Academic literature on the topic 'Saadat Hasan Manto'

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Journal articles on the topic "Saadat Hasan Manto"

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Ispahani, Mahnaz. "Saadat Hasan Manto." Grand Street 7, no. 4 (1988): 183. http://dx.doi.org/10.2307/25007150.

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Nimariya, Mohit. "Female subjugation in Saadat Hasan Manto." International Journal of Advanced Academic Studies 4, no. 4 (2022): 209–11. http://dx.doi.org/10.33545/27068919.2022.v4.i4c.958.

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Dr, Divya Sharma. "A Traumatic Testimony: Saadat Hasan Manto's "Toba Tek Singh"." Literary Voice: A Peer Reviewed Journal of English Studies Vol. 1, no. 17 (2022): 114–20. https://doi.org/10.5281/zenodo.6527118.

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The desire of expressing one’s trauma and the compulsion to resist revelation is an ongoing conflict within an individual. Saadat Hasan Manto’s narrative in “Toba Tek Singh” is a negotiation between the two, not just for himself but for an entire people as he manages to evoke a discussion between silence (loss of language) and testimony. His text reiterates that it is difficult to separate personal and collective trauma.  Originally written in Urdu, this short story is a narrative of the dilemma of Bishan Singh, who in post partition of India and Pakistan in 1947, wants to know on which side of the borderline his village Toba Tek Singh is? Keywords: trauma studies, testimony, partition literature, religion, Saadat Hasan Manto, Sigmund Freud, seduction theory  
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Çiftsüren, Arzu. "SAADAT HASAN MANTO’DA KADIN KARAKTERLER: ”HATAK” VE MUZEİL” ÖYKÜLERİ EKSENİNDE." Doğu Dilleri Dergisi 10, no. 1 (2025): 47–56. https://doi.org/10.61134/audodilder.1661609.

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Saadat Hasan Manto Urdu edebiyatının en büyük öykü yazarlarından biri olarak kabul edilir. Bölünme sürecini kendisi de bizzat yaşamış biri olarak anlattığı hikâyeler bölünmeyi, iki sınır arasındaki göç sürecini ve bu süreçte yaşanan vahşeti tüm çıplaklığı ile yansıtmaktadır. Öykülerinin çoğunda ana karakterler olarak kadınları merkeze alan Manto, Urdu dilinin diğer öykü yazarlarından farklı olarak bölünmeyi cinsel saldırıya uğramış ya da bedenlerini satarak hayatlarını idame ettirmek zorunda bırakılmış kadınların gözüyle ele almaktadır. Farklı din ve inançtan insanların bir arada yaşadığı bir coğrafyada düşmanı aşağılamanın en iyi yolunun diğer din ve inanç mensubu kadınların bedenlerine yönelik saldırı olduğuna inanılan bir toplumda öyküleri aracılığıyla bu kadınların acılarına ortak olmuştur. Nitekim Hindistan’ın bölünmesi ve göç sürecinde binlerce kadının tecavüze uğradığı tarihsel bir gerçektir ve Manto, bunu yüksek sesle dillendirme cesaretini öyküleri aracılığıyla göstermiştir. Toplumun yüzleşmediği ya da yüzleşmek istemediği bu kadınları öykülerine taşıması kendisinin defalarca müstehcenlikle suçlanmasına ve ceza almasına sebep olmuştur. Manto’nun öykülerine konu olan kadın karakterler düşkün ama gururlu, kendilerini ticari bir meta olarak gören iş bulucularına karşı bile şefkatli, kendileri yokluk içinde olmasına rağmen başka kadınlara yardım etmeyi kendilerine vazife bilen merhametli ama bir o kadar da sevgiye muhtaç, hayatlarındaki erkeklerin de yükünü sırtlanmış kadınlardır. Bu kadın karakterler toplum tarafından kabul görmemiştir. Çünkü Manto bu karakterleri anne, ev hanımı, itaatkâr bir eş, uysal bir kız evlat gibi yaşadıkları toplumun onlara bir kadın olarak biçtiği rollerin dışına çıkarmıştır. Muzeil ve Sugandhi de Manto’nun en meşhur kadın karakterlerinden ikisidir. Sınır tanımayan Yahudi bir kadın olan Muzeil ile sefalet koşullarında yaşamasında rağmen bir müşterisinin kendini aşağılayan tavrıyla gururu incinen ve içsel bir yolculuğa çıkan Sugandhi’nin anlatıldığı iki öykü olan Muzeil ve Hatak çalışmamızın konusunu oluşturmaktadır. Bu çalışmada mezkur iki kadın karakterin bu öykülere nasıl yansıdığı incelenerek Manto’nun kadını toplum içinde nasıl konumlandırdığı ve bu kadınlara nasıl roller biçtiği ele alınmaya çalışılacaktır.
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Jha, Monalisa. "Obscene and Perverse Fictions: Saadat Hasan Manto and Censorship." LITINFINITE JOURNAL 6, no. 1 (2024): 21–27. http://dx.doi.org/10.47365/litinfinite.6.1.2024.21-27.

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Siddique, Osama. "Capturing Obscenity: The Trials and Tribulations of Saadat Hasan Manto." NAVEIÑ REET: Nordic Journal of Law and Social Research, no. 5 (December 1, 2015): 15–40. http://dx.doi.org/10.7146/nnjlsr.v0i5.111077.

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There is something extraordinarily evocative about great fiction or literary narratives by great writers of fiction on the theme of coercive authority. The celebrated South Asian Urdu essayist and short story writer Saadat Hasan Manto (1912-1955) belongs to a long tradition of highly gifted authors who had the occasion of personally encountering and confronting the cumbersome machinations and the at times mindless and oppressive logic of authority. Like other eminent writers of his ilk, his reflections on his experiences – Manto underwent several criminal trials for allegedly obscene writing – have left posterity with much more than the irate chronicles of someone confounded by an exhausting personal ordeal. We are bequeathed instead with a wealth of deep, astute, and compelling observations of a keen-eyed, sensitive, and articulate man – observations that continue to hold great relevance and wide appeal so many decades later. This article endeavours to capture Manto’s unique critique of imposed legal frameworks for ‘acceptable’ creative expression, as well as his memorable picturization of the spectacle of the legal trial in colonial and post-colonial contexts.
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Bhanu Sk, Shakila. "A BRIEF OUTLOOK: SAADAT HASAN MANTO AS A PROGRESSIVE WRITER." JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, no. 04 (2023): 09–12. http://dx.doi.org/10.54513/joell.2023.10402.

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In the nineteenth century, Indian novels were more directed towards the social interest with political consciousness as the younger generation was more aware of social and political happenings. Indian novels in English originated from different regions of the country by different vernacular writers. Despite geographical, cultural and social differences, themes depicted in the novels shared a common thread of nationalism, colonial rule and post-colonialism. The Progressive Writers’ Movement was majorly instrumented by authors like Mulkraj Anand, Syed Sajjad Zahir, Ahmed Ali, Rashid Jehan, Attia Hosain and Mahmuduz Zafar etc. They were the trendsetters for modern writers in Indian writing in English. This current paper discusses briefly the literary contribution of Saadat Hasan Manto, a noteworthy Progressive writer.
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Maroof, Ghufranullah, Mohammad Qaseem Kashaf, and Sayed Samim Hashimi. "Analysis of the Themes of the Stories and Literary Life of Saadat Hasan Manto." Nangarhar University Social Science Journal 1, no. 01 (2024): 32–35. http://dx.doi.org/10.70436/nussj.v1i01.3.

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Saadat Hasan Manto, a pioneer of Urdu writing, is renowned for his incisive storytelling and unflinching portrayals of social realities. The article examines Manto's literary paths and the profundity of his works' subjects. Manto, born in 1914, was influenced in his storytelling style and thematic concerns by early exposure to the works of Western literary luminaries such as Oscar Wilde and Victor Hugo. Manto's paintings are lauded for their bold realism and precise depiction of societal realities, while they face criticism for their purportedly gruesome nature. This study analyzes Manto's thematic focus, encompassing political, social, and sexual concerns, through a comprehensive examination of academic sources. The findings illustrate Manto's commitment to social critique and realism by depicting a society rife with gender issues, class struggles, and moral hypocrisy. We advocate for Manto's literature, which is occasionally misconstrued and criticized, as a sincere representation of the societal conditions of his era. The study concludes that Manto significantly contributed to Urdu literature by offering an authentic representation of the human condition and a comprehensive critique of societal norms. Saadat Hasan Manto, a pioneer of Urdu writing, is renowned for his incisive storytelling and unflinching portrayals of social realities. This essay examines Manto's literary paths and the profundity of his works' subjects. This study analyzes Manto's thematic emphasis on political, social, and sexual issues through a comprehensive examination of academic sources. The findings illustrate Manto's commitment to social critique and realism by depicting a society rife with gender issues, class struggles, and moral hypocrisy. We advocate for Manto's literature, often misconstrued and criticized, as a sincere representation of the societal conditions of his era. The study concludes that Manto significantly contributed to Urdu literature by offering an authentic depiction of the human condition and a comprehensive critique of societal norms.
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Raveh, Daniel. "What Is Nonviolence? A Dialogue with Ramchandra Gandhi, Saadat Hasan Manto, and Mahasweta Devi." Culture and Dialogue 10, no. 1 (2022): 5–21. http://dx.doi.org/10.1163/24683949-12340111.

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Abstract This paper is an attempt to make sense of the notion and ideal of nonviolence in these ultra-violent days. The paper is a dialogue with three “specialists” of violence, who nevertheless aspire to a different, brighter horizon: Ramchandra Gandhi (henceforth R. Gandhi), Saadat Hasan Manto and Mahasweta Devi. R. Gandhi is one of the most intriguing voices of twentieth-century Indian philosophy. Manto and Mahasweta are writers, the former known for his short partition stories in Urdu; the latter for her gut-wrenching literature in Bengali. All three dare to look violence in the eye, implying that nonviolence can only emerge from deep reflection on violence as an inherent human tendency. Violence is part of me as much as of anyone else. R. Gandhi argues that partition, the cradle of violence, is in the eye, and suggests that we can train the human gaze, our gaze, to prioritize the common denominator between you and I, which hides under the obvious differences between us. For Manto, the remedy is to be found in language. He implies that an ethical dimension is concealed within language, waiting to be excavated. Mahasweta gives voice to those unheard. Acknowledging the unacknowledged, she and Manto show us, is an act of nonviolence.
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Maqbool, Tabassum, Ummi Farwa, and Saira Akhter. "INSTRUMENTAL RATIONALITY AND SOCIAL STRUCTURE WITH REFERENCE TO FEMALE SUBJUGATION IN MANTO'S SHORT STORIES: A HABERMASIAN LENS." Pakistan Journal of Social Research 04, no. 04 (2022): 302–12. http://dx.doi.org/10.52567/pjsr.v4i04.813.

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In this research work, Saadat Hasan Manto's short stories are textually analyzed using a Habermasian lens. Manto's ideas on female subordination, societal supremacy, and freedom are stressed in this paper. The main goal of this qualitative study is to demonstrate the applicability of Manto's discovery in the modern day within the context of Habermas' critical social theory. This study illustrates unequivocally how social institutions' instrumental rationality colonizes and rationalizes the lifeworld. According to Habermas, societal structures like political and economic systems are encroaching on our daily lives. He is worried about the lines separating the lifeworld and the system. Additionally, Habermas' realistic objective for critical theory is for human liberty to be unhindered by any superfluous shackles. The short stories of Saadat Hasan Manto are drawn from Mottled Dawn: Fifty Sketches and Stories of Partition translated by Khalid Hasan and Manto's Selected Short Stories translated by Aatish Taseer. According to the study's findings, Manto and Habermas both reject social structures that oppress people and exert unjust dominance or colonization. The goal of maximizing human emancipation is shared by both. According to the results of the textual analysis, Manto's characters like Saughandi, Nesti, Raadha, and Mozail do not accept submission and advocate for independence from ideological, political, and social restraints. Keywords: Life world and System, instrumental rationality, social structures, domination, emancipation
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Books on the topic "Saadat Hasan Manto"

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Vadhāvan, Jagdīsh Candar. Manto naama: The life of Saadat Hasan Manto. Roli Books, 1998.

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translator, Narang Harish, ed. Manto: My love : select writings of Saadat Hasan Manto. Sahitya Akademi, 2016.

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Alok, Bhalla, and Indian Institute of Advanced Study., eds. Life and works of Saadat Hasan Manto. Indian Institute of Advanced Study, 1997.

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Manṭo, Saʻādat Ḥasan. Bitter fruit: The very best of Saadat Hasan Manto. Penguin Books, 2008.

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Parvīn, Naushābah. Saʻādat Ḥasan Manṭo ke afsānaun̲ men̲ nisvānī kirdār: Female character's as depicted in the short stories of Saadat Hasan Manto. Grasseroots India Publications, 2014.

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Mohan, Edt Dr Narendra. Saadat Hasan Manto Ke Natak ( Hindi ). Kitabghar, 1991.

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Why I Write: Essays by Saadat Hasan Manto. Knopf Doubleday Publishing Group, 2023.

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Bitter fruit: The very best of Saadat Hasan Manto. Penguin Books, 2008.

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Telling stories of partition and war: Saadat Hasan Manto and Istvan Orkeny. Centre for Contemporary Studies, Nehru Memorial Museum and Library, 1998.

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A Manto panorama: A representative collection of Saadat Hasan Manto's fiction and non-fiction. Sang-e-Meel Publications, 2000.

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Book chapters on the topic "Saadat Hasan Manto"

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"Saadat Hasan Manto." In Islam, Judaism, and Zoroastrianism. Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1267-3_100023.

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"Chapter Four. Saadat Hasan Manto." In Enlightenment in the Colony. Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400827664.177.

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"Saadat Hasan Manto 1912–1955." In Name Me a Word. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300235654-013.

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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 technique to create prose poems on Partition that further compressed the short story and overturned readerly expectations about poetry. Finally, in “Khol Do,” Manto displayed his style of extreme brevity by leaving the most important elements unsaid, using the ghazal’s reliance on audience familiarity with poetic convention to different ends. Manto’s style of extreme brevity helps mark him as a world writer, one whose career and work transcended national borders and continue to challenge dominant national and linguistic paradigms for the study of modern Indian literatures.
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Pandey, Beerendra. "The Barking Dog and Crying Bird in Partition Stories: Beastly Modernism and the Subaltern Animism of Manto, Rakesh and Anand." In Beastly Modernisms, edited by Saskia McCracken and Alex Goody. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474498029.003.0009.

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Critics have categorized much of the modernist story in Urdu, Hindi and English of the Indian Subcontinent from the 1930s to the 1950s as Progressive literature. The fictional push for reform in the society and reformulation of humanism in Progressive stories shows the agency of the detritus of society. The thrust for social reform and reconstruction of humanistic values had become all the more urgent in the wake of the cataclysmic violence engulfing the Subcontinent at the time of Partition—in the years between 1946 and 1948. The immediate, shocking responses to the holocaust-like events of the Partition in the Subcontinental discourse of the time harp on men becoming animals and humanity turning into beasts. In sharp contrast to the prevailing cultural discourse, three leading Progressive writers: Saadat Hasan Manto (Urdu), Mohan Rakesh (Hindi), and Mulk Raj Anand (English) fall back upon the animals—the barking dog and the crying parrot—to expose the animality of humanity, both as victimizer and the victimized, one the one hand, and to dramatize the human attributes of the animal on the other hand.
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"Nation (de)composed: Ritwik Ghatak, Guru Dutt, Saadat Hasan Manto, and the shifting shapes of national memory." In The Indian Partition in Literature and Films. Routledge, 2014. http://dx.doi.org/10.4324/9781315769608-14.

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"Saadat Hassan Manto." In Islam, Judaism, and Zoroastrianism. Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1267-3_100024.

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Singer, Christoph. "„A Kind of Limbo“. Schweigen und Schmerz in Partition Narratives: Anirudh Kala („No Forgiveness Necessary“) und Saadat Hassan Manto („The Garland“, „Toba Tek Sing“ und „The Return“)." In Fluchtlinien der Sprache(n). De Gruyter, 2023. http://dx.doi.org/10.1515/9783111201566-005.

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Conference papers on the topic "Saadat Hasan Manto"

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Basu, R. "THE PROSTITUTE AS A CITY’S PARADOX: NAVIGATING THE SOCIETY THROUGH THE BODY OF THE FALLEN WOMEN IN THE SELECT STORIES OF SAADAT HASSAN MANTO." In World Conference on Women’s Studies. The International Institute of Knowledge Management, 2022. http://dx.doi.org/10.17501/24246743.2022.7102.

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