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HAMARA ADABI MANZAR NAMA (Tanqeed)
BY: Haider Qureshi Year of 1st Edition 2014
2014
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O-9 E Mail:akkasurdu2@gmail.com
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Hasel e Mutalea (Critisism: Book Reviews & Articles)
By: Haider Qureshi Year of 1st Edition: 2008 ISBN 81-8223-347.X Price: Rs. 200/-
Rossertstr.6, Okriftel, 65795 Hattersheim,Germany E-Mail: hqg786@arcor.de
Published By EDUCATIONAL PUBLISHING HOUSE 3108,Vakil Street, Kucha Pandit, Lal Kuan, Delhi-6 (India) Ph: 23214465, 23216162, Fax: 0091-11-23211540 E-Mail: info@ephbooks.com, ephdelhi@yahoo.com Website: www.ephbooks.com
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http://work-on-haiderqureshi.blogspot.de/
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Tassuraat
(Critisism: Book Reviews & Articles)
By: Haider Qureshi Year of 1st Edition: 2012 ISBN978-93-5073-054-6
Price: Rs. 200/-
Rossertstr.6, Okriftel, 65795 Hattersheim,Germany
E-Mail: haider_qureshi2000@yahoo.com
Published By EDUCATIONAL PUBLISHING HOUSE 3108,Vakil Street, Kucha Pandit, Lal Kuan, Delhi-6 (India) Ph: 23214465, 23216162, Fax: 0091-11-23211540 E-Mail: info@ephbooks.com, ephdelhi@yahoo.com
Website: www.ephbooks.com
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M.A. English Studies
M.A.
English Studies
Haider Qureshi’s splendid collection of short stories extends the range of contemporary
Urdu writing available in English translation. Qureshi is a philosophical story teller who ranges from the Ramayana to ecological fables and reflections on the experience of immigrant workers in Germany.His is a singular voice which deserves a wider audience. These stories are thoughtful and full of interest. Dr. Derek Littlewood (Birmingham, ENGLAND.)
1983
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Literary Theory 2007
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Soap-powders and Detergents
Ca ther ine Be lsey M yt ho l o gi e s Poststructuralism: A Very Short Introduction
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Chlorinated fluids, for instance, have always been experienced as assort of liquid fire, the action of which must be carefully estimated; otherwise the object itself would be affected, 'burnt'. The implicit legend of this type of product rests on the idea of a violent, abrasive modification of matter: the connotations are of a chemical or mutilating type: the product 'kills' the dirt. Powders, on the contrary, are separating agents: their ideal role is to liberate the object from its circumstantial imperfection: dirt is 'forced out' and no longer killed; in the Omo imagery, dirt is a diminutive enemy, stunted and black, which takes to its heels from the fine immaculate linen at the sole threat of the judgment of Omo (Roland Barthes, Mythologies,Translated by Annette Lavers, 1972(1957), The Noondaz Press,New York)
Chlorinated fluids Traditional domestic cleaning products that use bleach or ammonia 'make war' on germs , or 'kill' dirt. By contrast what was new in the imagery of household detergents available for the first time just after the Second World War, was that they separated the dirt from the
2007
Soap-powders and Detergents Mythologies
1954
These products have been in the last few years the object of such massive advertising that they now belong to a region of French daily life which the various types of psycho-analysis would do well to pay some attention to if they wish to keep up date. Poststructuralism: A Very
(Catherine Belsey, Poststructuralism Avery Short Introduction, 2002, Oxford Universty
Short Introduction 31
Press, London)
Because the form of ownership that determines the nature of our society is bourgeois,
fabric decisively but wothout 'violence'..Their ideal role is to liberate the object from its circumstantial imperfection', Roland Barthes proposes,..
Dr. Derek Littlewood
7 2011
Barthes says, and it is the particular property of bourgeois ideology to efface itself.
Myth,Barthes explains, converts histroy into nature .P 31
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Dear Haider, It sounds more like Catherine Belsey than Julia Kristeva. But I imagine that it is a paraphrase rather than the actual words. You would be able to read Roland Barthes
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for yourself, perhaps. ‘Soap Powder and Detergent’ is a newspaper article from the 1950s reprinted in Barthes’s book Mythologies, My best wishes
Derek
2007
Postmodern Literary Theory 2011 2007
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But I cannot call you a "natavan."So keep on with the good work . Warmly, m u memon
Brisbane
Thank you for sending this "ne'mat-e ghair mutaraqqiba." I read the whole article right away
and felt immense pity for the man. Much as I admire your zeal in exposing such impostors, I also feel that your time is far too precious to be wasted on such non-entities. When the controversy was hot, I frequently thought of joining the fray and throw in my two-cents worth, but something prevented me. In retrospect I feel I rightly saved myself from a wasteful undertaking. But I also think that such impostors need to be exposed and cut down to their size. Somebody has to do it, even if it is wasteful, even if the culprit is a non-entity, and you are doing it. We must all be grateful to you:
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I have studied your essay “Falsfi Ki Naujawani and Sheela Ki Jawani”,in first instance I was little wondered to read the heading of the essay , however, you cleared the facts in very second line of the essay. Also here in Pakistan, some people want to become popular in one go or just over night which in my views is not possible especially in the field of literature as it demands continuous reading and writing experience spread over years and years of time period and with no definite reward and remuneration in terms of so called popularity and acceptability...........As your good self discussed, the book launching ceremony in Pakistan was perhaps held at Gujranwala Bar but I did not go , however, my one or two friends told
me that nothing was said regarding modernism and post modernism in literature rather the
actually only the literary associations can arrange literary dialogue and discussions.
political conditions of the country remained the topic of the discussions of the ceremony,
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such is his mastery in depicting the sexual encounters and love scenes that if the novel was written in modern Urdu, it would have sold by lakhs, says Haider Qureshi, an eminent poet. As it is a novel about Indo-Islamic culture and Mughals, the finest couplets of Urdu and Persian poetry abound in the book.
an eminent poet
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2011/8/29 fariyad azer <fariyadazer@gmail.com>
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Postmodern Literary Theory 2011 2007
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Thank you for sending this "ne'mat-e ghair mutaraqqiba." I read the whole article right away and felt immense pity for the man. Much as I admire your zeal in exposing such impostors, I also feel that your time is far too precious to be wasted on such non-entities. When the controversy was hot, I frequently thought of joining the fray and throw in my two-cents worth, but something prevented me. In retrospect I feel I rightly saved myself from a wasteful undertaking. But I also think that such impostors need to be exposed and cut down to their size. Somebody has to do it, even if it is wasteful, even if the culprit is a non-entity, and you are doing it. We must all be grateful to you:
But I cannot call you a "natavan."So keep on with the good work . Warmly, m u memon
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Mazameen Aur Tabsaray
(Critisism: Book Reviews & Articles)
By: Haider Qureshi Year of 1st Edition: 2014
Rossertstr.6, Okriftel,
65795 Hattersheim,Germany E-Mail: haider_qureshi2000@yahoo.com
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Metamaterials
CERN
Big Bang
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www.dw.de//a-16076444
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Lydia Davis Lydia Davis
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http://www.zemtv.com/2013/04/17/kharra-sach-with-mubasher-lucman-17th-april-2013/
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Dear Nasir thank you for the column Adib Saray. The article of Hader Qureshi is very informative and send me his email address. He did not touch the part of his poetry which a kind of propaganda of Hinduism. I have not read his poetry deeply but I read his stories and novel. As for as I know that he was deeply influence by the poetry Hafiz but he did not acknowledged. Most of his literature is connected with orthodox Hunduism this is my personal opinion. Sincerely, Anwar Khawaja
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Dear Qureshi sahib, I will down your ebook if I can and read article about Agha and read your poems. I do not know when Iqbal wrote the poem Hindustan Hamara. But I know due to policy of Congress he realized that the Hundu will crush Muslim with there majority. He pursued Jinnah to take over the Leadership of Muslim. I have to read about Tagore more but this I know that his early poem were in old classical Bangali or new Sanskirt. He wrote those poem anonymously and they were stories of Krishna and Rahda illicit love affairs. Later on he improved those poems and they became official chants of Hindu Beraggi or Fakir. He established in his village School or University, Shanti Nakatin, which became the revival of Hundu culture and centre of Congress. His poetry have lyrical quality and became base of new Bengali music. In my opinion, he got the Noble prize being Hundu and his poem were translated in English. Iqbal could not get the Noble Prize because he was Muslim and his book " Payam-e- Mushriq was also translated in English. I am not a narrow minded Muslim but I know that English imperialism has spread this notion that Muslim are not superior mentally although the whole Western civilization could not produce poet and mystic Like Hafiz and Roomi. IT is difficult subject and you are more suited to write about it. I do not have any books of Tagore. I will try to down load your books. My books are also available on internet. I write mostly
Dear Qureshi sahib, thank you for your letter. I do remember to read the translation of Tagor "Getan Jali" which was translated by Akhtar Hussain Raipuri. You shoud read the English translation of his poem which he has don himself. My impression is that he tried to base his philosphy on orthodox Hunduism which include the whole system of cast. I agree with you that Sufism has track in Buddism which a shoot of Hundu mystic order. It is quite complicated problem. I am not student of Philosphy but I will go through it and let you inform but you are in better position and go into this problem. My thought may have been affected by his Tarana " Banda Matarim" which has been adopted by Bharat changing from Iqbal Poem. I will discuss it with you some time later on. I am also irritaed with one of his story Kabali Wala. it is base on fact but the writer point of view may have made me against Tagor. I will go through this story and read his poem again and let you know my opinion. I am thankful to Nasir Ali Syed that he forwarded my email to you. I am also happy to read your poems in this article and want to read more and also that you qouted Wazir Agha, who was a new kind of poet. Why not write an articleon on Agha. Thank you again Sincerely,
Anwar Khawaja
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Thank you for your email. I agree with you. In study of literature one should keep his believe apart. Iqbal wanted provincial autonomy but later on he came to know that Congress is not caring to give rights to Muslim so he asked Jinah to lead the Muslim. Orthodox Muslim movements Devband and Jamat Islami were deadly against Pakistan but when Pakistan came into being they came to Pakistan and started old Madrisha system and provided Zia force of young Mujahiddin. and begin killing their own people. It is interesting discussion and you are more qualified to write and can get material and books but I cannot get any books in Los Angeles. Dr Wazir Agha was a great scholar and poet. This is my own opinion, Anwar Sadeed friendship damage his name. In which city you are in Germany.? I will down load your books and if I have any difficulty I will email you. Sincerely, Anwar Khawaja
585 short stories. I will send you a link. Thank you. Sincerely, Anwar Khawaja
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(F. Scott (Edgar Alan Poe) (Ernest Hemengway) ( D uma s) F itger ald) (J ack London) (R.L S tevenson) (George Simenon) (O,Henry) (The
(The most
Dangerous game)
Lady or The Tiger)
606 Subject: Re: Pop Stories by King Wenclas Dear Dr, Ismail,
To my understanding, the short stories done by writers of the past (Stevenson, O. Henry, et.al.) are pop stories by default. At the time they were published, short stories were popular by definition. In the U.S. they were extremely popular, published in large circulation newspapers and in large circulation magazines like the Saturday Evening Post. F. Scott Fitzgerald made more money, and was more widely known, through his short stories than his novels. Today, most stories published in the U.S. are "literary" stories, following the standard university workshop model. Their intent isn't to entertain, but to impress literary critics and writing teachers. It's not an accident that the short story has lost its readership. The focus of literary stories is craft, not entertainment. They're a distinctly different kind of short story from those which were once widely read. Today, at least in the U.S., O. Henry and Jack
605
London are scorned by the academy. Robert Louis Stevenson isn't taken seriously. (Then again, at one time rock n roll music wasn't taken seriously. I see the short story fitting a
On Tue, Jun 4, 2013 at 6:47 PM, Razia Khalida wrote:
similar pattern as the pop song-- both should be short, punchy, with hooks to interest the
Hello Mr Wenclas
listener/reader.)
I hope you are fine.
Those old time writers likely didn't call their art pop stories, but they were considered popular stories. Scott Fitzgerald was criticized by some for spending too much energy writing popular stories. The word "pop" was popularized in the 50's and 60's with pop
I spoke to you about your "Ten Pop Stories" last year and i also did my own small scale research on the internet about the pop story. I need your assistance to further clarify the situation about he pop story as at present there
music, pop art (Roy Lichtenstein; Andy Warhol), and such. The connection with the short
is a debate going on among the urdu fiction writers about the validity of pop story that how
story seems obvious. At least to me.
it differs from any other form of short story as the traits given for a pop story apply to any
I've used the term "pop" in regard to the short story since the late 90's, when I was a leading zine writer. Other zine writers-- Frank Marcopolos to name one-- were publishing pop
short story. During my internet research i found out that Ernest Hemingway, Edgar Alen Poe, F.Scott
stories, and referring to them as pop, at least informally. If literary people in Britain don't
Fitzgerald, Dumas, R.L.Stevenson, Jack London, O'Henry and George Simenon, apart from
use the term, they're behind the times. But then, the short story traditionally was always a
writing novels wrote very good pop stories. "The most dangerous game" and "The lady or
more American preoccupation, and least in the short story's heyday. Edgar Allen Poe; Mark
the Tiger" were very good pop stories of their times.
Twain; Bret Harte; Frank Stockton; Ambrose Bierce; Stephen Crane; Jack London-- their stories wildly popular, and in style very readable. I'd love to see the short story become that popular again. Writers need to present stories the public will actually enjoy reading. (Flash fiction, to my mind, is something different. Related, maybe, but inferior.) I hope these impressions off the top of my head are helpful. I don't know who else writes about these things but myself-- I don't mind being a trailblazer.
I wonder if these stories were known as pop stories at that time and the writers actually did use the term pop for them or someone else later on labelled these as pop stories??? It will be very helpful for me to have your views on this. Additionally,I have spoken to a few English short story writers in the UK and they do not seem to be familiar with this term. One person mentioned "flash story" which is a very brief form of story writing and as we
Best,
know this year's Man Booker Prize in the UK has been awarded to the flash/brief story
Karl "King" Wenclas
writing.
Date: Tue, 4 Jun 2013 23:00:52 -0400 Subject: Re: Pop Stories by King Wenclas p.s. I should add that the word "pop" has a dual meaning. It refers to popular-- which the
I will be much obliged to have your response at your earliest convenience. Kind Regards Dr R. Ismail Birmingham.UK
Date: Tue, 4 Jun 2013 22:43:50 -0400
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great short story writers undoubtedly were. But "pop" also points to the word populist, which is something a bit different. At one time, in America, literature was a populist art form, in a way it never was in England. Virtually all the great American writers were populists, through Steinbeck, and maybe the Beats. American literary criticism became noticeably more elitist beginning in the 1950's. Populism refers to the novel. Populist authors took a much broader view of
Aesop
Shortest Stories Shortest Stories Lydia devis
American society than writers do today. Their style, not coincidentally, was geared toward a mass audience, toward a broad public. Simpler and more accessible. Writing technique was a secondary consideration with these authors. (Theodore Dreiser, notably.) One can read the essays of Frank Norris to get a sense of the different viewpoints. Populists like Norris believed that literature belonged to everybody-- not just to a small clique of the well-bred. One of the problems with American literature today is that it's dominated by New York and by those who attended elite Ivy League universities. Tastes are different in other parts of the nation. It's a debate I was involved in when a member of the Underground Literary Alliance last decade. Well, it's an enormous subject. -K.W.
(F. Scott (Edgar Alan Poe) (Ernest Hemengway) ( D uma s) F itger ald) (J ack London) (R.L S tevenson) (George Simenon) (O,Henry)
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http://issuu.com/adabi-manzar/docs/adabi_manzar_shumara_1
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9.11.12
http://poetmeeraji.blogspot.de/search?updated-min=2012-01-01 T00:00:00-08:00&updated-max=2013-01-01T00:00:00-08:00&max-results=5
… 9.11.12
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http://www.urduhamasr.dk/dannews/index.php?mod=article&cat=Literature&article=1359
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Guilty Love
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Ellen Key
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Simon de Beauvoir
Stephen Heath
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L i b e r a l F e m i n i s m Re d i c a l F e mi ni sm Ma r xi st F e mi ni sm Social Feminism Existentialist psycho-analytic Feminism Post Modern Feminism Feminism
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http://www.urduhamasr.dk/dannews/index.php?mod=article&cat=Literature&article=1336
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Dr. Gopi Chand Narang
Aur Maa Bad Jadidiat By: Haider Qureshi Year of First Edition 2009 Price Rs. 150/=
-
Sarwar Adabi Akadmi Haider Qureshi Rossertstr.6, Okriftel,
65795 Hattersheim, Germany. E-Mail: haider_qureshi2000@yahoo.com
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____
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Postmodern Literary Theory
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Structuralism and Semiotics
Contemporary Literary Theory
Selden, Raman
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The article of Imran Shahid Bhender in Jadeedadab.com is indeed an eye opener. We are very well familiar with many other qualities of Narang sahib but this aspect is particulary interesting.Anyway, this is very unfortunate and plagiarism should be discouraged and condemned at every level. To achieve this goal I think wider publicity
should be given to such cases.I am writing this letter to request you to allow us to reproduce the article in a new quarterly journal launched from Delhi. The journal 'Behs-o-Mubahisa' is started by a group of teachers and writers from Delhi. Asif Azmi
is its editor and publisher. If you allow us, we would also like to have the matter as inpage file. I hope you would do this favour. However, if the permission is required from Imran shahid sahib, I would request you to send his email ID.
Underestimate
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Contemporary Literary Theory
Structuralism and Semiotics
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http://www.urdudost.com/library/index_mutafarriqat.php
http://akkas-international.blogspot.de/2013/01/akkas-shumara-number-9.html
http://issuu.com/akkas/docs/akkas_9__narang_number_final
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touchy
beltthe below
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Co n t em p o ra ry L i t e ra ry
Theory Structuralism and Semiotics
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involve
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VRS
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...
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defame
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Aap ke goshe ki baat ye he ke jab wo chhap raha tha tab Narang sb ne iska ilm honay ke bawajood mujh se nahi poochha ke kyun chhaap rahe ho. Jab chhap chuka to us ke bhi 3-4 maah baad ek din unhon ne poochha ke ye to batao Haider Qureshi kahaan se tumhaare ese dost ban gae ke un ka gosha chhaap diya. Un se itna gehra talluq kab hua tumhara. Maen ne sach baaten bata deen. Aur ye jawaaz bhi ke maen India Pakistan se baahar rehne waale do adeebon par goshe chhaapna chahta tha. S P
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Anand Sb ke muqabil mujhe HaiderQureshi ziyada suit karte they.
pluralism
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obsession
Haider Qureshi kahaan
...
se tumhaare ese dost ban gae
Contemporary Literary Theory
Structuralism and
Semiotics
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I remember a case when Mr.Narayanan, once an editor of daily " Hindustan Times" who lifted pasages from another author's artilces and published as his own was summarily dismissed from the editorship and has since receded into oblivion. Knowledge is any one person's monopoly but if you rely on someone else's views of opinion, you must gracefully acknowledge it and never pass on as your own original work. Jagdish Prakash
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jagdishpin@yahoo.com Dear Mr. Qureshi, Thanks for drawing attention to this thought provoking article by Prof.Naeem. I never knew that an eminent Urdu scholar of the repute(??) of Dr. Narang should be indulging in this kind of reprehensible act of plagairism and getting an award for the same.
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So, let's forget and forgive. Nothing is to appear in press. 79 years old that I am, I have
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last breath. Satyapal Anand
always been an uncontroversial literary figure and want to remain so, a friend to all, till my
out of the way
complication Radiation therapy
(bibliography) (references)
"referential
mistake"
Bhai jaan: aadab. This is only in my personal context please. I have no quarrel with you.
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damage
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%80 .............
AZIZ-E-MAN !
I AGREE WITH YOU ENTIRELY THAT MOST OF THE PEOPLE
CLAIMING TO BE WRITERS ARE NOT WRITERS AND ONLY 20% ARE GENUINE WRITERS. THAT EXACTLY IS WHAT I MEAN TO HAVE SOME ARTICLES ON THOSE GENUINE WRITERS.
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www.urdudost.com
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Cheers
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chhatay heN to bismillah!" You may have noted that I rarely share any item, message, or input about Narang sahib at our forum and in my communications.My interaction with Narang sahib is minimal. Such accusations are at best sad indeed. You be the judge. Cheers.
Some Urdu poet has written, "baat niklay gee to phir door talak jaaey gi". Here is another article on the recent spike of accusations re Dr. Narang. I share it without comments.This shows you the unfortunate state of minds in Urdu literature.
I am sharing this message from Haider sahib, who runs a web magazine from Germany and is among the main accusers of Dr. Narang. Objectivity requires that I share it.I am surprised at this comment, "aap kay zareeay agar narang saheb doosra round shuru karna
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Hiader Sahib,
I have some personal questions if you cared to reply: 1. Are you a Pakistani by origin or Indian. 2. Did you live in India for a sustained period (2-3 years) 3. Did Gopi Chand Narang publish an article by you in a book titled Urdu ki Nai BastiyaaN (I have not seen the book but a friend suggested that he may have seen such an article) 4. Where do you live now, Germany or Denmark. My understanding is Germany I will be going to sleep in a few minutes and will look at my mail tomorrow.
REPLY
Hello Qureshi Sahib,Thanks. I became busy with some of my professional activities and am currently traveling.
I do not have access to my forum links. Regards. Munir Sending you this message from my blackberry that does not provide full internet access.
Quick question? Are you a member of the forum?
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similarities
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Grand Narrative
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___ ____
( )
Deconstruction
Deconstruction
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*
Deconstruct
Logo-Centrism
web of relations
Deconstructionists
Labyrinth
Deconstruct
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Super nation Super Race
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Signifying
system
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*
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Huntington Huntington
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Thanks for sending me your piece. I read it with great interest and hope that your and Professor Naim's efforts will bear fruit. Please keep up
the good work.
Warmly, Muhammad Umar Memon (U.S.A.)
very, very interesting! Thanks for drawing attention to this thought provoking article by Prof.Naeem.
I
never knew that an eminent Urdu scholar of the repute(??) of Dr. Narang should be indulging in this kind of reprehensible act of plagairism and getting an award for the same.I remember a case when Mr.Narayanan, once an editor of daily " Hindustan Times" who lifted pasages from another author's artilces and published as his own was summarily dismissed from the editorship and has since receded into oblivion.
Masha'allah, very well written. You are doing a great service to modern Urdu literature.I am circulating its copies among friends and have saved it for publication in the Khabar Namah at the prpoer time. I also read and enjoyed your hard hitting reply to Munir Sami.
Knowledge is any one person's monopoly but if you rely on someone else's views of opinion, you must gracefully acknowledge it and never pass on as your own original work. Jagdish Prakash ..........................................
I thank you for being so proactively persuing the question of purity of thought, creativity and expression in Urdu making Dr.Gopi Chand Narang's case as symptomatic of the malaise. While this kind of plagarism is condemnable unequivocally, Mr. C.M.Naim has drawn attention to another issue of manipulations in the corridors of powers to win partronage and positions.This is what had happened in case of Dr.Narang.This is a weakness of the system for which real talent suffers while mediocrity thrives. I also wish to inform you that I am presently in Canada and will move back to India
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Jagdish Prakash
thanks for your e-mail . i read your clarificatory article on Dr Narang's sarqas with interest. he seems to have crossed all limits of decency, With regards
Arshad Kamal ,
send
It is an interesting debate indeed. I would try to follow both sides as a student of Urdu literature. So far you seem to have been using proper references and that shows the objectivity.Although these kind of Manashqaat are unfortunate for Urdu literature however for some of us these become a great learning experience.
Ahmad Safi (karachi)
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" "
Mouton
Sheep Mutton
Saussure's argument depends on the different division of the chain of meaning in different languages. ' If words stood for pre-existing concepts' they would all have exact equivalents in meaning from one language to the next; but this is not true' (Saussure, 1974: 116). The truth is that different languages divide or articulate the world in different worlds. Saussure gives a number of examples. For instance, where French has the single mouton, English differentiates between mutton, which we eat, and sheep.............(Belsey, 36-37).
P o e t i c s Strucuralist
Tautological
Tautology Constructed
in Language
From this post-Saussurean perspective it is clear that the theory of literature as expressive
Structuralism and Semiotics
realism is no longer tenable. The claim that a literary form reflects the world is simply
differentiated by language, then the claim that realism reflects the world means that realism
tautological. If by 'the word' we understand the world we experience, the world reflects the world constructed in language. This is a tautology................ (Belsey, Catherine. Critical Practice, London, Routledge, 2003, P,43)
730
(HOMO LOQUENS)
'NARRATION EQUALS LIFE: THE ABSENCE OF NARRATION DEATH' P' 92
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equivalence
Terence Hawkes We have already noticed the argument of Jakobson's fellow Prague school critic
Mukarovsky with regard to foregrounding: that the aesthetic use of language pushes into the
Todorov
metaphoric mode tends to be foregrounding in poetry, whereas the metonymic mode tends
We have already noticed the arguments of Jakobson's fellow Prague school critic Mukarovsky with regard to 'foregrounding': that the aesthetic use of language pushes into the foreground 'the act of expression' itself. Jakobson offered the most refined proposal that the metaphoric mode tends to be foregrounded in poetry, whereas the metonymic mode tends to be foregrounded in prose. This makes the operation 'equivalence' of crucial importance to poetry, not only in the area of analogy, but also in the area of 'sound' of those metrical, rythmic and phonic devices,.......continue. (Terence Hawkes, P, 80).
EQUIVALENCE
Poetic language is deliberately self-conscious, self-aware. It emphasises itself as a medium over and above the 'message' it contains: it characteristically draws attention to itself and systematically intensifies its own linguistic qualities. As a result, words in poetry have the status not simply of vehicles for thought, but of objects in their own right, autonomous concrete entities, In Sausure's terms, then, they cease to be 'signifiers' and become
foreground the 'act of expression' itself. Jakobson offers the more refined proposal that the to be foregrounded in prose. This makes the operation of 'equivalence' of crucial importance to poetry........(Structuralism and semiotics, 1984, p80)
Structuralism and Semiotics
Structuralism and Semiotics
intertexuality
Todorov flavour
The notion that literary works are ultimately about language, that their medium is their message, is one of the most fruitful of structuralist ideas and we have already noticed its theoretical foundations in the work of Jakobson. It validates the post-romantic sense that form and content are one, because it postulates that form is content. At one level, this permits, for instance, Todorov to argue that the ultimate subject of a work like The Thousand and One Night is the act of story-telling, of narration itself: that for the character involved- indeed for homo loquens at large- narration equals life: 'the absence of narration death'........... (Structuralism and Semiotics, p,100).
MESSAGE'
'THE MEDIUM IS THE
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speak of any absolute truths or of objective knowledge.... Foucault regards discourse as a central human activity, but not as a universal, 'general text', a vast sea of signification. He is interested in the historical dimention of discursive change. What it is possible to say will change from one era to another. In science a theory is not recognised in its own period if it deos not conform to the power consensus of the institutions and official organs of science. Mendel's genetic theories fell on deaf ears in the 1860s; they were promulgated in a 'void' and had to wait until the twentieth century for acceptance. It is not enough to speak the truth; one must be 'in the truth'. (Selden, Raman. Contemporary Literary Theory,3rd ed, Britain,1993,P158-159)
TEXTUALITY (MICHEL FOUCAULT)
( WILL TO POWER)
MENDEL
731 'signifieds', ...(P, 63-64).
signified signifiers
Formalist theory realised that the 'meaning' habitually carried by words can never be fully seperated from the words themselves because no word has 'simple' one meaning. The 'meaning of A is not simply A1 or A2 or A3, for A has a larger capacity to mean which derives from its particular context or use. No word is ever really a mere proxy for a denoted object. Infact the transaction of 'meaning' has a coplexity of dimensions which the 'poetic' use of language further complicates. Poetry, in short, does not seperate a word from its meaning, so much as multiply - bewildering - the range of meanings available to it... (P, 64).
There is another stand in poststructuralist thought which believes that the world is more than a galaxy of text, and that some theories of textuality ignore the fact that the discourse is involved in power. They reduce political and economic forces, and ideological and social control, to aspects of signifying processes. When a Hitler or a Stalin seems to dictate to an entire nation by wielding the power of discourse, it is absurd to treat the effect as simply occurring within discourse. It is evident that real power is exercised through discourse, and that this power has real effects....... The father of this line of thought is the German philosopher Nietzsche, who said that people first decide what they want and then fit the facts to their aim: 'Ultimately man finds in things nothing but what he himself has imported into them.' All knowledge is an expression of the 'will to power'.This means that we can not
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79 -106 27 - 42 288 - 329 49 - 70 234 - 240 149 - 158 243 - 267 86 - 103
Structuralist
Poetics
John Sturrock
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Jonathan Culler (see also chapter 5) has argued that a theory of reading has to uncover the interpretative operations used by readers. We all know that different readers produce different interpretations. While this has led some theorists to despair of developing a theory of reading at all, Culler argues in The Pursuit of Signs (1981) that it is this variety of interpretation which theory has to explain. While readers may differ about meaning, they may well follow the same set of interpretative conventions.... (Selden, P62).
The word 'revolution' in Kristeva's title is not simply metaphoric. The possibility of radical social change is, in her view, bound up with the disruption of authoritarian discourses. Poetic language introduces the subversive openness of the semiotic 'across' society's 'closed' symbolic order: 'What the theory of the unconscious seeks, poetic language practices, within and against the social order.' Sometimes she considers that the modernist poetry actually prefigures a social revolution which in the distant future will come about when society has evolved a more conplex form. However, at other times she fears that bourgeois ideology will simply recuperate this poetic revolution by treating it as a safety valve for the repressed impulses it denies in society. Kristeva's view of the revolutionary potential of women writers in society is just as ambivalent.... (Selden, P142).
and the formal values of the texts it studied were timeless.....Barthes was never a member of
Existentialism, on the contrary, preaches the total freedom of the individual constantly to
the Communist party - let us say neo-Marxist objection. He dismissed existing histories of
change..... Barthes, like Sartre, pits therefore the fluidity, the anarchy, even, of existence
French literature as meaningless choronicles of names and dates... (Sturrock, P, 54-55)
against the rigor mortis of essentialism; not least because, again following Sartre, he sees
essentialism as the ideology which sustains that tradional bugbear of all French intellectuals,
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DOXA
735
the bourgeoisie... he writes at the conclusion of his most feroriously anti-bourgeois book, the devastating Mythologies (1957......... In one way, Barthes goes beyond Sartre in his abhorrence of essentialism. Sartre, as so far as one can see, allows the human person a certain integrity or unity; but Barthes professes a philosophy of disintegration, whereby the presumed unity of any individual is dissolved into
DOXA
a plurality or discontinuous. This biography is especially offensive to him as a literary form
(Sturrock, John. Structuralism and Since. London, Oxford University Press,1979, P 53)
Barthes's second complaints against academic criticism was that it was psychologically naive and deterministic....when critics chose to explain textual data by biographical ones, or the work by the life....The elements of a literary work - and this is an absolutely central point in literary structuralism - must be understood in the first instance in their relationship to other elements of that work..... (Sturrock, P,56)
because it represents a counterfeit integration of its individual. It is a false memorial to a living person.......
(ESSANTIALISM)
MYTHOLOGIES (1957)
(INTEGRITY)
his arch enemy is the doxa, the prevailing view of things, which very often prevails to the extent that people are unaware it is only one of several possible alternative views. Barthes may not be able to destroy the doxa but he can lesson its authority by localizing it, by subjugating it to a paradox of his own...... Barthes is only fully to be appreciated, then, as some one who set out to disrupt as profoundly as he could the orthodox views of literature he found in France...........The
They could see only one meaning in the texts they concerned themselves with, and that one
grievances against contemporary criticism with which Barthes began were deeply influential
meaning was usually a very literal one. This they subsequently held the meaning of the text,
on what he came to write later. There were four main ones. First, he objected that literary
and that to search further for supplementary or alternative meanings was futile. They were
criticism was predominantly ahistorical, working as it did on the assumption that the moral
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belongings.
men of narrow and autocratic temper who fancied they were being scientific when they
7. The victim submits to deception and thereby unwittingly helps his enemy.
were merely being culpably dogmatic. Their minds were closed to the ambiguities of
Scholes, Robert, Structuralism in Literature, New York, Vail-Ballou Press,1974 P, 62-70.
(
FUNCTIONS) (FUNCTIONS)
(SEQUENCE)
(FUNCTIONS) (FUNCTIONS)
(FUNCTIONS)
language, to the co-existence of various meaning within a single form of words,....... (Sturrock, P 57-58)
Attempting to distinguish between constant and variable elements in a collection of a hundered Russian fairytales, Propp arrives at the principle that though the personage of a tale are variable, their functions in the tales are constant and limited. Describing function as "an act of a character, defined from the point of view of its significance for the course of the action," Propp developed inductively four laws which put the study of folk literature and of fiction itself on a new footing. I their baldness and universality, laws 3 and 4 have the shocking effect of certain scientific discoveries: 1. Functions of characters serve as stable, constant elements in a tale, independent of how and by whom they are fulfilled. They constitute the fundamental components of a tale. 2. The number of function known to the fairy-tale is limited. 3. The sequence of functions is always identical. 4. All fairy tales are of one type in regard to their structure. (Morphology of the Folktale, pp. 21,22,23) In comparing the functions of tale after tale, Propp discovered that his total numbers of functions never surpassed thirty-one, and that however many of the thirty-one functions a tale had (none has every one) those that it had always appeared in the same order.... After the initial situation, in which the members of a family are enemerated or the future hero is introduced, a tale begins, consisting of some selection of the following functions in the following order: 1. One of the members of a family absents himself from home. 2. An interdiction is addressed to the hero. 3. The interdiction is voilated. 4. The villain makes an attempt at reconnaissance. 5. The villain recieves information about his victim. 6. The villain attempts to deceive his victim in order to take possession of him or of his
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(VICTIM)
Derrida refuses to grant philosophy the kind of privileged status it has always claimed as the sovereign dispenser of reason. Derrida confronts this pre-emptive claim on its own chosen grounds. He argues that philosophers have been able to impose their various systems of thought only by ignoring, suppressing, the disruptive effects of languages. His aim is always to draw out these effects by a critical reading which fastens on, and skilfully unpicks,
the elements of metaphor and other figural devices at work in the texts of philosophy. Deconstruction in this, its most rigorous form acts as a constant reminder of the ways in which language deflects or complicates the philosophers project. Above all deconstruction
works to undo the idea-according to Derrida, the ruling illusion of Western metaphysicsthat reason can somehow dispense with language and achieve a knowledge ideally
unaffected by such mere
linguistic foibles. Norris, P18-19).
The last half of the nineteenth century and the last half of the twentieth were charecterized by the fragmentation of knowledge into isolated disciplines so formidable in their specialization as to seem beyond all synthesis. Even philosophy, the queen of the human sciences, came down from her throne to play solitary word games. Both the language -philosophy of Wittgenstein and the existentialism of the Continental thinkers are philosophy of retreat......
Scholes, Structuralism in Literature, New York, Vail-Ballou Press,1974, p,1)
Derrida's professional training was as a student of philosophy (at the Ecol Normale Superieure in Paris, where he taught until recently), and his writings demand of the reader a considerable knowledge of the subject. Yet Derrida's texts are like nothing else in modern philosophy, and indeed represent a challenge to the whole tradition and self-understanding of that discipline. Norris, Christopher. Deconstruction.3rd ed, London, Routledge,2002, P18-19)
Ecol Normale Superieure, Paris
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philosophy repudiates the notion that meaning must entail some one-to-one link or
In this sense Derria's writings seem more akin to literary criticism than philosophy. They
'picturing' relationship between propositions and factual status of affairs. Languages now
rest on the assumption that modes of rhetorical analysis, hitherto applied mainly to literary
conceived of as a repertoire of 'games' or enabling conventions, as diverse in nature as the
texts, are infact indispensable for reading any kind of discourse, philosophy included.
jobs they are require to do (Wittgenstein 1953). The nagging problems of philosophy most
Literature is no longer seen as a kind of poor relation to philosophy, contenting itself with
often resulted, Wittgenstein thought, from the failure to recognise multiplicity of language
mere fictive or illusory appearances and forgoing any claim to philosophic dignity and truth.
games. Philosophers looked for logical solutions to problems which were only created in the
This attitude has, of course, a long prehistory in Western tradition. It was plato who
first place by a false conception of language, logic and truth. Scepticism he argued, was the
expelled the poets from his ideal republic, who set up reason as a guard against the false
upshot of a deluded quest for certainty in areas of meaning and interpretation that resist any
beguilements of rhetoric, and who called forth a series of critical 'defences' and 'apologise'
such strictly regimented logical account. (Norris, P127-128).
which runs right through from Sir Philip Sydney to I. A. Richards and the Americans new
(ORDINARY-ANGUAGE)
(LUDWIG WITTGENTEIN 1889 - 1951)
(EPISTEMOLOGY)
Contemporary Literary Theory
Eagleton, like Althusser, argues that criticism must break with its 'ideological prehistory' and become a 'science'. The central problem is to define the relationship between literature and ideology, because in his view texts do not reflect historical reality but rather work upon ideology to produce an effect of the 'real'. The text may appear to be free in its relation to
critics. The lines of defence have been variously drawn up, according to whether the critic sees himself as contesting philosophy on its own argumentative ground, or as operating outside its reach on a different - though equally privileged - ground. (Norris,P19)
discourse
The counter-arguments to deconstruction have therefore been situated mostly on commonsense, or 'ordinary-language' ground. There is support from the philosopher Ludwig Wittgenstein (1889-1951) for the view that such sceptical philosophies of language rest on a false epitemology, one that seeks (and inevitably fails) to discover some logical correspondence between language and the world. Wittgenstein himself started out from such a position, but came round to believing that language had many uses and legitimating 'grammars', non of them reducible to a clear-cut logic of explanatory concepts. His later
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Thesis on Feuerbach (1845).
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reality (it can invent characters and situations at will), but it is not free in its use of ideology. 'Ideology' here refers not to formulated doctrines but to all those systems of representations (aesthetic, religious, judicial and others) which shapes the individuals mental pictures of lived experience. The meanings and perceptions produced in the text are a reworking of ideologie's on working of reality. This means that the text works on reality at two removes. Eagleton goes on to deepen the theory by examining the complex layering of ideology from its most general pre-textual forms to the ideology of the text itself. He rejects Althusser's view that literature can distance itself from ideology; it is a complex reworking of already existing ideological discourses. However, the literary result is not merely a reflection of other ideological discourses but a special production of ideology. For this reason criticism is concerned not with just the laws of literary form or the theory of ideology but rather with 'the laws of the production of ideological discourses as literature'. Eagleton surveys a sequence of novels from George Eliot to D.H Lawrence in order to demonstrate the interrelations between ideology and literary form.... Eagleton examines each writer's ideological situations and analyses the contradictions which develope in their thinking and the attempted resolutions of the contradictions in their writing. After the destruction of liberal humanism in the first world war Lawrence developed a dualistic pattern of 'female' and 'male' principles. This antithesis is developed and reshuffled in the various stages of his work, and finally resolves in the characterisation of mellors (Lady Chatterley's Lover) who combines impersonal 'male' power and 'female' tenderness. This contradictory combination, which takes various forms in the novels, can be related to a 'deep-seated ideological crises' within contemporary society. The impact of poststructuralist thought produced a radical change in Eagleton's work in the late 1970s. His attention shifted from the 'scientific' attitude of Althusser towards the revolutionary thought of Brecht and Benjamine. This shift had the effect of throwing Eagleton back towards the classic Marxist revolutionary theory of the Thesis on Feuerbach (1845): 'The question whether objective truth can be attributed to human thinking is not a question of theory but is a practical question...The philosophers have only interpreted the world in various ways; the point is to change it'. Eagleton believes that 'deconstructive' theories, as developed by Derrida, Paul de Man and others can be used to undermine all certainties, all fixed and absolute forms of knowledge.............. Raman Seldon, Contemporary Literary Theory, 3rd ed, Britain, 1993,P, 92-93.
746
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between subject and object'. For dialectical thought there are no fixed and unchanging
''THE QUESTION WHETHER OBJECTIVE TRUTH CAN BE ATTRIBUTED TO
'objects'; an 'object' is inextricably bound up with a larger whole, and is also related to a
HUMAN THINKING IS NOT A QUESTION OF THEORY BUT AIS A PRACTICAL
thinking mind which is itself part of a historical situation. Dialectical criticism does not
QUESTION.... THE PHILOSOPHERS HAVE ONLY INTERPRETED THE WORLD IN
isolate individual literary works for analysis; an individual is always a part of a larger
VARIOUS WAYS; THE POINT IS TO CHANGE IT''.
structure (a tradition or a movement) or part of a historical situation. The dialectical critic has no pre-set categories to apply to literature and will always be aware that his or her chosen categories (style, character, image, etc.) must be understood ultimately as an aspect of the critics on historical situation........ A Marxist dialectical criticism will always recognise the historical origins of its own concepts and will never allow the concepts to ossify and become insensitive to the pressure of reality. We can never get outside our subjective existence in time, but we can try to break through the hardening shell of our ideas 'into a more vived apprehension of reality itself'. His The Political Unconscious (1981) retains the earlier dialectical conceptio of theory but also assimilates various conflicting traditions of thought (structuralism, poststructuralism, Freud, Althusser, Adorno) in an impressive and still recognisably Marxist synthesis. Jameson argues that the fragmented and alienated condition of human society implies an original state of primitive communism in which both life and perception were collective.............. All ideologies are 'strategies of containment' which allow society to provide an explaination of itself which suppresses the underlying contradiction of history; it is history itself (the brute reality of economic Necessity) which imposes this strategy of repression. Literary texts work in the same way: the solutions which they offer are merely symptoms of the suppression of history. Jameson cleverly uses A.J Greimas' structuralist theory (the 'semiotic rectangle') as an analytic tool for his own purposes. Textual strategies of containment present themselves as formal patterns. Greimas' structuralist system provide a complete inventry of possible human relations... which when applied to a text's strategies, will allow the analyst to discover the posibilities which are not said. This 'not said' is the represses history. Jameson also developes a powerful argument about narrative and interpretation. He believes that narrative is not just a literary form or mode but an essential 'epistemological category'; reality presents itself to the human mind only in the form of the story. Even a scientific theory is a form of story. ( Seldon, P, 95-97).
Quotations Quotation
Quotation
Quotation
In America, where the labour movement has been partially corrupted and totally excluded from political power, the appearance of a major Marxist theorist is an important event. Jameson believes that in the post-industrial world of monoply capitalism the only kind of Marxism which has any purchase on the situation which explores the 'great themes of Hegel's philosophy - the relationship of part to whole, the opposition between concrete and the abstract, the concept of totality, the dialectic of appearance and essence, the interaction
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THE POLITICAL UNCONSCIOUS, (1981)
Jauss, an important German exponant of "reception" theory, gave a historical dimension to reader-oriented criticism. He tries to achieve a compromise between Russian Formalism which ignores history, and social theories which ignores the text. Writing during a period of social unrest at the end of the 1960, Jauss and others wanted to question the old canon of German literature and to show that it was perfectly reasonable to do so.... He borrows from the philosophy of science (T.S Kuhn) the term "paradigm" which refers to the scientific framework of concepts and assumptions operating in a particular period. "Ordinary science" does its experimental work within the mental world of a particular paradigm, until a new paradigm displaces the old one and throws up new problems and establishes new assumptions. Jauss uses the term "horizon of expectations" to describe the criteria readers use to judge literary texts in any given period.... For example, if we consider the English Augustan period, we might say that Popes's poetry was judged according to criteria, naturalness, and stylistic decorum (the words should be adjusted according to the dignity of the subject) which were based upon values of Popes's poetry. However this does not establish once and for all the value of Pope's poetry. During the second half of the eighteenth century, commentators began to question whether Pope was a poet at all and to
CONTAINMENT ''THE BRUTE REALITY OF ECONOMIC NECESSITY''
EPISTEMOLOGICAL CATEGORY
750
749
suggest that he was a clever versifies who put prose into ryrhyming couplets and lacked the imaginative power required of true poetry. Leapfrogging the ninteenth century, we can say that modern readings of Pope work within a changed horizon of expectations: we now often value his poems for their wit, complexity, moral insight and their renewal of literary tradition. In Jauss's view it would be equally wrong to say that a work is universal, that its meaning is fixed forever and open to all readers in any period: 'A literary work is not an object which stands by itself and which offers the same face to each reader in each period. It is not a monument which reveals its timeless essence in a monologue.' This means, of course, that we will never be able to survey the successive horizons which flow from the time of a work down to the present day and then, with an Olympian detachment. to sum up the works final value or meaning. To do so would be to ignore the historical situation. Whose authority are we to accept? That of the readers? The combined opinion of readers over time? (Raman Seldon. P,52-53).
The French semiotician Michael Riffaterre agrees with the Russian Formalists in regarding poetry as a special use of language. Ordinary language is practical and is used to refer to some sort of 'reality', while poetic language focuses on the message as an end in itself. He takes this formalist view from Jakobson, but in a well-known essay he attacks Jakobson's and Levi-Strauss's interpretation of Baudelaire's 'Les Chats'. Riffaterre shows that the
(PARADIGM)
linguistic features they discover in the poem could not possibly be perceived even by an in
( HORI ZON AND
formed reader. All manner of grammatical and phonemic patterns are thrown up by their
EXPECTATIONS)
structuralist approach, but not all the features they note can be part of the poetic structure for the reader. However, Riffaterre has some difficulty in explainig why something perceived by Jakobson does not count as evidence of what readers perceive in a text. Riffaterre developed his theory in Semiotics of Poetry (1978), in which he argues that competent readers go beyond surface meaning. If we regard a poem as a string of statements, we are limiting our attention to its 'meaning', which is merely what it can be said to represent in units of information. If we attend only to a poem's 'meaning' we reduce it to a (possibly nonsensical) string of unrelated bits. A true response starts by noticing that the
752
signs
MATRIX
MATRIX
MATRIX MATRIX MATRIX MATRIX
Matrix
generate
The notion of 'structure', he argues, even in 'structuralist' theory has always presupposed a 'centre' of meaning of some sort. This 'centre' governs the structure but is itself not subject to structural analysis (to find the structure of the centre would be to find another centre). People desire a centre because it guarantees being as presence. For example, we think of our mental and physical life as centred on an 'I'; this personality is the principle of unity which underlies the structure of all that goes on in this space. Freud's theories completely undermine this metaphysical certainty by revealing a division in the self between conscious and unconscious. Western thought has developed innumerable terms which operate as centring principles: being, essence, substance, truth, form, begining, end, purpose, consciousness, man, God, and so on. It is important to not that Derrida does not assert the possibility of the thinking outside such term; any attempt to undo a particular concept is to become caught up in the terms which the concept depends on. For example if we try to undo the centring concept of consciousness by asserting the disruptive counter force of the 'unconscious', we are in danger of introducing a new centre, because we can not choose but
751
elements (signs) in a poem often appear to depart from normal grammar or normal representation: the poem seemes to be establishing significance only indirectly and in doing so ' threatens the literary representation of realty'. It requires only ordinary linguistic competence to understand the poem's 'meaning', but the reader requires'literary competence' to deal with the frequent ' ungrammaticalities' encountered in reading a poem. Faced with the stumbling-block of ungrammaticalness the reader is forced, during the process of reading, to uncover a second (higher) level of significance which will explain the grammatical features of the text. What will ultimately be uncovered is a strcutural 'matrix', which can be reduced to a single sentence or even a single word. The matrix can be deduced only indirectly and is not actually present as a word or statement in the poem. The poem is conected to its matrix by actual versions of the matrix in the form of familiar statements, cliches, quotations, or conventional associations. it is the matrix which ultimately gives a poem unity. this reading process can be summarised as follows: 1. Try to read it for ordinary 'meaning': 2. Highlight those elements which appear umgrammatical and which obstruct on ordinary mimetic interpretation: 3. Discover the 'hypograms' (or commonplaces) which receive expanded or unfamiliar expression in the text; 4. Derive the 'matrix' from the ' hypograms'; that is, find a single statement or word capable of generating the ' hypograms' and the text. (Seldon, P,60-61).
REALTY Les Chat
semiotics of poetry (1978)
754
UNDO / / / / (PRESENCE)
) OF GRAMMATOLOGY
LOGOS LOGOS (LOGOCENTRISM 'IN THE BEGINING WAS THE
WORD'
PHONOCENTRISM)
753
enter the conceptual system (conscious/unconscious) we are trying to dislodge. All we can do is to refused to allow either pole in a system (body/soul, good/bad, serious/unserious) to become the centre and guarantor of presence. This desire for a centre is called 'Logocentrism' in Derrida's classical work Of Grammatology. 'Logos' (Greek for 'word') is a term which in the New Testament carries the greatest possible concentration of presence: ' In the begning was the word'......... Phonocentrism treats writing as a contaminated form of speech. Speech seems nearer to originating thought. When we hear speech we attribute to it a presence which we take to be lacking in writing. The speech of the great actor, orator, or politician is thought to posses presence; it incarnates, so to speak, the speaker's soul. Writing seems relatively impure and obtrudes its own system in physical marks which have a relative permanence; writing can be repeated (printed, reprinted, and so on) and this repition invites interpretation and reinterpretation. Even when a speech is subjected to interpretation it is usually in written form. Writing does not need the writer's presence, but speech always implies an immediate presence. The sounds made by a speaker evaporate in the air and leave no trace (unless recorded), and therefore do not appear to contaminate the originating thought as in writing. Philosophers have often expressed there dislike of writing; they fear that it will destroy the authority of philosophic truth. This Truth depends upon
pure thought ( logic, ideas, propositions) which risk contamination when written. Francis
PRESENCE)
bacon ............ (Seldon, 144-145).
(Centre
CENTRE GUARANTEES BEING AS PRESENCE
756
The obviousness of subjectivity as the origin of meaning and choice has been challenged by the linguistic theory which has developed on the basis of Saussure's. As Emile Benveniste argues, it is language which provides the possibility of subjectivity, because it is language
755
which enables the speakers to posit himself or herself 'I', as the subject of a sentense. It is in
language, inother words, that people constitute themselves as subjects. Consciousness of
In the context of his own concept of ideology, and also of the work of Roland Barthes on
self is possible only on the basis of the differentiation: 'I' can no be signified or concieved
literature and Jacques Lacan on psychoanalysis, it is possible to construct an account of
without the conception 'non-I', 'You', and dialogue, the fundamental condition of language,
some of the implications for critical theory and practice of Althusser's position. The
implies a reversible polarity between 'I' and 'You'. 'Language is possible only because each
argument is not only that literature re-presents the myths and imaginary versions of real
speaker sets himself up as a subject by referring to himself as I' (Benveniste 1971:225). But
social relationships which constitutes ideology, but also that classic realist fiction, the
if in language there are only differences with no positive terms, as Saussure insists, 'I'
dominant literary form of the nineteenth century and arguably of the twentieth, 'interpellates'
designates only the subject of a specific utterence.
the reader, addresses itself to him or her directly, offering the reader as the place from which
Belsey, 'It is literally true that the basis of subjectivity is in the exercise of language' (226) . 52-55
the text is most 'obviously' intelligible, the position of the subject (and of) ideology. According to Althusser's reading (rereading) of Marx, ideology is not simply a set of illusions, as The German Ideology might appear to argue, but a range of representations (images, stories, myths) concerning the real relations in which people live. But what is represented in ideology is 'not the system of the real relations which govern the existence of individuals, but the imaginary relation of those individuals to the real relations in which they live' (Athusser, 1971: 155). In other words, ideology is both a real and an imaginary relation to the world-real in that it is the way that people really live there relationship to the social relations which govern their existence, but imaginary in that it discourages a full understanding of these conditions of existence and the ways in which people are socially constituted within them. It is not, therefore, to be thought of as a system of ideas in people's heads, nor as the expression at a hihger level of real material relationships, but as the necessary condition of action within the social formation. Althusser talks of ideology as a 'material practice' in this sense: it exists in the behaviour of people acting according to their beliefs (155-9). It is important to stress of course, that ideology is by no means a set of deliberate distortions foisted upon a helpless populace by a corrupt and a cynical bourgeoise. If there are sinister groups of men in shirt-sleeves purveying illusions to the public, these are not the real makers of ideology. In that sense, it has no creators. But, according to Althusser, ideological practices are supported and reproducedin the institutions of out society which he calls Ideological State Apparatuses (ISAs). Unlike the Repressive State Apparatus, which works by force (the police, the penal system and the army), the ISAs pursuade us to consent to the existing mode of production. The central ISA in contemporary capitalism is the educational system, which prepares the childer to act in accordance with the values of society, by inculcating in them the dominant versions of appropriate behaviour as well as history, social studies and, of course, literature. Among the allies of the educational ISA are the family, the law, the media and the arts, each helping to represent and reproduce the myths and beliefs necessary to induce people to work within the existing social formation. The destination of all ideology is the subject. The subject is what speaks, or signifies, and it is the role of ideology to construct people as subject:
758
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'TO CONSTRUCT PEOPLE AS SUBJECT'
Structuralism and Semiotics
Contemporary Literary Theory
79 -106 27 - 42 288 - 329 49 - 70 234 - 240 149 - 158 243 - 267 86 - 103
IDEOLOGICAL STATE APPARATUSES (REPRESSIVE STATE APPARATUSES)
(SUBJECTIVITY) TO CONSTRUCT PEOPLE AS SUBJECT'
(EMILE BENVENISTE)
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Do More
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Sent: Tuesday, December 11, 2012 3:50 PM
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"Common sense appears obvious because it is inscribed in the language we speak. PostSaussurean theory, therefore, starts from an analysis of language, proposing that language is not transparent, not merely the medium in which autonomous individuals transmit messages to each other about an independently constituted world of things. On the contrary, it is language which offers the possibility of constructing a world of individuals and things and of differentiating between them. The
............................. transparency of language is illusion." (Catherine Belsey, Critical Practice, P 4)
(Transparent)
(Construct)
Contemporary Literary Theory Structuralist Poetics Structuralism and
Since
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Jacques Derrida
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http://my27books.blogspot.de/2014/04/blog-post_78.html http://haider-qureshi.blogspot.de/2013/12/blog-post_25.html http://haiderqureshi-library.blogspot.de/2012/09/blog-post_14.html https://archive.org/details/Dr.NarangAurMaaBaadJadeediat1stEdition
http://akkas-international.blogspot.de/2013/01/akkas-shumara-number-9.html http://issuu.com/akkas/docs/akkas_9__narang_number_final
http://issuu.com/adabi.manzar
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Satya Pal Anand ki ".....Boodni Naa-Boodni" ( Articles) By: Haider Qureshi Year of 1st Edition: 2013 Price: Rs. 75/-
Rossertstr.6, Okriftel,
65795 Hattersheim,Germany E-Mail: haider_qureshi2000@yahoo.com
2013
Published By AKKAS INTERNATIONAL House No 1164 Street No 2 Block C National Police Foundation ,Sector O-9 Lohi Bhair, Islamabad, Pakistan Tel.0300-5114739
0333-5515412
................................................................... E- Mail: akkasurdu2@gmail.com
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http://www.youtube.com/watch?v=0GZbW9bO-Kw&feature=youtu.be&a
15.10
http://www.youtube.com/watch?v=0GZbW9bO-Kw&feature=youtu.be&a
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802
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(Alena) (Hans Harder)
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180 256
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http://www.youtube.com/watch?v=bVXI0WWcv6g
2011 30
201115
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813 From: spanand786@hotmail.com To: bazmeqalam@googlegroups.com Subject: {7217} Charge against me. Date: Tue, 15 Nov 2011 17:09:05 -0500
Someone has posted a video that shows me reciting my dear old friend Ghulam Mohammad Qasir's couplets. The purpose is to show that I have recited his couplets in my own name. I want to make this matter clear. This video has been tempered with. I was presiding over a function for the release of a Hindi book of poetry by Rakesh Khandelwal.The function was held in Durga Temple in Virginia. When I had finished my presidential speech, the audience asked me to recite from memory some couplets. They know only Hindi and but they always enjoy Urdu ghazal couplets. I am personally not much enamored of Ghazal but I keep them in good humor always. I recited some of own poems as also some ghazal couplets. But before reciting some of these couplets I said these were from an old friend from Peshawar, Mr. G.M. Qasir. It seems some one (I know it is a particular person from Germany, who is fond of such pranks) has tempered with the video. I have watched it carefully. It starts suddenly, as if just one second before, there was something and it has been cut off from the tape and my voice is heard. I remember, i had told the audience that my childhood was spent in Peshawar and I have dozens of friends there and I recited some couplets from Faraz, Mohsin Ehsan, Khatir
Ghaznavi, Zahur Eiwan and Ghulam Mohammad Qasir. Alas, all of them are now no more.
Satyapal Anand
From: nasiralisyed@hotmail.com
helloanoop
http://www.youtube.com/user/helloanoop
I have been left alone to face such silly and mischievous pranks.
To: bazmeqalam@googlegroups.com Subject: RE: {7217} Charge against me. Date: Wed, 16 Nov 2011 12:08:15 +0500 satiya jee, salam.....i hvnt heared any shair of zahoor awan...will u plz send me some of the couplets....u recite in taqreeb.
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2008
13.10.2008
http://www.youtube.com/user/helloanoop#p/u/5/CgG47EPwoac
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2011/6/14 Satyapal Anand <spanand786@hotmail.com> Arshad Khalid Sahib....Please do not include my poem in your magazine. This email
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correspondence stops here. There should be no further communication. Satyapal Anand
forgive
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http://www.youtube.com/watch?v=e7zEkYs7Qew&feature=youtu.be&a
http://www.jadeedadab.com/archive/2005july/mazameen6.php
836
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Congrats.Very informative articles. NKV
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Remember Haider Bhai,I´ve always had great regards for you.
Jdeed Adab is in my hand - and , indeed, it is superb.
urdu_writers@yahoogroups.com
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Dr. Wazeer Agha Ehd Saaz Shakhsiat (Critisism: Articles) By: Haider Qureshi Year of 1st Edition: 1995
Rossertstr.6, Okriftel, 65795 Hattersheim,Germany E-Mail: haider_qureshi2000@yahoo.com
1995 2012
842
841
844
843
846
6 5 4 3 2 1
845
7
848 2008
-15
2008
-16
2011
1991
18
1922
1972 -18
18
1943
1956
-19 -20
1991
-17
2003
1973
847
1963 1960
1965
-21
-22
1961
1964
1
1969
2
1973
-1
3
1979
4
1981
5
1966
-2
1982
-3
1989 1995 2010
1958
1985 6
-4
-5
1990 -7 1991
8
1995
9
1997
-10
1999
-11
-1
2001
-12
-6
1963
-2
2003
-13
1965
-3
2005
-14
850
1980
1960 3
1968
-4
1961 4
1970
-5
5
1972
-5
6
1990
7
1981
849
1977
-6
1979
-7
1981
-8
1986
1. Selected poems of Wazir Agha. (English 1978)
1989
2. Half a Century Later (English 1989) 3- Half a Century Later (Danish 1982) 4- A Tale so Starnage (Greek)
-9
10
1990
11
1991
12
5- A Tale so Stange (Svedish 1995) 6- Adhi Sadi Ke bad
(Hindi 1983)
1991
13
7- Adhi Sadi ke Bad
(Bangalid 1992)
1989
-14
9- Urdu Shairee Ka Mizaj (Hindi 1983) 10- Baharvan Khilari 11-Adhi Sadi pishoon 12- Winds Of Free
1997
(punjabi 1985) (Punjabi 1994)
2009
-16
2006
-17
Translated into English 1994
13- Chonvian Nazman
(Sarayaki 1980)
14- Seven Poems of Wazir Agha (Translated into English 1995) 15- Selected light Essays(1995)
10
-15
1 2
3
4
5 6
1953
1
2 1976 1986
3
4
1994
5
1995
The Symphony of Existence 6
1958 1 1959 2
852
851
7
1
2 3 4
5
6
-7
1
2
3
4
5 6 7
8
10
9
854
853
856
855
858
857
860
859
862
861
864
863
866
865
868
867
870
869
872
871
874
873
RICHNESS
876
875
878
877
880
879
882
881
884
883
1990 1946
760 4
886
885
888
887
890
889
892
891
894
893
896
895
898
897
900
899
902
901
904
903
906
905
908
907
910
909
496 283
389 264
IRON AGE
441
=
912
911
914
913
916
915
918
917
920
1981
919
922
921
1965 1966
1971 1972
1970 1966
1972
1973
924
—— ——
923
1950 —— —
926
(STRUCTURING)
925
——
928
927
—— —— —— ——
930
929
——
——
932
931
——
ANTITHESIS THESIS
SYNTHESIS
SYNTHESIS (SYNTHESIS)
1954 (TOTALITY)
934
——
933
DIALECTICS SYNTHESIS
936
935
QUARKS
938
1970 "The Third 1980 Wave" 1970
937
940
939
——
942
941
PARTICLES QUARKS HADRONS
MANA
944
ORGANIC
GROWTH
943
496 283
169 264 441
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945
LOVE - PLAY
LOVE-PLAY
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947
950
949
OPERATION SUCCESSFUL. PATIENT DEAD.
952
951
954
953
2000
956
955
1990
10 1999 21
1990
1992 24 1992 :
1992
1993
1993
1992 1986
1987
1990
1990
958
1999
16 58 28
957
1999 1994
1994
1995
1995
*
1996
1996
*
1997
1997
*
1998
*
1998
1999
960
959
1995 1996
1997
1997
1998
1987
1999
962
OOO
*
OOO
OOO
OOO
OOO
OOO
OOO
961
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
OOO
964
963
:* :*
:* :*
:* 2000
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08-Sep-2010 09:52 AM http://www.siasat.pk/forum/showthread.php?43296-
urdu_writers@yahoogroups.com http://www.siasat.pk/forum/showthread.php?43296 (08-Sep-2010 07:53 AM) http://sherosukhan.tripod.com/id990.html
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http://nidaimillat.nawaiwaqt.com.pk/ePaper/E-Paper/Lahore/2013-10-17/page-47
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http://hamara-adabi-manzarnama.blogspot.de/
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AND I WAIT
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9/11
www.urdustan.com
www.jadeedadab.com
http://jadeedadab.blogspot.de/
www.haiderqureshi.com
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http://en.wikipedia.org/wiki/Haider_Qureshi http://en.wikipedia.org/wiki/Jadeed_Adab
989
http://haiderqureshi-library.blogspot.de/ http://haider-qureshi.blogspot.de/
http://en.wikipedia.org/wiki/Umr-e-Lahaasil_Ka_Haasil
http://work-on-haiderqureshi.blogspot.de/
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