ڈاكٹر حمید اللہ كی خدمت حدیث

Hadith is a verbal and practical interpretation of the Holy Quran and the second great source of Islamic jurisdiction. A misunderstanding about Hadith was propagated that it was compiled in the Third Century. The scholars of the sub-continent shook off those doubts raised against Hadith with lucid arguments. The personality who got the honour of writing on Hadith with intellectual evidence and deep research pattern was Dr. Hameed Ullah. Dr. Hameed Ullah proved with research that the work of compilation of Hadith started in the era of the Prophet (PBUH) and that of his companions (RA) . It further expanded in the era of the disciples ofthe Prophet's companions. This basic service ofHadith by these people strengthens the rule that compilation of Hadith was started in Prophet's era. The documents of the Prophet's reign and those of his companions and their disciples prove it that latter is a sufficient reply to reject the claims of those who don't trust in Hadith and those of the Orientalists that the writing of Hadith is the phenomenon two

Tarantinos People: Deconstructions in Postmodernism

The present study analyzes Quentin Tarantino’s characters in three of his films in the light of Fredric Jameson’s theorization of postmodernism to show that Tarantino’s characters are postmodern. The study looks at the characters in Reservoir Dogs, Pulp Fiction, and Inglourious Basterds, and contends that they illustrate the death of the subject through their lack of uniqueness and depthlessness. The subjects that Tarantino creates are ordinary, if not less than ordinary, individuals who strive to raise themselves above the ordinary. They may pick up fights or pretend to be somebodies but they fail to make any impression on the world around them. Tarantino’s characters lack depth and hide the lack of depth by putting on elaborate masquerades. Despite the power of the simulacra they create and are surrounded by—strong enough to make the characters believe it to be real—the reality remains that there is no reality to the subjects and thereby shows the waning of affect. The characters are also products of pastiche whereby they are modelled after images of the past and their meaning is actually a carryover from the meanings of the relatively original creations. The characters occupy hyperspaces that turn them into consumers of not just appliances but also the media, information, and knowledge.