Relevant bibliographies by topics / Kashmiri Poets

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Academic literature on the topic 'Kashmiri Poets'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "Kashmiri Poets"

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DR. MUHAMMAD YOUSAF and DR. AMBREEN KHAWJA. "Influence of Literary Figures on Urdu Poetry of Azad Kashmir: A Study." DARYAFT 16, no. 01 (June 26, 2024): 27–46. http://dx.doi.org/10.52015/daryaft.v16i01.392.

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The study of the influence of literary figures on the poetry of Azad Kashmir shows that there are influences of Sanskrit, Kashmiri, Persian, Arabic, Urdu and other regional languages ​​as well as classical and modern poetry on the literature of Azad Kashmir. There are intellectual and artistic influences on the poetry of Azad Kashmir from to the present period. Some thought is prominent, some artistic imitation is visible. There is similar style; there is also the use of similar tone. However, all these influences despite this, the poetry of Azad Kashmir have its own individuality and its own style. Azad Kashmir's poetic capital, while being a part of the poetic tradition of Urdu language, has interesting, unique experiences and individual characteristics in terms of theme, theme, style innovation, new symbols, techniques, untouched and unique creative experiences and many other aspects. Azad Kashmir's own regional symbols and some unique experiences give its distinctive color to the poets of Azad Kashmir. Happily, the influence of movements, ideologies and personalities in the footsteps is less visible in the new generation. The poets of the new generation are actively and diligently engaged in creating their own special point of view, their own tone, their own style, and their own color. In spite of the influence of literary movements, critical schools, literary theories, poetic styles and poet personalities in the poetry of Azad Kashmir, its own color and harmony exist with all the beauty, rather, the colors and styles of the poets of Azad Kashmir are different from those of many other regions.
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Bhat, Abdul Manan. "Future’s Moving Terrains." English Language Notes 61, no. 2 (October 1, 2023): 23–38. http://dx.doi.org/10.1215/00138282-10782054.

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Abstract This essay shows how the Islamic Persianate poetic tradition is a critical conceptual resource for imagining futures in which poetry is a technology of congregation through which futures are postulated, negotiated, and lived. The essay engages the multilingual poetic milieu of Kashmir (Urdu, Persian, and Kashmiri) in the first half of the twentieth century, offering an inaugural analysis of the itinerant nature of Persian, Urdu, and Kashmiri poetry in relation to the form of ghazal and its consequences for future making. Kashmiri poets and critics, in poetry as well as prose, made prominent contributions to the literary and political debates about the purposes and potentialities of poetry as a socially aware public form in an anti-imperial context, a theme that animated multiple Urdu and Persian literary circles from the 1930s.
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Bhattacharya, Amit. "Landscapes Mythicized:." Crossings: A Journal of English Studies 10 (August 1, 2019): 25–39. http://dx.doi.org/10.59817/cjes.v10i.76.

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The lay of a people is often tethered to the lay of the land that they live in or leave behind; for the land holds all the associations of ancestry, heritage, and environment that constitute what Emile Durkheim would call “the collective conscious.” Landscapes may assume near mythical dimensions in forming and framing the creative impulse of writers who draw their images and symbols, themes and motifs, and aspirations and apprehensions from their terrestrial roots and routes. In the present paper, I seek to reread a few poems of the famous Kashmiri-American poet Agha Shahid Ali with a view to highlighting his poetics of place that remains true to the kindred points of haven (America, the adopted land) and home (Kashmir, the homeland). Attempts will be made to shed light on the re-creative dynamics of his poetry that helps him to mythicize these two landscapes with the aid of “memory” and “imagination.” My objective here is to foreground the process through which the poet’s re-creation of place combines with the reader’s focus on spatiality to situate Ali’s poems such as “Postcard from Kashmir,” “Snowmen,” “A Wrong Turn,” “Snow on the Desert,” “Farewell,” etc. In the poem, “Postcard from Kashmir” for example, the speaker holds the postcard that represents to him the land of his birth – “Kashmir shrinks into my mailbox,/ my home a neat four by six inches.” The persistent pains of “exile” lead him to proximate the half-inch Himalayas to this “home,” because he realizes “This is home. And this the closest I’ll ever be to home.” Similarly, in the poem “Snow on the Desert,” the poet brings to bear all his imaginative elasticity to re-create the Papago’s way of living in the Sonoran desert in the South Western part of the United States. His poetic narrative brings to the surface the native history of the Papagos people whose long lost lives are imaginatively re-created by a diasporic poet, keenly aware of the ancient glory of his own homeland as contrasted with its recent abjection.
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Ashraf, Dr Rumana. "Representation of Kashmiri Women in Naseem Shifaee’s Selected Poems." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 123–35. http://dx.doi.org/10.24113/ijellh.v9i1.10885.

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The paper undertakes examination of selected poems of Naseem Shifaee’s translated in English by Neerja Mattoo by focusing on female identity . Literature looks at humanity with a questioning as well as affirmative gaze, disapproving and approving at the same time, reaffirming stereotypes as well as breaking them. Throughout ages narratives in Kashmir have revealed the inbuilt discrimination and biases against women. Cultural space for women is highly restricted in Kashmir. In spite of their marginalized position Kashmiri women made themselves heard ,undeterred by established womanly restraints interrogated the patriarchal practices and refused to live in a culture of silence . Naseem Shifaee is a powerful women voice acclaimed internationally with the publication of her first poetry collection Darichi Matsrith (windows thrown open) highlighted the existing reality of women in contemporary Kashmir. The paper will explore the incongruity between the societal image of female poetic persona and her own instincts about her true nature .It will be argued how poetic persona is trapped in male allotted and confined space, persuaded to look at herself continually in terms of social conventions according to which women are denigrated by patriarchal supremacy .The bewildered state of mind leads her to undertake the obsessive search for her authentic self identity. She questions what if roles were reversed? In other two poems Naseem questions patriarchal traditions Naseem Shifaee assume the role of the medium in establishing female non being into self-realized person.
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Shah, Akhter Habib. "Mapping the Cultural Landscape of the Homeland: A Semiotic Analysis of Agha Shahid Ali’s Poetry Collection." Theory and Practice in Language Studies 14, no. 1 (January 1, 2024): 279–84. http://dx.doi.org/10.17507/tpls.1401.33.

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The widely renowned and exhaustively researched Kashmiri-American diasporic poet, Agha Shahid Ali, has received acclaim for his portrayal of themes such as loss, longing for the homeland, nostalgia, hyphenated identity, hybridity, and dislocation, among others. However, within the purview of new historicism, this paper intends to examine the interplay of literature, culture, and history. Using Clifford Geertz's framework of "thick description," the paper analyzes Agha's poetry as a cultural artifact with ethnographic value. Through a semiotic analysis of select poems based on Bakhtin's notion of chronotopes, the paper aims to unravel themes of fragmented identity, cultural memorialization, and the preservation of imaginary homelands. The paper also attempts to explore that Agha Shahid Ali, actively engaged with the socio-political turmoil in his homeland. He sought to reconcile the tensions between different traditions and religious communities, envisioning a personal utopia rooted in his privileged position. His poetry reflects his historical context, facilitating a symbolic exchange between the fragments of Kashmiri culture. Through intertextual references, religious symbols, and social emblems, Ali constructs a significant and experimental narrative about Kashmir.
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Muhammad Ramzan, Dr. Abdul Karim Khan, and Dr. Ihsan Ullah Khan. "Stylistic Analysis of Shadab Zeest Hashmi’s Poem “You are chained”." Research Journal of Social Sciences and Economics Review (RJSSER) 2, no. 1 (March 11, 2021): 280–85. http://dx.doi.org/10.36902/rjsser-vol2-iss1-2021(280-285).

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This paper aims at analyzing Shadad Zeest Hashmi’s poem ‘You are chained’ with a special focus on the foreground. The tools of foregrounding i.e. parallelism and deviation are surfaced that attract the attention of the reader for hidden messages related to the socio-political scenario of Pakistan, Kashmir, and India. Thus the miserable plight of the Kashmiris is encompassed through stylistic devices which are peculiar to Hashmi’s poetry. Foregrounding is the tool through which one can analyze a piece of literature having so many deviations and code-switching. The main aim of the study is to bring to the fore the local poets writing in English. The research is based on this intention to strike the attention of new researchers to criticize as well as to appreciate our local poets for their encouragement. On the other hand, research on Pakistani literature in English is an emerging area of investigation that is why, it is hoped, that this paper will prove to be an encouraging step ahead for future scholars.
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Akimushkina, Ekaterina O. "“The Kashmir poems” of Qudsi Mashhadi (1582-1646): the problem of genre definition." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (December 15, 2019): 681–90. http://dx.doi.org/10.22363/2312-9220-2019-24-4-681-690.

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In the Persian poetry of the postclassical period one can fi nd a signifi cant number of relatively little studied works, which are dedicated to Kashmir, a region located in the north-west of the Indian subcontinent. At present, there is no consensus in Iranian studies regarding the genre defi nition of “Kashmir poems”, which led to consider this problem in detail. The author of the article made an attempt to identify the genre of “the Kashmir poems”, written by Qudsi Mashhadi, whose works have never drawn interest of Russian scholars. Upon analyzing the main motifs and topics of Qudsi’s poems, the author come to the conclusion that they refer to descriptive poetry, and the descriptive motifs are placed either in the context of praise or complaints. The genetic basis of such poems is mainly formed by descriptive, panegyric and calendar poetry. It should be pointed out, that Qudsi’s “Kashmir poems” don’t go back to the shahrashub genre. The presence of similar motifs in “the Kashmir poems” of Qudsi and poems, belonging to the shahrashub genre, indicates that the motifs were transferred from genre to genre - from the shahrashub genre to the genre of description ( vasf ) or from object to object (from the description of cities to the description of regions and vice versa), which refl ects the very essence of the transformation of motifs within the framework of the canonical type of artistic creativity. The analysis has also shown that the term “ bucolic ” doesn’t correspond to the genre nature of Qudsi’s “Kashmir poems”. The study of the genesis and evolution of such poems is intended to contribute to the reconstruction of formation of Persian landscape lyrics of the XIXth century.
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Sanders, Lise Shapiro. "Emily Dickinson’s Shawl." English Language Notes 60, no. 2 (October 1, 2022): 49–68. http://dx.doi.org/10.1215/00138282-9890769.

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Abstract This essay examines a multicolored woolen shawl owned by the poet Emily Dickinson. Contemporary writings from the period referred to such textiles as “India shawls,” although the provenance of Dickinson’s shawl is unknown. India shawls frequently appear in sources ranging from advertisements to fashion columns to fiction, but as often as not, the modifier India is emptied of its meaning and extrapolated, by association, to shawls made in Europe and elsewhere. The shawl’s true site of origin in Kashmir is thus obscured by the process through which India comes to bear the weight of Orientalist commodification for a market of female consumers. This essay traces the literary, historical, cultural, social, and economic significance of both Kashmiri and European shawls, reading them alongside the production of cotton textiles and in the larger context of transnational and transoceanic networks of imperial commodity culture. Drawing on the poet’s references to shawls and fabrics as well as on the qualities of the textile itself, this essay takes Dickinson’s shawl as a starting point from which to begin unraveling the tangled threads that make up the production and consumption of one particularly fashionable nineteenth-century garment.
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Debnath, Kakoli. "The Anxiety of Alienation: Observing ‘Trauma’ and ‘Exile Blues’ of Indian Diaspora in Select Poems of Agha Shahid Ali." ENSEMBLE 3, no. 1 (August 20, 2021): 81–86. http://dx.doi.org/10.37948/ensemble-2021-0301-a010.

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Agha Shahid Ali is one of the most celebrated modern poets of Indian diaspora whose poetry echoes the sense of trauma, loss of ‘home’ and identity and deals with major concerns of dislocation, fragmentation from ancestry, nostalgia, and rootlessness. The sense of alienation is more evident in the works of diaspora writers who are constantly caught up between the cultural spaces of the ‘host’ land and creating a hyphenated identity. The diasporic self finds comfort only in memory rather than the existing contemporary realities hurtful to the ‘exiled’ individual and find themselves possessing a fueling desire to go back to their homeland. Trauma is a response of a distressing event that affects an individual’s ability to cope with life situations and triggers certain traumatic markers. The ‘trauma’ of exile is a psychological phenomenon while the geographical dislocation is more of a physical one. The paper is an attempt to observe the trauma question and exilic state of the diasporic subject in Ali’s poetry and their attempt to live in the ‘host’ land through disintegration from the familiarity of the ‘native’ homeland. The paper seeks to observe how Ali’s poetry is charged with his multicultural hyphenated identity- rendering him a nameless entity. His separation from nativity and ancestral roots showcases the anguish, dilemma triggered in the immigrant in varying degrees and progression of trauma in three select poems- “Postcard from Kashmir”, “Snowmen” and “Cracked Portraits”.
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Muhammad Ahmed Awan and Abdul Khalique. "An Analytical Study Of Aagha Hashar's Poetry." Dareecha-e-Tahqeeq 4, no. 3 (November 5, 2023): 74–79. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.142.

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Aagha Hashar Kashmiri is a renowned poet and dramatist. He is considered one of the pioneers of Modern Urdu theater and his work is known for his poetic language in his dramas. He also wrote many poems i.e. "Shukariya Europe", Moj-e-Zam Zam, Eid Mubarak, Sultan tipu and so on. His poetry has Romanism, socialism, alcoholism, sarcasm, humour and vulgarity. Romanticism was inherent in his poetry and beauty was part of his nature. That is why his poetry is full of romanticism. The essence of speech is prominent in his poems and songs. Imagination, figure carving, subtle elegance, informality, creativity, similes and metaphors are the distinguish characteristics of his Ghazals. He also uses vulgar and immortal words in his poetry but his poetry contains hope and philosophy of life. Aagha Hashar had a lasting impact on Urdu.
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Books on the topic "Kashmiri Poets"

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Taing, Muhammad Yusuf. Mahjūr shanāsī. Srīnagar: Melung patāh, Kitāb Ghar, 1992.

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Āsī, Muḥammad Ṣag̲h̲īr. Shuʻarā-yi Kashmīr. Mīrpūr, Āzād Kashmīr: al-Faz̤l Kitāb Ghar, 1993.

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Āfāqī, Ṣābir. ʻAks-i Kashmīr. Lāhaur: Maqbūl Ikaiḍamī, 1991.

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Āfāqī, Sābir. ʻAks-i Kashmīr. Srinagar: Je. Ke. Buk Shap : Taqsimkar, Haji Shaikh Ghulam Muhammad aind Sanz, 2004.

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Lāl, Sāqī Motī, ed. Kāʼshir Ṣūfī shāʻirī. Srīnagar: Jammūn̲ ainḍ Kashmīr Akaiḍaimī āf Ārṭ, Kalcar, ainḍ Laingvejiz, 1985.

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1939-, Khayal Ghulam Nabi, ed. K̲h̲ayābān-i Kashmīr. Srīnagar: Jammūn̲ ainḍ Kashmīr Akaiḍmī āf Arṭ, Kalcar ainḍ Laingvejiz, 1998.

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Lal Ded: A Dogri novel. Mumbai: Bharatiya Vidya Bhavan, 2018.

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Saprū, Camanalāla. Dīnānātha "Nādima" abhinandana grantha. Śrīnagara, Kaśmīra: Jammū-Kashmīra Rāshṭrabhāshā Pracāra Samiti., 1985.

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1925-, Pandit M. Amin, Kashmir Council of Research, and Seminar on Sheikhul Alam (1978 : Srinagar, Jammu and Kashmir, India), eds. Alamdar-i-Kashmir: Standard-bearer patron saint of Kashmir. Srinagar, Kashmir: Gulshan Publishers, 1997.

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Kapoor, Manan. A map of longings: The life and works of Agha Shahid Ali. Gurugram, Haryana, India: Vintage, an imprint of Penguin Random House, 2021.

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Book chapters on the topic "Kashmiri Poets"

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Mattoo, Neerja. "Syncretic Tradition and the Creative Life: Some Kashmiri Mystic Poets." In The Parchment of Kashmir, 87–100. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137029584_5.

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Mani, Veena. "Poets of Circumstances: Love, Trauma and Death in Digital Poetry." In Writings About Kashmir, 127–37. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003360124-11.

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Greaves, Margaret. "“The Moon’s Corpse Rising”." In Lyric Poetry and Space Exploration from Einstein to the Present, 101—C3P68. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192867452.003.0004.

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Abstract Chapter 3 explores the cultural role of lyric poetry in the race to the moon alongside poets’ disillusioned responses to the moon landing. Poetry’s abiding associations with the moon made it rife for nationalist exploitation as the U.S. and USSR battled for control of Earth in space. Responding to the nationalist destruction of the old moon of poetry, poets from the 1960s to the present have written lunar poetry to examine their relationships with national and transnational belonging. Kashmiri American poet Agha Shahid Ali, for example, uses the moon as a figure of national yearning, postcolonial resistance, and transnational mediation. His career documents the Anglo-American imperial processes it was swept up in, as Kashmir’s fight for self-determination was influenced first by the British Empire and then by American Cold War geopolitics. Ali’s longing for the lost moon of Urdu and anglophone poetry gives way not to a fantasy of national progress but, rather, to elegy for what empire destroys.
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Sohal, Amar. "A Three-Nation Theory." In The Muslim Secular, 153—C3P160. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198887638.003.0004.

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Abstract This chapter offers a rare treatment of Sheikh Abdullah as a political (and indeed pan-Indian) thinker. It begins to illustrate that, by locating Islamic belief and concepts in the sub-national culture of pre-Partition India’s Muslim-majority regions, nationalists were able to settle the minority question and affirm secular Indian nationhood. Claiming that Kashmir was an ethno-linguistic nation of its own, Abdullah’s politics was designed to manage both its distinction from, and unity with, the rest of India. Like his émigré interlocutors, the poet-philosopher Muhammad Iqbal and independent India’s first prime minister Jawaharlal Nehru, Abdullah formulated a notion of natural purity out of the celebrated Kashmiri landscape. This idea, because of its metaphorical power and significant disconnection from (past and present) human endeavour, was astonishingly unreliant on others to effectively render Kashmiri distinction. And yet nature is unable to definitively hand Kashmir over to its inhabitants. While its great qualities of economy and metaphor allow Kashmiris to momentarily escape more protracted narratives of history to define the ethnic nation, nature is simultaneously the alluring, non-human power gesturing towards a past of subjugation. Since the powerful outsider can, therefore, profit from the disconnect between Kashmiris and their beautiful land, Abdullah is forced to look elsewhere to found Kashmiri nationhood and connect it to an organic Indian federation of free peoples. So, much of this chapter explores how Abdullah deployed localized renderings of both Islam and socialism, a mainly negative historical imagination, and even the defunct Dogra monarch to fulfil this delicate task.
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Pandit, Huzaifa. "Pastorals in the City." In The Oxford Handbook of Modern Indian Literatures, C27P1—C27N10. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.27.

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Abstract The desire to trace localized nodes of memory and resistance is a recurrent motif in Kashmiri American poet Agha Shahid Ali’s work. A significant part of his oeuvre is dedicated to exploring the subjectivities of postcolonial marginality. This chapter seeks to explore select poems from his critically acclaimed collection The Country without a Post Office. It also explores the collection’s shift from the “restorative nostalgia” that pervades his earlier work to a “reflective nostalgia” of fragmentation, loss, and irreversibility. The poems establish Kashmir as a liminal space of nostalgic longing, reclamation, and loss, where multiple and contradictory trajectories of nation-making converge to articulate counter-discursive allegories of the nation.
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Stainton, Hamsa. "Devotion as Rasa." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 231–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0007.

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In addition to being an important center for religious innovation and literary production, Kashmir was also the site of major developments in aesthetics from the end of the eighth century onward. After reviewing this history, this chapter considers how Kashmirian poets adopted and adapted language and ideas from aesthetics—particularly the language of rasa—in unusual and creative ways. It focuses on the idea of bhaktirasa, the “taste” or experience of devotion. Notably, many Kashmirian explorations of bhaktirasa occurred long before Gauḍīya Vaiṣṇava authors would make bhaktirasa well known in South Asia. This chapter argues that the Śaiva hymns of Kashmir represent earlier reflections on the aesthetic dimensions of devotion that can contribute to our understanding of the relationship between aesthetics and religion in South Asia.
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Kaul, Suvir. "The Witness of Poetry: Political Feeling in Kashmiri Poems." In Kashmir, 301–24. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316855607.017.

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Stainton, Hamsa. "Stotra as Kāvya." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 197–230. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0006.

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This chapter investigates the relationship between Sanskrit hymns of praise and classical Sanskrit literature. It first surveys the complicated and often ambiguous position of stotras within Sanskrit literary culture. Then it analyzes Jagaddhara Bhaṭṭa’s Stutikusumāñjali as an historically significant example of how devotional poets sought to elevate the status of the stotra form. Jagaddhara reaffirms the value of classical Sanskrit poetry and poetics even as he re-envisions this literary world as being justified and revitalized by devotional praise of Śiva. He incorporates and expands upon earlier traditions of poetry and poetics in creative ways, giving special prominence to the “flashy” style of poetry (citrakāvya) and the poetic figure of “repetition” (yamaka). His ambitious and innovative hymns, as well as those of later poets in Kashmir, testify to the vitality of Sanskrit literary production in the region and offer critical evidence in the debate about the so-called death of Sanskrit.
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Wakankar, Milind. "What Bahena Saw." In India and Its Intellectual Traditions: Of Love, Advaita, Power, and Other Things, 193—C7N26. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198887164.003.0007.

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Abstract In drawing a link between Kashmir Shaiva thought (tenth–twelfth century ce) and the poetry of the seventeenth-century Marathi Bhakti poet Bahena, the paper juxtaposes subject formation and power, not in the language of social science but that of religion. Moving between Bahena and the later Hegel, the paper’s comparatism operates not in the domain of cultural difference (Indian versus Western) but at the level of the internal movement of ‘the concept’ itself, the point at which freedom, negativity, and the will cohere. Finally, it is a matter of what is integral in Bahena’s ‘sadhana-penance’; here the force of Shiva helps her relocate her ‘I’ in the eternal ‘being-there’ of the south-western Indian deity Vitthala-Krishna. A new kind of will is born here, but in the ‘unfree’ conditions of self-surrender.
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Prabha Ray, Himanshu. "Archaeology of Buddhism in post-partition Punjab: the disputed legacy of Gandhāra." In The Rediscovery and Reception of Gandhāran Art, 124–35. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-6.

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After complex negotiations, which only compounded the trauma of the Partition of the Indian subcontinent on 15th August 1947 and the enormous humanitarian crisis that resulted from it, the cultural heritage of the Punjab was also divided, with Indian Punjab receiving from Lahore Museum a total of 627 Gandhāran sculptures, miniature paintings, and so on. Clearly, the sculptures of Gandhāra were accepted as the cultural heritage of undivided Punjab, a region that extended across both Pakistan and India. The nineteenth century kingdom of Maharaja Ranjit Singh (1780-1839), also known as the ‘lion of Punjab,’ with its capital at Lahore, now in Pakistan, stretched across the five rivers into present Afghanistan and Kashmir. In 1849 this kingdom was annexed by the East India Company and British military officials initiated a search for the legacy of the Greeks, especially that of Alexander the Great (Ray and Potts 2007; Hagerman 2009: 344-92). In the quest for cities established by Alexander, they found Buddhist stūpas, sculptures, coins, and gems. The sculptures were often seen to bear resemblance to Hellenistic art. From 1860 onwards these collections led to the development of a distinctive School of Art termed Gandhāra.
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