Relevant bibliographies by topics / Hindi Religious poetry

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Academic literature on the topic 'Hindi Religious poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Hindi Religious poetry"

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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 (January 16, 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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Madaan, Vishu, and Prateek Agrawal. "Anuvaad." International Journal of Social Ecology and Sustainable Development 13, no. 1 (January 2022): 1–14. http://dx.doi.org/10.4018/ijsesd.295088.

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Machine Translation is best alternative to traditional manual translation. The corpus of Sanskrit literature includes a rich tradition of philosophical and religious texts as well as poetry, music, drama, scientific, technical and other texts. Due to the modernization of tradition and languages, Sanskrit is not on everyone's lips. Translation makes it convenient for users to understand the unknown text. This paper presents a language Machine Translation System from Hindi to Sanskrit and Sanskrit to Hindi using a rule-based technique. We developed a machine translation tool 'anuvaad' which translates Sanskrit prose text into Hindi & vice versa. We also developed bi-lingual corpora to deal with Sanskrit and Hindi grammar rules and text applied rule based method to perform the translation. The experimental results on different 110 examples show that the proposed anuvaad tool achieves overall 93% accuracy for both types of translations. The objective of our work is to ensure confidentiality and multilingual support, which can be tedious and time consuming in case of manual translation.
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Stasik, D. "Kama's Flowers. Nature in Hindi Poetry and Criticism, 1885-1925. By Valerie Ritter." Journal of Hindu Studies 6, no. 1 (March 12, 2013): 95–97. http://dx.doi.org/10.1093/jhs/hit007.

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DOVBNYA, K. "Types of poetry figures (shabdalankar) of Mira Bai's poetry." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 55–57. http://dx.doi.org/10.17721/1728-242x.2020.26.55-57.

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This article addresses the issue of the types of poetic figures (shabdalankar) in the poetry of the famous poetess of the medieval socio-religious movement bhakti Mira Bai, namely, an important category of Hindi poetry – alankars, which help to express aesthetic emotion – racu. Therefore, their study is of great importance for characterizing the work of Mira Bai in general. Alankars are usually called rhetorical figures, and their close translation – "decorations" – corresponds to the most important European rhetorical category fully, which covers the concept of figures and paths ornatus. They adorn the sound and meaning of the word and help to show aesthetic emotion – racu. It was suggested to study the types of shabdalankar (form decorations) in the poetry of Mira Bai. It was reviewed such shabdalankars as anupras (alliteration), yamaka (lexical repetition – "consonance"), vacrocti and shlesha (some types of paronomasia – "combination"). It was found that in the verses of Mira Bai there are mainly two of them – anupras and vipsa. A feature of the formal side of Mira Bai's works is miserly use of poetry adornments, since the poetry's verses are a cry of the soul, they reflect the unbearable pain of separation from her beloved Krishna. In such a state of mind, Mira Bai was not up to artificial decoration and play on words. If individual alancars appear in her poetry, it happens completely at ease. Only one of several shabdalankar dominates in the verses of Mira Bai, namely: anuprasa, which helps the poetess through the melody of the verse to create the mood she needs and clearly show the aesthetic emotion of love – the shringar's racu.
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Sohail, Aamir, and Muhammad Zawar Khan. "Nationalism in the Poetry of Dr. Allama Muhammad Iqbal and Walt Whitman: A Comparative Literary Analysis of I Hear America Singing and Tarana-I-Hindi." Scope : Journal of English Language Teaching 6, no. 1 (October 6, 2021): 01. http://dx.doi.org/10.30998/scope.v6i1.9880.

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<p>This paper is based on the comparative study of the two poets, Allama Muhammad Iqbal from Pakistan and Walt Whitman from America as nationalistic poets of their specific age. Nationalism was a common theme in most of their works. These two poets belonged to different geographical social cultural and religious backgrounds but they have some similarities as well as differences. Allama Muhammad Iqbal was famous for the fan Islamist and he was considered as the Muslim nationalist of their time throughout the world while Walt Whitman was famous for American nationalism and democracy. All the time he speaks about the superiority of the American I have used the variation theory of comparative literature presented by changing Cao for the purpose to compare and contrast the work of two different for similarity as well as difference and another framework I will use comparative cultural studies presented by Totsy Zepetnek in my research.</p>
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Dr Barkha Saxena. "Hindu Vision in the Poetry of Robert Browning." Creative Launcher 4, no. 2 (June 30, 2019): 27–32. http://dx.doi.org/10.53032/tcl.2019.4.2.04.

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Robert Browning is a positive poet among the great poets of the Victorian age. He is an optimistic, moralist and religious instructor. He occupies a unique place in English Literature. He seeks optimism in any situation of life by preaching universality of soul and advocacy of God. In his poems, Religion holds a prominent place, and religious teachings get expression in a commendable manner. Religion is subject dear to Browning's heart, and several of his poems deal with the theme of religion Faith in God and immortality of the soul. Besides, staunch faith in godly ways and equally profound faith in the earnest endeavour are the salient features of Browning’s philosophy of life. His famous poem Rabbi Ben Ezra is an epitome of Browning’s philosophy. In many of his poems, we encounter the matching ideas of Vedas and Upanishads. He says that God is everywhere, and we need to seek Him. He is a believer in the immortality of the soul and life after death.
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Akhter, Khaleda. "Communalism and Relevance to Nazrul." Global Mainstream Journal 1, no. 1 (May 23, 2024): 19–23. http://dx.doi.org/10.62304/ijass.v1i1.151.

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Kazi Nazrul Islam, renowned for his poetry and literary works, championed Hindu-Muslim unity and secularism in India. Born into poverty and influenced by revolutionary ideals, Nazrul's writings emphasized humanity over religious divisions. He critiqued both Hindu and Muslim extremism, promoting a universalistic approach to religion. His literature sought to bridge communal divides, advocating for the harmony of souls and the recognition of truth across faiths. Nazrul's legacy of secularism remains profoundly relevant today, offering guidance in a world still grappling with religious intolerance and division. His efforts in fostering unity and challenging religious dogma remain relevant today as communal conflicts persist, highlighting his enduring legacy as a flow of harmony and social justice.
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Clooney, Francis X. "By the Power of Her Word: Absence, Memory, and Speech in the Song of Songs and a Hindu Mystical Text." Exchange 41, no. 3 (2012): 213–44. http://dx.doi.org/10.1163/157254312x650577.

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Abstract Religious pluralism today surely poses an ongoing theological challenge, requiring us to think through the significance of the many religions of the world for Christians. But facing the challenge is more urgently the work of the imagination. Even the best theological solutions fall short if they block or ignore the deeper, required work of interreligious learning that occurs in the careful study of the poetry, dramas, and other literary productions of the various traditions. Using as a guide Hans Urs von Balthasar’s great trilogy — aesthetics, dramatics, and theologic — this essay is an exercise in reading together the Biblical Song of Songs along with the medieval Hindu Holy Word of Mouth (Tiruvaymoli) with special attention of the scenes of absence, wherein the human lover waits for the divine beloved to return. From both we learn that in waiting, there is anguish, but in anguish arise powerful memories about, and speech evocative of, the beloved. Each text is read also with attention to medieval religious interpretations. Practicing this dynamic across religious boundaries is an imaginative interreligious exercise that first causes a crisis for theology — where is the beloved? who are those other lovers and beloveds? what to do with the flood of new images and scenes? — yet then a new source for a Christian theology that redeems and deepens Christian particularity after and through, not despite, interreligious learning.
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Munandar, Agus Aris. "BANGUNAN KEAGAMAAN HINDU-BUDDHA MENURUT URAIAN KAKAWIN NAGARAKRTAGAMA." Estoria: Journal of Social Science and Humanities 2, no. 1 (October 1, 2021): 162–90. http://dx.doi.org/10.30998/je.v2i1.597.

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During the Majapahit era, the Nagarakrtagama book in the form of kakawin (Old Javanese poetry) was composed by Mpu Prapanca, the kakawin was completed in 1365 AD. no longer exist because it collapsed or the location is not yet known. Using an archaeological-historical approach, this study discusses several sacred buildings mentioned in the Nagarakrtagama whose existence can still be known archaeologically. The analysis was carried out by combining the written data from Nagarakrtagama with archaeological data in the form of temples on the site, to then review some of the features of the temple building. Through the analysis carried out, it can be seen that during the Majapahit era there were at least 3 types of religious buildings based on their religious background, namely Hindu-saiwa, Bauddha, and Shiva-Buddha. The most sacred buildings erected are Hindu-saiwa, it seems that in general, the Majapahit population embraces this religion. There is also a two-religious temple, namely Shiva-Buddha and a pendharmaan temple building that was erected to glorify a deceased figure, while a rare Bauddha sacred building is found in Majapahit. It seems that Buddhism did develop on a limited basis at that time.Key words: Majapahit, Hinduism, Buddha, temple, Mahameru, gods
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Akhter, Khaleda. "Human Love, Humanism, and the Philosophical Thoughts of Kazi Nazrul Islam." Global Mainstream Journal 3, no. 4 (May 22, 2024): 1–5. http://dx.doi.org/10.62304/alhe.v3i04.153.

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Kazi Nazrul Islam, a seminal figure in Bengali philosophy and literature, epitomized humanism, individual freedom, and rational contemplation. His works, imbued with themes of rebellion against injustice, sectarianism, and oppression, reflect a deep love for humanity and a commitment to truth. Nazrul's poetry and prose transcend religious and social divides, advocating for Hindu-Muslim unity and condemning religious fanaticism and hypocrisy. His literature, rooted in personal hardship and diverse life experiences, serves as a beacon for justice and equality. Even today, Nazrul's legacy inspires resistance against oppression and promotes the ideals of human love and harmony.
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Books on the topic "Hindi Religious poetry"

1

Kabir. Kabīra pada sudhā. Rojhamīḍa, Keliphorniyā: Śrī Rāmakabīra Bhakta Samāja, 1993.

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Gupta, Śāligrāma. Premākhyānaka śabda-kośa: Saṅkhyāparaka. Ilāhābāda: Bhāshā-Sāhitya-Saṃsthāna, 1992.

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Gupta, Śāligrāma. Premākhyānaka śabda-kośa: Saṅkhyāparaka. Ilāhābāda: Bhāshā-Sāhitya-Saṃsthāna, 1992.

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Rajjab. Rajjaba kī sarabaṅgī. Rāyagaṛha, Chattīsagaṛha: Brajamohana Sām̐vaṛiyā, 2010.

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Guptā, Bīnā. Bhakti-kāvya meṃ nārī kī sthiti. Jayapura: Klāsika Pablikeśansa, 1998.

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Pāṇḍeya, Rāmasajana. Nirguṇa kāvya: Preraṇā aura pravr̥tti. Dillī: Sadbhāvanā Prakāśana, 1993.

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Prasāda, Jagadiśvara. Bhakti-siddhanta: Eka viniyogātmaka vyākhyā. Ilāhābāda: Naī Kahānī, 1994.

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Pāṇḍeya, Rāmasajana. Nirguṇa kāvya: Preraṇā aura pravr̥tti. Dillī: Sadbhāvanā Prakāśana, 1993.

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Kanakaprabhā. Sām̐soṃ kā ikatārā. Cūrū, Rājasthāna: Ādarśa Sāhitya Saṅgha, 1988.

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Kocara, Śāntā. Hindī sāhitya meṃ Maṅgala-kāvya. Dillī: Sūrya-Prakāśana, 1990.

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Book chapters on the topic "Hindi Religious poetry"

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Rosenstein, Lucy. "Seeking God: Narratives of the Spiritual in Amrita Bharati’s Work and Hindi Poetry." In Religion in Literature and Film in South Asia, 23–44. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105522_2.

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Elison, William. "A Hole in the Wall." In Religions, Mumbai Style, 276—C13P160. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192889379.003.0013.

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Abstract This chapter discusses the work of Arun Kolatkar (1934–2004), a leading figure in the modernist group known loosely as the Bombay Poets. Born into a Brahmin family, Kolatkar wrote in both English and Marathi about both Mumbai and rural Maharashtra. His poetry moves beyond the conventional dichotomy of Mumbai as modern and the Maharashtrian deshi as traditional and sacred. Rather, this chapter argues, in seeking to penetrate façades—whether literal, as with walls of urban masonry, or figurative, as with the façade of piety assumed by temple priests—Kolatkar deploys insights about illusion and authenticity that seem irreverent but are ultimately rooted in Hindu thought. Revisiting the critiques that greeted the poet in his day of urban elitism and alienation, the argument moves on to engage current debate around Kolatkar’s complex positionality—at once bilingual, postcolonial, and spiritual.
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Winick, Mimi. "Global Seekers in The Quest : A Case Study of an Occult Periodical’s Worldly Religion." In The Edinburgh Companion to Modernism, Myth and Religion, edited by Suzanne Hobson and Andrew Radford, 425–40. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494786.003.0027.

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This chapter shows how a community of famous (e.g., Pound, Tagore, Underhill) and obscure writers from Europe, Asia, Africa, and North America created a self-consciously modern concept of religion that encompassed Christian, Islamic, Jewish, Buddhist, Hindu, and other traditions in the understudied yet influential periodical The Quest (1909-1931), edited by former Theosophist G.R.S. Mead. This concept of religion was specifically global and worldly: it depicted religious experience as a universal human experience and major “force” in world-historical events such as the Great War. In this discourse, two kinds of transcendence define religion in modernity: 1) a sustained spiritual transcendence of one’s individual self, and 2) a universalizing transcendence of specific religious traditions, experienced as access to a global, all-encompassing tradition that features individual spiritual transcendence. Defining religion this way, The Quest offers, in contrast to an already familiar secularisation narrative, a story of spiritualisation in which modernization entails spiritual intensification marked by the increased importance of spiritual experience to society. Through its periodical form, The Quest offered a means to the kind of transcendent spiritual experience described and theorized in the poetry, fiction, and essays it featured.
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Prentiss, Karen Pechilis. "Introduction." In The Embodiment of Bhakti, 3–12. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195128130.003.0001.

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Abstract On the face of it, to students of Indian culture, bhakti needs no introduction. Celebrated as an Indian version of Protestant Christianity by nineteenth-century missionaries and scholars, immortalized in the Bhagavad Gītā, promoted as “India’s Bible” by orientalists and now reclaimed as such by Hindu immigrants in Western countries, and praised by poet-saints in all the major languages of India, bhakti became firmly established in the canon of scholarship on Indian religions. There had been a consensus on what bhakti means, which contributed to its inclusion in the canon of scholarship. Revealing orientalist scholars’ approval of this religious path, by the turn of this century bhakti had come to be defined as “devotion to a personal deity” in English-language scholarship, a definition still influential today. For orientalist scholars such as H. H. Wilson, M. Monier-Williams, and G. A. Grierson, bhakti was a monotheistic reform movement, the first real instance of monotheism in India. By this assertion, they challenged the views of F. Max Muller, regarded as a founder of the discipline called Religionswissenschaft, or the history of religions; he and his followers deemed the Sanskrit Vedas as India’s true and original religion. In Max Muller’s view, the scholars of bhakti were studying the compromise of history; in their own view, they were identifying the jewel in the crown of India’s living religious traditions.
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Mallampalli, Chandra. "Introduction." In South Asia's Christians, 1—C0P49. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190608903.003.0001.

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Abstract South Asia’s Christians are vital for understanding the growth of Christianity in the Global South, and yet their stories are often overlooked. What makes them unique is not the dramatic numerical growth, but their history of interaction with other religious traditions, most notably Hindus and Muslims. This interaction traces back to the oldest Christian tradition in India, the Thomas Christians, who maintained ties to the Persian Christians of West Asia while living side by side with Hindu and Muslim neighbors in Malabar. During the modern period, Christians encountered other faiths through knowledge production, interreligious debates, and conversion. By far the greatest response to Christianity came from Dalit or tribal communities, whose mass conversions, poetry, theology, and embrace of Pentecostalism are essential for understanding South Asian Christianity and its place within World Christianity today.
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Zelliot, Eleanor. "Women Saints in Medieval Maharashtra." In Faces of the Feminine in Ancient, Medieval, and Modern India, 192–200. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195122299.003.0013.

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Abstract The Bhakti movement, the spread of devotional religion in medieval India, seems to have been the most inclusive and open of all facets of Hinduism. Saint-poets of all classes and castes, women as well as men, were recorded in the song literature in Tamil, Kannada, Marathi, and Hindi especially; in Maharashtra, an extraordinary number of women sang their devotional songs in Marathi. Their householder and family situations were also extraordinary. Most women saint-poets in other areas left husbands or never married and found that their devotion could flower only if they had no household responsibilities. In contrast, the women saint singers of Maharashtra, with one exception, found ways to be close to the god of the Marathi Bhakti movement, Vighal or Vithoba, while remaining close to brothers, husbands, and sons.
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Jha, Mithilesh Kumar. "Maithili Language and the Movement, Part–I." In Language Politics and Public Sphere in North India, 110–66. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199479344.003.0004.

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This chapter examines the ways through which the Maithili movement became more provocative and assertive from the beginning of the 1920s until the independence of India. It begins with not just a categorical refutation to Hindi’s claim of Maithili being its ‘dialect’, but by invoking the cultural and historical figures like Vidyapati, Govinda Das, which led to controversy between the supporters of Bengali and Maithili, it tried to galvanize and broaden its support among the Maithili speakers who were divided on the basis of caste, class, religion, region, and sects. In this period, there were many Bengali scholars who tried to project Vidyapati and Govinda Das as Bengali poets. However, the controversy was settled by the Bengali scholars themselves through their meticulous research on Vidyapati and eventually they began to support the cause of Maithili as an independent language. All these developments galvanized the support for Maithili among the Maithils who otherwise were suspicious of Maithili’s prospect in terms of either getting good education or employment. Whereas on the other hand, learning Hindi was seen not only as supporting the nationalist cause but a language that can provide better opportunities. However, Maithili elites remained ambivalent to Hindi. They could foresee its prospect but were not willing to forgo the rich literary traditions of Maithili for championing the cause of Hindi. So, while they were not inimical to Hindi, they rallied solidly behind Maithili to assert its status as an independent modern Indian language. The broadening of Maithili journalism attempts to revive its script—Mithilakshar, and formation of the Maithili Sahitya Parishad were other significant developments in this period. Gradually, these developments led to the growth of a new sense of geopolitical identity on the basis of Maithili. And Mithila-Maithil-Maithili became the key slogan of this phase of the Maithili movement.
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Chakrabarti, Gautam. ""In-Between" Religiosity: European Kāli-bhakti in Early Colonial Calcutta." In Translocal Lives and Religion: Connections between Asia and Europe in the Late Modern World, 35–55. Equinox Publishing, 2021. http://dx.doi.org/10.1558/equinox.31740.

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One of the most engaging socio-cultural traits in late 18th- and early 19th-century India was the disarmingly engaged and comparativist manner in which European travellers responded to the multi-layered and deeply syncretic field of devotional spirituality in eastern India. The predominantly-śākta orientation of early modern Bengali configurations of religious devotion led, especially in the vicinity of the rather-heterodox city of Calcutta, to the familiarization of European migrants to the Goddess Kālī, Herself representing a certain subaltern, tāntrika aspect of Hindu devotional practices. Antony Firingi, (Æntōnī Phiringī) originally Hensman Anthony (?‒1836), was a folk-poet/bard, who, despite being of Portuguese origin, was married to a Hindu Brahmin widow and well-known throughout Bengal for his celebrated Bengali devotional songs addressed to the Goddesses Kālī and Durgā, towards the beginning of the 19th century. He was also celebrated for his performance in literary contests known as kabigān (bardic duels) with the then elite of Bengali composers. His āgamani songs, celebrating the return of Goddess Durgā to her parental home are immensely-popular till today and he was associated with a temple to Goddess Kālī in the Bowbazar-area of North Calcutta that is nowadays famous as the Phiringī Kālibāri (foreigner’s Kālī temple). In this essay, the literary-cultural construction of a religious hybridity, operating between and cross-fertilizing Indo-European cultural conjunctions, is examined through the study of individual, “in-between” religious agency, in this case of Hensman Anthony, who comes across as a figure representing the condition of the transcultural subaltern.
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Wessler, Heinz Werner. "Spiritual Localization and De-localization: Traditional and Modern Patterns in Hindu Pilgrimage." In Songs on the Road: Wandering Religious Poets in India, Tibet, and Japan, 93–112. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbi.e.

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Going on pilgrimage is a vivid tradition in India and its masterpiece, the Kumbh Mela, is probably the biggest mega-event of its kind in the world. The identification of holy places at established places of pilgrimage is an ongoing process even in our times, contributing to the diffusion-mechanisms of certain pilgrimages. In contradiction to this, the criticism of the institution of pilgrimage has formed an important stream for centuries. The monistic tradition in Hinduism has produced many popular poems that question the reward of religious journeying and ritual bathing at holy places, or that transform pilgrimage into a metaphor for inner journeys towards liberation.
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Mohammad, Afsar. "The Rise of a Muslim Voice." In The Oxford Handbook of Modern Indian Literatures. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.9.

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Abstract This chapter discusses the politics and poetics of Muslim writing in the South Indian language of Telugu around 1992, under the shadow of Hindu nationalism. Writing against the political agenda of Hindutva, Muslim Telugu poets have launched a cultural movement that makes a claim for their Muslim identity while also challenging a normative version of Islam and its mainstream textual and ritual practices. To this end, this chapter is focused on three key questions: (1) Who speaks for Muslims and how do we understand minoritarian critiques of Hindu nationalism since the early days of modernity? (2) How and where do we locate these interventions within the dominant literary historiography? (3) How do we understand diverse manifestations of Islam as a religion and the sense of Muslim belonging in the search for a post-1992 Indian identity? Exploring these questions, this chapter debates how Muslim writing has evolved into a discourse during these critical junctures.
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