Heidi Pauwels – författare

Savant Singh (1694–1764), the Rajput prince of Kishangarh-Rupnagar, is famous for commissioning beautiful works of miniature painting and composing devotional (bhakti) poetry to Krishna under the nom de plume Nagaridas. After his throne was usurped by his younger brother, while Savant Singh was on the road seeking military alliances to regain his kingdom, he composed an autobiographical pilgrimage account, “The Pilgrim’s Bliss” (Tirthananda); a hagiographic anthology, “Garland of Anecdotes about Songs” (Pad-Prasang-mala); and a reworking of the story of Rama, “Garland of Rama’s Story” (Ram-Carit-Mala).Through an examination of Savant Singh’s life and works, Heidi Pauwels explores the circulation of ideas and culture in the sixteenth through eighteenth centuries in north India, revealing how Singh mobilized soldiers but also used myths, songs, and stories about saints in order to cope with his personal and political crisis. Mobilizing Krishna’s World allows us a peek behind the dreamlike paintings and refined poetry to glimpse a world of intrigue involving political and religious reform movements.

This book reexamines the emergence of Urdu as a literary and poetic language in the 18th century, at the time called Rekhtah, highlighting its engagement with diverse regional cultures and communities in South Asia. Sharing Poetry’s Pleasures reframes the history of Urdu within the diverse contexts from which it emerged. It places the earliest Urdu-Rekhtah poets and their craft in the lively social gatherings, bazaars, shrines, and courts of 18th century South Asia.Through aesthetic analysis and historical contextualization of poems, using primary sources in manuscripts, the authors reveal why everyday vernaculars, multi-lingual puns, alongside the use of courtly Persian and complex metaphors attracted a wide audience for this new literary language.Dhavan and Pauwels re-examine the long-dominant mischaracterization of Urdu as an elite language of South Asian Muslims by analysing the poetic biographies of Vali Dakhani and his contemporaries Fa’iz, Abru and Hatim. The authors reveal how selective attention to a handful of poets and rarefied courtly texts obscured the much more diverse roots of an important vernacular tradition, thereby reconstructing a lost literary network of speakers, poets and participants in Urdu’s past.

This book reexamines the emergence of Urdu as a literary and poetic language in the 18th century, at the time called Rekhtah, highlighting its engagement with diverse regional cultures and communities in South Asia. Sharing Poetry's Pleasures reframes the history of Urdu within the diverse contexts from which it emerged. It places the earliest Urdu-Rekhtah poets and their craft in the lively social gatherings, bazaars, shrines, and courts of 18th century South Asia. Through aesthetic analysis and historical contextualization of poems, using primary sources in manuscripts, the authors reveal why everyday vernaculars, multi-lingual puns, alongside the use of courtly Persian and complex metaphors attracted a wide audience for this new literary language.Dhavan and Pauwels re-examine the long-dominant mischaracterization of Urdu as an elite language of South Asian Muslims by analysing the poetic biographies of Vali Dakhani and his contemporaries Fa'iz, Abru and Hatim. The authors reveal how selective attention to a handful of poets and rarefied courtly texts obscured the much more diverse roots of an important vernacular tradition, thereby reconstructing a lost literary network of speakers, poets and participants in Urdu's past.

This book reexamines the emergence of Urdu as a literary and poetic language in the 18th century, at the time called Rekhtah, highlighting its engagement with diverse regional cultures and communities in South Asia. Sharing Poetry's Pleasures reframes the history of Urdu within the diverse contexts from which it emerged. It places the earliest Urdu-Rekhtah poets and their craft in the lively social gatherings, bazaars, shrines, and courts of 18th century South Asia. Through aesthetic analysis and historical contextualization of poems, using primary sources in manuscripts, the authors reveal why everyday vernaculars, multi-lingual puns, alongside the use of courtly Persian and complex metaphors attracted a wide audience for this new literary language.Dhavan and Pauwels re-examine the long-dominant mischaracterization of Urdu as an elite language of South Asian Muslims by analysing the poetic biographies of Vali Dakhani and his contemporaries Fa'iz, Abru and Hatim. The authors reveal how selective attention to a handful of poets and rarefied courtly texts obscured the much more diverse roots of an important vernacular tradition, thereby reconstructing a lost literary network of speakers, poets and participants in Urdu's past.

This book reexamines the emergence of Urdu as a literary and poetic language in the 18th century, at the time called Rekhtah, highlighting its engagement with diverse regional cultures and communities in South Asia. Sharing Poetry’s Pleasures reframes the history of Urdu within the diverse contexts from which it emerged. It places the earliest Urdu-Rekhtah poets and their craft in the lively social gatherings, bazaars, shrines, and courts of 18th century South Asia.Through aesthetic analysis and historical contextualization of poems, using primary sources in manuscripts, the authors reveal why everyday vernaculars, multi-lingual puns, alongside the use of courtly Persian and complex metaphors attracted a wide audience for this new literary language.Dhavan and Pauwels re-examine the long-dominant mischaracterization of Urdu as an elite language of South Asian Muslims by analysing the poetic biographies of Vali Dakhani and his contemporaries Fa’iz, Abru and Hatim. The authors reveal how selective attention to a handful of poets and rarefied courtly texts obscured the much more diverse roots of an important vernacular tradition, thereby reconstructing a lost literary network of speakers, poets and participants in Urdu’s past.