Bunyad: A Journal of Urdu Studies
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مغرب کے جدید اصول لغت نویسی
No full textLexicography is the scientific practice of writing and compiling dictionaries. It is widely considered an independent scholarly discipline, though it is a subfield within linguistics. It is divided into two related areas: the art of writing and editing dictionaries is known as practical lexicography, while the analysis of description of the vocabulary of a particular language and the meaning that links certain words to others in a dictionary is known as theoretical lexicography. This article deals with the former. It sheds light on the arranging, writing and editing of dictionaries. In particular, it emphasizes that principles of lexicography can prove useful if adhered to while compiling Urdu dictionaries
صاحبِ اسلوب یا صاحبِ اسالیب؟ (اسالیبِ نثر کے تناظر میں ایک سوال کا تجزیہ)
No full textA pertinent question in the critique of prose style is whether a writer has one style or more. This paper attempts to address this concern in the context of Urdu prose. The central idea is that a writer has diverse features to his ‘style’ and that on some level, these features may be categorized as different styles on their own
سابق مشرقی پاکستان کی اردو فلمی صنعت
No full textEast Pakistan—now Bangladesh—was a great base for the Urdu film industry of united Pakistan. From 1959 to 1971, East Pakistan passed what is termed as the ‘golden era’ of Pakistani cinema. 64 films were produced during this period, including Jāgō Hu’ā Savērā, Chandā, Milan, Chakōrī, Darshan and Nawāb Sirājuddaulah. This article reviews the 12 most important years of Pakistani cinem
اردو تنقید اور تنقیدی میلانات
No full textUrdu literature has a pronounced and rich creative practice in its history. From Mir to Meeraji, one experiences a variety of poetic processes, not just in poetry, but in prose as well. In this article, new questions of literary criticism have been reviewed. Ranging from Hali to the modern critics, a series of literary questions and ideas come to surface. The author in this article argues that ‘now is the period of literary theory’ for a student or reader of literary criticism cannot delve into the art without a close engagement with literary theory and its distinctions. The article argues that literary theory allows one to understand the dynamics of literature and the pillars upon which it operates
میر امن کا تصورِ جمال : "باغ و بہار" کی روشنی میں
No full textArtistic personalities, by their creative works, express their concept of beauty, though it is not necessary for it to comply with the philosophical dialects of aesthetics. But even then, their perception of beauty solves many philosophical problems. Mir Amman Dehlavi (1748-1806) famous Urdu prose writer, was neither a philosopher nor an aesthetician but even then, he had a sophisticated sense of beauty which is depicted in his famous book Bāgh-o-Bahār. He presented beauty in its different shapes; for him, beauty is subjective, mysterious and transcendental. With great intensity, he has described its psychological effects on the observer. His aesthetical notion, as evident in this book has also many similarities with Kant's (1724-1804) theory of Sublime. This article discusses Mir Amman's concept of beauty extracted from his book Bāgh-o-Bahār
انور سجاد کا غیر مطبوعہ اردو اسٹیج ڈراما " ایک تھی ملکہ" : متنی و علامتی جائزہ
No full textEnver Sajjad is well-known in the Urdu world as a short story writer, novelist and a playwright. He served as the first chairman of the Alhambra Arts Council (1973-1975) and recieved the Pride of Performance award in 1989. This article presents an analytical study of his first—yet unpublished—stage drama, Ēk thī Malikā. It reveals him as a unique stage drama writer whose symbolism ranges from social evils on one end to political oppression on the other. Through his unique style, he innovated the genre on many levels and presented a complete picture of his times despite limited resources
میراجی کی چوبیس نظموں کا زمانی تعین
No full textMeeraji (born Sanaullah Sani Dar Meeraji) is one of the most creditable names of modern Urdu poetry, known for works such as Meeraji kē Gīt and Tīn Rang. As is true for all poets, it is integral to determine the time period or age around which Meeraji penned down his work. This is important for one’s understanding of the influence upon the poet, as well as the evolution in his/her personality and craft. However, Meeraji's published work appears to be devoid of this calibration and thus a serious engagement is required with his work to determine facts regarding time of publication etc. A handwritten Biyāẕ (notebook) of Meeraji was examined by linguist and scholar Dr. Jameel Jalibi but he appears to have been unable to extract the relevant details. In Kulliyāt-e Meeraji, there is no account of the dates of writing, and those which are mentioned are often found to be incorrect. In this article, the author has closely engaged with the same handbook and has been able to determine the time of writing twenty-four of Meeraji’s poems
اعضاۓ تکلم اور اردو کا صوتی نظام: چند معروضات
No full textSounds are of two types: vowels and consonants. Although the Urdu language inherited sounds and writing symbols from Arabic and Persian, Urdu phonetics is different from that of Persian and Arabic. This research paper explains the functions of speech organs and facilitates Urdu pronunciation through application of the schematic diagram of consonants and vowels. This paper is the outcome of comprehensive interdisciplinary studies that the researcher carried out to cater to pronunciation problems in the Urdu languag
استشراقی کتھا اور شمالی ہندوستانی ادب میں تبدیلی
No full textThe eighteenth-century English Oriental tale has in recent scholarship been read as both productive and dissident. But the legacies of this literary genre in the Indian colony and its role in the formation of a world literature remain mostly unstudied. The formation of colonial institutions such as Fort William College, Calcutta (1800) inaugurated the standardization of the fluid North Indian language complex into the religiously demarcated vernaculars Urdu and Hindi. The imperially patronized production of the Oriental tale as both a literary and a pedagogical form, exemplified by Mir Amman’s Bāgh-o Bahār (The Garden and the Spring) among other works, began the process of the large-scale and the nearly irreversible reorganization of North Indian literary traditions. The rise of a colonial nexus of educational institutions for natives codified the Fort William works as canonical, while narratives such as the dāstān that operated at a distance from the colonial ambit became, at best, peripheral to a modern Urdu literature
وجودی کیفیات اور اردو ناول
No full textModern knowledge and science is believed to have rejected most traditional beliefs and concepts. Darwin, through his theory of evolution, presented man as an evolved version of the monkey. Freud turned human actions subservient to human sub-consciousness instead of consciousness. Marx rejected traditional concepts about capitalists, industrialists and the labor class, and introduced the concept of ‘Dialectical Materialism’. The impact of all such points of view was felt directly and indirectly by religious ideologies. Where man used to think himself king of all creation, modern science trumped that notion, stealing from his intellectual pride. The consequent result of capitalism appeared before us in the form of market conflicts. As a result, the world bore the destruction caused by two world wars. All moral values were kept aside. The individual fled from objectivity and sought solace in subjectivity. Loneliness and alienation were destined to him. This article attempts to comprehend and analyze this condition as illustrated in the Urdu novel