Relevant bibliographies by topics / Modern Hindi Poetry Analysis

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Modern Hindi Poetry Analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Modern Hindi Poetry Analysis"

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Lesik, Ksenia A. "The Motif of Journey in Kunwar Narain’s Poetry." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 521–33. http://dx.doi.org/10.21638/spbu13.2020.404.

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The article is focused on the motif of a journey in the works of a modern Indian poet, Kunwar Narain, a representative of New Hindi poetry. This motif of a journey is extremely important in Indology studies. Starting with the Indian epic poems “Mahabharata” and “Ramayana”, the motif of pilgrimage has been one of the significant plot lines. During the Medieval period, the motif of a journey became an allegory of individuality cognition. In modern Hindi literature writers introduce innovation in the image of travel, remaining within the established Indian tradition. The research in this article is based on the bilingual collection of poems by Kunwar Narain “No other world”. The article argues that a journey becomes the leitmotif in the poet’s lyrics. As a result, the Indian poet writes a kind of a travel literature, which is based on the image of the way with two semantic motives: a journey as a hero’s movement in space and a hero’s search for his essence, including a peculiar path as an allegory of his spiritual formation. The article focuses on the compositional distribution of poems in the “Journey” section of the book. This distribution expresses the movement of the author’s thoughts. The analysis of the literary techniques, symbolic images and allusions was conducted in the frames of not only Indian literature, but also American poet Walt Whitman’s creations, which had a great influence on Kunwar Narain’s lyrics. Literary influences are identified that contributed to the formation of the Indian poet’s worldview.
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Perry, John Oliver, and Vidya Niwas Misra. "Modern Hindi Poetry." World Literature Today 65, no. 2 (1991): 365. http://dx.doi.org/10.2307/40147316.

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Devi, Pramila. "Modern Hindi Poetry and Women." International Journal of Research -GRANTHAALAYAH 5, no. 6 (June 30, 2017): 693–95. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.2102.

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In the field of Hindi literature, along with men, women writers have also contributed significantly with their valuable works. Here the pages of the history of the past India are filled with specific works of Indian women. At that time they had an opportunity to get education like men. In the course of time, bad practices in the society started increasing. Along with the independence of the country, the freedom of women was also abducted. It also stripped them of the right to equality and education. हिंदी साहित्य के क्षेत्र में पुरूषों के साथ-साथ नारी साहित्यकारों ने भी अपनी बहुमूल्य कृतियों से उल्लेखनीय योगदान दिया है । यहाँ अतीत भारत के इतिहास के पृष्ठ भारतीय महिलाओं की विशिष्ट कृतियों से भरे पड़े हैं । उस समय उन्हें पुरूषों के समान शिक्षा प्राप्त करने का अवसर मिलता था । कालांतर में समाज में कुप्रथाएँ बढ़ने लगी । देश की आज़ादी के साथ-साथ स्त्रियों की आज़ादी का भी अपहरण हुआ । इसमें उनसे समानता और शिक्षा का अधिकार भी छीन लिया गया ।
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Mineshwari. "Place of 'Saket' in Hindi-poetry." International Journal of Research -GRANTHAALAYAH 7, no. 11 (June 10, 2020): 82–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2020.335.

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Maithilisharan is such a seeker of Gupta Indian Manisha, who has been successful in connecting with the ancient Indian ideology and modern thought and way of life dedicated to the protection of humanity and culture. Saket was his successful attempt. It is a best-management poem that added an emotional tone to Indian beliefs and beliefs. The ancient content is presented in a new environment. The origins of the creation of 'Saket' were two inspirations - "(1) Rambhakti, (2) the desire to see and understand the Indian life in a holistic way." 1 Rambhakti naturally refers to Ramakavya, life-daring life- Towards poetry. मैथिलीषरण गुप्त भारतीय मनीशा के ऐसे साधक हैं, जो मानवता और संस्कृति के रक्षार्थ प्राणपन समर्पित रहे भारतीय प्राचीन विचारधारा व आधुनिक विचार और जीवन-पद्धति से जोड़ने में सफलता हासिल किए हैं। ‘साकेत’ इनका सफल प्रयास रहा। यह एक सर्वोत्तम प्रबंध-काव्य है, जो भारतीय आस्थाओं और मान्यताओं को भावनात्मक स्वर मिला। प्राचीन विशयवस्तु को नए परिवेष में प्रस्तुत किया है। ‘साकेत’ के सृजन के मूल दो प्रेरणाएँ थी- ‘‘(1) रामभक्ति, (2) भारतीय जीवन को समग्र रूप में देखने और समझने की लालसा।’’1 रामभक्ति स्वभावतः रामकाव्य की ओर संकेत करती है, जीवन-दर्षन जीवन-काव्य की ओर।
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Peterson, Indira Viswanathan, and Karine Schomer. "Mahadevi Varma and the Chhayavad Age of Modern Hindi Poetry." Journal of the American Oriental Society 105, no. 1 (January 1985): 188. http://dx.doi.org/10.2307/601583.

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Barz, Richard, and Karine Schomer. "Mahadevi Varma and the Chhayavad Age of Modern Hindi Poetry." Pacific Affairs 58, no. 1 (1985): 156. http://dx.doi.org/10.2307/2758044.

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Naved, Shad. "Teaching Indo-Islamic poetry: Sexuality in the global classroom." Thesis Eleven 162, no. 1 (February 2021): 46–61. http://dx.doi.org/10.1177/0725513621990989.

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The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably located in national culture not just because of its sexuality but its association with non-national linguistic elements which the article terms ‘Indo-Islamic’. The overlapping of the sexual modern with the Indo-Islamic resurfaces a tension in the nationalized body of literary writing in Hindi/Urdu, the major ‘national’ languages of South Asia. This encounter of erotic poetry in old Hindi and Urdu with globalized sexuality, the article shows, offers a chance to reflect on how literary studies are being reshaped by the assumptions of a monolingual, monocultural global sexuality in our nationalist times.
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Czekalska, Renata. "The idea of freedom and the expression of artistic protest in modern Hindi poetry." Politeja, no. 31 (2014): 111–31. http://dx.doi.org/10.12797/politeja.11.2014.31_1.06.

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Gargesh, Ravinder. "Stylistics and Stylistic Analysis of a Modern Hindi Poem." Journal of Indian Studies 12, no. 1 (May 2007): 267–313. http://dx.doi.org/10.21758/jis.2007.12.1.267.

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Parakh, Jawarimal. "The Whole World is a Family—Modern Hindi Poetry and the Larger Cause of Humanity." Procedia - Social and Behavioral Sciences 2, no. 5 (2010): 7435–45. http://dx.doi.org/10.1016/j.sbspro.2010.05.109.

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Dissertations / Theses on the topic "Modern Hindi Poetry Analysis"

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Ritter, Valerie. "Useful absences and the nature of the modern : Ayodhyāsiṁh Upādhyāy "Hariaudh" (1865-1947), his Priyapravās (1914), and Hindi poetry /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11068.

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Sarma, Ira Valeria. "The Laghukatha : a historical and literary analysis of a modern Hindi prose genre." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271080.

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Pantopoulos, Iraklis. "The stylistic identity of the metapoet : a corpus-based comparative analysis using translations of modern Greek poetry." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3456.

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The aim of this study is to explore the stylistic identity of four translators of modern Greek poetry into English and to outline each translator’s distinct stylistic profile. In line with views on the subject expressed by Malmkjær (1996) and Baker (2000) a translator’s profile is seen as being composed by consistent patterns that can be identified throughout their work and which leave their personal mark on the text. A corpus-based methodology is used for the identification and exploration of these patterns, through a Specialized Corpus of English Translations of Modern Greek Poetry (SCETOMGP). This corpus contains translations by Rae Dalven, Kimon Friar, Edmund Keeley & Phillip Sherrard (working in collaboration) and David Connolly. The source-texts are taken from C.P. Cavafy, George Seferis, Yiannis Ritsos and Odysseus Elytis, who were extensively translated during the second half of the 20th century. The main purpose of the corpus is to facilitate direct comparison between the retranslations of the same poem. Such direct comparisons form the core of this study and have the advantage of making the issue of source-text influence on each translator directly observable, alongside their other stylistic traits. A detailed account of the theoretical views or reflections each translator has put forth is also presented. Following Holmes (1994) the translator of poetry is seen here as a meta-poet who requires skills similar to those of a critic and an original poet, and certain skills that are specific only to the translator. Consequently, the translators’ views on issues of language, literature, style and translation not only provide the backdrop for exploring any stylistic patterns found in the texts, but are seen as part of their stylistic profile. The distinguishing stylistic features for each translator are explored in both quantitative and qualitative terms. Overall word frequencies for each translator are examined, the stylistic features that are prominent in each case are identified, and their impact is considered. Special attention is also paid to the way those stylistic features that Boase-Beier (2005) calls ‘universal aspects of literature’ are treated by each translator. The next stage of the study involves the identification and sorting out of the patterns of stylistic features that consistently manifest in a translator’s work and examining how these patterns relate to their theoretical views and reflections. In the final stage, the stylistic profile of each translator is compiled by complementing the textual and contextual data together with each translator’s use of paratexts and extra-textual material.
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Migliavacca, Adriano Moraes. "Hart Crane's "Voyages" : analysis and translation." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76225.

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O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos.
The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.
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Argyropoulou, Christina. "The Language of the poetry of Hector Kaknavatos: the grammar, the functions of the poetic language and text-linguistic analysis of some poems." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212193.

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Soudani, Hind. "Sémiostylistique de l'œuvre poétique de Louis Aragon." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040079.

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Les concepts de topos, graphè, éthos et pathos contribuent activement à marquer la singularité d’une œuvre poétique, en l’occurrence, dans le cadre de notre thèse, celle de Louis Aragon (1897- 1982).Aragon fut l’inspirateur de compositeurs et d’interprètes comme « Kosma, Douai, Ferré, Ferrat, Brassens, Claveau, Montand, Trenet, Béart, Morelli, Martin, Ogeret ». Il déclare même qu’il aime qu’on lise ses poèmes mais préfère qu’on les chante. Outre l’importance de la dimension visuelle, la composante sonore et rythmique s’avère elle aussi capitale dans la perception et la réception de la poésie d’Aragon. C’est la raison pour laquelle nous avons opté dans notre thèse pour une étude analytique sémiostylistique et lexico-sémantique de l’œuvre poétique aragonienne.La sémiostylistique est « l’étude du fonctionnement sémiotique du style d’un texte ». En nous inspirant des travaux de G. Molinié, nous avons tenté d’analyser le « conglomérat lexico-syntactico-rhétorico-thématique » qui caractérise la poésie aragonienne en tentant d’ « apprécier la littérarité » des « segments occurrents, et [de] détecter leur spécificité ». Cela nous a permis de poser la question des conditions de la littérarité, de sa mesure, de sa valeur à réception et donc de l’effet de l’art à travers des procédés d’unité ou, au contraire, de subversion
The concepts topos, graph, ethos and pathos actively contribute to highlight the singularity of a poetic work, such as that of Louis Aragon (1897-1982), the object of study of the present thesis. Aragon inspired many composers and singers such as "Kosma, Douai, Shoed, Ferrat, Brassens, Archstone, Montand, Trenet, Béart, Morelli, Martin, Ogeret".He even declares that he likes that his poems to be read but prefers are sung. Apart from the importance of the visual dimension, the sound and rhythmic components are also capital in the perception and the reception of the poetry of Aragon. This is why I opted in the present thesis for a semiostylistic and lexico-semantic analytical study of Aragon’s works of poetry. Semiostylistics is "the study of the semiotic operation of the style of a given text". Inspired by the works of G. Molinié, I tried to analyse the "conglomerate of lexico-syntactic, rhetorical and thematic characteristics" of Aragon’s poetry while trying "to appreciate the literariness" of the "occurring segments, and to detect their specificity" which enabled me to explore the conditions of the literary value, its measurement, its value at reception and, thus, the effect of art through the processes of unity or, on the contrary, subversion
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Chen, Chih-Jou, and 陳稚柔. "The analysis research of Chao Tien-Yi''s modern poetry." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/36n6yr.

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Liu, An, and 劉安. "Spatial Writing of Alishan in Modern Literature, in Taiwan after WWII – An Analysis of Prose, Poetry and Novel." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/7pk62m.

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碩士
國立中興大學
中國文學系所
104
Alishan has been developed for over one hundred years, during which various activities took place and were recorded in literature: Here, ordinary people came for sightseeing, the Japanese exploited the local resources, the Han people settled down, and the aborigines created their myths and formed their belief. All of these show the different aspects of the space of Alishan. The rapid social changes and fast technological developments during this period resulted in a significant change in terms of both the entire society and the said region, and a leaping connection between the human consciousness and the space could be observed. Therefore, to explore space in literature in depth, it is essential to take the consciousness of the masses into consideration. This study is based on the different theories of space which concern with people and place. The different methodologies of different theorists make it possible to clarify the relationship among human, place, and literature, and make spatial writing approachable out of the tangle of symbols and codes. Yi-Fu Tuan focuses his study of space on humanism, Edward W Soja on postmodernism, David Harvey on socialism, while Gaston Bachelard simplifies the human consciousness of space as an archetype. All of these theories are cross-disciplinary, exploring the concept of space from different angles. I analyze the sense of place in three genres: prose, poetry, and novel. My aim is to apply the theories of space to the writing of Alishan and demonstrate the correlation between human, place, and literature.
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Mečíř, Vojtěch. "Časopis Květen." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-325008.

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Kveten was a monthly magazine for literature and art (and by its third year also for "life"), which was published under the auspices of the Union of Czechoslovak Writers from September 1956 to June 1959. It was founded as a magazine for "aspiring writers", but quite soon this concept proved to be unsustainable and members of the editorial board started to give the magazine its own new look, which got even a more comprehensible form during the II. Czechoslovak Writers Congress, after young poets (and theorists) manifested the "Poetry of Everyday Life". It was, however, defined quite generally and maybe even vaguely, which is the fact the authors were struggling with during the following year. At the same time they are exposed to the pressure of official authorities as "anti-revisionism" began to destroy liberal environment that prevailed around 1956. Kveten tried to resist this tendency. In addition, at that time young theorists found a firmer basis, which gradually became unacceptable for the regime. At the beginning of 1959 there comes a wave of heavy critcism and results in abolishing the magazine. In my thesis I demonstrate through archival research, oral history and semiotic analysis that despite the abolition the management of Kveten maintained the principle of "partiality" and is guilty rather for...
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Books on the topic "Modern Hindi Poetry Analysis"

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Shrotriya, Prabhakar. The quintessence of poetry: With special reference to new Hindi poetry. Karnal: Natraj Pub. House, 1987.

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Nāyara, Je Rāmacandrana. Ādhunika Hindī kāvya meṃ vyaṅgya =: Satire in modern Hindi poetry, 1930-60. Ilāhābāda: Smr̥ti Prakāśana, 1988.

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Nāyara, Je Rāmacandrana. Ādhunika Hindī kāvya meṃ vyaṅgya =: Satire in modern Hindi poetry, 1930-60. Ilāhābāda: Smr̥ti Prakāśana, 1988.

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Mahadevi Varma and the chhayavad age of modern Hindi poetry. Berkeley: University of California Press, 1998.

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Mahadevi Varma and the Chhayavad age of modern Hindi poetry. Delhi: Oxford University Press, 1998.

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Constantakis, Sara. Poetry for students: Presenting analysis, context and criticism on commonly studied poetry. Detroit, Mich: Gale, 2010.

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Constantakis, Sara. Poetry for students: Presenting analysis, context and criticism on commonly studied poetry. Detroit, Mich: Gale, 2010.

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Poetry for students: Presenting analysis, context and criticism on commonly studied poetry. Detroit, Mich: Gale, 2011.

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Constantakis, Sara. Poetry for students: Presenting analysis, context and criticism on commonly studied poetry. Detroit, Mich: Gale, 2010.

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Namdev, his mind and art: A linguistic analysis of Namdev's poetry. New Delhi: Bahri Publications, 1988.

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Book chapters on the topic "Modern Hindi Poetry Analysis"

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Curtis, Tony. "Writing an analysis." In How to Study Modern Poetry, 159–65. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-10285-3_7.

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Mody, Sujata S. "Image-Inspired Poetry and the Art of Compromise." In The Making of Modern Hindi, 135–77. 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 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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Sinha, Raman P. "Poetry in Ragas or Ragas in Poetry?" In Text and Tradition in Early Modern North India, 129–42. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0006.

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In this chapter Raman P. Sinha makes a bold effort to uncover broad correlations between the verbal content of poetry that is typically set to music and the ragas in which these poems are performed—not at the level of specific compositions but in regard to a poet’s entire oeuvre. Using standard editions as his base, he deals with padas attributed to four leading Hindi poets of the early modern period: Kabir, Surdas, Mirabai, and Tulsidas. Correlating the life stories of these poets with the musical dimensions of their poetic output, Sinha comes to a number of thought-provoking conclusions. Chief among them is his observation of a reverse relationship between the variety of ragas used and the variety of life situations out of which they arise. In music as in life, finds Sinha, Mirabai and Kabir stand at opposite ends of the spectrum.
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Busch, Allison. "The Poetry of History in Early Modern India." In How the Past was Used. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266120.003.0007.

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This chapter shows how Hindi poetry can be an important resource for understanding the Mughal period (1526–1857). Mughal historians have largely relied on Persian and European sources, but much can be gained by examining the local historical cultures that were cultivated in Indian vernacular languages. Busch focuses on a specific Hindi work, the Binhai Raso of Maheshdas Rao, which tells the story of the Mughal succession war of 1658 from the viewpoint of the Gaur Rajputs who fought (and died) in defence of the Mughal Emperor Shah Jahan. Since the materials are primarily literary rather than documentary in nature, they present challenges to would-be historian of historical culture, but they have the potential to contribute new perspectives not only to the field of Mughal history, but to the re-theorisation of Indian historiographical practices.
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Nijhawan, Shobna. "Marketing Sudhā (1927–41)." In Hindi Publishing in Colonial Lucknow, 59–99. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199488391.003.0003.

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Chapter 2 provides an introduction and discussion of Sudhā’s peritext as well as of Gaṅgā Pustak Mālā and Sudhā’s contributors, objectives, customer care, and marketing strategies. It begins with a horizontal reading of the periodical, showing how it consisted of two major parts that disseminated knowledge through the essay and through poetry and fiction offering a blend of ‘education’ and ‘entertainment’ (Part I) and through a diversity of more practically oriented columns, one of which was a readers’ digest and a lengthy editorial, which also offered a blend of entertaining and educational knowledge (Part II). It considers the periodical’s visual layout as central to understanding its positioning as modern while also being rooted in Vaishnava tradition and devotion towards Rama and Krishna in particular. The visuals are also indicative of new conceptualizations of women in liminal spaces and their relationship to the publishing world in the Hindi public sphere.
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Bann, Jennifer, and John Corbett. "Applying Cluster Analysis to Scots Poetry." In Spelling Scots. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748643059.003.0007.

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As discussed previously, we analyse poetry and prose separately since it is easier to achieve reliable and useful results by comparing like with like. There are various reasons for assuming that spelling in poetry will be unlike spelling in prose; for example, the texts in this literary genre tend to be shorter than prose texts and so they invite formal experimentation, including orthographic experimentation. Our first series of graphs and analysis, therefore, is based on the poetry texts in our corpus. As we observed in the preceding chapter, the main point of cluster analysis is to give an indication of similarity and difference between the orthographic practices of different writers, with respect to the realisation of spelling choices in particular, frequently used lexical items. The analyses that make up Chapters 7 and 8 are by no means intended to offer the final word on the distribution of graphemes in Modern Scots; they are intended, rather, to offer a new technique for analysing such distributions in selected texts.
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Bann, Jennifer, and John Corbett. "Cluster Analysis and Scots Orthography." In Spelling Scots. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748643059.003.0006.

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Given the creative nature of literary texts, there was little pressure on Scots writers to conform to a standard orthography; their goal was rather to draw upon the various resources available to compose a literary text that was intelligible to those readers who were now schooled in the conventions of standard English, and yet which retained features that were identifiably Scots. There were, understandably, numerous ways of achieving this goal, and in the modern period, many literary texts have been produced using Modern Scots orthographies that might at times seem bewilderingly diverse. The modern corpus of literary Scots raises several questions: ● How consistent are the orthographic practices within the repertoire of particular writers and texts? ● How close or diverse are canonical and other writers in their orthographic practices? ● How might the diverse practices of writers of poetry and prose in Scots serve as a resource for the promotion of Modern Scots literacy?
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Snir, Reuven. "Literary Dynamics in Generic and Diachronic Cross-section." In Modern Arabic Literature. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474420518.003.0005.

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This chapter concentrates on the importance of referring to the historical, diachronic development each genre in Arabic literature has been undergoing underwent and the relationships that exist between genres. As with any scholarly treatment of genre, it refers to the developing innovations and discussions of genre theory and the question, “What is genre?” Crucial in this regard is the concept of periodization, that is, how one is to delimit and define “literary periods.” Since literary genres do not emerge in a vacuum, the issue of generic development cannot be confined to certain time spans, and emphasis is placed on the relationship between modern literature, on the one hand, and classical and medieval literature, on the other. The complete study of the historical, diachronic development of literary dynamics requires an analysis of every genre and sub-genre, of the interrelationships and interactions between the genres, as well as of the interactions and interrelationships between the genres and the sub-genres. For reasons of practicality, the chapter relates to only three main genres: poetry, fiction, and theatre.
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Wright, Samuel. "Making Sense of Bhāṣā in Sanskrit." In Text and Tradition in Early Modern North India, 77–98. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0004.

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The movement of material between Sanskrit and the vernacular was by no means unidirectional, as Samuel Wright demonstrates in his analysis of Radhamohan Thakkur’s Mahābhāvānusāriṇī-ṭīkā, a Sanskrit commentary on Bengali devotional poetry. Wright breaks down the techniques employed by Radhamohan in his exegesis of Gaudiya Vaishnava poetry, particularly his use of Sanskrit lexicon in the glossing of Bengali words and his emphasis on the technique of śleṣa (punning). He argues that Radhamohan’s apposition of Sanskrit and the vernacular though such techniques was an attempt not only to show that Sanskrit poetic theory could be used to explain how vernacular poetry ‘works’ (that is, achieves its effects), but also to establish that such vernacular poetry worked as literature, a distinction previously accorded only to Sanskrit.
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Juárez-Almendros, Encarnación. "The Disabling of Aging Female Bodies: Midwives, Procuresses, Witches and the Monstrous Mother." In Disabled Bodies in Early Modern Spanish Literature, 83–115. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940780.003.0004.

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This chapter studies the literary trope of the hag. The works chosen for examination, Fernando de Rojas’s La Celestina (1499, 1502), Cervantes’s Diálogo de los perros [Dialogue of the Dogs] (1613), Mateo Alemán’s Guzmán de Alfarache (1599, 1604) and Francisco de Quevedo’s El Buscón [The Swindler] (1626) as well as his satiric poetry, are representative of the evolution of elderly women characters in Early Modern Spanish literature. Using disability and aging theories, the chapter focuses the analysis on the major components of their depiction: their defective bodies, their relation to the healing arts (midwives) and sexual activities, their proclivity to practice witchcraft, and their inefficient role as mothers. The objective is to illustrate the mechanisms involved in the construction of aging female disability in the imaginary of the period.
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Conference papers on the topic "Modern Hindi Poetry Analysis"

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Wang, Shufan. "Analysis on Bai Juyi's New Yue-fu Poetry of "Feng-Ya-Bi-Xing"." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.17.

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