فهرست مطالب خسرو سینا

Contemporary world can be considered as the age of pluralistic identities. Identity, as one of the most important concepts in the field of nation’s socio-cultural studies, has been analysed for many years. Dramatic literature and drama are the subjects to represent the sense of being in the suspended no-where; a place between reality and meta-reality that alongside running discourse Logic, follows heterotopia structure. Questioning about identity is one of the most fundamental questions in life which by that, people and society; from micro to macro scale present an image of what they are or what they need to be. At the individual scale, identity is the gate of entering the social world, whilst it is also the tool of survival, development and prospect among other societies in macro scale. In retrospect, the experience of immigration and diaspora would have dramatically affected contemporary identities. In this regard, predicting the new identity’s side effects are a bit problematic because the roots of preceding identity were traditions and practices, and based on their long history, those traditions were resistant. Due to a lot of changes brought by modernity and then post-modernity with more intensity, contemplating the consequences (positive or negative) of issues have become more unpredictable. Iran has been a focus of research but in comparative identity field, especially in art and dramatic literature, there seems to be a shortage. In this qualitative research with concentration on identity in dramatic literature, mutual concepts of selected plays from two generations of Iranian and non-Iranian playwrights (Akbar Radi and August Wilson, Mohammad Charmshir and Shelagh Stephenson) are used in a comparative study of contextual theory formwork through axial coding and. Also, according to Stuart Hall's point of view in the category of identity and representation, these findings were re-read. Hall believed that cases existed by which media did the opposite and instead challenged the status quo; as a result, audiences did not always interpret the messages in the ways intended by the producers. Arising during the late nineteenth century, early media theories were developed in a historical context, often referred to as the era of mass society, when industrialization was on the rise and societies were transitioning from predominantly agrarian lifestyles to a more commercially centered industrialized structure based around the growth of large cities. The transformations of the industrial era were far more than economic, giving rise to changes in every aspect of daily life, including social structures and interpersonal interactions. The result suggests that the features of identity in both groups and generations are similar or even equal. Although there are some un-mutual features which are unavoidable, there is no meaningful difference between them. In the construction of identity, those selected Iranian and non-Iranian dramatists have used the common components of language, collective memory, place, lifestyle, culture and its confrontation with another culture and, politicaliziation of the body. The only significant difference between the components is in the lifestyle and geographic origin of the plays.

Cinema is the arena for the realistic representation of the nowhere lands - suspended between reality and ultra-reality, whilst upholding and sustaining heterotopia – is simultaneously governed by the discourse and logic of power. Kurdish cinema may be viewed as a telling example of this point of view. The main objective of this research has been a content-wise study of this cinema to figure out the strategies employed by the Kurd filmmakers to represent their identity through places. The research methodology of this research was grounded theory in qualitative studies. For this purpose from movies produced in Kurdish cinema (from the very beginning to 2016), 15 films were selected based on the open coding method. The common concepts of the selected movies were re-read through axial coding and selective coding and based on theories on the concepts of identity and representation.  This article refers to the convictions of various thinkers in the field of ‘location’ studies as well as an emphasis on an ‘identity’ centered approach - to present a meaningful model for a more facile understanding of ‘location’. The divisions of the discourses on location - in a three-part model (space, location, and matrix) –follow such an undertaking.  Studying different aspects of location (violence location, space locations, other locations, home, and country) are all further discourses in the field of identity which are further accented with the location. In this regard, the Kurdish filmmakers’ share is considerable - by presenting the periphery and “other locations”. In [this] cinema, ‘other locations’ are presented and delivered in a variety of forms. The findings of this research show that Kurdish cinema is a wave of regional cinema that through the emphasis on language and identity in mostly neorealist productions has represented Kurds and their problems as the main theme of their stories. The productions of this cinema try to establish a nation, bestow identity on these people, and remove the previous prejudices. These movies, through paying attention to themes like war, genocide, poverty, displacement and migration, marginalization and exclusion and mainly by stories related to children and women, produce signs like border, camp, disability, other places, mountain, snow, mine, which all have significations related to the cultural identity. The movie’s stress on the geographical location of Kurdistan signifies a form of nationalism and the construction of “self” in opposition to the “other”.

Arabesque music presented itself as a civil protest and a non-violent movement against the government policies in Turkey from its early formation (the 1930s). The oral in Kurmanji Kurdish literature is also of high significance and rich contents. The hybrid form of the Arabesque and oral songs made it possible for the various minority and majority cultures to accept it to the extent that the government could no longer control it due to its popularity and social development. On one hand, drawing on the underlying theory of qualitative studies, and on the other hand, considering the concept of hybrid culture in post-colonial studies in Homi K. Bhabha opinions, the present paper seeks to present how this genre of music could lay the ground for the formation of Arabesque cinema in Turkey and subsequently the emergence of a new wave of resistance cinema. To this aim, considering the popular movies of the pioneer Kurdish filmmaker Yilmaz Guney as one of the most important filmmakers of that time, the present study tries to select and study the most important components of these movements using a three-step coding method. The findings of the present study demonstrate that based on the concepts derived from the Arabesque culture such as hero fanaticism, marginal settlement, the collapse of family values, the domination of political violence and social trauma and by focusing on the women issues, the modern Turkish cinema has been able to create a form of resistance cinema that is intrinsically remonstrative and identity-centered.

This study is an attempt to explore and analyze Mire-Nowrouzi play as a form of resistance based on Mikhail Bakhtin’s concept of Carnival. For this purpose, in addition to explaining Bakhtin's ideas about the construction of the concept of carnival and referring to such concepts as polyphony, laughter, the grotesque body, and action philosophy the formation and representation of these concepts in Mire-Nowrouzi were investigated. The results of the study showed that these concepts have a significant role in giving identity to this social and political play and it can be considered as a form of carnival with both social and political functions. Each actor-audience in the play can influence or be influenced by other characters simultaneously. It means that everyone can hear the voices of others, and each character, inevitably, forms other characters. In the play of Mire-Nowrouzi, participants are seen as a whole with the ability to resist and change their and other’s status. This influence is interpreted based on Bakhtin’s concepts.

The aim of the present study is an analysis of the socio-political currents affecting the formation of "Kurdish Cinema" in the Reform era. For this purpose, the present authors, based on their proposed model, that is a local version of the theories of Smith, Lovell, and Huaco in the emergence of new waves in cinema, investigate the development of "film in Kurdish language" in the context of intellectual cinema of Iran. Finally, based on Bourdieu's theoretical concepts, the most distinctive elements of this stream from the intellectual cinema of Iran and the creation of a regional field under the title of "Kurdish Cinema" are studied. This study shows that in the first half of the nineties, with providing structurally appropriate conditions for the formation of recent cinematic movements, at first, ethnic cinema in Iran, and then, film movement in Kurdish language were formed which later the filmmakers, while maintaining commonality with the Iranian cinema, through highlighting the characteristics of this new genre in their films and also through inclining to co-produce film with the autonomous region in Iraqi Kurdistan, Europe and being in line with similar movements in Turkey, could distinguish themselves from it and create necessary capital to create a regional Kurdish cinema.

The current study is an attempt to provide a functional approach to reading the films to show how the film can be analyzed according to sociological theories. For this purpose, the film "Turtles Can Fly" was chosen for practical analysis. By examining various ideas proposed by various scholars regarding the theory of collective behavior, the Neil Smelser’s theory of "structural pressure" was chosen as the main model of the study. Through matching the film events with the six-stage emergence of social movements, it became clear that different developmental stages of the film story correspond with Smelser’s ideas. Based on the findings of this study, it can be suggested that in analyzing movies with social themes, as well as writing screenplays in the field of cinema, theories of social analysis be utilized as a practical model.

Structural analysis of oral works of literature and studying it's in the text elements as well as finding proportionate patterns of poetry, contributed to the better understanding of nature of literature and it could be helpful in developing the processing patterns in the rest of literary types. In present study, the verse of Saidawan as a prominent Kurdish oral story is analyzed based on the structural patterns. The purpose of this study is to get to know the Kurdish oral literature better and to investigate and analyze the structure of work based on the main structural patterns. The study has been conducted based analytical method in the liberary and indicates that the narrative structure of story of Saidawan conforms the structuralisms’ theory.