Relevant bibliographies by topics / Urdu Urdu poetry

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Urdu Urdu poetry'

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

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Journal articles on the topic "Urdu Urdu poetry"

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Pasha, Irfan. "Terrorism in Modern Urdu Poetry." Makhz 1, no. I (March 31, 2020): 13–23. http://dx.doi.org/10.47205/makhz.2020(1-i)2.

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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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Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad." Orientalistica 3, no. 5 (December 29, 2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.

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The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.
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Muniba Saeed, Amnah Moghees, and Saima Abbas Dar. "Sense and Feel." Linguistics and Literature Review 4, no. 1 (March 30, 2018): 41–55. http://dx.doi.org/10.32350/llr.v4i1.276.

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Translation of poetry is a hard nut to crack. Especially, when it is loaded with cultural connotations. Beyond any doubt, translation demands linguistic and cultural skills from a translator to express meanings. Hence, the process of translation becomes challenging when both the source language and the target language belong to two different language families. The present study explores the linguistic challenges faced by translators when translating Faiz Ahmad Faiz’s Urdu poetry into English. The researchers have found that translating Urdu metaphorical expressions and compound words used in Faiz’s Urdu poetry is near to impossible as these expressions are rooted in specific cultural, social, political and historical backgrounds.
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Suzuki, Takeshi. "The Concept of habab in Urdu Poetry." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 34, no. 1 (1985): 134–43. http://dx.doi.org/10.4259/ibk.34.134.

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Suzuki, Takeshi. "The Concept of sharab in Urdu Poetry." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 36, no. 1 (1987): 292–99. http://dx.doi.org/10.4259/ibk.36.292.

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Petievich, Carla. "Rekhti: Impersonating the feminine in Urdu poetry." South Asia: Journal of South Asian Studies 24, sup001 (January 2001): 75–90. http://dx.doi.org/10.1080/00856400108723437.

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Shamsie, Muneeza. "Urdu poetry, 1935–1970: The progressive episode." Journal of Postcolonial Writing 55, no. 5 (August 15, 2019): 725–26. http://dx.doi.org/10.1080/17449855.2019.1636556.

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Hashmi, Alamgir, and Mahmood Jamal. "The Penguin Book of Modern Urdu Poetry." World Literature Today 62, no. 1 (1988): 187. http://dx.doi.org/10.2307/40144266.

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Jain, Sushil, and Rukhsana Ahmad. "We Sinful Women: Contemporary Urdu Feminist Poetry." World Literature Today 66, no. 3 (1992): 585. http://dx.doi.org/10.2307/40148585.

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Dissertations / Theses on the topic "Urdu Urdu poetry"

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Lee, Christopher R. "Banaras, Urdu, poetry, poets (India)." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.

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Abdullah, Sohail. "Hissār." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3145.

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Hissaar is a noun and a verb, it is the periphery and the extremities, and the walls and the fortress. And it is to encircle, to wrap and to contain. This paper is an inexhaustive account of thoughts, experiences and lessons learned, of varying forms that influence my aesthetic sensibilities, my art-value system, and my art- ethical concerns. They provide for my art the impetus for its perpetual (and perhaps circular) journey. It is about finding connections between the fraying ends of free floating ideas. The following fragments explores how words make ideas, ideas make images, images make memory; memory sets into architecture, architecture moves the body, the body needs pain and pain needs words.
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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 Urdu poetry"

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Hindūstān Urdū men̲ =: Hindustan Urdu mein. Naʼī Dihlī: Mauḍarn Pablishing Hāʼūs, 2007.

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Bhatnagar, R. S. Mysticism in Urdu poetry. New Delhi: Dept. of Islamic Studies, Jamia Hamdard, 1995.

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Saran, Saraswati. Development of Urdu poetry. New Delhi: Discovery Pub. House, 1990.

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International, Darul Hikmat, ed. Jewels of Urdu poetry. Islamabad: Darul Hikmat International, 2013.

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Yūnus, Aḥmar. Modern Urdu poets. Karachi: Royal Book Co., 1995.

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Jadīd Urdū mas̲navī: Fan aur fikrī abʻād = Jadeed Urdu masnavi. Muz̤affarpūr: Z̤afar Anṣārī Z̤afar, 2013.

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Bihār men̲ jadīd Urdū g̲h̲azal: Bihar mein jadeed Urdu ghazal. Dihlī: Ejūkeshnal Pablishing Hāʼūs, 2015.

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Urdū shāʻirī, tanqīd o tajziyah: Urdu shairi, tanqeed-o-tajzia. ʻAlīgaṛh: ʻAlīgaṛh Herīṭej Pablīkeshan, 2013.

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Zahiri, Johar. London's Urdu poets: Poetry & brief biography. London: (The Editor), 1985.

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Kāmanā, Prasāda, ed. Celebrating the best of Urdu poetry. New Delhi: Penguin, Viking, 2007.

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Book chapters on the topic "Urdu Urdu poetry"

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Kidwai, Saleem, and Ruth Vanita. "Rekhti Poetry: Love between Women (Urdu)." In Same-Sex Love in India, 220–28. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-05480-7_28.

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Kidwai, Saleem, and Ruth Vanita. "Rekhti Poetry: Love between Women (Urdu)." In Same-Sex Love in India, 220–28. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-349-62183-5_28.

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Merchant, Hoshang. "Urdu gay literature: Poetry." In Forbidden Sex/Texts, 56–59. Routledge India, 2020. http://dx.doi.org/10.4324/9780367817770-5.

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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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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 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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Azmi, Yusuf. "Urdu Poetry and Hyderabadi Culture." In Languages and Literary Cultures in Hyderabad, 163–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315141664-9.

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Mahmudabad, Ali Khan. "Introduction." In Poetry of Belonging, 1–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190121013.003.0001.

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Today, during a time of severe political polarization in India, Urdu literature and poetry and their attendant ‘spaces’ continue to find broad audiences. Indeed, Urdu poetry remains a medium that is deployed as a trenchant critique of the vagaries of political discourse and the communal polarization that is taking place in India. The formal and informal spaces of poetry remain crucial arenas for not only understanding the anxieties of the past and the contradictions of the present but also for discovering the possibilities of the future. The introduction discloses he aim of the book, which is to highlight the ways in which various Muslim intellectuals, often through poetry, interrogated what it meant to be Muslim and what they imagined India to be.
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"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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"Ḥāfiz̤ in the Poetry and Philosophy of Muḥammad Iqbāl." In Urdu and Indo-Persian Thought, Poetics, and Belles Lettres, 73–83. BRILL, 2017. http://dx.doi.org/10.1163/9789004341579_004.

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