Relevant bibliographies by topics / Khaṛi boli (Langue)

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Academic literature on the topic 'Khaṛi boli (Langue)'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Khaṛi boli (Langue)"

1

MOHD, TAHIR. "FOUNDATION, DERIVATION, AND EVOLUTION OF URDU LANGUAGE AND LITERATURE UP TO 1857." Kala : The Journal of Indian Art History Congress 27, no. 1 (2021): 7. https://doi.org/10.5281/zenodo.6567316.

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The core objective of this paper is to review the origin and evolution of Urdu as a language of influence. The debate of the origin of the Urdu language is very engaging and diverse. Various theories and arguments have been developed by different scholars and linguists throughout the study of the origin and history of the Urdu language and literature. Its origin from different dialects such as “Khari Boli” and “Baraj Bhasha” is also debatable. Apart from this unending discussion about its origin, the study of its advancement is also crucial. Historically, Urdu is associ
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2

Coghlan, Jo. "Dissent Dressing: The Colour and Fabric of Political Rage." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1497.

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What we wear signals our membership within groups, be theyorganised by gender, class, ethnicity or religion. Simultaneously our clothing signifies hierarchies and power relations that sustain dominant power structures. How we dress is an expression of our identity. For Veblen, how we dress expresses wealth and social stratification. In imitating the fashion of the wealthy, claims Simmel, we seek social equality. For Barthes, clothing is embedded with systems of meaning. For Hebdige, clothing has modalities of meaning depending on the wearer, as do clothes for gender (Davis) and for the body (E
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Books on the topic "Khaṛi boli (Langue)"

1

Siṃha, Ravinandana. Hindī, Urdū, aura, Khaṛī bolī kī zamīna. Sāhitya Bhaṇḍāra, 2015.

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2

Bhāṭiyā, Kailāśa Candra. Khaṛī bolī Hindī kā vikāsa. Takshaśilā Prakāśana, 2009.

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Bhāṭiyā, Kailāśa Candra. Khaṛī Bolī Hindī kā vikāsa. Takshaśilā Prakāśana, 2009.

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4

Siṃha, Candrapāla. Kauravī bolī: Paricaya aura prayoga. Aksharaśilpī, 2015.

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5

Callewaert, Winand M. Dictionary of bhakti: North-Indian bhakti texts into Khaṛī Bolī, Hindī and English. D.K. Printworld, 2009.

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6

M, Callewaert Winand, та Sharma Swapna, ред. Dictionary of bhakti: North-Indian bhakti texts into Khaṛī Bolī, Hindī, and English. D.K. Printworld, 2009.

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M, Callewaert Winand, та Sharma Swapna, ред. Dictionary of bhakti: North-Indian bhakti texts into Khaṛī Bolī, Hindī, and English. D.K. Printworld, 2009.

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8

Caudharī, Tejapāla. Khaṛībolī kā vyākaraṇika viśleshaṇa. Vikāsa Prakāśana, 1990.

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Caudharī, Tejapāla. Khaṛībolī kā vyākaraṇika viśleshaṇa. Vikāsa Prakāśana, 1990.

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Callewaert, Winand M. Dictionary of bhakti: North-Indian bhakti texts into Khaṛī Bolī, Hindī, and English. D.K. Printworld, 2009.

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Book chapters on the topic "Khaṛi boli (Langue)"

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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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 contempor
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2

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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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 it
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3

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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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 Br
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4

Dudney, Arthur. "Building a Vernacular Culture on the Ruins of Persian?" In India in the Persian World of Letters. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192857415.003.0006.

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Modern scholars and critics have generally accepted the false premise that Indians started using Urdu more widely in the eighteenth century because Mughal politics were in a shambles and feckless nobles could no longer fund poetry in Persian, the language of cosmopolitan prestige, and nationalist pride meant they needed their own language (Hindi/Urdu/reḳhtah/khaṛī bolī) rather than the supposedly “foreign” Persian. The Urdu literary historical tradition credits Ārzū with having developed such a language ideology, but the relationship between the ideas addressed in Ārzū’s surviving works, which
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