In contrast, this article employs the methodology of historical poetics to argue via a reading of meta-ghazals in Persian, Urdu, and English that reading practices around the ghazal-including definitions of the genre that variously emphasize form versus theme-change according to the historical and geographical context of its circulation. Abstract While the ghazal has appeared in many linguistic traditions, its diversity is undermined by the imposition of a singular definition of this genre, which is further compounded by the overly simplistic identification of ghazal as lyric these lyricized readings of the ghazal as both transhistorical and transnational rely on a discourse of “worlding” as an imperial project of cultural recovery and homogenization.
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