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Khofnak kahaniyan in urdu pdf

Isbn Bombay My Bombay: A Love Story of urdu the khofnak khofnak City, Ajanta Publications/Ajanta Books kahaniyan International, 1987.
There are no fuzzy intermediate cases in Urdu: only the two interminably long dastans (one directly imitative of the other) that always gloried in their length,1 and a crowd of quite short aissahs that never even thought of expanding.
Bhatkal, 1989 Defeat for death: a story without names.(Shamsur Rahman Faruqi points out that Mir uses, in a verse, the term afsana-xwaN; but it is definitely less kahaniyan common than the other alternatives.) From the 1830's on, during the century-long heyday of Urdu dastan literature, the conspicuously long Anur Hamza and Bostan-e Xiyal cycles.The most beautiful woman in the world, Paradise Publications, 1968 khofnak Salma urdu aur Samundar, Hindi, New Delhi, Komala Pocket Books, 1969.The Thirteenth Victim, Amar Prakashan, 1986.Rajgopal, The Legacy of Ajitha Bollywood Film Script Writers.Abbas: A Man in Tune with History Screen (Bombay June 19, 1987,.The shorter works (Hatim TdF, Cahar Darwaish, Gul-e-Bakdwair, etc.) were much more commonly referred to as aissahs, and very rarely as dastans.

Mera Naam Joker, 1970 Maria, Delhi, Hind Pocket Books, 1971.
«Let India fight for freedom Bombay, Sound magazine (Publication dept.
China can make it: Eye-witness account of the amazing industrial progress in new China, 1952.
Jah, defending his own practice in Tilism-e Hosruba,"s finders as a keepers maxim that "The only pleasure of a short story lies in prolonging." A dastan ideally aims to go on and windows on, night after night, volume after volume, and thus aspires to inexhaustibility; such.This point is discussed by Cyan Chand in Nasn DdstdneN (see for example.It is a collection, edited by him, of reprinted essays by various Urdu critics on all manner of traditional stories, windows including some from other languages (Kathasaritsagar, Alf laila) and many drawn from short aissahs (Sabras, Mazhab-e 'isha, and of course the inevitable Bag-o-Bahar the final.Their literary use of course comes to us from Persian.Bread, beauty, and revolution: being a chronological selection from the Last pages, 1947 to 1981, Marwah Publications, New codecs Delhi, 1982.Narayan, The Journal of Commonwealth Literature, 1 1976; vol.Four Friends, Arnold-Heinemann, New Delhi, 1977.The narrative structure and logic of the former areand indeed obviously must bequite distinct from that of the latter.It is also, I would argue, mastercam a fruitful architecture one, and deserves to be maintained.Janata in a jam?, review 1978.In medieval Persian and later in Indo-Persian, cfissah was preferred, and dastan was merely a less common name for the same genre.