Abstract In contemporary paremiology anti –proverbs are well-known category of proverbs. Around the world many studies have been conducted on introducing anti-proverbs and researchers have looked up on them from various literary and linguistics perspectives. Along with those studies the present study aims to comparatively analyze the structure of Turkish, Persian and English anti-proverbs based on the Reznikov (2009) model in order to indicate that there are similarities and differences among the nature of Turkish, Persian and English anti-proverbs. Keywords: Turkish /Persian/ English; Proverbs; Anti-proverbs 1. Introduction It is an established fact that proverbs are generally the quintessence of a people’s collective wisdom.
Therefore, this study uses critics like Roman Jakobson, Mikhail Bakhtin, Julia Kristeva, and Roland Barthes. These critics have been chosen, because they make a huge turn in literary criticism of their time. Roman Jakobson, who is a Russian structuralist, studies structure of language. Jakobson's linguistic communication theory is very central in studying a literary work aesthetically. His theories about syntagmatic and paradigmatic relations are significant in studying a metaphor.
The majority of my summary is explaining what Orientalism is and what its principles are. This takes up the bulk of my summary because it is the most important part of Said’s writing to understand. If one does not fully understand what Orientalism is, then they will not even be able to come close to grasping the true meaning and essence of the work. Another important aspect I decided to include in the summary was both Balfour’s and Cromer’s ideas. These two perspectives give us a firsthand example of someone whom both believed in Orientalism and who spread it to many who would take their word as fact.
Emerging late in 1960’s as a new strategy for textual analysis, deconstruction captivated the concentration of critical theories. What is deconstruction? In A Handbook to Literary Research deconstruction is defined as "a form of textual practice derived from the work of the French philosopher Jacques Derrida which aims to demonstrate the inherent instability of both language and meaning" (131). Derrida began formulating his theories on deconstruction by critiquing Ferdinand de Saussure’s Course in General Linguistics. The ideas of Saussure concerning language formed the theories of structuralism from which Derrida borrowed as a key for his deconstruction method.
Bergesen brings together the essential Qutb for the interested reader and presents it in a proper manner. Because Qutb 's writings are so voluminous and for the most part repetitive, Bergesen has done a much-needed selection that can give outsiders a sense of the importance and influence of Qutb 's thinking without having to read them all. The Sayyid Qutb Reader is a very nicely achieved balance between a summary of Qutb 's thought (from a scholarly viewpoint) and the words of the author himself. If someone intend to know and understand what militant Muslims think has to understand what they read, they need to read Sayyid Qutb. People always
He wrote in his 2012 memoir that his father adopted the name Rushdie in honour of Averroes. Salman Rushdie was educated at Cathedral and John Connon School in Mumbai, Rugby School in Warwickshire, and King’s College, University of Cambridge, where he read history. He is a British Indian novelist and essayist. His second novel, Midnight’s Children 1981, won the Booker prize in 1981. Much of his fiction is set on the Indian subcontinent.
Indian Sense and Sensibility of the Gandhian Myth in Kanthapura The topic of this thesis is “Indian Sense and Sensibility in the Fiction of Raja Rao”. Before we proceed further, it will be in the fitness of things to throw light on the words ‘sense’ and ‘sensibility’. According to Advanced Learner’s Dictionary, ‘sense’ means: “a feeling about something important”1 (p.1392) and ‘sensibility’ according to this dictionary means: “the ability to experience and understand deep feelings, especially in art and literature”2. In this context, Indian sense and sensibility in the novels of Raja Rao means the novelist’s ability to ‘feel’ India as an important country and his ability to understand India as a nation and experience it not in geographical terms, but in physical, emotional, social, moral, religious, philosophical and metaphysical aspects of the life of people of India at large. The concept of ‘sensibility’ emerged in the 18th century Britain and was closely associated with the “studies of sense perception as the means through which knowledge is gathered”.3 William Walsh in his book Indian Literature in English interestingly traces Indian sensibility in the language of R.K. Narayan.
Of the theories considered to be holding water, the most plausible seems to be the one that says Urdu developed from some dialects spoken in and around Delhi in the 11th and 12th centuries AD. These dialects include Brij Bhasha, Mewati, Khari Boli and Haryani, which, in turn had developed from Apbhransh. The name Apbhransh refers to a number of languages/dialects which were born from Prakrit languages. The question that still requires a precise answer is: from which Apbhransh did Urdu originate? Some linguists believe it was most probably an offshoot of Shourseni Prakrit, spoken in and around Mathura.
Therefore, to achieve a bigger dream one has to give a great sacrifice for it. LINK WITH SEMANTICS In figurative genres in Urdu language under Pakistani culture we observe how meaning is conveyed in a culture. These are culture/language specific genres which means only the speakers of Urdu language will only be able to understand its meaning. With the help of these figures of speech we can see different types of meanings that are implied in every language under multiple contexts.
The article aims to explore and investigate that how particular choices made by the writer contribute to create particular meanings. The story selected for the purpose of stylistic analysis is ‘The Last Word’ by Dr. Abdur Rashid Tabassum, who is the first winner of the PatrasBukhari Award for English Literature instituted by Pakistan Academy of Letters. Munawar S. Khalid (2009, November 02) remembers him as one of the outstanding Pakistani literary authority who has written more than three dozen books in English, Persian and Urdu. The story under consideration for the purpose of present analysis is from his book of short stories ‘A Window to the East’ , for which he received award along with cash prize from the President of Pakistan in 1983.