In late nineteenth-century South Asia, the arrival of print fostered a dynamic and interactive literary culture. There, within the pages of Urdu-language periodicals and newspapers, readers found a public sphere that not only catered to their interests but encouraged their reactions to featured content. Cosmopolitan Dreams brings this culture to light, showing how literature became a site in which modern daily life could be portrayed and satirized, the protocols of modernity challenged, and new futures imagined. Drawing on never-before-translated Urdu fiction and prose and focusing on the novel and satire, Jennifer Dubrow shows that modern Urdu literature was defined by its practice of self-critique and parody. Urdu writers resisted the cultural models offered by colonialism, creating instead a global community of imagination in which literary models could freely circulate and be readapted, mixed, and drawn upon to develop alternative lines of thinking. Highlighting the participation of readers and writers from diverse social and religious backgrounds, the book reveals an Urdu cosmopolis where lively debates thrived in newspapers, literary journals, and letters to the editor, shedding fresh light on the role of readers in shaping vernacular literary culture. Arguing against current understandings of Urdu as an exclusively Muslim language, Dubrow demonstrates that in the late nineteenth century, Urdu was a cosmopolitan language spoken by a transregional, transnational community that eschewed identities of religion, caste, and class. The Urdu cosmopolis pictured here was soon fractured by the forces of nationalism and communalism. Even so, Dubrow is able to establish the persistence of Urdu cosmopolitanism into the present and shows that Urdu’s strong tradition as a language of secular, critical modernity did not end in the late nineteenth century but continues to flourish in film, television, and on line. In lucid prose, Dubrow makes the dynamic world of colonial Urdu print culture come to life in a way that will interest scholars of modern Asian literatures, South Asian literature and history, cosmopolitanism, and the history of print culture.

This text traces the development of Urdu literature from the earliest time to the 21st century. It contains biographical sketches of writers and critical appreciations of their work. An effort has been made to illustrate the relationships between the writers and their different movements.

Urdu Literary Culture examines the impact of political circumstances on vernacular (Urdu) literary culture through an in-depth study of the writings of Muhammad Hasan Askari, who lived during the Partition of India.

An introduction to the Urdu language offers lessons on grammar, vocabulary, and the letters of the Urdu alphabet and how they are used in words and sentences.

This Path Breaking Work Raises Several New Questions About Urdu Literary Culture And Traces The Origins And Development Of Urdu Literary Thought From 1300 To 1850

Urdu language, member of the Indo-Aryan group within the Indo-European family of languages. Urdu is spoken by more than 100 million people, predominantly in Pakistan and India. It is the official state language of Pakistan and is also officially recognized, or "scheduled," in the constitution of India. Significant speech communities exist in the United Arab Emirates, the United Kingdom, and the United States as well. Notably, Urdu and Hindi are mutually intelligible.Urdu developed in the 12th century CE from the regional Apabhramsha of northwestern India, serving as a linguistic modus vivendi after the Muslim conquest. Its first major poet was Amir Khosrow (1253-1325), who composed Dohas (couplets), folk songs, and riddles in the newly formed speech, then called Hindvi. This mixed speech was variously called Hindvi, Zaban-e-Hind, Hindi, Zaban-e-Delhi, Rekhta, Gujari, Dakkhani, Zaban-e-Urdu-e-Mualla, Zaban-e-Urdu, or just Urdu, literally 'the language of the camp.' Major Urdu writers continued to refer to it as Hindi or Hindvi until the beginning of the 19th century, although there is evidence that it was called Hindustani in the late 17th century (Hindustani now refers to a simplified speech form that is India's largest lingua franca).Urdu is closely related to Hindi, a language that originated and developed in the Indian subcontinent. They share the same Indic base and are so similar in phonology and grammar that they appear to be one language. In terms of lexicon, however, they have borrowed extensively from different sources--Urdu from Arabic and Persian, Hindi from Sanskrit--so they are usually treated as independent languages. Their distinction is most marked in terms of writing systems: Urdu uses a modified form of Perso-Arabic script, while Hindi uses Devanagari.

Have you ever been enchanted by the spoken cadence of an Urdu couplet but wished you could fully understand its nuances? Have you wanted to engage with a ghazal more deeply but were daunted by its mystifying conventions? Are you confused between a qataa and a rubaai, or a musadda and a marsiya? In Urdu Poetry, Raza Mir offers a fresh, quirky and accessible entry point for neophytes seeking to enhance their enjoyment of this vibrant canon—from the poems of legends like Mir Taqi Mir and Mirza Ghalib to the lyrics of contemporary game changers like Javed Akhtar and Gulzar. Raza Mir’s translation not only draws out the zest and pathos of these timeless verses, but also provides pithy insights and colourful trivia that will enable readers to fully embrace this world.

"Let a thousand verses bloom. Anthems of Resistance is about the iconoclastic tradition of poetry nurtured by Ali Sardar Jafri, Faiz Ahmad Faiz, Javed Akhtar, Fehmida Riyaz and all those who have been part of the progressive writers' movement in the Indian subcontinent. It documents the rise of the Progressive Writers' Association, its period of ascendancy, its crucial role in the struggle for independence, and its unflagging spirit of resistance against injustice. In the process, the book highlights various aspects of the PWA's aesthetics and politics such as its internationalist ethos, its romance with modernity, its engagement with feminism, its relationship to Hindi cinema and film lyrics, and the vision of a radically new world which its members articulated with passion. Part history, part literary analysis, part poetic translation, and part unabashed celebration of the PWA era, this book is truly a unique resource. This is a lucidly written account of a glorious chapter in the history of Indian literature. The powerful verses of the PWA poets are wonderfully translated and, along with the highly accessible transliteration, offer the general reader a rare opportunity to appreciate the writings that helped shape a nation. Anthems of Resistance is truly an inspiring and pleasurable read." - Professor Mushirul Hasan, Vice Chancellor, Jamia Millia Islamia, New Delhi "Such a gift from the Brothers Mir! Lyrical and thoughtful, this introduction to the vast swathe of progressive Urdu poetry belongs on all our shelves, and in all our hearts. It is a companion worthy of the poetry itself. A singular achievement." - Professor Vijay Prashad, Director of International Studies, Trinity College, Connecticut, US "Like the many poets they celebrate, the authors write with passion and conviction ... Their book makes for a joyous and exhilarating read." -Professor C.M. Naim, Professor Emeritus, University of Chicago

The Distinguishing Of This Classic Dictionary Rare: The Space Assigned To The Etymology Of Words; The Arrangement Of Words Which Are Similarly Spelt But Differently Derived Into Separate Paragraphs According To Their Etymology; The Indicating The Postposition By Means Of Which An Indirectly Transitive, Or An Intransitive Verb Governs Its Object, And The Change Of Mmeaning Which Frequently Takes Place By The Employment Of Different Postpositions After A Verb ( Many Verbs, In Existing Dictionaries, Are Given As Transitive, Thus Leading One To Suppose That They Overn The Accusative Case, Whereas They Govern, It May Be, The Genitive, Or The Ablative, Or The Locative; E.G. Gabza Karna Is Called A Transitive Verb, Although It Governs The Locative); The Admission Of Numerous Words Which Do Not Find Place In The Literary Language. This Volume Is An Invaluable Accessory For The Scholars Of Classical Urdu And Hindi.