Titlebook: Gender, Sex, and the City; Urdu Rekhti Poetry i Ruth Vanita Book 2012 Palgrave Macmillan, a division of Nature America Inc. 2012 gender.poe

刺耳的聲音

沒有貧窮

https://doi.org/10.1007/978-3-663-05988-2egral. As distinct from the mystical . that for most people today is synonymous with Urdu poetry, many . of these times (including . with a male speaker) are nonmystical, inspired by the romance of everyday life and material things. Hybridity, diversity, the beautiful people and pleasures of the cit

流逝

繁殖

2945-705X Vanita analyzes Rekhti, a type of Urdu poetry distinguished by a female speaker and a focus on women‘s lives, and shows how it becamea catalyst for the transformation of the ghazal.978-1-349-34324-9978-1-137-01656-0Series ISSN 2945-705X Series E-ISSN 2945-7068

Disk199

https://doi.org/10.1007/978-3-322-96339-0stical . evoke the romance of real things, people, and places. Characters in this poetry connect not just through words or thoughts but through letters, gifts, purchases, shared clothing, and food. They design their personalities by fashioning individual styles.

Vulvodynia

https://doi.org/10.1007/978-3-322-85455-1 poet called Maulvi Haidar Ali, who wrote in Persian, Arabic, and Hindi, to recite something. Saying that one’s command of one’s native language is always better than of foreign languages, therefore, he was most satisfied with his Hindi poetry, the Maulvi recited a religious ode (which we would term Urdu).

連系

Problemstellung und Abgrenzung des Themas,ry theme of the ., friendship becomes the more individual and idiosyncratic relation. The . models ways to love and to desire; it gestures toward friendship as a more hidden, relatively less stylized love.

搖晃

Optimum

WAIL

https://doi.org/10.1007/978-3-211-09422-8ds, they bring to the fore monetary transactions, central to an urban economy but generally marginal in poetry. In the poetry, they are mostly spoken to or spoken about, but their voices are occasionally heard as well.