Relevant bibliographies by topics / Khasi poetry

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Academic literature on the topic 'Khasi poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Khasi poetry"

1

Lyngdoh, Bertina. "Biocentrism and Khasi identity: An ecocritical reading of Soso Tham’s poetry." International Journal of Arts, Humanities and Social Studies 7, no. 1 (2025): 167–70. https://doi.org/10.33545/26648652.2025.v7.i1c.177.

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2

Kashif, Mohd, and Jawaid Alam. "Poetry, Politics, and Purity: The Khari Boli–Braj Bhasha Debate in Colonial North India." Synergy: International Journal of Multidisciplinary Studies 2, no. 2 (2025): 65–72. https://doi.org/10.63960/sijmds-2025-2265.

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This paper explores the Khari Boli–Braj Bhasha debate in colonial North India as a pivotal episode in the politics of language, where literary choices were deeply intertwined with questions of cultural identity, communal affiliation, and linguistic nationalism. At its surface, the debate appeared to center on dialectal preferences in Hindi poetry—Braj Bhasha, the classical medium of devotional verse, versus Khari Boli, the emerging standard for modern prose. However, the controversy reflected deeper ideological anxieties, shaped by the broader Hindi–Urdu controversy and the colonial state’s ro
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3

Ramadhan, Waheed, and Shvan Hassan. "THE REFLECTION OF PANTHEISM’S PRINCIPLES OF IBN ARAB IN AHMED KHANI'S WORKS"." Humanities Journal of University of Zakho 13, no. 1 (2025): 147–55. https://doi.org/10.26436/hjuoz.2025.13.1.1526.

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The concept of pantheism is among the most profound and influential intellectual theories in Islamic mysticism, particularly within Sufism. The idea of pantheism, which reached its pinnacle in the works of the Andalusian Mystic Ibn Arab (1164–1240 CE), the purpose of pantheism: it posits that God manifests within all aspects of existence, and humanity reflects this divine essence. Within this framework, spiritual unity with God is achieved through the annihilation of the self in the divine presence (fana). This study investigates the influence of Ibn Arabi’s pantheism on the Kurdish poet Ahmad
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4

Huda Abdulqader Qasim. "Semantic Fields in Nawbar Ahmad Khani." Zanco Journal of Humanity Sciences 29, no. 2 (2025): 235–72. https://doi.org/10.21271/zjhs.29.2.11.

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The title of the research is (Semantic fields in Nawbar Ahmad Khani), the dictionary is small in size, and is considered the first Kurdish dictionary composed in the form of educational poetry to teach children the Arabic language. We chose this dictionary to show the fields that the author wanted the Kurdish child to learn. The method followed in the research is the descriptive method in classifying the lexical fields. The research was completed in two main axes. In the first, we dealt with the theoretical aspect of the study, while the second axis was devoted to dividing the lexical fields i
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5

Ilmiah, Zaddwi Jiwa, and Shinta Esabella. "Pengembangan Aplikasi Sastra Lisan (Lawas) Khas Sumbawa Berbasis Android." Buletin Ilmiah Informatika Teknologi 2, no. 2 (2024): 55–64. http://dx.doi.org/10.58369/biit.v2i2.49.

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Oral Literature (Lawas) or more commonly referred to as folk poetry, is an expression that continues to grow among the people of Sumbawa to this day. It is used as a means to express feelings to someone, either individually or in groups. This research aims to develop an Android-based Sumbawa Typical Oral Literature Application that aims to produce a more attractive appearance with additional audio and video features in the delivery of old. The data collection methods used are interview methods and literature studies. This application was built using the waterfall software development method, w
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6

Haryati, Haryati, and Shinta Esabella. "Rancang Bangun Aplikasi Sastra Lisan (Lawas) Khas Sumbawa Berbasis Android." MATRIK : Jurnal Manajemen, Teknik Informatika dan Rekayasa Komputer 18, no. 2 (2019): 313–20. http://dx.doi.org/10.30812/matrik.v18i2.400.

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This study aims to convert data from Sumbawa Lawas (Oral Poetry) which are currently preserved in the form of books for changes to digital forms. This study uses spiral software development methods and programming languages using Android Studion 2.3.3 as well as SQLite databases targeting Android users version 5.0 (Lollipop). The method of data collection uses a literature study technique with data sources from Boan Lawas book by publisher Usman Amin Trussmedia with ISBN 978-602-0992-88-4 and uses black box testing methods whose testing is done by testing software in terms of functionality. Th
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7

Ilyas, Ahmad Fauzi. "Syaikh Ahmad Khatib Minangkabau dan Kontekstualisasi Syair Arab dalam Isbāt Al-Zain li Sulh Al-Jamā’atain." `A Jamiy : Jurnal Bahasa dan Sastra Arab 13, no. 1 (2024): 54. http://dx.doi.org/10.31314/ajamiy.13.1.54-70.2024.

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This article focuses on the authority of Shaikh Ahmad bin Abdul Lat}i>f al-Khati>b al-Jawi> al-Minkabawi> or Shaikh Ahmad Khatib Minangkabau (1860-1916) - abbreviated as Shaikh Ahmad Khatib - in the field of Arabic poetry in his work, Is}ba>t al-Zain li S}ulh al-Jama'atain bi Jawa>z Ta'addud al-Jumu'atain between pages 21-71. This work, although it discusses fiqh and his debate with Sayyid Usman Betawi over Friday prayers in Palembang at the end of the 19th century, contains many verses used in the context of making his argument. In fact, so far, he is only known as a figure
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8

Rashid, Jihad Shukri. "خودشكوفايي مم در روایت مم و زین بر اساس الگوي انسان گرايانة آبراهام مزلو". Humanities Journal of University of Zakho 6, № 3 (2018): 755. http://dx.doi.org/10.26436/2018.6.3.608.

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In the retelling of the story (Mem u Zin) "Mems" characterization is the result of careful and artistic depiction of Khani. The poet's detailed description of "Mems" character has amazed many addressees and researchers in a way that psychologists will do an in-depth research into this characterization according to examples from Abraham Mazlos Humanistic Model wherein human self-actualization is described. In this research "Mems" character in Khani's story depiction with Mazlo's components of self-actualization have been compared. This research shows that Ahmadi Khani has had a larger aim when
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9

Pandit, Huzaifa. "Translating Loss – Reading Translation as Resistance." HIMALAYA 40, no. 1 (2020): 92–108. https://doi.org/10.2218/himalaya.2020.7836.

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The act of translation is not a linear and static process but a circulatory and dynamic process that permits an enriching negotiation of meaning. One of the ways in which a text can be translated is by trusting that its meaning can be employed outside the local contexts in which it was produced, and employed to comment on contexts far removed from it in time and space. This trusting then allows for the translated texts to intervene in the negotiations between poly-systems, as marginal poly-systems seek a more pronounced space in the literary and cultural networks in a particular space. This ne
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10

Akbar, Dr Sumaira, and Zahid Hussain. "The New symbols in Ali Muhammad Farshi’s poems." Noor e Tahqeeq 6, no. 02 (2022): 53–62. http://dx.doi.org/10.54692/nooretahqeeq.2022.06021765.

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Symbolism is a technique for writers to express their motives. Whenever freedom of speech is restricted, writers use symbolism as tool. Symbols are basically related with the community where they have developed. Ali Muhammad ٖFarshi is well known poet of Urdu poem. In his poems, he uses a system of new symbolic words. He tries to present the inner self problems of an individual through the symbols. Every individual on this earth irrespective to religion and region, have some common problems like identification, hunger and death. The article discusses the systems of new symbols in Ali Muhammad
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Books on the topic "Khasi poetry"

1

Sten, H. W. Khasi poetry, origin and development. Mittal Publications, 1990.

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2

Nongsiej, Kerdalin. Ka bynta ka kynthei ha ka longiing longsem kumba ka paw ha ka poitri Khasi: Ka bishar bniah. Ri Khasi Book Agency, 2015.

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3

Bareh, Heman Roy. Ka bishar-bniah ïa ka jingieit samla ha ki poitri Khasi (1925-70) bad kiwei de ki jingtrei. ESES Plus Publications, 2016.

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4

Mog-chuṅ-phur-kho. Ka khaʼi ʼjaʼ yig. Mi-rigs dpe skrun khaṅ, 2006.

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Mog-chuṅ-phur-kho. Ka khaʼi ʼjaʼ yig. Mi-rigs dpe skrun khaṅ, 2006.

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6

P, Badarch. Tėngėriĭn khas od: Shilmėl zokhilyn botʹ. Mȯnkhiĭn u̇sėg KhKhK, 2003.

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7

Seṅgara, Indra. Bhāratendu pūrva Khaṛī Bolī--kavitā: Eka bhāshāvaijñānika adhyayana. Śrī Sāhityika Saṃsthāna, 2001.

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8

Sīsayām, Sitthi. Nirāt Nō̜ng Khāi: Wannakhadī thī thūk sang phao. 3rd ed. Samnakphim Sō̜ng Sayām, 1990.

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Nizāmī, Phak̲h̲aruddīna. Masanavī kadamarāva padamarāva. Ārya Prakāśa Maṇḍala, 1990.

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10

Gillmore, E. T. B. Maple leaves in khaki ; The blooding of the whelps and other verses. s.n., 1994.

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Book chapters on the topic "Khasi poetry"

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

Meyer, Jessica. "From Slackers in Khaki to Knights of the Red Cross." In An Equal Burden. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198824169.003.0005.

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This chapter uses a range of cultural representations of the men of the RAMC produced during the war to explore how these men perceived their own work and status, and how these were perceived by those they encountered in their caring roles. Drawing on theories of cultural representation, it uses close readings of cartoons, poetry, hospital magazines, and memoirs to demonstrate the multiple and shifting ways in which the work of RAMC rankers was perceived and understood throughout the war. In contrast to the work of Jeffrey Reznick and Ana Carden-Coyne, it foregrounds the representation of the
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3

Makkar, Jap-Nanak. "Tripathi, Suryakant (c.1899–1961)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2035-1.

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Suryakant Tripathi, better known as ‘Nirala’, was a poet, novelist, essayist, translator, and participant in the Chhayavad movement of the 1920s and 1930s. He is remembered for innovations in khari boli, evident in poems such as राम की शक्ति पूजा (‘Ram Ki Shakti Puja’) and his socially conscious commentary, exemplified by poems such as जागो फिर एक बार (‘Jago Phir Ek Bar’). Born Suraj Kumar Tevari in Mahishadal, West Bengal, he would later change his name to Suryakant Tripathi and write under the pseudonym ‘Nirala’, meaning ‘strange one’. In his childhood, Nirala learned Bengali, which would la
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