Indian Culture and Society

Urdu poetic tradition and the liberal attitude of poets such as Amir Khusrau, Quli Qutub Shah, Mir, Sauda, Nazir down to Iqbal further strengthens the case for the existence of a composite popular culture that seems to have been fairly inclusive of a variety of religious perspectives. Implicit in the detailed treatment of Nanak in Nazir Akbarabadi's poetical works, as also in the compositions of Allama Iqbal, is a shared cultural and religious heritage. When these poets speak of cultural unity, one can find only the inspiring thoughts of mutual love, and brotherhood in it devoid of any element of communal and religious bigotry. Their original thoughts and creations stood beyond the reaches of any narrow boundaries. Beyond all this, there is a streak of honesty and an appeal to virtuous life that sparkles through the length in the Urdu poetry.

Pakistaniaat a Journal of Pakistan Studies, 2009

In the nineteenth century, Muslim modernist reformers sought to ground an agenda for social and political rejuvenation in a return to the spirit of the early Muslim community. However, the influence of this quest for communal regeneration on theological discourses was, in some cases, less notable than its influence upon projects for cultural and social reform. One area of focus for Indian modernists of the nineteenth century was literature and the literary arts, including poetry, which were now deemed relevant to notions of cultural health, authenticity and decline. Under the dictum that a people's condition is reflected in their language, the themes of moral degeneration and reform came to have a strong bearing on the indigenous valuation of poetry and the literary arts, challenging the criteria upon which such literature was judged. In this paper, I will analyse how the modernist agenda for social reform led to the birth of a new literary romanticism in Urdu poetry.

Urdu Studies , 2020

Second issue of Urdu Studies, edited and published by Arshad Masood Hashmi for the Department of Urdu, Jai Prakash University, Chapra. This issue includes papers contributed by for Urdu Section: Prof. Satya Pal Anand, Former Professor of English, University of the District of Columbia, Washington DC Prof. Syed Hasan Abbas, Head, Department of Persian, BHU, Varanasi (Former Director, Raza Library, Rampur) Prof. Maula Bakhsh, Department of Urdu, AMU, Aligarh Dr. Sarwarul Hoda, Department of Urdu, JNU, New Delhi Dr. Laila Abdi Khojaste, Urdu Author & Lexicologist, Tehran, Iran Dr. Shazia Razzaq, Department. of Urdu, Lahore College for Women University, Lahore Dr. Shazia Omair, Department of Urdu, Delhi University, Delhi Saqib Faridi, Research Scholar, Department of Urdu, JNU for English Section: Prof. David Lelyveld, Professor of History (Retired), William Paterson University, New Jersey, the United States Prof. Marcia Hermansen, Director, Islamic World Studies; Professor, Theology Department, Loyola University, Chicago Prof. Najeeba Arif, Chairperson, Department of Urdu, International Islamic University, Islamabad Prof. Agnieszka Kuczkiewicz- Fras, Chair for East and South Asia, Institute of the Middle and Far East, Jagiellonian University, Krakow, Poland.

Asiatische Studien - Études Asiatiques

2014

Looking at the grim scenario of the future of Urdu in India, and its overwhelming identification with a particular community (i.e., Muslims) have indeed contributed in creating a narrow image of sectarian interests. However, the concern of the intellectuals about its declining trend, seems to be melting, if we take the case of Mushaira (poetic symposium). Through interviews with both the organisers and the attendees of Delhi Mushairas I collected a serious of impressions that speak to the role of a Mushaira in advancing a cosmopolitan, rather than a communal image of Urdu. Uniting people through poetry, mushairas temporarily dissolve differences of caste, creed and religion.

Journal of emerging technologies and innovative research, 2021

The ghazal is an Eastern poetic form, which is extremely popular all over world in present. The ghazal is known as a structured poem traditionally confined to the Islamic world, and the Indian Sub-continent, where it developed and got matured. It is written as a lyrical verse, which literally means 'talking to women'. The romantic longing for a woman, Sufi-mysticism and wine have been the popular themes of the ghazal from. Such major themes have been dealt over the centuries by the great poets such as Attar, Rumi and Hafiz in the Farsi; Ibn-al-Farid in Arabic, and Ghalib and Faiz in Urdu. Later it became successful in carving out a place in the Western countries as Spain,

Sada-e-jauhar, 2024

"Language forms the bedrock of culture, carrying within it a community's history, values, and identity" (Greenheart International, 2015). Urdu is more than just a language; once flourishing, it reflects a culture, tradition, and worldview that transcends religious and ethnic boundaries. 1 For Indian Muslims, it has been a vehicle for cultural expression and a representation of shared heritage 2 , celebrated for its contributions to poetry, philosophy, and intellectual thought. The following