Relevant bibliographies by topics / Khari Boli Folk literature

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Academic literature on the topic 'Khari Boli Folk literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Books on the topic "Khari Boli Folk literature"

1

Lohanī, Navīna Candra. Kauravī loka sāhitya. Bhāvanā Prakāśana, 2008.

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2

Dvivedī yugīna Khaṛī Bolī āndolana. Parāga Prakāśana, 2012.

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3

Khaṛī bolī ke Rāma-kāvya meṃ yuga cetanā. Rāhula Pabliśiṅga Hāusa, 2003.

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4

Śrīvāstava, Mohinī. Khaṛī bolī ke Rāma-kāvya meṃ yuga cetanā. Rāhula Pabliśiṅga Hāusa, 2003.

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5

Sarāpha, Manohara. Khaṛī Bolī: Rāma-kāvyoṃ meṃ citrita samāja aura saṃskr̥ti. Vidyā Prakāśana, 1994.

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6

Sarāpha, Manohara. Khaṛī Bolī: Rāma-kāvyoṃ meṃ citrita samāja aura saṃskr̥ti. Vidyā Prakāśana, 1994.

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7

Oḍiā loka mukhara boli. Gopabandhu Sāhitya Mandira, 1991.

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8

1947-, Ācārya Sureśa, and Doctor Harisingh Gour Vishwavidyalaya, eds. Bīsavīṃ śatābdī kī Khaṛībolī Hindī. Amana Prakāśana, 2007.

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Book chapters on the topic "Khari Boli Folk literature"

1

Mody, Sujata S. "Image-Inspired Poetry and the Art of Compromise." In The Making of Modern Hindi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199489091.003.0004.

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Abstract:
Chapter 3 further examines Dwivedi’s visually oriented strategies to establish literary authority amidst resistance, especially from critics who publicly decried his brand of poetry as crude, and from poets who continued to publish in Braj Bhasha. Dwivedi’s response was pragmatic: he attempted to bring sophistication to Khari Boli poetry through a cultivated association with art; and he modelled poetry that adhered to a modified agenda. He authored and commissioned a series of image-poems, poetry inspired by and published alongside paintings by Ravi Varma (1848–1906) as well as other contemporary artists. Dwivedi’s limited use and sanction of Braj Bhasha’s linguistic and literary influence in these image-poems did not match his agenda in cartoons and prose. Such maneuvers defined the very substance of modern Hindi poetry in the early twentieth century and established Khari Boli as the language of modern Hindi literature.
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2

Bangha, Imre. "The Emergence of Hindi Literature: From Transregional Maru-Gurjar to Madhyadeśī Narratives." In Text and Tradition in Early Modern North India. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0001.

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Abstract:
Imre Bangha locates the source of what would later become the literary idioms associated with the Hindi heartland—Brajbhasha, Avadhi, Khari Boli, and so on—in Maru-Gurjar, an idiom originating not in the Gangetic plain but in western India, particularly the lands of modern Gujarat and western Rajasthan. Bangha argues that it was this literary language, originally cultivated by Jains beginning in the late twelfth century, that eventually spread to the lands known as madhyadeś, where in the course of the fourteenth and fifteenth centuries it developed into the forms that we now associate with Brajbhasha and Avadhi. Bangha also reveals that the linguistic and literary evidence for this connection has been apparent for some time, but modern Hindi literary historiography, taking nationalism as its organizing principle and embracing a strict sense of religion as one of the significant boundaries of literary culture, has been largely unable to see it.
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3

Mody, Sujata S. "Prescriptive Prose." In The Making of Modern Hindi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199489091.003.0003.

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Abstract:
Chapter 2 examines Dwivedi’s programmatic essays, focusing on his construction of literature as a culturally embedded category of national consequence. His theorization of Hindi literature as broadly inclusive in its definition and function, though faced with some criticism from his peers, serves an immediate need: to stimulate the growth of a national body of literature. At the same time, historical and linguistic parameters and a prioritized plan of literary production reify the notion of a modern category oriented towards a narrowly constructed national collective that seeks to establish its sovereign identity via literature in only Khari Boli Hindi. Dwivedi’s prose prescribes a project of literary self-determination that privileges Indian literary activity with this variety of Hindi as the preferred lead language of the emergent nation, with all the risks that such restriction entails.
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