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The name Urdu was first introduced by the poet Ghulam Hamadani Mushafi around 1780. [29] [30] As a literary language, Urdu took shape in courtly, elite settings. [76] [77] While Urdu retained the grammar and core Indo-Aryan vocabulary of the local Indian dialect Khariboli, it adopted the Perso-Arab writing system, written in the Nastaleeq style.
In German, Dasein is the vernacular term for "existence". It is derived from da-sein, which literally means "being-there" or "there-being". [4] In a philosophical context, it was first used by Leibniz and Wolff in the 17th century, as well as by Kant and Hegel in the 18th and 19th; however, Heidegger's later association of the word with human existence was uncommon and not of special ...
The existential quantifier ∃ is often used in logic to express existence.. Existence is the state of having being or reality in contrast to nonexistence and nonbeing.Existence is often contrasted with essence: the essence of an entity is its essential features or qualities, which can be understood even if one does not know whether the entity exists.
The Urdu alphabet (Urdu: اُردُو حُرُوفِ تَہَجِّی, romanized: urdū ḥurūf-i tahajjī) is the right-to-left alphabet used for writing Urdu. It is a modification of the Persian alphabet, which itself is derived from the Arabic script. It has co-official status in the republics of Pakistan, India and South Africa.
Urdu literature (Urdu: ادبیاتِ اُردُو, “Adbiyāt-i Urdū”) comprises the literary works, written in the Urdu language.While it tends to be dominated by poetry, especially the verse forms of the ghazal (غزل) and nazm (نظم), it has expanded into other styles of writing, including that of the short story, or afsana (افسانہ).
It is therefore the image as such, as a whole bundle of meaning, that is "true" (faithful, trustworthy). [18] Eliade says : [19] the sacred is equivalent to a power, and, in the last analysis, to reality. The sacred is saturated with being. Sacred power means reality and at the same time enduringness and efficacy.
Being, he argued, by definition implies eternality, while only that which is can be thought; a thing which is, moreover, cannot be more or less, and so the rarefaction and condensation of the Milesians is impossible regarding Being; lastly, as movement requires that something exist apart from the thing moving (viz. the space into which it moves ...
The poet Mir Taqi Mir is often lauded as ushering in a "Golden Age" of Urdu ghazal poetry in the early 18th century by mastering the blend of Persian influences with the common and idiomatic Urdu. [18] Another classical poet, Mirza Muhammad Rafi Sauda is notable for his poetry being socially aware, and sometimes even satirical. [19]