Relevant bibliographies by topics / Urdu Islamic poetry

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Academic literature on the topic 'Urdu Islamic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Urdu Islamic poetry"

1

Naved, Shad. "Teaching Indo-Islamic poetry: Sexuality in the global classroom." Thesis Eleven 162, no. 1 (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
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Bhat, Abdul Manan. "Future’s Moving Terrains." English Language Notes 61, no. 2 (2023): 23–38. http://dx.doi.org/10.1215/00138282-10782054.

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Abstract This essay shows how the Islamic Persianate poetic tradition is a critical conceptual resource for imagining futures in which poetry is a technology of congregation through which futures are postulated, negotiated, and lived. The essay engages the multilingual poetic milieu of Kashmir (Urdu, Persian, and Kashmiri) in the first half of the twentieth century, offering an inaugural analysis of the itinerant nature of Persian, Urdu, and Kashmiri poetry in relation to the form of ghazal and its consequences for future making. Kashmiri poets and critics, in poetry as well as prose, made pro
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3

Shaheen, Dr Wajeeha, and Dr Qamar Abbas. "Dr. Tahir Taunsvi’s Composition of Poems." DARYAFT 15, no. 01 (2023): 69–86. http://dx.doi.org/10.52015/daryaft.v15i01.308.

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Dr. Tahir Taunsvi is a distinguished researcher, critic and poet of Urdu language and literature. The most important aspect of his literary work is based on research and criticism. He made useful contributions in the field of Urdu poetry as well. His poetry book was published by “Bazam e Elam o Fun Pakistan” in 2001 AD. This book consists of impressive poems, poetics , “Hamd”, “Naat”, “Manqabat” and “Slaam”. His poems connect the readers to the tradition of Urdu poetry. It also reflects the modern themes and style. In his poems he expresses great love for Prophet Muhammad (PBUH), his sacred fa
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4

Dr. Aamar Iqbal and Dr. Mazhar Iqbal Kalyar. "Academic And Literary Services Of Daim Iqbal Daim "A Research Review"." Dareecha-e-Tahqeeq 3, no. 3 (2023): 104–13. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.55.

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This study highlighted the literary and poetry efforts of Daim Iqbal Daim. He spotted the love for his fields, hills, and plains in his poetry. He blended the traditions with new culture showing passion for patriotism and nationalism. Daim poetry consisted of Naat verses in all aspects with humbleness. Daim writings are in Urdu, Hindi, Punjabi and Persian on progressiveness with emphasizing on national, religious and ethical values. He also contributed in Naat, Manqabat and Karbala Nama. Daim translated the Persian writings into Punjabi and Urdu. His efforts and also in islamic preaching as we
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Dr. Muhammad Qasim. "Issues In Representations Of Ghalib’s Thought In The Renderings Presented In “A Dance Of Sparks”." Khaldunia - Journal of Social Sciences 3, no. 1 (2024): 23–31. http://dx.doi.org/10.36755/khaldunia.v3i1.74.

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Annemarie Schimmel (1922 - 2003) was a German orientalist, mystic, Islamic scholar, and Orientalist. She was particularly interested in Islam and the Near East. Within the context of Islamic civilization, there are numerous books in various languages. Schimmel was influenced by the ideas and theories of Iqbal. She translated and wrote about Bang.e.dara, Payam.e.mashriq, and Javed Nama in the German language. In addition, Schimmel was an influential orientalist and most eminent scholar of Ghalibiat. A Dance of Sparks is a very significant contribution to the field of Ghalibiat due to its theme,
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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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7

Ahmed, Safdar. "Literary Romanticism and Islamic Modernity: The Case of Urdu Poetry." South Asia: Journal of South Asian Studies 35, no. 2 (2012): 434–55. http://dx.doi.org/10.1080/00856401.2011.633300.

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8

Naqvi, Azhar Hussain, and Abdul Ghafoor Baloch. "Shade of Tauheed and different genres of Urdu poetry." Al Khadim Research journal of Islamic culture and Civilization 2, no. 2 (2021): 114–36. http://dx.doi.org/10.53575/arjicc.u8-v2.2(21)114-136.

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In its essence Tauheed (the Islamic doctrine of monotheism, the only one creator), is the foundation of all Islamic beliefs. The essence of sending the Prophets and the day of judgement and the life after death all these beliefs are based on Oneness of “God”. Hence when we take a glance on the literature of the period, between 1759 A.D. (1174 A.H.) and 1806 A.D. (1221 A.H.), which is that of the Moghul era, i.e., the literature of Aali Gohar Shah Alam era, we see that during this period alongside the development of Urdu prose, the effects of doctrine of Tauheed had begun to show in its poetry
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9

Hamayoun, Zahid. "اردونعتیہ شاعری پر تحریکِ ادب ِ اسلامی کے اثرات". FIKR-O NAZAR فکر ونظر 59, № 03 (2022): 37–59. http://dx.doi.org/10.52541/fn.v59i03.942.

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In 1936, with the beginning of movement of progressive literature religious, ethics and spirituality have also been criticized, then it has to be realized the necessity of movement of Islamic literature. The poets who were associated with this movement they promoted Islamic values, ethics and spirituality in Na'at poetry. They extended Na'at in thematic and stylistic way. They expressed social values of their age in the light of teachings of Hazrat Muhammad (S.A.W).
 
 They gave parallel status of Na'at with poem. Later on when this movement labellized with limited poets, this moveme
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Rahman, Rizwanur. "The Impact of the Qur'an on Twentieth-Century Urdu Poetry (in Arabic)." Journal of Qur'anic Studies 16, no. 3 (2014): 156–27. http://dx.doi.org/10.3366/jqs.2014.0169.

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The twentieth century was witness to two major poetic personalities on the Indian literary scene, both of whom were inspired by the message of the Qur'an: Khwaja Alfat Husayn Hali (d. 1914) and Muhammad Iqbal (d. 1938). In his Musaddas, Hali versified the rise and fall of Islamic civilisation, and through his poetry he sought to inculcate the teachings of the Qur'an in the hearts of the Indian people. As for Iqbal, he presented his Islamic philosophy through the medium of Urdu poetry, referencing Qur'anic stories, verses, and teachings in works such as Baange-e-Dara and Baal-e-Jibrail. This ar
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Books on the topic "Urdu Islamic poetry"

1

Naqvī, Z̤amīr Ak̲h̲tar. Shuʻārā-yi Urdū aur ʻishq-i ʻAlī. Markaz-i ʻUlūm-i Islāmiyah, 1993.

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2

Kausar, Inamul Haq. Sarvar-i Kaunain Ṣallallāho ʻalayhi va-sallam kī mahak Balocistān men̲. Sīrat Akādamī Balocistān, 1997.

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3

Kausar, Inamul Haq. Sarvar-i Kaunain Ṣallallāho ʻalayhi va-sallam kī mahak Balocistān men̲. Sīrat Akādamī Balocistān, 1997.

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4

Javed, Majeed, ed. Hali's Musaddas: The flow and ebb of Islam. Oxford University Press, 1997.

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5

Ṣābir, Z̤iyāʾuddīn Muḥammad. Urdū kī millī shāʻirī par Musaddas-i Ḥālī ka as̲ar. Nālandah Buk Ḍipo, 1991.

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6

Jāved, Muḥammad Iqbāl. Terā vujūd al-Kitāb: Auliyāʾe karām aur un kā z̲auq-i naʻt. Farog̲h̲-i Adab Akādamī, 2001.

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7

Miṣrī, Ḥusayn Mujīb. al- Andalus bayna Shawqī wa-Iqbāl: Dirāsah fī al-adab al-Islāmī al-muqāran. al-Dār al-Thaqāfīyah lil-Nashr, 1999.

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8

Barelvī, Shafīq, ed. Eulogies on Holy Prophet Muhammad: Selections from Armoghan-e-naat. Royal Book Co., 1987.

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9

Sharaf al-Dīn Muḥammad ibn Saʻīd Būṣīrī. Qaṣīdah Burdah Sharīf: Urdū tarjumah. Urdū Akaiḍamī, 2009.

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10

Manglorī, Ḥalīmah Saʻdiyah. Naʻtiyah shāʻirī ke farog̲h̲ men̲ "Naʻat Rang" kī k̲h̲idmāt. Naʻt Rīsarc Sainṭar, 2017.

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Book chapters on the topic "Urdu Islamic poetry"

1

"Literary Romanticism and Islamic Modernity: The Case of Urdu Poetry." In Reform and Modernity in Islam. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755692729.ch-002.

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2

"Urdu Poetry Versus the Fundamentalists." In A Life in Urdu, edited by Marion Molteno. Oxford University PressDelhi, 2022. http://dx.doi.org/10.1093/oso/9789391050948.003.0009.

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Abstract In the wake of the terrorist attack of 2001 Edward Said wrote that it was important to stress that ‘there is more than one Islam’. Russell describes the anti-fundamentalist nature of Islam as embodied in classical Urdu (and Persian) poetry. He gives examples from Sadi, Hafiz, Ghalib, Hali, and other ghazal poets, particularly Mir, who stress that mere observance of the rituals of religion are in themselves without value, and attacking the traditionalists. The essential humanism of the ghazal derives from its Sufi origins, and stresses love for all humankind. Fundamentalist Muslims have always been uncomfortable with this tradition.
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3

Narang, Gopi Chand. "The Genesis and Evolution of India’s Composite Culture." In The Urdu Ghazal, translated by Surinder Deol. 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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4

"Experiencing Village Life." In A Life in Urdu, edited by Marion Molteno. Oxford University PressDelhi, 2022. http://dx.doi.org/10.1093/oso/9789391050948.003.0003.

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Abstract Two accounts of Russell’s time spent in South Asian villages, learning about daily life there: 1950, India: Umri, district Rohilkand, UP. Taken by Khurshidul Islam who had grown up in the village, Russell and his wife stayed with a young landlord called Said, who took him around the village to talk to men in various occupations. The women in Said’s household observed purdah so he could not meet them but his wife spent time with them. 1976, Pakistan: Kanyal, district Gujrat, Punjab. In the UK Russell met a woman from Kanyal who had migrated to the UK, and in Kanyal he stayed with her brother Akram. He joined in the daily routines of village life, observing roles of women and men; poetry as local entertainment; details of farming and other occupations; stories about migrant labour to cities or beyond; varieties of religious belief and observation.
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5

Otterbeck, Jonas. "The Message and its Media." In The Awakening of Islamic Pop Music. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474490429.003.0005.

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Chapter five analyses the messages of Awakening through detailed studies of the lyrics, the instrumentation and production of Awakening songs. First, it identifies four recurrent themes of the lyrics (praising Allah, Muhammad, spiritual awakening, love) and then discusses other topics addressed such as political freedom in authoritarian states. The overall impression is that lyrics are rather straight-forward and devout including little or no ambiguity. When lyrics are drawing from, for example, Urdu or Arabic they tend to relate to a much larger established poetic discourse then when written in English where an Islamic poetic language is not as established. Lyrics are carefully crafted and checked by several people to make sure the company and the artists can stand by them, especially regarding the representations of religious matters. Further, the chapter discusses instrumentation, production and sounds to try to answer what an Islamic sounding production might be. Production choices are interlaced with tastes and preferences established by the pioneers written about in chapter four, Islamic ethical debates but also by consumer culture ideals and technological developments in digital production. The chapter looks closely into the preference among some to record vocals-only, and discusses what the sound of guitars imply.
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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 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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