships, and demonstrated the genre’s potential by creating poetic imagery of the time in his ghazals. He is an Azerbaijani poet who is revered in the Turkic community as Fuzuli’s successor and is credited with saving the ghazal genre in Azerbaijani literature. Analyzing his lyrics provided excellent possibilities to examine the influential factors on all of the Azerbaijani literature at the time. In the study, his creation of new kinds of ghazals with social and political issues while retaining the characteristics of the traditional ghazal genre was investigated. With him, the genre in Azerbaijani literature underwent a new phase. The attempt to eradicate the ghazal from the Azerbaijani literature which has a history of centuries –long history did not succeed as a result of mostly Aliagha Vahid’s serious efforts. For this purpose, the poet’s historical milieu, the challenges of the repression, his satirical ghazals with a sociopolitical theme, the thematic details of his lyrics, and other issues have been involved in the investigation.

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Dr۔ Tahseen Bibi and Dr.Zeenat Bibi. "Qatil Shafai As A Multifaceted Poet." Dareecha-e-Tahqeeq 3, no. 2 (January 6, 2023): 12–19. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i2.48.

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Hazaras have produced eminent personalities in terms of literature. The name of Qateel Shafai is also included in this list. He tried his hand at all favourite and popular genres of poetry. He touched the heights of fame by writing Poems, Ghazals, Songs, Verses, Rubai, Azad ghazal and the film Ghazal. His poetry is an expression of human feelings and emotions. Especially the pain of love, separation and loneliness can be seen in his poetry. Qateel Shafai, the poet of thousands of ghazals and songs, gained equal popularity in both Pakistan and India. This achievement has been recognized with various awards including Pride of Performance, Adamji Award, Naqosh Award, Amir Khusro Award and Abbasin Art Council Award.

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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 (January 1, 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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Dr. Muhammad Qamar Iqbal and Dr. Muhammad Yousaf Awan. "Bal-E-Jabreel's Taghzal: A Research And Critical Review." Dareecha-e-Tahqeeq 4, no. 2 (July 5, 2023): 1–7. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.111.

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Allama Iqbal completely changed the body of Ghazal. Thanks to Iqbal, today Urdu Ghazal is reaching the extremes of development and all kinds of ideas are being expressed in it. Iqbal's ghazal is not a traditional ghazal. His beloved is the nation of Islam, humanity, the prophet and the person of Allah Almighty, Iqbal makes them beloved and speaks in such a way that a unique isolation is created in his ghazals. Allama was carrying the pain of the nation in his chest, so Bal Jibreel is also not free from this pain, but here all the ghazals and poems seem to be immersed in the pain of the nation. Allama has brought ghazal to its peak in Baal Jibreel and has grasped all kinds of colorful subjects in such a way that even in the precise and heavy problems of philosophy, he made them into ghazal by creating subtlety and elegance. And this is such a great artistic and intellectual achievement that not only Urdu poetry but the poetry of the whole world will continue to be proud of.

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Dr. Qamar Abbas and Dr. Mazhar Iqbal Kalyar. "Dr. Tahir Taunsvi’s “Ghazal” :An Analytical Study." Dareecha-e-Tahqeeq 4, no. 1 (March 22, 2023): 22–33. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i1.100.

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Dr. Hafeez Ur Rehman Tahir Taunsvi is famous for his valuable work in the field of Urdu research and criticism. His poetry, especially his “Ghazal” is also a significant part of his literary services. This aspect of his personality is mostly overpassed by the critics. His collection of poetry " تو۔۔ طے ہوا ،نا " published in 2001 AD. It has great value due to its diction, style and themes. Dr. Tahir Taunsvi’s “Ghazal” has beautiful colors of traditional and modern poetry. His “Ghazals” present the romantic atmosphere of love and beauty in an artistic style. Besides this, the optimistic and progressive approach increases the worth and value of his themes and style. It has great resistance against the exploitation and oppression. His “Ghazal” also promotes the great human and moral values. One can see the personal tragedy transforming into the grief of humanity in his “Ghazals”. In this article, the authors have presented an analytical study of Dr. Tahir Taunsvi’s Poetics.

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Badar, Rukhsana, and Sadaf Naqvi. "Urdu-12 Persian Elements in Iftikhar Arif’s Religious Poetry: An Analysis." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 2 (June 20, 2021): 157–64. http://dx.doi.org/10.53575/urdu12.v5.02(21).157-164.

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"Iftikhar Arif has beautifully presented the problems of the modern age in Nazm and Ghazal. He has coined nice Persian structures to depict contemporary sensibility, consciousness and internal emotions. These structures have the name of their creator stamped on them. He has extensively used Persian words and structures in his Nazms and Ghazlas. Many beautiful Persian structures are found in the verses of his Nazms, Ghazals and Couplets on the topics of Dua and Hamd. Iftikhar Arif’s attachment with Urdu Classic poetry and Persian language is also evident from the names of his books on poetry. Even the names of his books on poetry are composed of Persian structures. Moreover the titles of his poems are also in Persian language."

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Dr. Arshad Mahmood Nashad. "Maulana Hali And The Art Of Ghazal." Dareecha-e-Tahqeeq 3, no. 2 (January 6, 2023): 1–11. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i2.41.

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Maulana Altaf Hussain Hali is undoubtedly the founder of modern literature. He dedicated genres like criticism, poetry and biography with the taste of freshness. Muqadama Shair O Shairi is the first reliable example of theoretical criticism in Urdu. During his tenure in Lahore, he laid the foundation stone of the modern poetry movement along with Maulana Muhammad Hussain Azad. Although he was educated under the shadow of Eastern literature, he soon got tired of its monotony. Western literature began to feel close to his heart. He loved the utilitarian aspect of literature. Ghazal, which is the most representative genre in Eastern literature, became a target of his criticism. It is generally believed that he was opposed to the ghazal genre, but the fact is that he disliked ghazal due to the homogeneity of the themes of the ghazal. He was opposed to excessive unnatural color in the ghazal. Hali was a practical person, so he wrote ghazals according to his ideas, which were not liked by a large section of Urdu literature and his ghazals were called unhealthy poetry. There is no doubt that Hali made Ghazal a subject of criticism for the first time like other poetry genres. His influence had a far-reaching impact on Ghazal. This article examines Maulana Hali's views on Ghazal.

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Mortaz, Maryam. "Two Ghazals." World Literature Today 91, no. 6 (2017): 59. http://dx.doi.org/10.1353/wlt.2017.0021.

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Badayuni, Shakeel, Sha'ir Lakhnavi, and Zack Rogow. "Three Ghazals." World Literature Today 87, no. 4 (2013): 18–19. http://dx.doi.org/10.1353/wlt.2013.0150.

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Bishop, Wendy. "Motorcycle Ghazals." College English 57, no. 6 (October 1995): 710. http://dx.doi.org/10.2307/378575.

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Shakeel Badayuni, Sha'ir Lakhnavi, Zack Rogow, and Translated by Zack Rogow and Anshuman Chandra. "Three Ghazals." World Literature Today 87, no. 4 (2013): 18. http://dx.doi.org/10.7588/worllitetoda.87.4.0018.

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Rumi, Translated by Brad Gooch, and Maryam Mortaz. "Two Ghazals." World Literature Today 91, no. 6 (2017): 59. http://dx.doi.org/10.7588/worllitetoda.91.6.0059.

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Gardinier, S. "Three Ghazals." Literary Imagination 9, no. 2 (May 14, 2007): 241–43. http://dx.doi.org/10.1093/litimag/imm016.

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Koh, J. L. "FIVE GHAZALS." Common Knowledge 16, no. 3 (September 1, 2010): 566–70. http://dx.doi.org/10.1215/0961754x-2010-026.

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Tukhliev, B., and D. B. Tukhlieva. "Experience of teaching ghazal genre in schools of Uzbekistan." E3S Web of Conferences 413 (2023): 03025. http://dx.doi.org/10.1051/e3sconf/202341303025.

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The literature curriculum includes samples of lyrical works of various genres, and among them, especially the classical lyric genre –ghazals, requires a special approach. In the learning process, traditional methods of interpretation and are widely used in the analysis of the text of ghazals. But today there is a growing need for new approaches and the use of modern methods and technologies in the interpretation of gazelles. This article describes the description and essence of the new methodology “System Analysis” in teaching the ghazal genre in secondary schools. It explores interactive methods that serve to reveal the content of gazelles, the possibilities of digital technologies to increase student interest in classes, the impact of such activities on the level of acquisition of relevant skills by students. The content of the experimental work carried out in various regions of Uzbekistan is explained, and the results are calculated using mathematical and statistical methods. Apart from all the oft-sited, the current state of teaching ghazal genre samples in secondary schools was studied and practical recommendations were given for its improvement.

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Adizova, Iqboloy. "The Harora (Non-Rhymed) Ghazals In The Uzbek Classical Literature." Golden scripts 1, no. 4 (December 10, 2019): 50–66. http://dx.doi.org/10.52773/tsuull.gold.2019.4/xgav4830.

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This article begins with a brief overview of the role, historical development and types of the ghazal genre in Eastern classical literature. The peculiarities of the poetry of Uvaysi, who has an important role in the history of the Ghazal genre, will also be analyzed in detail. The special type of ghazal, that is “Harara” will also be issue of the particular discussion. This type of ghazal is considered to be one of the unique peculiarity of Uzbek classical poetry, which can be rarely found in the classical works. The reason why this genre is rarely faced is that, it does not consist any rhymes, which is the most important element of poetry. Creating a poem without any rhymes is extremely difficult. Despite this difficulty, Uvaysi succeeded to create poems at “Harara” genre, because of her unique talents and skills. There are totally 6 Hararas involved in the manuscript of her collection. In this article, these ghazals are qualified in terms of meaning and artistic expression. Additionally, the issues of the originality and mastery of the works of Uvaysi are highlighted. All necessary resources related to this genre is gathered and discussed, as well as, analyzed in detail. The researcher expresses his attitude to them and argues on some controversial issues. The meaning and content of the ghazals are widely covered. The role and characteristics of spiritual love are analyzed. The real essence of “Orifona ghazal” is defined. The issue of symbolism and its role in the works is clarified.

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Lingwood, Chad G. "A Parvānchī Turned Poet Dilettante: History and the Persian Ghazals of Āq Quyūnlū Statesman Najm al-Dīn Masʿūd Sāvajī (d. ca. 898/1493)." International Journal of Persian Literature 5, no. 1 (September 2020): 63–84. http://dx.doi.org/10.5325/intejperslite.5.1.0063.

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Abstract This study analyzes selected Persian ghazals attributed to Najm al-Dīn Masʿūd Sāvajī (d. ca. 1493), who, at the behest of Āq Quyūnlū Sultan Yaʿqūb b. Ūzūn Ḥasan (r. 1478–90), held paramount administrative positions in the White Sheep confederate empire. The analysis departs from existing scholarship on premodern Persian ghazal—the tendency of which is to regard the poetic form as nonreflective of its author and its times—and considers these ghazals as sources of historical information. The study thus determines the extent to which the selected lyrics of Najm al-Dīn affirm information about Āq Quyūnlū royal personalities and state policies contained in the traditional sources, like official chronicles, literary biographies, and personal correspondences. In the process, the article introduces an influential, though hitherto overlooked, Āq Quyūnlū bureaucrat who exemplifies a category of versifier largely neglected by modern specialists of Persian classical poetry: the statesmen-cum-poet dilettante.

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Ahmed, Abrar, and Manoj Kumar. "Ethos and Displacement in the Ghazals of Kaif Bhopali: An Analysis." Dialogue: A Journal Devoted to Literary Appreciation 19, no. 01 (June 25, 2023): 58–62. http://dx.doi.org/10.30949/dajdtla.v19i1.6.

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Migrating and getting displaced from the original habitat by compulsion or by choice has become a common norm in post colonial era. The people of this planet migrate in search of livelihood, better education, political compulsions and geo-political conflicts. Capitalism further assists it to grab its roots. This is also the case with Urdu ghazal writers; they also migrate and are made to stay in places with geographically, politically and culturally different climate. Kaif Bhopali is one of the writers, who never migrated from India but still could not be with his homeland. This is the only reason that the ghazals of Kaif Bhopali have nostalgia, displacement and dislocation as the common features. This paper is an attempt to study the select ghazals, which are well praised and are full of nostalgic diasporic thoughts.

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Ghalib, Mirza, and M. Shahid Alam. "Ghazals from Ghalib." Prairie Schooner 85, no. 1 (2011): 38–39. http://dx.doi.org/10.1353/psg.2011.0022.

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K, Preetha. "Kaviko's 'Ghazal' Songs - A Glimpse." International Research Journal of Tamil 4, S-3 (July 16, 2022): 144–52. http://dx.doi.org/10.34256/irjt22s322.

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Twentieth century Tamil literature is considered to have reached the peak of social change. Such literary forms have in themselves an expression of sentiment similar to that of Sangam literature. Tamil Modern Poetry is based on the intellectual genre of Tamil that subtly conveys the call for social change. Traveling with the ideas of various creators, Tamil poetry is a field of study that is still appreciated today. Kavico Abdul Rahman is one of the few poets who can ever be thought of in the history of Tamil poetry. He has achieved many achievements through his socially conscious writing journey. His writings are profound, meticulously recording individual emotions. In his poetic works, poet Abdul Rahman has taken many new initiatives. One of them is the "ghazal" literary genre. It is a two-line song that is called "Kanni." These ghazals are mostly about love. Abdul Rahman wrote the ghazal in a new poetic style and sang it on all subjects. Out of the two volumes of poems, ‘A Letter from Minmini’, and ‘Secret Flower', written by him, only 'Rakasiyapoo' was taken as the subject of the study. Many poems, including love, God, philosophy, society, and fantasy, are included in the ghazal volume. They are resourceful in the aspect of cultivating minds. Therefore, this article is based on the above-mentioned subjects as sub-headings. 'Whenever my mind gets dirty, I bathe in poetry' is the ghazal of the poet. Each of his ghazals is a boon to the heart, forming a watery flower bed and giving pleasure.

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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 (June 30, 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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Khalil Rahman and Dr. Abdul Sattar Niazi. "Prominent Poets Of Modern Ghazal in Dera Ismail Khan Research and Critical Review." Dareecha-e-Tahqeeq 4, no. 3 (October 30, 2023): 9–21. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.131.

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The civilizational, cultural and historical capital of Dera Ismail Khan is also worthy of attention, but the poetic and literary atmosphere here cannot be ignored in any way.5 Urdu Ghazal, like other regions of Pakistan, has also captured the people of this place. If the office of ancient and modern Ghazal is explored in Dera Ismail Khan, some poets are known at the national level. What are the trends and tendencies of his Ghazals, this article has tried to reveal them. A special study of the Ghazal Poetry of Ghulam Muhammad Qasar, Saeed Ahmed Akhtar, Bahram Sahil, Kawar Ahmed, Tariq Ahmed Nawaz, Tariq Hashmi, Shahab Safdar, Khurshid Rabbani, Tahir Shirazi and Kahlah Ahmed Awan's is the focus of the article under review.

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SKALMOWSKI, W. "Five Ghazals of ῾Aṭṭār." Orientalia Lovaniensia Periodica 29 (January 1, 1998): 127–44. http://dx.doi.org/10.2143/olp.29.0.583567.

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SKALMOWSKI, W. "Humor in Rumi's Ghazals." Orientalia Lovaniensia Periodica 30 (January 1, 1999): 83–96. http://dx.doi.org/10.2143/olp.30.0.583577.

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Zaripov, B. P. "About the Maqta’ in ghazals (on the example of alisher navoi's ghazals)." Asian Journal Of Multidimensional Research 11, no. 7 (2022): 68–71. http://dx.doi.org/10.5958/2278-4853.2022.00173.2.

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Latif, Amer. "Ẕahīn Shāh Tājī’s (d. 1978) Signs of Beauty (Āyāt-i Jamāl)." Journal of Sufi Studies 10, no. 1-2 (December 14, 2021): 215–33. http://dx.doi.org/10.1163/22105956-bja10018.

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Abstract Bābā Ẕahīn Shāh Tājī (d. 1978) is a well-known Sufi poet in Pakistan. He belonged to the Chishtī Sufi order and his mausoleum in Karachi is a center of pilgrimage known for its weekly Qawwali (devotional singing) gatherings. This article presents an overview of Tājī’s experience and articulation of the Sufi path through selected English translations from his collection of Urdu ghazals, Signs of Beauty (Āyāt-i jamāl), which are performed by Qawwals and ghazal singers both in India and in Pakistan to this day.

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Dr. Rukhsana Bibi and Fatima Habiba. "LITERARY DIMENSIONS OF AQEEL AHMAD DANISH." Tasdiqتصدیق۔ 4, no. 2 (January 7, 2023): 147–56. http://dx.doi.org/10.56276/tasdiq.v4i2.135.

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Syed Aqeel Ahmad Danish belongs to Amroha. He was destined to migrate continuously. First, he migrated to Karachi and then to London. Ghazal is his specialty. His ghazals have a fine blend of classical maturity with modern themes. Aqeel Ahmed Danish is a versatile poet and writer. Every Sunday, his column "رسائل دل تک"(Rasaail Dil Tak) is published in Jang London. He is associated with this stream of journalism in which poets and writers have a share. This paper sheds light on the art of Aqeel Ahmed Danish as a whole.

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Hussain, Sabir, Pinkish Zahra, and Ghulam Murtaza. "Coalescence of Form and Content in Ali’s English Ghazal: The Trauma of Kashmir in The Country without a Post Office." Global Regional Review IV, no. II (June 30, 2019): 145–55. http://dx.doi.org/10.31703/grr.2019(iv-ii).16.

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This paper investigates the enunciation of meaning in the coalescence of form and content in the ghazals of Agha Shahid Ali. In the last decade of the twentieth-century escalation of political and civil clashes handicapped the social system in Kashmir; all the government institutions remained closed for months. Post offices were one of those institutions which remained shut and the letters piled on without finding reaching their addressees. In this backdrop Ali wrote the collection, The Country Without a Post Office, where Ali mourns the state oppression. This research explores through literary stylistics the chaos and trauma inextricably interwoven in the form-content synchronization in the English ghazals of this collection. The form and content of these ghazals have aptly enunciated the trauma of Kashmir. Although ghazals to-date have been sung to mourn the unrequited love and separation of lover yet Ali has given this a novel thematic dimension by incorporating the blood and shreds, cannons and sticks, and nostalgia and dreams.

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Hashmi, Zara. "براہوئی غزل ٹی جمالیات نا درک." Al-Burz 14, no. 1 (June 30, 2012): 1–13. http://dx.doi.org/10.54781/abz.v14i1.316.

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This research paper seeks to look at Brahui Ghazal from a new perspective with regard to the theme of aesthetics. The study innovatively elaborates how, when and which poets have imbedded a sense of aesthetics in Brahui Ghazal with details pertaining to the theme illustrated by arguments and examples by referring to a variety of books dealing with the subject matter. Apart from this, there is a lively discussion on the historical background and periods of Brahui Ghazal. Thus, a descriptive qualitative research approach was adopted. The research paper argues that Brahui poets seem incapable of writing openly on technically sensitive topics such as aesthetics because it is very difficult to understand where aesthetics seems appropriate in poetry. Although consciously unaware of aesthetics, a few examples are found in Brahui Ghazals as reported in this article.

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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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Yusupova, Dilnavoz. "DIVANS CREATED BY AMATEWS: INTERPRETATION ANALYSIS AND CORRECTION." ALISHER NAVOIY INTERNATIONAL JOURNAL 1, no. 1 (January 30, 2021): 101–10. http://dx.doi.org/10.26739/2181-1490-2021-1-11.

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In this article, the object of the study is to analyze the studies of Navoi related to the Divans of Alisher Navoi. The Divan poems composed by the poet admirers have been studied in comparison with those of the official Divans. The article deals with the analyzes of the bait (couplet) from “Baburname”, as well as modern editions of the poet’s poems, the history of the creation of some ghazals. The need to consider the gradual development of the poet’s poems and the process of creating a specific ghazal to “Khazayin al-ma’ani” in five stages is emphasized.

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Cem BAHADIR, Savaşkan. "Unknown Ghazals of Hayâlî Bey." Journal of Turkish Studies Volume 7 Issue 4-I, no. 7 (2012): 921–46. http://dx.doi.org/10.7827/turkishstudies.3365.

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Willadson, Shari Diane. "Ghazals for the City, Taste." Janus Head 3, no. 1 (2000): 151–53. http://dx.doi.org/10.5840/jh20003114.

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Soucek, Priscilla. "Interpreting the Ghazals of Hafiz." Res: Anthropology and aesthetics 43 (March 2003): 146–63. http://dx.doi.org/10.1086/resv43n1ms20167595.

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Pisciurnikova, E., and A. Šela. "Works by Afghan Classical Poet ‘Abd al-Hamid Momand: Stylometric Results." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 27, no. 2 (December 2021): 63–68. http://dx.doi.org/10.31250/1238-5018-2021-27-2-63-68.

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‘Abd al Hamid Momand (d. ca. 1732), a greatest Afghan classical poet at the turn of the 17th and 18th centuries, was the author of Pashto poetry. He created a unique individual style, which was different from that of his predecessors and greatly influenced subsequent Afghan Pashto poetry. However, because of the complexity and eloquence of his style, his work has been understudied inside and outside Afghanistan. The authorship of a set of ghazals by Hamid is questioned by the authors of this article, with some forty works defined as controversial. Methods of digital stylometry are applied to determine the authorship of these ghazals. As a result of this experiment, the question is clarified as to whether Hamid's controversial ghazals are indeed authentic.

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Safarboevna, Khurramova Zebiniso. "Analysis of Saidis Ghazals Written in Aruz." International Journal for Research in Applied Science and Engineering Technology 12, no. 1 (January 31, 2024): 112–14. http://dx.doi.org/10.22214/ijraset.2024.57736.

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Abstract: This article is devoted to the analysis of the ghazals of Nizomiddin Zakirov, a writer from Samarkand, who lived in the era of the former Soviet regime and, despite his young age, created in the zsxcz ;;style of traditional Uzbek classical literature.In the 1950s and 1960s of the Shura era, he was engaged in artistic creation along with leadership activities, wrote beautiful poems and ghazals under the pseudonym Saidi. At a time when the study and promotion of national literature and national values were severely suppressed, Saidi, despite being young, deeply studied traditional Uzbek classical poetry and tried to write ghazals like his teachers. In this way, he was greatly influenced by the family environment where he was born and brought up and the work of representatives of the literary environment of Kattakurgan, which has long been considered one of the centers of creativity and enlightenment.In many of his ghazals, he tried to reinterpret traditional metaphors and achieve originality. Saidi’s works are important because they are sources that show the continuation and development of classical genres in Uzbek literature during the years of the Shura period.

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Prigarina, N. I., N. Y. Chalisova, and M. A. Rusanov. "The Shah and the beggar: on the poetic dispute between Hafiz and Shah Ni‘matullah Vali." Orientalistica 3, no. 1 (March 29, 2020): 189–206. http://dx.doi.org/10.31696/2618-7043-2020-3-1-189-206.

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The article comprises an analysis of the famous ghazal by the 14th cent. Iranian poet Shams al-Din Hafiz. Traditionally it has been considered as a response to a poem by his late contemporary Shah Ni‘matullah Vali. This poetic dialogue is rather remarkable since it reveals both the literary and the personal polemics. The juxtaposing of the two texts opens in their research further hermeneutic perspectives. The ideal images of the ghazals’ lyrical characters can be projected onto the personalities of the two poets and their relationships, which provides the poem by Hafiz with a new semantic dimension.The authors declares that there is no conflict of interest.

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Sabir qızı Abdullayeva, Gülər. "Fuzuli and Galib poetry in similar genres." SCIENTIFIC WORK 80, no. 7 (July 17, 2022): 62–66. http://dx.doi.org/10.36719/2663-4619/80/62-66.

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XVIII əsr Türk sufi şairi Şeyx Qalib Fizuli ənənələri davam və inkişaf etdirən şairlərdən biri olmuşdur. Bu iki sənətkarı birləşdirən ortaq xüsusiyyət onların eyni mövzu və janrlarda şeirlər yazmasıdır. Qalibin qəzəl janrında yazdığı şeirlər Füzulinin qəzəllərini xatırladır. Şeyx Qalib divanında Füzuliyə həsr olunmuş şeirlər arasında təxmislərlər xüsusi yer tutur. Bu onu göstərir ki, hər iki şairin əsərlərində forma və məzmun baxımından ortaq xüsusiyyətlər vardır. Mövzu baxımından hər iki şairin yaradıcılığında məhəbbət mövzusu öndə gedən yerlərdən birini tutur. İlahi eşqi sonsuz məhəbbətlə tərənnüm edən bu şairlər dünya eşqinin əzabını yaşamış və tale yüklü bir ömür yaşayaraq ilahi eşq yaşantılarını şeirə çevirə bilmişlər. Məqalədə hər iki şairin qəzəl janrında yazdığı şeirlər müqayisəli şəkildə təhlil olunur. Açar sözlər:Məhəmməd Füzuli,Türk ədəbiyyatı, Şeyx Qalib, qəzəl, ilahi eşq Gular Sabir Abdullayeva Fuzuli and Galib poetry in similar genres Abstract The eighteenth-century Turkish Sufi poet Sheikh Galib Fuzuli is one of the poets who continued and developed the traditions. The common denominator that unites these two artists is their theme in terms of both theme and genre. His poems in the ghazal genre are reminiscent of Fuzuli's ghazals. Among the poems dedicated to Fizuli in Sheikh Galib's divan, takhmis have a special place. This shows that both poets have common features in their work in terms of form and content. From the point of view of the theme, the theme of love occupies a leading place in the works of both poets. These poets, who sang of divine love with infinite love, experienced the sufferings of worldly love and were able to turn their emotional turmoil into poetry by living a life full of destiny. The article describes in detail the subject matter of the ghazals of both poets. Key words: Turkish literature, Sheikh Galib, Muhammad Fuzuli, divine love, ghazal

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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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Ahmad, Dr Mahboob, and Dr. Sudheer Ahmed. "Intellectual & Technical Review of Shakeb Jalali’s Verse." Noor e Tahqeeq 8, no. 01 (March 31, 2024): 73–81. http://dx.doi.org/10.54692/nooretahqeeq.2024.08011987.

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Shakeb Jalali is the representative poet of the present age. He is mainly a ghazal poet. After independence, it seemed that Urdu ghazal would die but Shakeb is one of the poets who gave new life to it. He uses contemporary themes which make most of his poems famous like proverbs. He had a short life span but he gave ghazal a new form. He is convinced to explain big topics with great simplicity. He spent all his life in depression; even then the element of despair is less visible in his verse. His ghazals are a great asset of Urdu poetry which would influence the readers forever. His verse is based on innovation presenting an entirely new style. He was convinced to describe his experiences, observations, conditions and internal events with truth and authenticity instead of deception, deceit, and lies. His individuality distinguishes him from the poets of his era through his verse that is intellectually and technically different and the new generation seems to be influenced by it. This article analyses Shakeb’s verse in terms of technique and intellect.

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Hillmann. "The Translatability of Hāfiẓian Love Ghazals." International Journal of Persian Literature 3 (2018): 39. http://dx.doi.org/10.5325/intejperslite.3.1.0039.

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Candrilli, Kayleb Rae. "Ghazals Connected as Though Cargo Freights." Ploughshares 47, no. 1 (2021): 77–81. http://dx.doi.org/10.1353/plo.2021.0013.

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KAPLAN, Yunus. "Nihânî (İbrahim Çelebi) and The Ghazals." Journal of Turkish Studies Volume 5 Issue 4, no. 5 (2010): 1271–303. http://dx.doi.org/10.7827/turkishstudies.1500.

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Banerji, Sabita. "Ghazals to Bhangra in Great Britain." Popular Music 7, no. 2 (May 1988): 207–13. http://dx.doi.org/10.1017/s0261143000002762.

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The cultural identity of the Indian subcontinent has survived countless onslaughts and displacements often by simply absorbing and Indianising alien elements. The many hybrids in lifestyle, language, food and religion spawned of Britain and India's long, love-hate relationship are a testament to this. And now the process is repeating itself in the new generation of South Asians born and educated in Britain. It is a unique generation, its acceptance or rejection of and by white British society will probably set the pattern for generations to come, and the musical fusion which voices their cultural duality tends towards mutual acceptance.

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