Analysis Research and Education Institute(R) , Pakistan.
Geographical, Cultural, and Social Dimensions of Urdu Seerah writing in the Colonial Era: A Critical Study
The colonial context introduced profound transformations in the intellectual and socio-cultural landscape, which significantly influenced Muslim scholarship and literary production. Urdu Seerah writers, responding to both internal reformist impulses and external pressures such as Orientalist critiques and missionary discourse, developed new stylistic and thematic approaches. It highlights the incorporation of rational argumentation, historical consciousness, and socio-religious reform into the narrative framework. The study also explores how these factors led to a shift from traditional, devotional modes of writing to more analytical, critical, and context-aware expressions. By analyzing selected texts, this paper demonstrates that Urdu Seerah writing in the colonial era was not merely a continuation of classical traditions but an adaptive and dynamic response to changing historical circumstances. It played a vital role in articulating Muslim identity and intellectual resilience in a period marked by colonial dominance and cultural negotiation. References: 1. Edward Said, Sharq Shanasi, Translated by Mohammad Abbas, Islamabad: Muqtadra Qaumi Zaban Pakistan, 2012, p. 235 2. Ibid., p. 8 3. Sir Syed Ahmed Khan, Seerat-e-Muhammadi, Edited by Professor Rafiullah Shehab, Lahore: Maqbool Academy, 1988, pp. 85, 86 4. Ibid., p. 91 5. Ibid., p. 91 6. Ibid., p. 90 7. Ibid., p. 91 8. Ibid., p. 92 9. Ibid., p. 92 10. Ibid., p. 93 11. Ibid., p. 141 12. Ibid., p. 141 13. Ibid., p. 142 14. Ibid., p. 142 15. Ibid., p. 143 16. Obaidullah Koti Nadvi, "Maqalat-e-Sir Syed Ahmed Khan aur Mustashriqeen" in Seerat-un-Nabiﷺ aur Mustashriqeen, Edited by Hafiz Abdul Ghaffar, Lahore: Dar-ul-Nawadir, 2015, p. 233 17. Ibid., p. 233 18. Ibid., p. 234 19. Sir Syed Ahmed Khan, **Op. cit.**, p. 147 20. Ibid., p. 147 21. Ibid., p. 148 22. Ibid., p. 148 23. Ibid., p. 153 24. Ibid., p. 153 25. Ibid., p. 154 26. Ibid., p. 154 27. Ibid., pp. 154, 155 28. Ibid., p. 95 29. Ibid., p. 187 30. Ibid., p. 188 31. Ibid., pp. 189, 190 32. Ibid., p. 190 33. Ibid., p. 198 34. Ibid., p. 198 35. Ibid., p. 199 36. Ibid., p. 199 37. Ibid., p. 199 38. Ibid., p. 191 39. Ibid., p. 191 40. Ibid., p. 193 41. Ibid., p. 195 42. Ibid., p. 200 43. Ibid., p. 197 44. Qazi Suleman Salman Mansoorpuri, Rehmat-ul-lil-Aalameen, Lahore: Abdullah Academy, 2012, p. 51 45. Ibid., p. 51 46. Ibid., p. 49 47. Ibid.,p. 49 48. Ibid., p. 49 49. Ibid., p. 50 50. Ibid., p. 50 51. Ibid., pp. 69, 70 52. Ibid., p. 70 53. Allama Shibli Nomani,Seerat-un-Nabiﷺ(Vol. 1), Lahore: Al-Faisal Nashran, (n.d.), p. 68 54. Ibid., p. 68 55. Ibid., p. 69 56. Ibid., p. 84 57. Ibid., p. 85 58. Ibid., p. 85 59. Ibid., p. 85 60. Ibid., p. 85 61. Ibid., p. 86 62. Ibid., p. 87 63. Ibid., p. 89 64. Ibid., p. 90 65. Ibid., p. 90 66. Ibid., p. 90 67. Ibid., p. 95 68. Ibid., p. 95 69. Ibid., p. 95 70. Ibid., p. 97 71. Ibid., p. 97 72. Ibid., p. 97 73. Ibid., p. 69 74. Ibid., p. 70 75. Ibid., p. 72 76. Ibid., p. 72 77. Ibid., p. 72 78. Ibid., pp. 72, 73 79. Ibid., p. 73 80. Ibid., p. 73 81. Ibid., p. 74 82. Ibid., p. 74 83. Ibid., p. 74 84. Ibid., pp. 75, 76 85. Ibid., p. 76 86. Ibid., p. 78 87. Ibid., p. 81 88. Ibid., pp. 81, 82 89. Syed Suleman Nadvi, Khutbat-e-Madras , Lahore: Idara-e-Islamiat, 1983, p. 159 90. Ibid., p. 161 91. Ibid., p. 164 92. Syed Nawab Ali, Seerat-e-Rasool Allah, Karachi: Maktaba-e-Afkar, 1966, p. 57 93. Ibid., p. 57 94. Ibid., p. 58 95. Ibid., p. 58 96. Ibid., p. 58 97. Ibid., p. 59 98. Ibid., p. 61 99. Ibid., p. 62 100. Ibid., p. 62 101. Ibid., p. 64 102. Ibid., p. 67 103. Ibid., p. 252 104. Ibid., p. 266
The Hero of "Odyssey" Odysseus as an Anti-Hero
Homer's "Odyssey" is a magnificent story of the struggle of Odysseus, who defeats his enemies with the help of his cunning, intelligence, and deceit. The role of a hero is considered an ideal and a source of pride, but this character achieves success by adopting negative aspects in achieving goals. Such traits are considered shameful. No civilization or society feels proud of him. Odysseus is a character who emerges as a hero and an anti-hero at the same time, a character with positive and negative effects. Odysseus can also be called the first anti-hero of world literature. References: Balick, Oxford Dictionary of Literary Terms, Oxford:Oxford University Press,2015, p: 93 Saleem Akhtar, Dr. Tanqeedi Istalahaat, Lahore: Sang Meel Publisher, 2010, P:53 Homer, Odyssey, Mutrajam, Muhammad Saleem ur Rehman, Jahan Gard Say Wapsi, Lahore: Maktaba Naya Adara, 2008,P:14 Ibid, P:23 Ibid, P:77 Ibid, P:120 Ibid, P:199 Ibid, P:203 Ibid, P:213 Ibid, P:243 Ibid, P:291
Postmodern Elements in the 21st Century Urdu Novels
Postmodern condition erupted out of the knowledge explosion occurred during the later decades of the 21st century. Like all other walks of life, this postmodern condition impacted the literary domain across the globe. The ancient norms of the literary tradition were challenged with an overwhelming skepticism. This skeptical insight was prone to precision, so the genre of novel was the only literary form which can cope with a skepticism of this scale. That is the reason that novel in the 21st century has become a leading, and perhaps the only valid genre. Postmodern fiction has certain ideological traits, which can be marked as the recognition hyperreality, rejection of metanarratives, fragility of human mind in the form of schizophrenia and a playful attitude towards the once considered as most significant aspects of life. These themes have been skillfully depicted some of the 21st century Urdu novels, i.e., Sifar se Aik tak(Mirza Athar Baig), Bhag Bhari(Safdar Zaidi), Daira(Muhammad Asim Butt) and Talash e Wajood(Aslam Siraj Ud Din). This article will analyze the traits of the postmodern fiction by analyzing the aforementioned Urdu novels. References: Iqbal Aafaqi, Dr., Mabaad-e-Jadeediyat (Istilahat aur Ma‘ani o Ta‘beerat o Tashrihat), Islamabad: National Book Foundation, 2018, p. 69. , p. 40. Mirza Athar Baig, Safar Se Aik Tak, Lahore: Sanjh Publications, 2012, p. 296. , p. 49. , p. 125. , p. 158. , p. 298. , p. 8. Iqbal Aafaqi, Mabaad-e-Jadeediyat (Istilahat aur Ma‘ani o Ta‘beerat o Tashrihat), p. 68. Iqbal Aafaqi, Mabaad-e-Jadeediyat (Istilahat aur Ma‘ani o Ta‘beerat o Tashrihat), p. 81. Musharraf Alam Zauqi, “Musharraf Alam Zauqi Ki Nazar Se,” in Bhag Bhari by Safdar Zaidi, Lahore: Aks Publications, 2018, p. 8. Safdar Zaidi, Bhag Bhari, Lahore: Aks Publications, 2018, p. 81. , p. 106. , p. 265. , p. 414–416. Philip L. Harriman, Handbook of Psychological Terms, New Jersey: Littlefield, Adams & Co., 1969, p. 175. Rubina Sultan, Teen Naye Novel Nigar, Lahore: Dastavez, 2012, p. 231. Muhammad Asim Butt, Daira, Lahore: Sang-e-Meel Publications, 2014, p. 33. , p. 252–254. Andrew M. Colman, A Dictionary of Psychology, London: Oxford University Press, 2001, p. 654. Roland Barthes, Pleasure of the Text, translated by Richard Miller, New York: Hill & Wang, 1975, p. 10–12. Leland Masek and Jaakko Stenros, “The Meaning of Playfulness,” Journal of Computer Game Culture, Vol. 12, 2021, p. 16. Aslam Sirajuddin, Talash-e-Wujood, Lahore: Al-Hamd Publications, 2016, p. 29–31. , p. 74. , p. 83–84. , p. 94. , p. 107. , p. 173. , p. 238. , p. 257. , p. 413. , p. 453.
Trojan Horse: From Ancient Mythology to the Digital World—Evolution of Deception and Strategy
The Trojan Horse is one of the most enduring symbols of deception and strategic intelligence in human history. Originating from Greek mythology, it represents a powerful narrative of how appearances can conceal dangerous intentions. This article explores the transformation of the Trojan Horse from an ancient war strategy into a modern metaphor widely used in cyber security, politics, and social systems. The study examines how deception, as a fundamental human strategy, has evolved but retained its core principles across different historical periods. The research adopts a qualitative analytical approach, drawing upon classical texts, modern theoretical frameworks, and contemporary digital practices. It argues that the Trojan Horse is not merely a mythological construct but a continuing reality in modern society, particularly in the digital age where cyber threats exploit human psychology and trust. The study further highlights how political and economic systems often employ Trojan-like strategies to achieve influence and control. The findings suggest that the persistence of this metaphor is deeply rooted in human behavior, especially the tendency to trust external appearances. The article concludes that awareness, critical thinking, and ethical responsibility are essential tools to counter modern forms of deception. The Trojan Horse, therefore, remains a timeless symbol that bridges the past, present and future, offering valuable insights into both human nature and contemporary global challenges. References: 1. Murphy, Lauren. “Horses, Ships, and Earthquakes: The Trojan Horse in Myth and Art.” Iris Journal of the Classical Association of Victoria (New Series) 30 (2017): 18-37. 2. Gozzi, Raymond. “The Trojan horse metaphor.” ETC: A Review of General Semantics 57.1 (2000): 80-84. 3.Meyerson, Bruce. (June 15, 1999) “Worm Digs Deeper in Networks.” Ithaca (New York) Journal , 6 A 4.Kiltz, Stefan, Andreas Lang, and Jana Dittmann. “Malware: specialized trojan horse.” Cyber Warfare and Cyber Terrorism. IGI Global Scientific Publishing, 2007. 154-160.
Feminist Perspective in the Short Stories of Neelam Ahmad Bashir
Neelam Ahmed Bashir's stories are a reflection of the events, experiences and observations created by the social environment and social ups and downs around her. The difficulties, problems and suffering that women, especially, face as a result of social inequalities. Feminism is present in Neelam's stories as an intellectual angle. The way she has presented the individual aspects of a woman's experience and feelings in her stories regarding her feelings and qualities is unique and important in terms of subject matter and expression. Neelam has pointed out the biased attitudes in a male-dominated society from different angles. In the present era, the society that challenges women and the woman who proves her existence, the story of a woman created by a woman, has its own uniqueness and characteristic of feminine sensibility. We find the description of women and their gender issues frequently in her stories. Undoubtedly, she has effectively interpreted feminist thoughts and protests. References: Neelam Ahmad Bashir, Jugnuon Kay Qaafley, Mishmoola: Nilahaten, Lahore: Sang-e-Meel Publications, 2022, p. 273. Neelam Ahmad Bashir, Lay Saans Bhi Aahista, Mishmoola: Nilahaten, p. 288. Ibid, p. 65. Seema Sagheer, Dr., Tanisiyat Aur Urdu Adab: Riwayat, Masail Aur Imkanat, Aligarh: Educational Book House, 2018, p. 18. Noreen Razzaq, Dr., Pakistani Khwateen Afsana Nigar, Lahore: Dastaweez Matbooat, 2016, p. 36. Neelam Ahmad Bashir, Lay Saans Bhi Aahista, Lahore: Sang-e-Meel Publications, 1999, p. 156. Neelam Ahmad Bashir, Ek Thi Malika, Mishmoola: Nilahaten, p. 453. Neelam Ahmad Bashir, Lay Saans Bhi Aahista, p. 15. Neelam Ahmad Bashir, Gulabon Wali Gali, Mishmoola: Nilahaten, p. 20. Ismat Jameel, Dr., Urdu Afsanay Mein Aurat Ka Tasawwur, Maqala Baraye PhD Makhzoona, Bahauddin Zakariya University, Multan, 2001, p. 254.
A Critical-Analytical Study of Magical Realist Technique in Mirza Athar Baig’s Novel Zero Se Aik Tak
Magical realism, a technique that originated in painting in the late twentieth century, later gained worldwide popularity in literature. Its literary prominence is largely attributed to One Hundred Years of Solitude, through which the mode achieved international recognition. Magical realism is a prose technique grounded in realism; however, it incorporates magical and extraordinary events into a realistic narrative in such a seamless manner that these events appear natural and acceptable within the represented world. Although magical realism may resemble traditional realism in narrative structure, it differs fundamentally through the inclusion of supernatural, mythical, and fantastical elements that coexist with reality without disrupting the realistic framework. Magical realism is broadly categorized into two types: epistemological magical realism and ontological magical realism. J. A. Cuddon, one of the major theorists of magical realism, has identified several defining elements of this mode. Using these elements as a theoretical framework, the present study critically examines Mirza Athar Baig’s novel Zero Se Aik Tak. The analysis demonstrates that the novel fulfills the principal characteristics of magical realism, including the fusion of real and imaginary worlds, the use of dreams, mysterious forms of knowledge, supernatural elements, subjective interpretations of time, meta-reality in narration, wonder-inducing motifs, and ambiguity.Furthermore, since the novel draws its thematic material from scientific knowledge and Pakistani cultural contexts, it aligns closely with the recognized categories of magical realism and establishes itself as a significant example of magical realist fiction in contemporary Urdu literature. References: 1.Bowers, Maggie Ann. Magic(al) Realism. London: Routledge, 2004, p. 1. 2.Malik, Abdul Aziz. Urdu Afsanay Mein Jadui Haqiqat Nigari. Faisalabad: Misal Publishers, 2014, p. 25. 3.Concise Oxford Dictionary of Literary Terms. USA: Oxford University Press, 2008, p. 210. 4.Malik, Abdul Aziz. Urdu Afsanay Mein Jadui Haqiqat Nigari, p. 25. 5.Morris, William, ed. The American Heritage Dictionary. 5th ed. Boston, Massachusetts, 1969. 6.Simpkins, Scott. “Sources of Magical Realism / Supplements to Realism in Contemporary Latin American Literature.” In Magical Realism: Theory, History, Community, edited by Lois Parkinson Zamora and Wendy B. Faris. New York: Duke University Press, 1995, p. 149. 7.Abbas, Muhammad. “Jadeed Urdu Afsanay Mein Tilsmi Haqiqat Nigari.” PhD diss., Al-Khair University, Islamabad, 2016, p. 20. 8.Javed, Khalid. Gabriel Garcia Marquez. Karachi: Shehrzad, July 2010, p. 91. 9.Abbas, Muhammad. “Jadeed Urdu Afsanay Mein Tilsmi Haqiqat Nigari,” p. 30. 10.Warnes, Christopher. Magical Realism and the Postcolonial Novel: Between Faith and Irreverence. UK: Palgrave Macmillan, 2009, p. 13. 11.Malik, Abdul Aziz. Urdu Afsanay Mein Jadui Haqiqat Nigari, p. 20. 12.Cuddon, J. A. Dictionary of Literary Terms and Literary Theory. UK: Penguin Books, 1998, pp. 488–489. 13.Waqar, Arif. “Zero Se Aik Tak.” BBC Urdu, November 6, 2010. Accessed March 10, 2026. https://www.bbc.com/urdu/pakistan/2010/11/101106_zero_to_one_rwa⁠ 14.Sabir, Sajeela. Mirza Athar Baig ki Novel Nigari: Fikri wa Fanni Jaiza. MPhil thesis, Allama Iqbal Open University, Islamabad, 2013, p. 124. 15.Baig, Mirza Athar. Zero Se Aik Tak. Lahore: Sanjh Publications, 2009, p. 54. 16.Ibid., p. 49. 17.Ibid., p. 304. 18.Farooq, Muhammad. “Aikisween Sadi ke Aham Urdu Novels aur Fikri Mailanat.” Alhamd Urdu Research Journal, no. 22 (December 30, 2024). Accessed April 4, 2026. https://share.google/o2CN0RJRFCQwmKwH8⁠ 19.Baig, Mirza Athar. Zero Se Aik Tak, p. 186. 20.Ibid., p. 55. 21.Ibid., p. 72. 22.Ibid., p. 333. 23.Hafeez, Nadia, and Dr. Arif Hussain. “Mirza Athar Baig ki Novel Nigari ‘Zero Se Aik Tak’ ka Fikri aur Fanni Jaiza.” Jahan-e-Tahqeeq 6, no. 4 (2023): 307. 24.Baig, Mirza Athar. Zero Se Aik Tak, p. 374. 25.Ibid., p. 378. 26.Ibid., p. 42. 27.Ibid., p. 350. 28.Ibid., p. 131. 29.Narang, Gopi Chand. Sakhtiyat, Pas-Sakhtiyat aur Mashriqi Sheriyat. Lahore: Sang-e-Meel Publications, 2016, pp. 159–167. 30.Baig, Mirza Athar. Zero Se Aik Tak, p. 177. 31.Ibid., p. 285. 32.Ibid., p. 305. 33.Ibid., p. 358. 34.Ibid., p. 246. 35.Ibid., p. 127. 36.Ibid., p. 125. 37.Ibid., p. 230. 38.Ibid., p. 303. 39.Ibid., p. 317. 40.Ibid., p. 10. 41.Ibid., p. 49. 42.Ibid., p. 314. 43.Ibid., p. 376. 44.Yaqoob, Qasim. “Novel Mein Nai Technique aur Tajribat.” Adbiyāt, nos. 21–22. Islamabad: Academy of Letters, 2019, p. 97. 45.Baig, Mirza Athar. Zero Se Aik Tak, p. 170. 46.Ibid., p. 310. 47.Ibid., p. 279. 48.Ibid., p. 120. 49Ibid., p. 121.
Representative characters in the short stories of Shafiq-ur-Rehman
The world of today is replete with prose writers but Shafiq ur Rehman is one of the renowned prose writers in Urdu literature. His writings always have soothing effect on his reader’s mind. He used parody, irony, comparison, wit, humours situation and characters to ereate humour in his stories. The Characters of his short stories are the real ones. The hero of his short stories is handsome, sports loving, witty, steady and serviceable fellow. The humorous character of his short stories is “Shaitan”. He creates humour in many stories from this character. In this article, his representative characters shaitan, Maqsood Ghora, Modi, Buddi, Tamana, Mein, Nannha and Nannhi have been discussed. References: 1.Rehana Parveen, Dr. Shafiq-ur-Rehman, Ek Mutala, New Delhi: Vijay Publishers, 1997, p. 13. 2.Mir Amman, Bagh-o-Bahar, Lahore: Popular Publishing House, January 1981, p. 42. 3.Hali, Altaf Hussain, Diwan-e-Hali, Lahore: Khazina-e-Ilm-o-Adab, 2001, p. 204. 4.Bahawala Flap, Shagofay, Lahore: Ghalib Publishers, Taba-e-Som (3rd Edition), 1986. 5.Sabih-ud-Din Siddiqui, "Sahib-e-Mutala Shafiq-ur-Rehman," Lahore: Muasir International, 2000, p. 85. 6.Shafiq-ur-Rehman, "Taweez" Mashmoola Hamaqatein, Lahore: Sang-e-Meel Publications, 2001, p. 36. 7.Shafiq-ur-Rehman, "Taweez" Mashmoola Hamaqatein, Lahore: Sang-e-Meel Publications, 2001, p. 76. 8.Rehana Parveen, Dr. Shafiq-ur-Rehman, Ek Mutala, New Delhi: Vijay Publishers, 1997, p. 13. 9.Mirza Hamid Baig, Dr., Urdu Afsanay Ki Riwayat, Islamabad: Matbu’a Academy Adabyat, 1992, p. 94. 10.Shafiq-ur-Rehman, Dajla, Lahore: Sang-e-Meel Publications, 2001, p. 49. 11.Shafiq-ur-Rehman, "Dhund" Mashmoola: Dajla, Lahore: Ghalib Publishers, Taba-e-Awwal (1st Edition), 1980, pp. 119, 120. 12.Shafiq-ur-Rehman, Kirnein Deebacha Hijab, Imtiaz Ali, Lahore: Sang-e-Meel Publications, 2001, p. 5. 13.Shafiq-ur-Rehman, Hamaqatein, Lahore: Sang-e-Meel Publications, 2001, p. 171.
Psychological Analysis of Short Stories of Asif Farrukhi in the Contex of his Collection “Aik Aadmi Ki Kami”.
Asif Aslam Farrukhi (16 September 1959 – 1 June 2020) was a Pakistani writer, translator, and literary critic active in both Urdu and English language and literature .Asif farrukhi was the author of six collections of short stories and two collections of critical essays in Urdu.He was also a prolific translator, from Sindhi and English to Urdu as well as from Urdu and Sindhi to English. He compiled several English anthologies of writing from Pakistan.Psychological analysis of Urdu short stories of his seventh collection of short stories “AIK AADMI KI KAMI” delves into deep human conditions, exploring societal impacts, repressed desires and the psyches of characters facing trauma, identity crises, and social pressures, often using psychoanalytic techniques to reveal mental complexities like anxiety, inferiority complexes , and the clash between instinct and imposed morality, revealing deep insights into individual and collective mental states. Asif farrukhi deeply exploring these themes within complex socio-culture context , revealing human psychology through repressed impulsis . In essence, analyzing Urdu Short stories of fiction writer Asif farrukhi, he uncover thehidden psychological currnt and human condition beneath the narrative surface, often using critical theories to understand the characters internal struggle. References: Dr Anwar Ahmed, Urdu Afsana aik sadi ka qissa(Multan:kitab nagar,2007),P.533 Asif farukhi, Harf y man o tu (Lahore:Sang y meel publisher,2015), P.78 Asif farukhi,(Martaba o ta,aruf), qissa koh ta, mo,alif Intazaar Hussain (Lahore:Sang y meel publisher,2017) P.134 Ibid , P.214. Murattaba:Asif faruki,Dunyazaad, shumara 10 , Mayhfil(Idariya),(Karachi:sheherzaad , October2000) P.09. Ibid , Murattaba:Asif faruki,Dunyazaad, shumara 07 , Mayhfil(Idariya),(Karachi:sheherzaad , October2002) P.276. Inaam Nadeem.”Asif farukhi,kahani ki poori riwayat sy jurra afsana nigar”coloum/blog(Hum. Sab,website) 10 june 2020. Dr Anwar Ahmed, Urdu Afsana aik sadi ka qissa(Multan:kitab nagar,2007),P.534 Asif farrukhi.’’HANS PAKHHI”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.13. Ibid , P.19 Asif farrukhi.’’PADA”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.25. Ibid , P.25 Asif farrukhi.’’BODLU”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.63 Asif farrukhi.’MARO THALRRA”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.75 Asif farrukhi.’AIK AADMI KI KAMI”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.89. Asif farrukhi.’’WACHOORY KINWAAT”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.105. Asif farrukhi.’’WACHOORY KI WATT”.mashmola:Aik aadmi ki kami(Karachi:Fazli sons,private, limited1999) P.97. Rukhsana parveen ,muqaddama . 1 .mashmoola :majmooa y asif farukhi . afsanvi ( Lahore:fiction house, 2021) P.21.
Existential Elements In Rizwan-u-haq's Novel “Khudkushi Nama”
In the twentieth century, existential philosophy sparked a new debate in the world. By the end of this century, much was written in the West on existence.Existence is a philosophy that brings a glow of light in human life. The founder of existential philosophy is considered to be Keric guard. In addition, the great name of the existential philosophy is that of Jean -Paul Sartre. Which believes that "existence is against the essence." In this article, Rizwan -ul -Haq's novel "Khud Khushi Nama" is reviewed in the presence of existential elements. References: Abu Naeem Abulhakeem Jalhndri, Quaid ul lugat، Lahore:Hamid and com.، p 993 Qazi Javaid, “Wajoodiat”, Lahore: Fiction House, 2018, p 15 Thomas Flynan, “Existentialism A very short Introduction” ,UK: Oxford university press, p 8 Qazi Javaid, “Wajoodiat” ,Lahore: Fiction House, 2018, p 28 Rizwan ul Haq, Khudkhusi nama, sahe mahi Lahore, sumara 4(2022)p:22 As above , p 24 As above, p 41 Ehsan Asraf, “Wajoodiat ka falsfa” , Patna: kitab manzil, 2010, p 122 As above, p 59 Amir Hayat Husaini, Dr “Wajoodiat” ,Seri nagar: Batool public kicenz, 1990, p 39
Feminist Study of Sara Shagufta’s Poetry
This study analyzes the expression of feminist consciousness in the poetry of Sara Shagufta, focusing on woman’s life in terms of existential suffering, social deprivation, and identity crisis. In her poetry, woman is not merely portrayed as an emotional or traditional figure but as a conscious and questioning being who silently resists patriarchal structures, male-dominated systems, and historical injustices. Elements such as childhood innocence, emotional deprivation, economic vulnerability, and social marginalization reflect the deep inner and outer experiences of women in her poems. The study highlights that through symbolic expression, metaphorization, and existential sensibility, Sara Shagufta presents woman as a dynamic and resistant force. Furthermore, her poetry challenges the historical perception of woman as a “thing” or a subordinate being controlled by male authority. Her poetic discourse transforms feminist consciousness into an intellectual and emotional protest that foregrounds issues of female autonomy, identity, and social positioning. Ultimately, this study emphasizes that Sara Shagufta’s poetic work represents a unique, intense, and revolutionary voice of feminist thought in Urdu literature, offering new dimensions to the lived experience of women. References: Saleha Siddiqui, Urdu Navalon mein Tanisi Hasiyat Mishmoola: Fikr-o-Tahqeeq (Se-mahi), Nai Dehli, Jild 19, Shumara 2, April ta June 2016, p. 239-240. Sara Shagufta, Aankhen, Karachi: Tashkeel Publishers, Ishaat-e-Awwal 1985, p 3, 4. Ibid,pp. 50, 51. Mirza Khalil Ahmad Beg, Tanisiyat, www.punjnud.com batareekh 20 January 2023. Sara Shagufta, Aankhen, Ibid., p. 44. 6.Ibid., p. 52. Maududi, Abul Ala, Syed. Parda. Lahore: Islamic Publications, San-e-Nadard, p. 209, 210. Sara Shagufta, Aankhen, Ibid., p. 68. Ibid,pp. 73, 74. Sara Shagufta, Neend Ka Rang, Karachi: Sara Academy, September 1993, p. 17. Ibid., p. 22. Ibid., p. 26. Ibid., p. 38, 39. Mubarak Ali, Doctor. Tareekh aur Aurat. Lahore: Fiction House, 2014, p. 8-19.
Semantic and Transformative Interactions in Hassan Manzar's Novels
This article examines the semantic and transformational dynamics in the novels of Hasan Manzar, focusing on how meaning is produced, altered, and expanded within his narrative structures. Drawing on major linguistic theories, the study explores conceptual and associative meanings, lexical relations, contextual shifts, and the role of signs and symbols in shaping interpretation. Hasan Manzar’s fiction demonstrates a rich interplay of languages—Urdu, English, Arabic, and regional dialects—creating a multilayered semantic environment that reflects cultural hybridity and social complexity. His deliberate use of medical, political, religious, and colloquial vocabularies generates diverse meaning potentials, while stylistic devices such as metaphor, irony, code switching, and foregrounding contribute to semantic depth. The article highlights how Manzar’s characters, settings, and dialogues embody shifting semantic paradigms, particularly in relation to religion, social hierarchy, and professional discourse. Ultimately, the study argues that Hasan Manzar’s novels construct a dynamic semantic field where linguistic diversity, stylistic innovation, and cultural context converge to produce a distinctive and evolving narrative meaning. References: Prof. Safdar ‘Alī. Urdu Lisāniyāt. Fārūq Sons, Lahore, s.n., p. 92. Prof. Gyān Chand Jain. ‘Ām Lisāniyāt. Idāra Tārīkh-o-Saqāfat-e-Islāmiyah, Lahore, 2019, p. 281. Dr. Ilāhī Bakhsh Akhtar ‘Awwān. Kashshāf Iṣṭilāḥāt-e-Lisāniyāt. Muqtadirah Qaumī Zabān, Islamabad, 1995, p. 417. Prof. Gyān Chand Jain. Lisānī Muṭā‘lay. Taraqqī Urdu, New Delhi, 1991, p. 27. Rauf Pāreikh. Lisāniyātī Mabāḥis. City Book Point, Karachi, 2024, p. 143. Dr. Muḥammad Ashraf Kamāl. Lisāniyāt aur Zabān kī Tashkīl. Misāl Publishers, Faisalabad, 2015, p. 156. Muḥammad Shīrāz Dastī. Lisāniyāt: Ek Jāmi‘ Ta‘āruf. Oxford University Press, Karachi, 2022, pp. 70–71. Dr. Muḥammad Ashraf Kamāl. Lisāniyāt aur Zabān kī Tashkīl, p. 156. Muḥammad Shīrāz Dastī. Lisāniyāt: Ek Jāmi‘ Ta‘āruf, p. 70. Ibid. Dr. ‘Āmir Suhayl. Jadīd Lisāniyātī aur Aslūbīyātī Taṣawwurāt, pp. 219–220. Hasan Manẓar. Wabā. Shehzād Publishers, Karachi, 2019, p. 46. Ibid. Ibid., p. 42. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 21. Hasan Manẓar. Miscellaneous. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 126. Ibid., p. 129. Hasan Manẓar. Miscellaneous. Hasan Manẓar. al-‘Āṣifah, p. 15. Ibid., p. 61. Hasan Manẓar. Miscellaneous. Hasan Manẓar. Wabā, p. 14. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 78. Ibid., p. 100. Hasan Manẓar. Dhanī Bakhsh ke Beṭe, p. 57. Ibid., pp. 55–56. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 138. Hasan Manẓar. Wabā, p. 14. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 86. Hasan Manẓar. Dhanī Bakhsh ke Beṭe, pp. 182–183. Hasan Manẓar. Wabā, pp. 14–15. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 82. Ibid. Hasan Manẓar. Dhanī Bakhsh ke Beṭe, pp. 226–227. Hasan Manẓar. Miscellaneous. Najm al-Ghanī. Baḥr al-Faṣāḥat, ed. Sayyid Qudrat Naqvī, Majlis Taraqqī Adab, Lahore, vol. 6, 2007, p. 108. Hasan Manẓar. Ḥabs, p. 27. Ibid., pp. 27–28. Ibid., p. 29. Ibid., p. 38. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 67. Ibid., p. 69. Hasan Manẓar. al-‘Āṣifah, p. 8. Ibid., p. 97. Hasan Manẓar. Dhanī Bakhsh ke Beṭe, p. 31. Ibid., p. 222. Dr. Mirzā Khalīl Beg. Aslūbīyātī Tanqīd. Sang-e-Meel Publications, Lahore, 2010, p. 21. Dr. ‘Āmir Suhayl. Jadīd Lisāniyātī aur Aslūbīyātī Taṣawwurāt. Misāl Publishers, Faisalabad, 2021, pp. 255–256. Hasan Manẓar. Wabā, p. 38. Ibid., p. 32. Ibid., p. 7. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 128. Hasan Manẓar. Dhanī Bakhsh ke Beṭe, p. 94. Ibid., pp. 55–56. Dr. Rauf Pāreikh. Awwalīn Urdu Sling Lughat. Fazlī Sons Ltd., Karachi, 2006, p. 11. Ibid, p. 10. Hasan Manẓar. Beersheba kī Ek Laṛkī, p. 142. Ibid. Hasan Manẓar. Wabā, p. 15. Hasan Manẓar. Dhanī Bakhsh ke Beṭe, p. 117. Hasan Manẓar. Wabā, Miscellaneous. Hasan Manẓar. Ḥabs, Miscellaneous. Hasan Manẓar. Miscellaneous. Ibid. 65–74.
The concept of nature is quite ambiguous. However, the meaning of such a complex word can be clarified in the following way: if we take nature to mean the world of leaves and buds, then just as trees absorb minerals from the soil for their growth, similarly, human beings are intrinsically connected to their ancestors. The meaning of nature also encompasses instinct and involuntary action. Nature refers to human temperament and its inherent qualities. It is the creative stages of the universe that have shaped human disposition. Nature not only reflects human temperament but also points to the temperament of the cosmos itself. According to the philosophy of idealism, the external world is a reflection of the human mind, whereas Plato believed that nature evolves through sensory experiences. It is true that the human mind has always been the reservoir of knowledge about the universe, and the five senses serve as references for perception. The universe and nature are external realities. Everything that exists in the skies, the earth, and the oceans is bound together like links in a single chain. All forms ,from existence to non-existence, contribute to the shaping of human temperament, which can be seen and felt through the eyes. Within the realm of nature lie all those natural scenes scattered across the earth, sky, and atmosphere. Among celestial phenomena are clouds, rainbows, the sun, moon, stars, lightning, thunder, storms, and winds. Aquatic elements include seas, rivers, lakes, ponds, waterfalls, waves, whirlpools, and shores. Terrestrial features encompass mountains, valleys, plains, fields, gardens, flowerbeds, flowers, greenery, rocks, hills, and shrubs. All these become part of nature through the changing seasons. References: 1۔Samina Gul, Zameen ka Mazhab, Islamabad: Aazaz Publications, 2024, p. 20-21. 2۔Saadat Saeed, Urdu Qaside ka Tehzibi o Fanni Mutalia, Lahore: Jamia Punjab, 1987, p. 10. 3۔Ali Abbas Jalalpuri, Riwayat-e-Tamaddun-e-Qadeem, Jhelum: Khirad Afroz, 1987, p. 11. 4۔Rafiq Sandilvi, Urdu Shayari mein Manzar Nigari, Lucknow: Naseem Book Depot, 1968, p. 25.
Dr. Humera Ashfaq, an Assistant Professor at the International Islamic University Islamabad, is a prominent Pakistani Urdu prose writer, critic and scholar whose work is deeply engaged with modernism, feminism and social realities. As a contemporary novelist, her fiction is informed by modernist themes and shaped by influences of international literary traditions; and she tends to adopt a French narrative style in her own writing.Her creative bibliography includes her short story collection “Qatboon Kay Darmiyan” and her debut novel “Mee Sozam,” both published by the famous Sang-e-Meel Publishers, Lahore. The philosophy of prose by Ashfaq is that literature is an authentic reference for retrieving history and an interpreter of life. She sees autobiography (Aap Beeti) not only as a personal account but as a reflection of the political and emotional state of the world in general. Her critical writing often focuses on literary and technical critique rather than popular opinion, such as her defence of Bano Qudsia as a female writer against criticism on social media. She is a proponent of structural reform in Urdu, such as a gender-neutral dictionary and revision of gender-biased terms. She presents literature as a driver towards intellectual and social change in her involvement in academic and international forums like Sustainable Development Conferences to address issues of injustice, human rights, and freedom of expression. Her writings successfully bridge creative literature and scholarly discussion. References: Kishwar Naheed, Taqreeb-e-Ronumai, Idara baraye Paidar Taraqqi, Islamabad, 28 October 2019, 22:37. Hameed Shahid, Taqreeb-e-Ronumai, Idara baraye Paidar Taraqqi, Islamabad, 28 October 2019, 23:15. Humaira Ashfaq, Novel May Sozam, Lahore: Sang-e-Meel Publications, 2021, p. 205. (Aizan), p. 71. Humaira Ashfaq, Kitbon ke Darmiyan, Lahore: Sang-e-Meel Publications, 2019, p. 14. Hameed Shahid, Taqreeb-e-Ronumai, Idara baraye Paidar Taraqqi, Islamabad, 28 October 2019, 23:00.
An Analytical Study of the Novel “Dulari”in the Perspective of Trauma Theory
This study presents an analytical review of the novel “ Dulari” in the perspective of Trauma Theory. The research explores the psychological, emotional, and social sufferings portrayed in the novel and examines how traumatic experiences affect the lives of the characters. It also highlights the themes of memory, slavery, identity, pain, and survival presented by the writer. Through the application of Trauma Theory, this study investigates the hidden dimensions of fear, loss, and mental disturbance reflected in the narrative. The aims of this research is to understand the impact of past traumatic events on individual and collective consciousness. This analytical study further explains how trauma shapes human behavior and emotional responses in the novel. References: http: //www.apa.org /topics/trauma Ayatollah , Dr ,War Trauma History and Narrative : Analysis of selected Afghan fiction in Unguiltier University Islamabad Sameena Gul, Dr., Ghulam Akbar, Dr., Urdu Shayari mein Traumatic Kaifiyat, Zaban-o-Adab, JildeDom, Shumara 14, 2023. Nazia Parveen, Dr., Ikkisween Sadi ke Novel mein Nafsiyati Bayania, University of Education, Lahore, p. 3. Louis L. Snyder, World War II, , Mutarjim, Safdar Rashid, Jang-e-Dom, Haji Hanif and Sons, Lahore, 2005, p. 6. ToniMorrison, Beloved, Mutarjim ,Syed Saeed Naqvi, Dulari, City Book Point, Karachi, 2020, p. 53. Ibid, p. 5 Ibid, p. 121 Ibid, p. 27 Ibid, p. 358
Critical and Analytical Study of Economic Issues in Twentieth Century Pakistani Urdu Fiction
The Pakistani Urdu short story of the twentieth century is a powerful reflection of the social, political, and economic realities of its age. The writers of this period portrayed economic inequality, poverty, unemployment, class division, exploitation, capitalist attitudes, and the sufferings of the working class in a highly realistic manner. This research presents a critical and analytical study of economic issues in twentieth-century Pakistani Urdu short stories in order to examine how Urdu fiction highlights the economic contradictions of society and their impact on human life. The study analyzes selected short stories of prominent Urdu fiction writers in which themes such as the widening gap between the rich and the poor, the hardships of laborers, inflation, unemployment, migration, economic exploitation of women, and the unequal distribution of resources occupy a central position. These writers not only depicted economic crises but also explored the psychological conflicts, family disintegration, sense of deprivation, and decline of moral values caused by such conditions.The research concludes that the twentieth-century Pakistani Urdu short story is not merely a literary expression but also an important document of the economic realities of its time. Through realistic and artistic representation, these stories enable readers to observe the harsh conditions of society and deeply experience their social and human consequences. Thus, Urdu short fiction plays a significant role in raising social awareness and exposing class-based injustice and exploitation. References: Muhammad Qamar Raees, Professor, Urdu Mein Beesween Sadi Ka Adab, Delhi: Cock Offset Printers, 2004, p. 30 Krishan Chander, Murattaba: Mudassar Abbas Gondal, Krishan Chander Ke Behtareen Afsane, Lahore: Subh-e-Noor Publications, 2022, pp. 145, 146 Ismat Chughtai, Murattaba: Mudassar Abbas Gondal, Ismat Chughtai Ke Behtareen Afsane, Lahore: Subh-e-Noor Publications, 2022, p. 33 Prem Chand, Murattaba: Mudassar Abbas Gondal, Prem Chand Ke Behtareen Afsane, Lahore: Subh-e-Noor Publications, 2022, p. 103 Shakeel Ahmad, Doctor, Urdu Afsanon Mein Samaji Masail Ki Akasi, Gorakhpur: Offset Press, 1984, p. 47 Raunaq Jahan Begum, Doctor, Urdu Afsane Mein Haqeeqat Nigari, Aligarh: Educational Book House, 2007, p. 36