Tahqeed

یاسمین حمید کی شاعری کا ایکو فیمینسٹ مطالعہ

Naila Kousar — 2026-06-30

This article examines the Yasmeen Hameed’s poetry from an ecofeminist perspective, exploring the relationship between women, nature, and patriarchal society. The study highlights how Hameed presents women’s experiences of oppression, identity, and resistance through natural symbols such as the sea, trees, soil, seasons, and light. In her poetry, nature is not merely a background element but a living presence closely connected to female consciousness and creativity. The analysis reveals that Hameed portrays women as aware, resilient, and self-assertive individuals who challenge social constraints and seek self-realization. Her poetry also reflects ecological sensitivity and a spiritual vision based on harmony between human beings and the natural world. The study concludes that Yasmeen Hameed’s poetic discourse embodies a significant ecofeminist consciousness, making her an important voice in contemporary Urdu poetry.

The Tradition of Urdu Translation: From Colonial Appropriation and Assimilation to Postcolonial Resistance. (1800 – 2026)

Zubair Siddiqui — 2026-06-30

This study traces the 226-year evolution of Urdu translation as a site of linguistic practice and cultural–political contestation. Using postcolonial and polysystem theory, it examines how translation shaped Urdu prose, ideology, and identity across key historical phases. Beginning with Fort William College (1800), where colonial patronage institutionalized Urdu prose while subordinating translators, the study moves to Sir Syed’s Aligarh Movement, which reoriented translation toward scientific modernity. The Progressive Writers’ Movement politicized translation through Soviet influences, whereas Halqa Arbab-e-Zauq advanced a modernist, aesthetic paradigm that redefined the translator as a co-creator.

After 1947, state patronage in Pakistan and India bureaucratized translation, reducing it to clerical labor. The study also highlights enduring issues, including the “translator’s treason” debate, economic marginalization, and lack of formal training. It evaluates Urdu’s global representation through selective translations of canonical and women writers, exposing Orientalist framing. In the contemporary phase (2000–2026), the study argues that AI-driven machine translation introduces a new form of data colonialism.

The research concludes that the Urdu translator has historically oscillated between clerk, ideologue, and artist, yet remains structurally constrained. It advocates a shift from literal fidelity to cultural agency, emphasizing creative re-production over mechanical transfer. The study contributes to Translation Studies by demonstrating how power, resistance, and technology shape a postcolonial literary system.

انتظار حسین اور اُن کے افسانے “ تعارف و تجزیہ”

Sheeba Zulfiqar — 2026-06-30

This article examines the compiled volume Intizar Husain aur Un ke Afsane (1986), edited by Professor Gopi Chand Narang and published by Educational Book House, Aligarh, in collaboration with Madhya Pradesh Urdu Academy, Bhopal. The volume is divided into three sections: critical essays, Intizar Husain's own writings on his craft, and a selection of fourteen short stories representing different phases of his literary career.

The critical section includes essays by Muhammad Salim ur Rahman, Siraj Munir, Gopi Chand Narang, and Shamim Hanafi, each approaching Intizar Husain's fiction from distinct methodological perspectives. Salim ur Rahman explores the existential anxiety in his early fiction, while Siraj Munir examines the motif of night and dream. Narang's central essay periodizes Intizar Husain's fictional output into three phases, tracing his engagement with memory, mythology, and socio-political disintegration. Shamim Hanafi analyzes the symbolic and civilizational dimensions of his narratives.

The second section, comprising Intizar Husain's own reflective essays, provides rare insight into his creative philosophy, particularly his use of myth, legend, and oral tradition as both artistic and civilizational necessities. The article concludes that despite certain limitations — notably the absence of major critics such as Muhammad Hasan Askari and Waris Alavi — the volume remains a foundational and multi-perspectival reference for researchers of Urdu fiction

Younis Javed’s Novella “Dil Ka Darwaza Khula hai”: Research and Critical Analysis

Ghulam Shabbir — 2026-06-30

Younis Javed occupies an important and recognizable position in contemporary Urdu fiction and non-fiction, particularly in the fields of narrative prose and drama. Among his fictional works, the novella Dil Ka Darwaza Khula Hai stands out as a significant example of social realism and psychologically grounded narrative.The present study offers a detailed research-based and critical analysis of this novella, focusing on its thematic depth, narrative technique, and socio-cultural engagement. The characters portrayed in the text are closely drawn from real life and serve as effective representatives of marginalized and conflicted social experiences. Through these characters, the novella foregrounds a wide range of critical concerns, including gendered suffering, the silent emotional worlds of women, social hypocrisy, economic deprivation, moral decline, exploitation, and the complex interplay of love, hope, greed, and despair.Particular attention is given to the way the author articulates women’s inner consciousness and the structural constraints imposed upon them by social and patriarchal norms. At the same time, the narrative subtly reflects the author’s moral and ideological outlook, especially in relation to religion, social responsibility, and ethical conduct.In addition to its thematic richness, the novella is distinguished by its lucid language, symbolic suggestiveness, and controlled narrative style, which together enhance the emotional intensity and social impact of the text. By critically examining these literary and ideological dimensions, this article not only evaluates Dil Ka Darwaza Khula Hai as an individual creative work but also situates it within Younis Javed’s broader fictional vision and intellectual trajectory.

ڈاکٹر وزیر آغا کی شاعری میں اساطیری عناصر کا تجزیاتی مطالعہ

Bazghah Qandeel — 2026-06-30

Dr. Wazir Agha is a famous Urdu poet, writer, and thinker. His poetry beautifully mixes modern ideas, hidden meanings (symbols), and cultural thoughts. Instead of just telling old stories, he used ancient myths like legends and folk tales to explain the feelings, struggles, and social problems of people living today. In his poems, simple things like Adam, Eve, fire, trees, the sea, long journeys, and birds become powerful symbols. He placed these old stories and signs into a fresh, modern framework. By doing this, he deeply explored major life themes like what it means to exist, the passing of time, loneliness, finding oneself, and how society changes. For Dr. Wazir Agha, mythology was a creative tool. It helped him build a bridge between the past and the present, opening up exciting new doors for his readers’ minds and imaginations.

An analytical study of ‘’Rani Keteki’s Story‘’in the cotext of Childern’s Literature

Farhat Shaheen — 2026-06-30

The origin and development of children's literature in Urdu began with poetry. During the Deccani period and the early phase of North Indian Urdu literature, works written for children were primarily in verse. Until the end of the eighteenth century, there was no significant prose work that could properly be classified as children's literature. In 1793, the renowned Lucknow-based poet and writer, Insha Allah Khan Insha, wrote "Rani Ketki Ki Kahani," the first prose work specifically intended for children. This story is regarded not only as the earliest prose contribution to Urdu children's literature but also as a starting point for fictional prose in both Urdu and Hindi. For this reason, it is often considered the foundation stone of children's literature in these languages. The most distinctive feature of Rani Ketki Ki Kahani is its language. Insha deliberately avoided the use of Arabic, Persian, and Turkish vocabulary and instead employed a purely indigenous Indian linguistic style, rich in local expressions and idioms. As a result, the work became a unique linguistic experiment and an important milestone in the evolution of Urdu prose. Its simple, fluent, and engaging language makes it appealing to young readers, while its literary significance secures its place among the earliest and most remarkable examples of Urdu prose writing.