Relevant bibliographies by topics / Urdu Ghazals

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

Academic literature on the topic 'Urdu Ghazals'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Urdu Ghazals"

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Grewal, Sara Hakeem. "The Ghazal as “World Poetry”: Between Worlding and Vernacularization." Comparative Literature 74, no. 1 (March 1, 2022): 25–51. http://dx.doi.org/10.1215/00104124-9434498.

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Abstract While the ghazal has appeared in many linguistic traditions, its diversity is undermined by the imposition of a singular definition of this genre, which is further compounded by the overly simplistic identification of ghazal as lyric; these lyricized readings of the ghazal as both transhistorical and transnational rely on a discourse of “worlding” as an imperial project of cultural recovery and homogenization. In contrast, this article employs the methodology of historical poetics to argue via a reading of meta-ghazals in Persian, Urdu, and English that reading practices around the ghazal—including definitions of the genre that variously emphasize form versus theme—change according to the historical and geographical context of its circulation. However, by celebrating the ghazal’s travel as seemingly apolitical and/or ahistorical, the discourse of world poetry, particularly in the reception of the ghazals of Agha Shahid Ali, participates in an ongoing imperialism in world literary study. In contrast, we can read the ghazals of Adrienne Rich as exemplifying the tradition of vernacularization that has enabled the ghazal’s movement between languages, such that her work, like the work of historical poetics as a methodology, honors the history of the form’s travel through its appearance in contemporary American English.
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Tariq, Nida, Iqra Ijaz, Muhammad Kamran Malik, Zubair Malik, and Faisal Bukhari. "Identification of Urdu Ghazal Poets using SVM." Mehran University Research Journal of Engineering and Technology 38, no. 4 (January 1, 2020): 935–44. http://dx.doi.org/10.22581/muet1982.1904.07.

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Urdu literature has a rich tradition of poetry, with many forms, one of which is Ghazal. Urdu poetry structures are mainly of Arabic origin. It has complex and different sentence structure compared to our daily language which makes it hard to classify. Our research is focused on the identification of poets if given with ghazals as input. Previously, no one has done this type of work. Two main factors which help categorize and classify a given text are the contents and writing style. Urdu poets like Mirza Ghalib, Mir Taqi Mir, Iqbal and many others have a different writing style and the topic of interest. Our model caters these two factors, classify ghazals using different classification models such as SVM (Support Vector Machines), Decision Tree, Random forest, Naïve Bayes and KNN (K-Nearest Neighbors). Furthermore, we have also applied feature selection techniques like chi square model and L1 based feature selection. For experimentation, we have prepared a dataset of about 4000 Ghazals. We have also compared the accuracy of different classifiers and concluded the best results for the collected dataset of Ghazals.
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Dr. Muhammad Qamar Iqbal and Dr. Muhammad Yousaf Awan. "Bal-E-Jabreel's Taghzal: A Research And Critical Review." Dareecha-e-Tahqeeq 4, no. 2 (July 5, 2023): 1–7. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.111.

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Allama Iqbal completely changed the body of Ghazal. Thanks to Iqbal, today Urdu Ghazal is reaching the extremes of development and all kinds of ideas are being expressed in it. Iqbal's ghazal is not a traditional ghazal. His beloved is the nation of Islam, humanity, the prophet and the person of Allah Almighty, Iqbal makes them beloved and speaks in such a way that a unique isolation is created in his ghazals. Allama was carrying the pain of the nation in his chest, so Bal Jibreel is also not free from this pain, but here all the ghazals and poems seem to be immersed in the pain of the nation. Allama has brought ghazal to its peak in Baal Jibreel and has grasped all kinds of colorful subjects in such a way that even in the precise and heavy problems of philosophy, he made them into ghazal by creating subtlety and elegance. And this is such a great artistic and intellectual achievement that not only Urdu poetry but the poetry of the whole world will continue to be proud of.
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Badar, Rukhsana, and Sadaf Naqvi. "Urdu-12 Persian Elements in Iftikhar Arif’s Religious Poetry: An Analysis." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 2 (June 20, 2021): 157–64. http://dx.doi.org/10.53575/urdu12.v5.02(21).157-164.

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"Iftikhar Arif has beautifully presented the problems of the modern age in Nazm and Ghazal. He has coined nice Persian structures to depict contemporary sensibility, consciousness and internal emotions. These structures have the name of their creator stamped on them. He has extensively used Persian words and structures in his Nazms and Ghazlas. Many beautiful Persian structures are found in the verses of his Nazms, Ghazals and Couplets on the topics of Dua and Hamd. Iftikhar Arif’s attachment with Urdu Classic poetry and Persian language is also evident from the names of his books on poetry. Even the names of his books on poetry are composed of Persian structures. Moreover the titles of his poems are also in Persian language."
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Vasilyeva, Lyudmila A. "The Problems of Studying the Creative Heritage of Mir Taqi Mir." Papers of the Institute of Oriental Studies of RAS, no. 28 (2020): 19–34. http://dx.doi.org/10.31696/2587-9502-2020-28-019-034.

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The article deals with the main difficulties that a researcher may face studying the legacy of the classical Urdu poet Mir Taqi Mir. During his life time Mir was accorded wide recognition as a great poet of North India and nowadays his ghazals are still popular and loved by Urdu speaking people. The main difficulties of a researcher concern many inaccuracies in biographic facts, principles of selecting ghazals to be analysed, the difficulties in translating ghazals to other languages and some other problems. The majority of papers on Mir are in Urdu. The study of Mir’s literary heritage by Russian philologists was practically frozen in the last century, and nowadays it seems relevant to continue it.
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Khan Khattak, Dr Satar. "Comparative Study of Allama Iqbal’s Urdu and Persian Composition of ode." DARYAFT 14, no. 01 (October 31, 2022): 87–110. http://dx.doi.org/10.52015/daryaft.v14i01.213.

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Allama Muhammad Iqbal started his poetry from Urdu ode or amatory verses. But very soon he started his poetry in Persian. Iqbal realized that the skirt of Urdu language is very narrow for his ideas and thoughts. He recognized that Urdu is a young inexperienced language. Urdu is spoken, written and reading in a limited part of the subcontinent. On the other hand person is an old and experienced language of the world and is spoken, written and reading in a vast part of the Muslim world. Persian language keeps the most valuable assets of poetry and prose. The Persians odes of Allama Iqbal are found in Piyam-e-mashriq and Zaboor-e-Ajam. Some Urdu odes of Iqbal are found in Bang-e-Dara and Zarb-e-kaleem, but the most important odes are found in his famous book of Urdu poetry named as Bal-e-jibreel. This collection of poems by Allama Iqbal is very important, because what is clearly stated in his Persian odes, is what is indicated in Bal-e-Jibreel. The first part of Bal-e-Jibreel consists of ghazals. Essentially, these ghazals portray the same meaning that the Persian ghazals imply. However, the experimental writing of these ghazals, the sheer talent employed in this book are as climactic in terms of poetry.
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Dr. Arshad Mahmood Nashad. "Maulana Hali And The Art Of Ghazal." Dareecha-e-Tahqeeq 3, no. 2 (January 6, 2023): 1–11. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i2.41.

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Maulana Altaf Hussain Hali is undoubtedly the founder of modern literature. He dedicated genres like criticism, poetry and biography with the taste of freshness. Muqadama Shair O Shairi is the first reliable example of theoretical criticism in Urdu. During his tenure in Lahore, he laid the foundation stone of the modern poetry movement along with Maulana Muhammad Hussain Azad. Although he was educated under the shadow of Eastern literature, he soon got tired of its monotony. Western literature began to feel close to his heart. He loved the utilitarian aspect of literature. Ghazal, which is the most representative genre in Eastern literature, became a target of his criticism. It is generally believed that he was opposed to the ghazal genre, but the fact is that he disliked ghazal due to the homogeneity of the themes of the ghazal. He was opposed to excessive unnatural color in the ghazal. Hali was a practical person, so he wrote ghazals according to his ideas, which were not liked by a large section of Urdu literature and his ghazals were called unhealthy poetry. There is no doubt that Hali made Ghazal a subject of criticism for the first time like other poetry genres. His influence had a far-reaching impact on Ghazal. This article examines Maulana Hali's views on Ghazal.
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Khan, Muhammad Asif, Asma Aftab Khan, and Aamer Shaheen. "“Negotiation of Difference”: A Study of the English Translations of Ghalib’s Urdu Ghazal." Global Language Review V, no. II (June 30, 2020): 32–41. http://dx.doi.org/10.31703/glr.2020(v-ii).04.

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The Ghazal is a well-known genre of Urdu poetry. The translation of Ghazal into the English language poses specific challenges. Translating Ghalib, one of the greatest ghazal writers, into English, is a special case under consideration. Several translators have produced their versions of Ghalib’s Urdu ghazals. The present study is an effort to evaluate the performance of six translators who rendered a particular ghazal of Ghalib in the English language. The study utilizes the distinction between ‘literal’ and ‘sense-for-sense’ translation as perceived by Nida (2000 [1964]), and Vermeer (2000). The translations have been analyzed on the basis of three research questions which encompass the aspects of the type of translation, the form of the Ghazal, and the poetic appeal. The study offers useful insights into the translation of Ghazal into the English language.
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Vasilyeva, L. A. "The ghazal of Mir Taqi Mir: the formation of the poetic and literary language of Urdu." Orientalistica 3, no. 3 (October 3, 2020): 820–48. http://dx.doi.org/10.31696/2618-7043-2020-3-3-820-848.

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Mir Taqi Mir is a classic Urdu poet of the 18th century, an outstanding master of ghazal genre. With his work, Mir Taqi Mir proved that his native Urdu language possessed a vocabulary fit to express the finest nuances of poetic speech. He also made evident that the ghazals written in Urdu were not entirely imitations of those written in Persian, which formed the poetical basis of Urdu poetry. The article argues that the Mir Taqi Mir's heritage can be considered as a milestone in the evolutionary development of both poetical and literary language of Urdu. Throughout his life, the poet remained in a creative search. Working on a certain poetical theme, he often made recourse to it trying to bring out maximum possibilities for its realization by means of his native language. Analysis of numerous examples in the article can be considered as an effort to ascertain how borrowed poetical traditions were domesticated and how this process facilitated the selection of vocabulary and standardization of common literary language of Urdu.
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Dr. Qamar Abbas and Dr. Mazhar Iqbal Kalyar. "Dr. Tahir Taunsvi’s “Ghazal” :An Analytical Study." Dareecha-e-Tahqeeq 4, no. 1 (March 22, 2023): 22–33. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i1.100.

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Dr. Hafeez Ur Rehman Tahir Taunsvi is famous for his valuable work in the field of Urdu research and criticism. His poetry, especially his “Ghazal” is also a significant part of his literary services. This aspect of his personality is mostly overpassed by the critics. His collection of poetry " تو۔۔ طے ہوا ،نا " published in 2001 AD. It has great value due to its diction, style and themes. Dr. Tahir Taunsvi’s “Ghazal” has beautiful colors of traditional and modern poetry. His “Ghazals” present the romantic atmosphere of love and beauty in an artistic style. Besides this, the optimistic and progressive approach increases the worth and value of his themes and style. It has great resistance against the exploitation and oppression. His “Ghazal” also promotes the great human and moral values. One can see the personal tragedy transforming into the grief of humanity in his “Ghazals”. In this article, the authors have presented an analytical study of Dr. Tahir Taunsvi’s Poetics.
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Dissertations / Theses on the topic "Urdu Ghazals"

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Liboiron, Paul Adrien. "The transformation of plot in the couplet of the Urdu Ghazal : an examination of narrative." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/30140.

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This thesis examines a selection of verses taken from the Urdu divan of Mirza Asadullah Khan Ghalib. Ghalib is considered by many to be the preeminent writer of the classical Urdu ghazal (circa 1750-1850). Although the examination is restricted to Ghalib's verse, the problem it investigates is broader in nature and involves questions which some aspects of the ghazal raise with respect to the reader's involvement. An essential feature of the ghazal form is the fact that, although the ghazal poem consists of a set of couplets, each couplet of a ghazal is itself a complete text with respect to its content The question, then, is "how does the reader become involved in a form limited to two lines of text?" This thesis discusses the question from a narratological perspective: the couplet involves the reader by telling a story. The narrative of the couplet differs from what one normally thinks of as narrative in that the significance of its plot is derived, not from a series of episodes arranged in chronological order, but from a thematic continuity which links couplet to couplet within the tradition as a whole. The world of the ghazal is inhabited by a few characters, the principal being the lover and the beloved, whose behaviour and attitudes are determined largely by a set of well-defined conventions. The characters who appear in the individual couplet are already familiar from the dramas to which these characters have been subjected in previous readings of other couplets. However, unlike the characters in a traditional novel whose histories connect a great variety of events within a chronological framework, the couplet is extremely limited in term of the number of chronological connections it can establish. The depiction of time in the ghazal is radically different from the often elaborate histories presented in forms such as the novel. The world of the ghazal is merely suggested. Consequently, the reader's role in reconstructing the world of the text is of particular importance in compact forms such as that of the ghazal. The contention of this thesis is that the restrictions imposed by the couplet on plot structure has been compensated for by the cultivation of a narrative style in the ghazal text which often forces the reader to become aware of the process of discovering the drama of the text. The first chapter begins with an introduction to the thesis, and is followed by an introduction to the formal features of the ghazal text and some of the important themes of the tradition. The second chapter presents a review of critical writings in English on the Urdu ghazal. The third chapter presents a discussion of methodology. In this chapter I use Peter Rabinowitz' analysis of the reader's beliefs in my attempt to define what I mean by the reader's involvement in the world of the text. According to Rabinowitz, a fictional work invites its reader to pretend that its plot is a historical account, even though the reader knows that the world of the text is imaginary. To account for the reader's dual role, Rabinowitz divides the reader's beliefs into what he calls the "authorial audience" and the narrative audience." Briefly, the authorial audience can be viewed as the competent reader, the one who possesses the required knowledge to understand the text, to decipher its allusions, but who knows the world of the text is a fiction. The narrative audience sees the fictional text as a description of events that "really" happened. My investigation of the reader's attempt to discover the world of the text is from the point of view of the narrative audience. The third chapter attempts to apply Rabinowitz' views to some general features of the plot structure in the ghazal text. The fourth and final chapter examines the ways in which the ghazal text forces the reader to become aware of the process of discovering the world of the text.
Arts, Faculty of
Asian Studies, Department of
Graduate
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Kirk, Gwendolyn Sarah. "Half-drawn arrows of meaning : a phenomenological approach to ambiguity and semantics in the Urdu Ghazal." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3219.

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In this paper I explore the role of ambiguity in the creation of meaning in the Urdu ghazal. Ghazal, the predominant genre of Urdu poetry, consists of a series of thematically unrelated yet metrically and prosodically related couplets, each densely packed with multiple and complex meanings. Ambiguity, both lexical and grammatical, is a key technique in the poetics of this genre. Here I not only analyze the different ways ambiguity manifests itself but also the way it has historically been and continues to be mobilized by poets and practitioners of the genre to further imbue each couplet with culture-specific, socially relevant meanings. Breaking with previous approaches to Urdu poetry and poetics, I examine ambiguity in the ghazal with reference to theoretical traditions in linguistic anthropology of ethnopoetics, performance and verbal art, and ethnographic examination of poetic praxis. Finally, addressing various phenomenologies of language, I propose a phenomenological turn in the study of this poetry in order to better theorize processes of meaning creation on both an individual and wider ethnographic level.
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Books on the topic "Urdu Ghazals"

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Naẓar, Prem Kumār. The silken knot: Urdu ghazals. Calcutta: Writers Workshop, 1994.

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zā, Hasan Abbās Ra. K hvāb a zāb hū e. Rāvalpin dī: Zahīr Aisosīe ts, 1985.

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1971-, Jogī Sunīla, ed. Andāza apane-apane. Dillī: Dinamāna Prakāśana, 1995.

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Vārs̲ī, Muẓaffar. Lahjah. Lāhaur: al-Qamar, 1993.

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Saudā, Mirzā Muḥammad Rafiʻ. Dīvān-i g̲h̲azaliyāt-i Urdū. Lakhnaʾū: Hājrah Valīulḥaq, 1985.

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Purohita, Rameśa. Angurī: Gujarātīmāṃ pahelī ja vakhata Urdū gajhalanā śeronī vishayavāra rajūāta, rasāsvāda. Mumbaī: Navabhārata Sāhitya Mandira, 1994.

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1925-, Ansari Asloob Ahmad, ed. G̲h̲azal tanqīd. ʻAlīgaṛh: Yūnīvarsal Buk Hāʼūs, 2002.

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Riz̤vī, Shīmah. The cultural grammar of Urdu ghazal. Lucknow: Prakashan Kendra, 1995.

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Nāḍakarṇī, Sureśacandra. Begama Ak̲h̲tara. Puṇe: Mānasanmāna Prakāśana, 1999.

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Ghalib, Mirza Asadullah Khan. [Persian ghazals of Ghalib]. Toledo OH: the translator, 1999.

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Book chapters on the topic "Urdu Ghazals"

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Narang, Gopi Chand. "The Neoclassicists." In The Urdu Ghazal, translated by Surinder Deol, 235–77. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0006.

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By the early twentieth century, Urdu literature had grown in variety and richness—it consisted of not only divans of ghazals but novels, dramas, historical accounts, biographies, and even books on medicine and astronomy. However, the ghazal as a genre had suffered a reversal, first by a movement by some British educationists aimed at promoting poems, and then by the loss of master poets like Dagh, Hali, and Shibli, without any replacement by the poets of the same caliber. Under such circumstances, it was left to poets like Hasrat Mohani, Akbar Allahabadi, Allama Iqbal, Chakbast, and Yagana to take up the ghazal’s banner. All of them helped in its vigorous restoration and revival with a captivating lyrical touch.
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"On Translating Ghalib." In A Life in Urdu, edited by Marion Molteno, 111–26. 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 difficulties of translating ghazals lie in the genre itself—highly condensed language (a complete meaning in each couplet), and conventional imagery which conveys nuances to Urdu (or Persian) speakers that need explaining to others. But while compromise is inevitable he feels it important to respect the form of the ghazal by remaining concise, and as far as possible conveying a sense of the metrical patterns.
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Narang, Gopi Chand. "The Progressives." In The Urdu Ghazal, translated by Surinder Deol, 278–343. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0007.

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Several Urdu poets drew their inspiration from revolutions in Russia and China and advocated similar transformation in India. The Progressive Writers’ Movement, established by Mulk Raj Anand and Sajjad Zaheer, held its first conference in 1936. The ghazal had been marginalized for quite some time due to a misconception by some progressives that the ghazal was anti-progressive. Thankfully, poets like Faiz Ahmed Faiz kept writing ghazals using love and Sufi phraseology with new revolutionary import. Faiz reframed concepts of love and beauty to be in tune with the needs of changing times. This chapter makes the point that literature and fine arts are social acts, and if creativity is impeded and freedom of the mind is compromised, poetry will lack freshness and spontaneity. Thus, in spite of the harsh criticism of some mistaken people, the ghazal reappeared in a decade or two and thrived together with the wave of rising social consciousness and revolutionary zeal.
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Caplan, David. "“In That Thicket of Bitter Roots”: The Ghazal in America." In Questions Of Possibility, 43–60. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195169577.003.0003.

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Abstract in 1968 the ghazal entered american poetry. the year 1969 marked the centennial anniversary of the death of Mirza Ghalib, a Persian and Urdu poet and one of the form’s masters. In anticipation of the anniversary, Aijaz Ahmad, a Pakistani literary and cultural critic living in New York, solicited several well-known American poets to work on a pamphlet of translations for the centennial. Because none of the poets knew Urdu, the text’s original language, Ahmad supplied them with literal translations from which they crafted their collaborative versions. Ahmad’s queries generated much more enthusiasm than he anticipated. His project expanded from a pamphlet into a handsome 174-page book, Ghazals of Ghalib, published by Columbia University Press. Several of the translations also appeared in major American and Indian literary periodicals. The book’s contributors included four future Pulitzer-Prize winners who already enjoyed a certain stature in the literary community: W. S. Merwin, Adrienne Rich, William Stafford, and Mark Strand. Moving from translation to original composition, Rich started “Ghazals (Homage to Ghalib)” in July 1968, only a few months after Martin Luther King’s assassination and less than thirty days after Robert Kennedy’s death.
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Narang, Gopi Chand. "The Concept of Love." In The Urdu Ghazal, translated by Surinder Deol, 31–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0002.

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Chapter 2 explains the meaning of love in the context of the Urdu ghazal, especially during the classical period. Physical and transcendental aspects of love get special attention in this discussion. A major portion of the chapter is devoted to Delhi and Lucknow schools of ghazal writing and how they differed from one another. The chapter ends with great literary contributions of two giants of the Urdu ghazal, namely Mir Taqi Mir and Mirza Ghalib.
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Narang, Gopi Chand. "The Concept of Self." In The Urdu Ghazal, translated by Surinder Deol, 153–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0004.

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One significant aspect of the Urdu ghazal is that it is not simply a lyrical accretion of feelings and emotions—it contains ideas, thoughts, and philosophical viewpoints. This chapter examines the Urdu ghazal in light of various streams of thought about human nature, about personal identity (self), and about human beings’ relationship with God. Besides being a source of enjoyment, the Urdu ghazal also served as a cohesive force for promoting pluralistic culture of India, while at the same time further bonding its intrinsic ethnic multiplicity.
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Narang, Gopi Chand. "The Genesis and Evolution of India’s Composite Culture." In The Urdu Ghazal, translated by Surinder Deol, 3–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0001.

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This opening chapter provides an overview of how the Urdu ghazal evolved into a dynamic and musical form of poetic genre, and expounds on how a variety of factors, including the inflow of Islamic influences into the traditional Indian culture steeped in Hindu way of life, the spread of Bhakti Movement, the birth of indigenous strains of Sufism, and the contribution of great singers, made the ghazal gain great popularity with the masses.
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Narang, Gopi Chand. "The Concept of Beauty." In The Urdu Ghazal, translated by Surinder Deol, 97–152. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0003.

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Like love, the concept of beauty is another overarching theme in the Urdu ghazal. The chapter makes the point that the concept of beauty was not borrowed from the Persian poetry. Rather, it emerged as a result of melding of Hindu and Muslim sub-cultures. Early examples of Dakani poetry illustrates this point with the help of specific examples. The chapter recognizes Sufism as another major influence.
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Narang, Gopi Chand. "The Rhetorical Aspects of the Urdu Ghazal." In The Urdu Ghazal, translated by Surinder Deol, 197–232. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0005.

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The Urdu ghazal is truly an Indian invention. Although initially it borrowed themes and legendary references from the Persian and Arab cultures, with the passage of time it became the mirror-image of blended Indian culture. The chapter explains how the ghazal incorporates Indian mythologies like the Ramayana and the Mahabharata, social and geographical features like rivers, festivals, customs and rituals, flowers and flowering trees, birds and animals, seasons and climate, cities and places, and finally music and ragas.
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Narang, Gopi Chand. "The Modernists and the Postmodernists." In The Urdu Ghazal, translated by Surinder Deol, 344–470. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0008.

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This chapter opens with a conceptual history of literary movements like modernism and postmodernism in Europe, and goes on to discuss the origins of these trends in Urdu literature, particularly Urdu poetry, about which much has not been written before. This chapter also contains samples of representative ghazal verses from a wide variety of modern and postmodern poets, including Javed Akhtar and Gulzar.
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Conference papers on the topic "Urdu Ghazals"

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Fahim, Saad, Iqra Siddiqui, Sameer Pervez, Sandesh Kumar, Faisal Alvi, and Abdul Samad. "Generation of Urdu Ghazals using Deep Learning." In 2023 International Conference on Frontiers of Information Technology (FIT). IEEE, 2023. http://dx.doi.org/10.1109/fit60620.2023.00058.

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Siddiqui, Iqra, Fizza Rubab, Haania Siddiqui, and Abdul Samad. "Poet Attribution of Urdu Ghazals using Deep Learning." In 2023 3rd International Conference on Artificial Intelligence (ICAI). IEEE, 2023. http://dx.doi.org/10.1109/icai58407.2023.10136675.

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