Tamasha E Ishq

Tamasha-e-Ishq is an unique social and romantic Urdu novel. This story based novel consists on a Rashida, an active role of beautiful nurse who loved a patient admitted in hospital. The second basic character is Rauf, a famous business man of society, who disabled by TB and admitted in a hospital. This is very interesting novel.

Selected Urdu ghazals with English translation; includes text and introduction.

If you are interested in a book consisting of Iqbal’s poetry about Sufism, then this is the perfect book for you. It has been designed for everyone who wants to cherish the poetry of Iqbal but is not acquainted with Urdu or Persian. In the realm of Faqr, one has to die before death i.e. the death of self (nafs) is eternal life for the soul. It is where the fire of Divine love circles one's inward such that the passion takes the person to behold the Reality. The litany that does it all is in reality the greatest name of Allah (Ism al-Azam or Ism-e-Allah Zaat) but it works when the blessed hands of the perfect spiritual guide grant it who is the Universal Divine Man (Mard-e-Mumin or al-Insan al-Kamil). He is hidden in the maze of this world where one has to tear the veils of loving anyone other than Allah. To reach the Divine, first one has to reach his spiritual court. Iqbal, the sagacious philosopher’s poetry is brimming with all of it. The book in hand not only has the original poetry in Urdu and Persian but for ease of readers its transliteration is also written along with a detailed explanation in English. Iqbal’s point of view is parallel to many other Sufis who are also quoted. #sultanulashiqeen #sultanulashiqeenbooks #sultanulfaqrpublications #faqreiqbal #iqbalandfaqr #allamaiqbal #poetryofiqbal #iqbalpoetry #allamaiqbalpoetry #iqbal #shayaremashriq #explanationofiqbalpoetry #allamaiqbalpoetryinenglish

Shaheed Bhagat Singh’s ‘Jail Notebook’ opens a window into his exploration of ideas of distinguished thinkers and philosophers. Well-known among his comrades as an avid and voracious reader, Bhagat Singh managed to procure during his imprisonment in jail a large number of selected books by prominent authors of his choice. The excerpts, notes and quotes from those books which he wrote down in his jail notebook reflected not only the seriousness with which he studied the books but also his intellectual sophistication and social and political concerns. However, the perfunctory reference to the sources or books from which these notes and quotes were taken left a rather perplexing question mark with regard to the authentic source i.e. from exactly which editions of which books by which particular authors were these taken. As a result, fantastic claims and wild speculations came to be made by admiring scholars as to the number of books and the kind of original works of great thinkers that Bhagat Singh was able to study in the jail. As a sequel to that the present work Bhagat Singh’s ‘Jail Note Book’, Its Context and Relevance by Harish Jain represents an exceptionally tenacious and laborious search and research into the specific and authentic sources of the particular notes and quotes entered in the Jail Notebook. The story of the author’s exploration for over a decade, searching and identifying books by following astute guesses and hunches, and rummaging through many likely or probable books accessible at that time, many of which were not easily available now, makes a fascinating reading. Contextualising the importance and reach of the ideas of the various authors in those times helps one to understand why they might have appeared significant to Bhagat Singh. Besides discussing the ideas central to the books he read attempt has been made here to explain the import of the quotes he chose to copy. A unique work of its kind, this study is both enriching and a pleasure to read.

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 December, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 07-12-1942 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 96 VOLUME NUMBER: Vol. VII, No. 24 BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 29-92 ARTICLE: 1. Ideals of Indian Labour 2. Women Generally Speaking.. 3. The War In October- Trafalgar Day Anniversary AUTHOR: 1. The Hon'ble Dr. B. R. Ambedkar 2. Tara Ali Baig KEYWORDS: 1. Labour, Order, Liberty, Ambedkar, AIR Speech 2. Women, Chinese, War Effort, Second World War 3. Trafalgar Day Anniversary Document ID: INL-1942 (J-D) Vol- II (12)

This book examines folk theatres of North India as a unique performative structure, a counter stream to the postulations of Sanskrit and Western realistic theatre. In focusing on their historical, social and cultural imprints, it explores how these theatres challenge the linearity of cultural history and subvert cultural hegemony. The book looks at diverse forms of theatre such as svangs, nautanki, tamasha, all with conventions like open performative space, free mingling of spectators and actors, flexibility in roles and genres, etc. It discusses the genesis, history and the independent trajectory of folk theatres; folk theatre and Sanskrit dramaturgy; cinematic legacy; and theatrical space as performance besides investigating causes, inter-relations within socio-cultural factors, and the performance principles underlying them. It shows how these theatres effectively contest delimitation of human creative impulses (as revealed in classical Sanskrit theatre) from structuring as also of normative impulses of religion and culture, while amalgamating influences from Western theatre, newly-rising religious reform movements of 19th century India, tantra and Bhakti. It further highlights their ability to adapt and reinvent themselves in accordance with spatial and temporal transformations to constitute an important anthropological layer of Indian society. Comprehensive and empirically rich, this book will be an essential read for scholars and researchers of cultural studies, theatre, film and performance studies, sociology, political studies, popular culture, and South Asian studies.