The Hindi title "विध्वंस" (transliterated as "Vidhwans") means "catastrophe" or "destruction". I am not too familiar with Urdu, but Google Translate says that "Tahreek-e Khair" means something like "good step", as in, a "step in the right direction", which is reasonably close in meaning to the title "A Positive Change" given in the Penguin Books collection.
The reason the short story has titles with drastically different meanings in Urdu and Hindi is that the Urdu version is not merely a translation of the Hindi version. Instead, it takes a completely different turn in the climax, in a way that justifies the different titles.
It is the Hindi version that has been translated into English on The Fresh Reads website linked in your post. At the end of the story, not only does Bhungi die from throwing herself into the fire, but the winds spread the flames all over the village and burn down the zamindar's mansion. Catastrophe has fallen upon the villagers with Bhungi's death, and especially upon the zamindar who gave her so much grief.
In the Urdu version, the consequences of Bhungi jumping into the fire are dramatically altered. Here, the zamindar instinctively jumps in to pull Bhungi out, at great risk to himself. He manages to save her life, and he even nurses her back to health in his mansion. When Bhungi asks him why he risked his life for an old woman such as herself, he answers:
[...] I didn't care what I was doing and why. It was as though I had lost my senses. Everything happened on its own. God wanted to save me from disgrace. What else?
Taken from the Urdu translation by M. Asaduddin, published in Premchand: the complete short stories, vol. 2, Penguin Books, 2017.
In this version, the zamindar seems to have had a genuine change of heart through Bhungi's impulsive decision to jump into the fire; hence, the title "A Positive Change".
So, in this case, the difference in the titles is not due to any subtle differences between the two languages, but in the changes made to the story itself.
It turns out, Premchand often modified his stories quite liberally when translating them; M. Asaduddin writes the following in his introduction to that collection:
In a letter to Imtiaz Ali Taj, the dramatist, translator and editor in Urdu, [Premchand] mentioned that he changed entire scenes while translating the text from one version to the other. As usually happens with writer-translators, whenever they translate their own work, the creative impulse often takes over so that translation often turns into rewriting.