Relevant bibliographies by topics / Hindi Ghazals

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Academic literature on the topic 'Hindi Ghazals'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Hindi Ghazals"

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ERCAN, Özlem. "THE SMALL QASIDAS ENTITLED AS MÜZEYYEL GHAZALS AND GHAZALS IN THE POEMS OF SEBK-I HINDI POETS." Uludağ Üniversitesi Fen Edebiyat Fakültesi Sosyal Bilimler Dergisi 30, no. 30 (2016): 93. http://dx.doi.org/10.21550/sosbilder.290742.

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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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Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as well as efforts in Pakistan Movement. Daim Iqbal wrote on multifaceted in poetry including Naat, Poem, Ghazal, Songs, Kafi, C-Harfi, Translation, Elegy and storytelling.
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Muhammad Saeed Ahmad and Dr. Saeed Ahmad. "A Comprehensive Review of Abdul Aziz Khalid's Works." Tasdiqتصدیق۔ 3, no. 01 (2021): 53–71. http://dx.doi.org/10.56276/tasdiq.v3i01.58.

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Abdul Aziz Khalid is one of the most renowned Pakistani poets of Urdu literature. He adorned his poetry bouquet with multiple languages such as Arabic, Persian, Turkish, Hindi, and Hebrew. He wrote almost forty books on different types of literature, especially on Naat, Ghazal, Poem, quatrains, translation, and criticism. His knowledge & vision about Islamic history and literature of different languages is above board. The names of his books are very unique and earned immense popularity particularly Farquleet, MaazMaaz, TaabTaab, Manhamanna, Lehun-e-sareer, Abu Turab, Sani lasani, Kaf e Darya, Kilk e Mouj, Kharoosh e Khum, etc. The reader can enhance his awareness about religions, love tails, historic sense, idioms, phrases, Quranic Verses, Hadith, traditions of Islamic culture & life of Prophet Muhammad (SAAW)and his companions. His poetry is a beautiful blend of classic and modernism.
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6

Ardi, Mohammad Noviani, Fatimah Binti Abdullah, and Shihab Al Tamimi. "Al-Biruni: A Muslim Critical Thinker." International Journal of Nusantara Islam 4, no. 1 (2016): 1–12. http://dx.doi.org/10.15575/ijni.v4i1.490.

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As an academic course, critical thinking has emerged in the last century as the one of the important subjects, especially in the second half. But as a kind of thinking and a process of the human reason, it was exist as old as mankind. What are known, nowadays, as (standards) of critical thinking or (characteristic) of critical thinker were used by some ancient Greek philosophers, e.g. Socrates, Aristotle, as well as great Muslim scholars, e.g. al-Biruni, al-Ghazali, etc. al-Biruni was known as a great Muslim scholar due to objectively scientific method in his works. Moreover, he also was famed in comparative religion which early in history of discipline of comparative religion. However, this study attempts to talk about al-Biruni, one of greatest Muslim scholar in history from another side of previously discussion. It is tries to analyze al-Biruni as a Muslim critical thinker based on his monumental work of Tahqiq ma li al-Hind min Maqulah Maqbulah fi al-‘Aql aw Mardhulah or it is known by Kitab al-Hind.
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Iqbal, Hamza. "A Translation of Jaun Elia’s Preface of Shāyad." Journal of Urdu Studies 2, no. 2 (2023): 159–216. http://dx.doi.org/10.1163/26659050-12340032.

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Abstract Arguably the most “popular” Hindi-Urdu poet today, Jaun Elia involuntarily migrated from his hometown of Amroha in 1957 and soon after started his literary and intellectual activities in the foreign sprawling landscape of Karachi. He served as an editor and publisher of a literary journal titled Inshā’, produced scholarly works, and translated important philosophical and theological texts from Arabic and Persian into Urdu. But Jaun’s most sincere investment remained towards the craft of poetry, particularly to the ghazal, which he wrote prolifically and recited routinely at local and international mushāʿarahs till his death in 2002. The dibāchah (prologue-essay) from his first poetry collection, Shāyad, that was published only when Jaun was approaching sixty, is a formidable—even if at times formally complex—example of modern Urdu prose. This translation of the prologue-essay is not only intended to introduce Jaun’s philosophical, ideological, and aesthetical influences to the broader English-speaking publics but also to provide an aperture to those symbolic flashes from the poet’s biography which he wished to share with his readers.
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Hadi, Abdul. "DISKURSUS ISLAM NUSANTARA MENUJU INDONESIA BERKEMAJUAN." Al-Risalah 9, no. 1 (2019): 73–83. http://dx.doi.org/10.34005/alrisalah.v9i1.398.

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Menjaga identitas diri ditengah derasnya arus globalisasi bukanlah hal yang mudah. Diperlukan keteguhan mental dan semangat patriotisme yang tinggi. Tujuan penulis dalam artikel ini untuk mendiskripsikan diskursus Islam Nusantara baik dalam konsep, metodologi, maupun implementasi. Islam Nusantara seringkali dipandang negative oleh sejumlah kalangan dan dituduh membawa ajaran agama baru. Dalam prakteknya model ini jauh telah dicontohkan oleh Wali Songo ketika mereka berdakwah ditengah-tengah masyarakat mayoritas Hindu pada saat itu.
 Islam Nusantara adalah identitas Muslim Indonesia yang menjunjung tinggi nilai-nilai Ukhuwah Islamiyah dan Wathaniyah, toleransi dalam perbedaan, dan mengedapankan kemaslahatan agama dan bangsa diatas kepentingan individu dan kelompok tertentu. Ajaran Islam diseluruh dunia sepakat sumber utamanya adalah Alquran dan Assunnah, Bagi Islam Nusantara kedudukan Ijma’ dan Qiyas, dan Maslahah Mursalah menjadi instrumen penting dalam menjelaskan kedua sumber tadi. Dalam masalah akidah berkiblat pada pemahaman Almaturidi dan Asya’ari, dalam masalah fiqih lebih mengedepankan Madzhab Asyafii, dalam maslah Tasawwuf dan Akhlak berkiblat pada Al Ghazali. Islam Nusantara dalam menetapkan pemahaman keagamaan adalahmensinergikan antara akal dan wahyu,antara teks yang tersirat dan tersurat, antara kemaslahatan individu dan umum, haantara kebutuhan dunia dan kebutuhan akhirat. Tujuan utama dari Islam Nusantara adalah mewujudkan tujuan utama Risalah Rasul yaitu: Islam Rahmatan Lil Alamin.
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9

Mujiburrahman, Mujiburrahman. "Tasawuf di Masyarakat Banjar : Kesinambungan dan Perubahan Tradisi Keagamaan." Kanz Philosophia : A Journal for Islamic Philosophy and Mysticism 3, no. 2 (2013): 153. http://dx.doi.org/10.20871/kpjipm.v3i2.46.

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<div><p><strong>Abstract :</strong> Sufism has influenced the religious life of Banjarese Muslims in South Kalimantan since the 18th century up to now. The tendency to combine ethical Sufism of al-Ghazali and metaphysical Sufism of Ibn Arabi, and the veneration of Sufi masters in the reading ritual of their hagiographies, and the emergence of certain heterodox Sufi sects, all of these can be found along history of Islam in this region. On the other hand, there are social changes that have also influenced the colour of Sufism developed in certain period. In the 18th century, orthodox Sufism fought against pantheism which was presumably came from Hindu origin, but in the 19th and early 20th century, Sufism became a social movement, namely a certian Sufi Order that was involved in the war against the Dutch. In the later period, Sufism became the source of moral and spiritual strength in the face of social, cultural and political crisis. Moreover, since the Reformation Era, Sufi masters and their followers have become potential allies as voters for politicians.</p><p><em>Keywords : sufism, banjar, tradition, social changes</em></p><p> </p><p><strong>Abstrak :</strong> Tasawuf telah mempengaruhi kehidupan keagamaan Muslim Banjar di Kalimantan Selatan, sejak abad ke-18 hingga sekarang. Kecenderungan untuk menggabungkan tasawuf etis al-Ghazali dan tasawuf metafisis Ibn Arabi, penghormatan terhadap tokoh-tokoh sufi dalam ritual pembacaan manakib, dan munculnya kelompok-kelompok tasawuf sempalan, semua ini dapat ditemukan sepanjang sejarah Islam di daerah ini. Di sisi lain, ada berbagai perubahan sosial yang juga mempengaruhi corak tasawuf yang berkembang di masa tertentu. Pada abad ke-18, tasawuf ortodoks harus berhadapan dengan panteisme, yang diduga berasal dari Hinduisme, tetapi pada abad ke-19 dan awal abad ke-20, tasawuf menjadi gerakan sosial, yaitu tarekat tertentu yang terlibat dalam perang melawan Belanda. Dalam periode berikutnya, tasawuf menjadi sumber kekuatan moral dan spiritual dalam menghadapi krisis sosial, budaya dan politik. Selain itu, sejak Era Reformasi guru-guru tasawuf dan para pengikut mereka, menjadi sekutu-sekutu potensial sebagai pemilih bagi para politisi. </p><p><em>Kata kunci : Tasawuf, banjar, tradisi, perubahan sosial.</em></p></div>
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10

BAHAR, BAHANUR OZKAN. "Fahriye in Pseudonymous Couplets: The Example of the Fehim-i Kadim Divan." Journal of International Social Research 15, no. 86 (2022). http://dx.doi.org/10.17719/jisr.2022.57728.

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In the tradition of divan poetry, fahriye, which can be defined as the poet's boasting of himself and his art, has been used in many forms, especially in eulogies. Fahriye is the mention of the poet's talent, his verse, his prose, the power of his pen in exaggerated expressions with one or more verses. Initially, the function of the fahriye sections, which poets used as a means to convey their wishes to the elders of the state with whom they presented their odes, changed over time and the number of verses increased. In addition to this, fahriye have started to be seen in other forms of verse. After the odes, fahriye examples are most commonly found in the pseudonym verses of ghazals. When these verses are analyzed, it is seen that poets praise their poetry and poetry with certain phrases.These similar expressions used by poets when they tefahür (reflect) also convey their views on poetry, poetry and art. In the study, the verses of the ghazals of Fehîm'i Kadim, one of the poets of the 17th century, will be discussed.The pseudonym couplets of Fehîm, who is the representative of the Sebk-i Hindi movement, are the last in terms of fahriye is extremely rich.The verses of the poet's tefahür (reflection) were taken into account and translated into modern Turkish.Based on these verses, it was determined how Fehîm evaluated his own poetry and poetry and what expressions he used when making these evaluations. These data were tried to be classified, exemplified and processed under certain headings.
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Books on the topic "Hindi Ghazals"

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Kuṃara. Rassiyām̐ panī kī: Ghazala-saṅgraha : ghazaloṃ kī Urdū baharoṃ tathā unake naye Hindī nāmakaraṇa sahita. Pragīta Prakāśana, 1987.

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Ḥālī, K̲h̲vājah Alt̤āf Ḥusain. Hālī Pānīpatī kī nazmeṃ. Hariyāṇā Urdū Akādamī, 1989.

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Kuṃara. Rassiyām̐ panī kī: Ghazala-saṅgraha : ghazaloṃ kī Urdū baharoṃ tathā unake naye Hindī nāmakaraṇa sahita. Pragīta Prakāśana, 1987.

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Bhāradvāja, Candrabhāna. Hathelī para aṅgāre: Hindī g̲̲h̲azala-sangraha. Aṃsārī Pablikeśansa, 2012.

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Silas, Sandeep. Rānāi-e-khayāla. Silas, 2012.

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Mujāvara, Saradāra. Hindī g̲h̲azala ke vividha āyāma. Bhūmikā Prakāśana, 1993.

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Mujāvara, Saradāra. Hindī g̲h̲azala ke vividha āyāma. Bhūmikā Prakāśana, 1993.

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Ramā, Siṃha. Hindī g̲h̲azala, navam daśaka. Ayana Prakāśana, 1996.

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Devare, Śivājī, 1957- editor of compilation, ред. Ḍô. Girirājaśaraṇa Agravāla: Pratinidhī g̲h̲azaleṃ. Hindī Sāhitya Niketana, 2012.

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Śāda, K̲h̲uśabīra Siṃha. Jāne kaba ye mausama badale. K̲h̲uśabīra Siṃha Śāda, 1992.

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Book chapters on the topic "Hindi Ghazals"

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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 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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Rao, Maithili. "Subversion in Retro Mode." In The Millennial Woman in Bollywood. Oxford University PressDelhi, 2022. http://dx.doi.org/10.1093/oso/9780190130473.003.0009.

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Abstract Pre-millennial divas have come back triumphantly, swept on the tide of subtle subversion. Maqbool, Haidar, English Vinglish, Dedh Ishqiya, Cheeni Kum, Andhadhun, De De Pyar De have pre-millennial heroines who defy stereotypes and subvert them in persuasive ways. Family dramas and the ‘housewife’ trope have been shaken to give us films like Astitva (2000, Hindi and Marathi) which affirms a middle-class wife’s right to shed her guilt about a past affair. De De Pyar De (2019) is a non-judgemental story of a separated couple who negotiate the presence of the man’s 26-year-old girlfriend. Sridevi’s comeback film English Vinglish (2012) celebrates an underestimated homemaker who breaks her inhibitions and learns English. Vishal Bharadwaj’s Maqbool (2003) and Haider (2014), reinterpretations of Shakespeare’s Macbeth and Hamlet, have produced complex women protagonists. Nimmi (Tabu), Lady Macbeth’s counterpart, is a young, sensuous, and ambitious mistress of the underworld patriarch Abbaji. She woos Maqbool (Irrfan Khan) and participates in the blood crime to fulfil her ambition. In Haider, it is the mother Ghazala who takes centre stage. In a culture that deifies motherhood, Ghazala is imperious and decisive but also sensuous and playful, even with her son. She is a tragic hero who chooses a blazing death to incinerate her wrongs. Dedh Ishqiya (2014) is a new take on nawabi culture. An aristocratic widow conjures up a mushaira to con possible suitors. On the ground, millennium stars have outed their causes. This trend is a hopeful augury for positive and enduring changes.
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Conference papers on the topic "Hindi Ghazals"

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"Dushyant - Prince of Hindi Ghazal." In International Conference on Humanities, Literature and Management. International Centre of Economics, Humanities and Management, 2015. http://dx.doi.org/10.15242/icehm.ed0115010.

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GÜZEL, bdurrahman. "THE INFLUENCE OF ALI SHIR NAVOI ON Mughal NORTH INDIA." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/bzai2996.

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India, which has been a long-time ally of Turkic states throughout history, has had a dense Turkish population, especially as a result of the expeditions made by the Ghaznels, Timur and Baburls to North India. During the campaigns of Mahmud of Ghazni, many families with the surname Türkîolan can be found even today in Muradâbâd, Sambhal and Rampurgibi regions in Northern India, where the Turkish population settled. It is known that a significant Turkish population settled here during Timur's expeditions to Kabul, Punjab, Sind and Delhi after Ghazni. As a matter of fact, the Kutbils (1206-1266), Balabans (1266-1290), Kalach Sultanate (1290-1320), Tughluqs (1320-1414), Seyyids (1414-1451) and Lods (1451) ruled in North India from the 13th century. -1526) were able to gain power by taking advantage of the power of the Turkish population that had settled here before. Babur's defeat of Lûdîler in 1526 and the conquest of North India, unlike other expeditions, means the beginning of a permanent rule in this region. During the period when Babur sat on the throne for about five years, the importance he gave to Turkish in this region, along with Persian and Hindi, ensured that Turkish was spoken in the palace and that Turkish developed as a language of poetry. In this respect, Chagatai Turkish is a "new field"52 where the Timur literary tradition continues in North India, and it also represents a symbol of cultural dominance. This issue will be addressed in our work.
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