Relevant bibliographies by topics / Modern Urdu poem

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Academic literature on the topic 'Modern Urdu poem'

Author: Grafiati
Published: 7 June 2025
Last updated: 2 August 2025

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Journal articles on the topic "Modern Urdu poem"

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Dr Irum Saba and Dr Sanam Shakir. "CONTEMPORARY URDU POEM & CHAOS." Tasdiqتصدیق۔ 4, no. 2 (2022): 98–107. http://dx.doi.org/10.56276/tasdiq.v4i2.113.

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Problems and challenges of the modern era are the main sources to affect the human mind and soul. A poet is a sensitive person in society, he realizes, analyzes, and judges the issues of their era and these topics became a pivotal part of their poetry. Literature has a deep relation with society. The major expression found in Urdu poems is anger, grief, and distress over the devastation and destruction in Pakistan and all over the world, especially in the Islamic world. There is always a fear of 3rd world war which fills the mind with terror and a sense of insecurity that prevails around the g
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Perveen, Rukhsana. "The Poet of Modern Urdu Poem Akhtar Hussain Jaffri: A Review." Makhz 2, no. I (2021): 277–88. http://dx.doi.org/10.47205/makhz.2021(2-i)21.

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Neel Zahra and Maryam Batool. "A THEMATIC AND ARTISTIC ANALYSIS OF M. SALEEM U REHMAN’S POEM “HOSPITAL”." Kashf Journal of Multidisciplinary Research 2, no. 01 (2025): 1–9. https://doi.org/10.71146/kjmr180.

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In the literary genres of Urdu poetry, ghazal and poem (nazm) are included. The ghazal is characterized by thematic diversity, while the poem is primarily distinguished by structural diversity. Although the ghazal has embraced new themes, no significant change in its structure is possible. In contrast, the poem shows innovation not only in its themes but also in its structure. In modern Urdu poetry, “azad nazm” (free verse) holds special importance. Due to the freedom of structure in free verse, it exhibits both intellectual diversity and stylistic innovations. Saleem U Rehman is a prominent n
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YAQIN, AMINA. "Truth, Fiction and Autobiography in the Modern Urdu Narrative Tradition." Comparative Critical Studies 4, no. 3 (2007): 379–402. http://dx.doi.org/10.3366/e1744185408000086.

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From its various beginnings in the nineteenth century and ever since the rise of print capitalism on the Indian subcontinent, the Urdu novel has become a prime medium of expression for writers seeking to fuse the narrative traditions of both the East and the West. As a hybrid genre which took shape during the nineteenth century, the Urdu novel's early beginnings were associated with the theme of historical romance; this eventually gave way to the influence of realism in the first half of the twentieth century. By and large, the Urdu novel incorporates influences encompassing the fantastical or
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Itrat, Batool, та Bibi Rizwana. "اختر عثمان کی نظم "ملہار" کا اسلوبیاتی مطالعہ". AL-MISBAH research journal 4, № 3 (2024): 39–49. https://doi.org/10.5281/zenodo.13923209.

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<strong>ABSTRACT</strong> Akhtar Usman is a renowned name of modern Urdu poem. He is a representative of classical traditions and also a guardian and bearer of new style. He is aware of the art of protecting himself from the flaws and shortcomings of the modern style because of his study about classical traditions of poetry. Due to deep insight of classic, Akhtar&rsquo;s intellectual structure is energetic and stable. He successfully saves the ground from the process of poetry destruction in the name of innovation. Even if he composes a poem on a traditional topic, he maintains innovation and
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Sabir, Tahira, and Dr Naheed Qamar. "Ali Farshi's Poem and Archetype." Noor e Tahqeeq 8, no. 03 (2024): 130–47. http://dx.doi.org/10.54692/nooretahqeeq.2024.08032250.

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Archetype is a term in psychology and anthropology; this is a combination of conscious and unconscious; with the help of this unconscious, all nations are connected. It is the reason for the creation of myths, giant beads, symbols, and folk stories. This world is the world of the archetype in as much as it contains nothing that is not an archetype. It could indeed be said that most of the problems of modernity result from ignorance of archetypes. A man should therefore understand what that means because, without such understanding, he would fail to understand himself. It is a term that is also
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Shumaila Naz, Tahira Rubab та Uzma Bukhari. "برصغیر پاک و ہند میں میں آزاد اردو نظم اور مغربی طرز کی جدت کی تشکیل میں عظمت اللہ خاں کا کر دا رAzmatullah Khan's role in Shaping the Free Verse and Western Style Innovation in Urdu Poetry of Ind-o-Pak Subcontinent". Al-Qamar 7, № 4 (2024): 92–106. https://doi.org/10.53762/tty66e10.

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Muhammad Azmat -ul -Allah Khan (1887-1927) is well known geet nigar in urdu history. In critical history of urdu, he is known as dissident of Ghazal. He is remembered to bring change in the meter of urdu poetry. He was an examplary prose writer. His poem and prose both carry variety of theme and contant. He is Known for his modernistic poetry and prasodic expermentations with Urdu poetry. His book Sureelay bol and its preface is an epilome of modern urdu poetry. But article illuminates a hiding aspect of his literary work i.e his role in the formation of Azad Nazam as a lyricist. This article
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Umar Khan Awan and Dr. Saima Nazir. "The Beginning And Trend Of Vagueness In Urdu Poetry." Dareecha-e-Tahqeeq 4, no. 4 (2023): 20–23. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i4.144.

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In this research paper, an attempt has been made to understand the beginnings of ambiguity in modern Urdu poetry and to understand it as a phenomenon. The ambiguous narrative of the modern poem has been debated in the literary world for decades. In the movement of linguistic formations that started in the sixties, an attempt was made to express a new poetic expression by completely deviating from the tradition. The intellectual and stylistic changes in poetry during this period gave rise to serious problems of ambiguity in modern poetry. The movement of linguistic formations died out within a
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Dr Mukhtar Ahmad Azmi and Haider Ali. "The Lament of the Decline of the Ummah in Modern Urdu Naat." Noor e Tahqeeq 9, no. 01 (2025): 40–49. https://doi.org/10.54692/nooretahqeeq.2025.09012317.

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Time is a mysterious and divine secret, explored by philosophers for centuries without a definitive answer. According to Allama Iqbal, the cycle of day and night defines life and death. The golden era of history was the time of the Holy Prophet (PBUH), followed by the Rightly Guided Caliphate. However, decline set in with monarchy and dynastic rule. For the past two centuries, Muslims have faced continuous downfall. In Naat poetry, alongside praising the Prophet (PBUH), poets have expressed sorrow over the Ummah’s decline. Hali’s Musaddas laments, "O special messenger, it is time for prayer."
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Dr Wasim Abbas Gul, Rashid ul Haq, and Hina Naseem. "A CRITICAL REVIEW OF THE GHAZAL OF JOSH MALIHABADI." Tasdiqتصدیق۔ 4, no. 2 (2022): 55–70. http://dx.doi.org/10.56276/tasdiq.v4i2.108.

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Josh Malih Abadi's name has a unique place in the history of Urdu literature as a shining and brilliant chapter in terms of poetic aspects and creative energy. While Josh is a poet with a lively heart and mind and an open eye. With its free nature and a vast sea of words and phrases. Like the great poets, his style of using words and phrases is unparalleled and unique, and his great place in Urdu poetry is established with all distinctions. Josh wrote modern and ancient Ghazal like Hali and if there is anything wrong with the Ghazal, he tried to write it in a new style. It is as if Josh claime
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Books on the topic "Modern Urdu poem"

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Dudney, Arthur. India in the Persian World of Letters. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192857415.001.0001.

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This study traces the development of philology (the analysis of literary language) in the Persian tradition in India, concentrating on its socio-political ramifications. The most influential Indo-Persian philologist of the eighteenth century was Sirāj al-Dīn ʿAlī Ḳhān (d. 1756), whose pen-name was Ārzū. Besides being a respected poet, Ārzū was a rigorous theoretician of language whose intellectual legacy was side-lined by colonialism. His conception of language accounted for literary innovation and historical change in part to theorize the tāzah-goʾī [literally, “fresh-speaking”] movement in P
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Book chapters on the topic "Modern Urdu poem"

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Khan, Maryam Wasif. "Epilogue: Us, People / People Like Us." In Who Is a Muslim? Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290123.003.0007.

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The epilogue reads the poet and writer, the late Fehmida Riaz as a secular figure in the modern history of Urdu prose. It examines her novella-like work, Zinda Bahar, to show how Riaz’s writing is an attempt to mark her status as exile.
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Dubrow, Jennifer. "Saadat Hasan Manto and the Poetics of the Urdu Short Story." In The Oxford Handbook of Modern Indian Literatures. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.33.

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Abstract This chapter argues that the preeminent Urdu short-story writer Saadat Hasan Manto (1912–1955) utilized a fundamentally poetic style in his best work. The chapter analyzes three exemplary works—the 1942 short story “Bu”; the 1948 collection of vignettes and prose poems on Partition violence, Siyah Hashiye; and the 1948 story “Khol Do”—to show how Manto reinvigorated aspects of Urdu ghazal poetry to make meaning with minimal words. In “Bu,” Manto produced disjuncture and jar by contrasting an underlying lyrical structure with disturbing events. In Siyah Hashiye, Manto expanded this tec
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"On Translating Ghalib." In A Life in Urdu, edited by Marion Molteno. Oxford University PressDelhi, 2022. http://dx.doi.org/10.1093/oso/9789391050948.003.0010.

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Abstract Ghalib is considered a difficult poet, even for Urdu speakers, and there are particular difficulties in translating his ghazals. Russell describes his joint work with Kurshidul Islam to present Ghalib’s life largely through translations of his prose writing. His letters, written to friends particularly in his later years, are lively and accessible, but other prose (mainly in Persian) was carefully crafted within traditional styles, which for modern readers is more difficult to appreciate. Nevertheless Russell feels it important to translate it in the style Ghalib chose. The difficulti
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