جستجوی مقالات مرتبط با کلیدواژه « ادبیات کردی » در نشریات گروه « ادبیات و زبان ها »

Kakay Fallah and Tawfiq Zayyad, prominent poets of the 20th century, lived under the oppressive regimes of Ba’ath and Zionist powers, bearing witness to atrocities against their Kurdish and Arab communities. Through their poetry, they reflect the suffering inflicted upon their people by totalitarian rulers, becoming voices for those deprived of basic rights in occupied Kurdistan and Palestine. This comparative study aims to analyze how crimes against humanity are portrayed in the poems of Kakay Fallah and Tawfiq Zayyad, exploring the themes and concepts intertwined with these atrocities. Employing a descriptive-analytical approach and a comparative sociological analysis, the research examines the prevalent motifs of bloodshed, darkness, death, civilian massacres, brutality, and barbarism in the poets' works. Kakay Fallah's verses evoke a deeper sense of anguish and sorrow compared to Tawfiq Zayyad's, as Fallah's elegy captures the magnitude of mass killings on a larger scale, surpassing the horrors depicted in Zayyad's portrayal of the Kafar Qasem massacre.

It is obvious that the lyrical verses of Persian poetry represent the most cultural patterns and signs of civilization. Examining these stories from the perspective of cultural anthropology (whose main foundations are popular culture) is a new approach to them and introduces researchers to two options: one is to investigate people's culture in the content of the stories and Another cultural influence is the narrator according to the culture in which he was raised, and this applies to all the stories that have different narrators. In this research, the various literary and cultural knowledge hidden in the Kurdish popular literature "Beit" will be compared and analyzed with the systems of classical Persian literature, especially where the structure and content of these works are related to the principles of storytelling. If it matches, it can be a valuable work in the field of cultural anthropology studies. This research describes and analyzes the cultural components from an anthropological point of view in the poem "Mehr wa Wafa" in classical Persian literature and Kurdish folk literature narrated by Mam Ahmed Lotfi. To achieve this goal, a descriptive-analytical method has been used. The findings indicate that most of the anthropological components have appeared in this system, and the amount of similarities is greater than the differences, and this indicates the intertextuality between the Persian and Kurdish systems. Another is that the Kurdish narrations of the story, although in terms of generality, theme and concept, are in accordance with the Persian narrations of the same name, but both in form and content, especially the changes and transformations of mystical, epic and lyrical culture. It is in different periods.

It is obvious that the lyrical verses of Persian poetry represent the most cultural patterns and signs of civilization. Examining these stories from the perspective of cultural anthropology (whose main foundations are popular culture) is a new approach to them and introduces researchers to two options: one is to investigate people's culture in the content of the stories and Another cultural influence is the narrator according to the culture in which he was raised, and this applies to all the stories that have different narrators.In this research, the various literary and cultural knowledge hidden in the Kurdish popular literature "Beit" will be compared and analyzed with the classical Persian literature systems, especially where the structure and content of these works are related to the principles of storytelling. If it matches, it can be a valuable work in the field of cultural anthropology studies. This research describes and analyzes the cultural components from an anthropological point of view in the poem "Bahram and Gulendam" in Persian classical literature and Kurdish folk literature narrated by Mam Ahmed Lotfi. To achieve this goal, descriptive-analytical method has been used. The findings indicate that most of the anthropological components have appeared in this system, and the amount of similarities is greater than the differences, and this indicates the intertextuality between the Persian and Kurdish systems.Another is that the Kurdish narrations of the story, although in terms of generality, theme and concept, are in accordance with the Persian narrations of the same name, but both in form and content, especially the changes and transformations of mystical, epic and lyrical culture. It is in different periods.

Bakhtiyar Ali is one of the famous contemporary Kurdish writers whose literary works represent sufferings of the Kurdish people in the lands occupied by the totalitarian governments, and on a larger scale, the image of the oppressed humanity of the contemporary man in the era of the hegemony of war and violence. The novel Bandar Fayli, which depicts the genocide and deportation of the Fayli Kurds, is a true account of the destruction of the life of a Fayli child whose people faced denial of their identity. The fate of the child and his mother is caught in the Baathists' vortex of dehumanization resulting in suffering, lack of freedom and the trampling of their human dignity. In the absence of research on the phenomenon of dehumanization that occurs in the novel, the present research is concerned with the ways in which Bandar Fayli represents the forms and mechanisms of dehumanization and their connection with other related concepts. To this aim, the author has used a descriptive-analytical method informed by a psychological study of the dehumanization features in this novel. Ethnic dehumanization, double dehumanization, mechanical dehumanization, animal dehumanization, demonization, and dementalization are among the most frequent manifestations of dehumanization in the novel and serve as a pretext to justify acts of genocide and deportation as means to continue the process of mental and physical torture to exert the utmost control over the victim's fate, in a way that has accelerated the cycle of destruction of the character's personality as a suppressed subject.

Pierre Guiraud is one of the linguists who raises the issue of examining social signs to understand the hidden and implied meaning of the text. Social Semiotics is an approach that examines signs to understand the hidden meaning in texts. Social signs, when they are placed beside other signs and words, convey a meaning beyond the explicit and apparent meaning to the audience. Clothing and ornaments have a special place, as one of the most obvious socio-cultural phenomena, in the words of authors and poets. Kurdish poets have also paid much attention to their local clothes and ornaments and have used them for various purposes in their verses. As one of the famous Kurdish Poets, Qane has mentioned clothes and ornaments in his poems. They have different functions. Investigating the reflection of local clothing and ornaments in Divan Qane from the view point of social semiotics of Guiraud shows that each type of clothing and ornaments of the Kurdish people in Divan Qane is a sign that in coexistence with Other words in the context refer to the social, cultural, economic, and moral conditions of Kurdistan society, the patriotism of the Kurdish people, and the poet's mental and emotional state

Beyond the one-sided tenet based on the self-centeredness of totalitarian and fascist regimes, is engraved the elimination of the other from the domain of power and legitimacy, and the deprivation of human rights and citizenship within the framework of the self-written law of considering the other as an inferior race and a hostile enemy in opposition to the integral values of the totalitarian system which defines everything and everyone in the form of a single self-believer in the manifesto of the central totalitarian state, and, by denying the identity of another as an alien, tries to redefine the collective identity in the framework of extreme and fascist racism. Following such an idea, the present age has turned into a hegemonic era of war, violence bloodshed, and genocide, and, the elimination of racial minorities in order to homogenize the belief-ethnic structure of societies under the domination of totalitarian governments shows itself on the injured face of human rights. The result of a hostile attitude towards others and trying to subjugate racial groups is resorting to violence and horrible crimes which has turned the contemporary period into a scene of prehistoric killings and violent behavior and removed the characteristic of civility, coexistence and peaceful human dialogue from its face.

The Gothic style was a mode of story writing which became popular in the eighteenth and the beginning of the nineteenth century in Europe when suppression caused by church and religious beliefs on the people was dominant. These stories are created based on imaginary and unreal situations. The role of gothic writers is to analyze the psychological disorders; therefore, novels written in the gothic style are also known as black romance. In Eastern literature (Kurdish and Persian), some socio-political events encouraged story writers to go for surrealism and magical realism adapted with social infrastructure of their community. In this research, Gothic elements in Hoshang Golshiri’s Prince Ehtejab and Bakhtiar Ali’s Death of the Second Single Child have been explored through their relevance to Iranian and Kurdish society. Moreover, the style of both authors has also been investigated. The results indicate that Hoshang Golshiri and Bakhtiar Ali have used Gothic techniques in their stories in accordance with the social conditions of their society. The Gothic is a means to reflect the social and political conditions of these authors' era, where tensions caused by social issues in turn, yields to socio-political situation of their era in a Gothic format.

Mohammad Rasoul Havar, an Iraqi Kurdish poet, is a contemporary poet in the 20th century, that her life time was contemporary with the dominance of fascist regimes and the shadow of imperialism's hegemony over Iraqi Kurdistan in order to advance the strategic policy of colonialism. In such a situation, Havar, as a committed poet, has turned his poems into a representation of the political-social and economic damages caused by imperialist policies. In the background of the poet's critical and anti-imperialist attitude, in addition to the occupation and colonization of the motherland, there are fundamental factors that have led the poet to anti-colonialism and anti-imperialist approach. Since an independent research has not investigated the factors of Havar's tendency towards anti-imperialist thought, the author is determined to investigate this phenomenon in his poems. The fundamental issue of the current research is that how and in what formats are the underlying factors of the anti-imperialist approach manifested in the poet's poems and with what concepts are they connected? In order to investigate this issue, the author has used the descriptive-analytical method based on the sociological investigation of the poet's compositions. War-mongering and commercial attitude towards the fate of colonized nations, depriving the colonized and paying attention to imperialist-capitalist interests, the trade and spread of narcotics in the colonies, the false claims and propaganda of imperialism about human rights, The silence of Western imperialism against the slaughter of the Kurdish people and their role in ruining the fate of the Kurds in cooperation with

One of the artistic manifestations of imagination, which helps in deepening poetry is the literary device of symbolism. Symbols pull apart the superficial layers of the words, reflect their hidden meanings, and reveal their capacity in conveying mental images. In children’s poetry, symbolism carries out the same prominent role, but since the mental world of the audience and their understanding are limited, the symbols must be chosen as simple as possible. This paper aims to compare plant and animal symbols and their frequency in Persian and Kurdish children’s poetry. Findings show that the frequency of employing symbols in Kurdish children’s poetry is higher than in Persian. Animal symbols in the children’s poetry of both languages are more than plant symbols. Moreover, the most used symbolic animals in Persian children’s poems are birds, whereas in Kurdish are mammals.

Marxist critique is a form of literary criticism that speaks to the relationship between society and literature. In Marxist critique, literature is analyzed on the basis of the historical conditions that created it. Therefore, for Marxist critique, it is necessary to know its historical background. With the occupation of Iran, Iraq and the Kurdistan region after the First World War by the Allied forces and Russia, a current dominates Persian and Kurdish literature, which is influenced by many of their writers. Marxism and Communism put Russia. Iranian society during and after World War I due to the inefficiency of the ruling system involved in problems such as; Poverty, the existence of a class system and the pressure on the people by the government of the time, Iraqi Kurdistan has long been a place of conflict with the government and the central government of its time to seek an independent government and government, Kurdish nationalist thought in Iraqi Kurdistan Also, the influence of the Iranian and Iraqi Kurdistan societies on the communist and Marxist currents after the First World War provides the ground for examining the works of the authors of Persian and Kurdish literature and their influence from these currents. In this study, the Marxist critique of the novel by Jani Gal and the Daughter of a Peasant, which; It can be said that in Persian and Kurdish literature, both works are among the first social realist stories.

Literary criticism in today's sense is a new branch of knowledge. From its sparks to reaching the stage of perfection and prosperity and theoretical criticism, it has traveled a long way, and various factors were involved in it. Literary criticism has gone through stages from its beginnings, which was mostly poetry criticism and praise, to reaching the point of prosperity, and many side factors have played a role in this direction.  Factors such as the role of magazines and newspapers, publishing houses and printing houses, the renewal of poetry flow, the development of academic discourse and the expansion of scientific associations, poet critics and literary movements each played a role in drawing the general image of criticism.  This article has identified the role of each of the influential factors in Kurdish literary criticism by researching all kinds of literary works.  As the consequence of the influence of these factors, the way for new discussions and critiques and theoretical foundations to literary criticism in Kurdish literature was opened. This article explores the most important cultural and social factors of the emergence of modern literary criticism in Central Kurdish language in the middle and the end of the twentieth century.

Classical Kurdish literature contains a huge volume of Persian texts. A part of these texts is created in Baban literary school, which has been in continuous contact with Iran. (Ahmadi, 1395: 310) Some Kurdish poets, such as Salem and Mustafa Beig Kurdi, traveled to Tehran and were directly acquainted with the poets of that country, and, occasionally, engaged in capping verses.  Even a poet like Kurdi became a member of the Iranian Writers Association. (Ahmadi, 1395: 441) There are also anecdotes about his capping verses with Qaani. (Sajjadi, 1395: 323) To gain a scientific insight into the Persian poetry, embedded in Kurdish literature, it is essential to conduct a comprehensive literary-scientific study.The present research, with an analytical-descriptive perspective, intends to analyze the Persian poems of Kurdish poets from a cognitive point of view in terms of classification, type, stylistics, and theme. This is to identify linguistic-literary features, geographical-stylistic framework, and their forms during this study. 

In order to achieve an objective result, we limited the statistical population of the research to the poets of the nineteenth century, including Nali, Salem, Kurdi, Haji Qader Kooi, Vafaee, Sheikh Reza Talabani, Mahvi, Harigh, and Adab. We seek to provide and answer to the following questions:What place Kurdish poets had in composing Persian poetry?How has their connection been with Persian literature?In which style and field of Persian literature does their Persian poetry fit? 

By using phrases that have Kurdish equivalents, and occasionally appropriating Persian poetry or composing bilingual poems, Kurdish poets on the one hand have presented their level of familiarity and command of Persian language and literature, and, on the other hand, they have shown their interest and enthusiasm for it.   Statistical reviewStatistical studies show that a number of Kurdish poets have written Persian poetry in different proportions. Excerpts from these poems are listed as follows:Mustafa Beig Kordi: 18 out of a total 143Abdul Rahman Salem: 24 out of a total 406Nali: 5 out of a total 146Haji Qader Kooi: 14 out of a total 136Sheikh Reza Talabani: 4 out of a total 207Mahwi 102 out of a total 302Wafa’i: 88 out of a total 220Nari: 5 out of a total 81Mesbah al-Diwan Adab: 7 out of a total 140 poemsIn total, it should be said that ten percent of the volume of Kurdish Divan in this period is Persian poetry. Poetry themesFrom a thematic perspective, these poems are categorized in the framework of classical structures of the Persian poetry; in other words, the most important of these structures are lyric, ode, praise, satire, description (nature/spring), romantic-mystical mystery, and Sufism. Stylistic classificationFollowing an examination of such poems based on the characteristics of the styles, the results of the research show that a majority of them are categorized in the framework of the Iraqi style, and, to a small extent, in the domain of the Indian style. Poetry genresDifferent types of poetry can be found in the poetry of Kurdish poets: ghazal, ode, qat’e, mathnawi, tarkibband, tarji'band, quatrain, single couplets, mukhammas, musammat, etc. In this respect, there are similarities and correspondences with Persian poetry. (Ahmadi, 1395: 48) Other features of Persian poetry in Kurdish literatureSince these poets are multilingual, it is obvious that similar thoughts have penetrated into their Persian and Kurdish poetry. In expressing their concepts, the Kurdish poets have sometimes acted as if they have embarked on the approach of translating words, or it seems that the tone of their words is dominated by their mother tongue.In the Persian poetry of the Kurdish poets, we sometimes encounter colloquial expressions. For example, in poetic language, elements of slang are evident. Sometimes proverbs, famous sayings, and Kurdish epigrams have penetrated into the Persian poetry. The influence of religious literature, Quranic texts, and hadith on the poetry of Kurdish poets (both Kurdish and Persian), is obvious and frequent. (Mohamdi & Gaffari, 1395: 154-155) Famous poets of Persian literature have always cast a subtle shadow over Kurdish literature, which is reflected in various forms in Kurdish poetry as well as the Persian poetry of Kurdish poets. 

Persian poetry of Kurdish poets, from a stylistics perspective, is in the field of Iraqi style. Therefore, the Iraqi style of Persian poetry should be extended beyond the current borders to wherever the Kurds live. Some signs and convergences with the Indian style are evident in these poems. The most salient features of the Persian poetry of the Kurdish poets include:Using Kurdish tone and interpretationsTranslating Kurdish proverbs into PersianPrevalence of slangObvious influence of famous Iranian poets such as Hafez, Sa’di, and RumiInfluence of Kurdish poetsThematic commonalities in their Kurdish and Persian poetry

This research is a comparative study between the two odes, "The Heart" by the Kurdish poet Safi al-Hirani, and "the Reed" by the great Sufi poet Mawlana Jalal al-Din al-Rumi, in terms of their symbolic nature and their formal and constructive characteristics, as well as the characteristics of their styles of treatment, on the basis of the relationship of opposite influence called poetic contradiction by ancient criticism, and adverse influence by modern comparative and critical concept. The poet Safi al-Hirani contradicted the poet Mawlana Jalal al-Din al-Rumi in his famous mystical poem The Reed, and although he was influenced by Mawlana in his poetic and ritualistic experience and in his Persian language, he altered the content of his poem and its central symbol, which is the reed, and replaced it with the symbol of the heart, and invalidated his invitation to the recipient in terms listening to the reed, while he tells the story of separation from the origin in a symbolic manner, by calling to listen to the heart and it is qualified in his view for this purpose, in his poem that he wrote in Farsi in which he takes an argumentative approach based on arguments and justifications , by defending the heart as the substitute symbol for the flute, inferring in its favor and strengthening its position, arguing in detail with the hearer, the recipient, within sixteen verses, with the intention of persuading and influencing him to listen to it, not to the reed. From Safi's ode emanates three epistemological problems, which need to be answered scholarly and analytically. The first of them represents its nature and circumstances, so is his poetic work considered opposition, contradiction, or imitation? We deal with this problem in the framework of the modern comparative concept, called reverse influence according to the French concept of comparative studies. The second, since Safi wrote this poetic work in the Persian language, he reflects Mawlana, specifically in this particular poem, which is like the constitution of Sufi love, and has acquired the status of universalism for centuries, so how can it be acceptable to make such a frank opposition?

Folklore is an integral part of every nation’s literature, with a remarkable diversity in type and inclusion. A large part of this literature includes tales, legends, myths, songs, ballads, adages, riddles, and versified games transmitted orally from generation to generation over the centuries. All-important literary genres can be seen in folklore. One of these literary genres is Pastoral literature, which has been specially addressed by western scholars yet a new subject for analysis in the folk literature of the Iranian people with its various languages and dialects. Pastoral literature includes creative works presenting rural life and its landscapes in an ideal way for the audience. In this research, the authors studied the Pastoral literature of the rural areas of Khavmirabad district of Mariwan city based on the lifestyle, particular geographical region, rich language and culture, and literature of the Kurds. The study aimed to provide a background for more familiarity with Pastoral literature and examine its status in Kurdish oral literature, more specifically in Kurdish folk literature. The study results showed that ordinary people had created Pastoral literature in their lives and social failures, regrets, and desires. Research data was collected through library and field studies, and the descriptive-analytical method was adopted.

Mulla Parishan was one of the well-known Gurani dialect poets. Unfortunately, there is not much information concerning his biography and literary works. In this descriptive-analytical paper, the focus is on the manuscripts, volume of poems, and information inserted in the hat note and colophon of manuscripts as well as the poetic language and content of his poetry. What is certain is that he spoke in Laki, but his poems are based on the Kurdish literary language "Gurani". However, Laki, Kalhuri, Persian, and Arabic words have added to the complexity of his poetic language. Contrary to the findings of previous researchers, Mulla Parishan was not an adherent of the Horufiyes, a Sufi sect of Shi'a (shitte), but benefited greatly from Abjad and hermeneutics as other scholars of Imamiyya Shi'a. There is a significant reference to Ali Abi Talib's Wilayat (religious leadership and guardianship) in both Mulla and Sheikh Rajab Borsi's thoughts. Furthermore, by examining the manuscripts it was concluded that many of the poems that have been attributed to him belong to Malek Hussein Khan Kolyaei – a poet of the Gurani style in the nineteenth century.

Ma’aruf Rosafi, a well-known Arab poet and Abdullah Pashew, a well-known Kurd poet in Iraq, are two contemporary poets who suffered from alienation. The study possesses great significance, since the issue of alienation has never previously been investigated through a stand-alone comparative study. Thus, the researcher has tried to adopt a descriptive-analytic approach to alienation in Rosafi’s and Pashew’s poetry. The two poets suffered from a sense of social, political and mental alienation caused by the hegemony of colonialism, tyranny, the marginalization of the educated, the monopoly of management by the ignoble, Iraq’s backward social situation, lack of freedom, their denied wishes and dreams, moral decay, the inconsistency between their life and the society’s criteria, political division, refusal of their request and invitation by their nation, a nostalgic feeling originating from regretting for the values and a magnificent history and their distance from their country in that time. In contrast to Rosafi’s alienation and sorrow which is confined to regional issues, the one experienced by “Pashew” is tran-regional and transnational. The roving experienced by Rosafi is an imprisoned feeling which is expressed by sorrowful poems. However, Pashew’s roving is expressed through poems which originate from the outburst of a deeply-rooted anger and sorrow. The “homeland” is one of the most frequent manifestations of alienation which affects all the aspects of roving in the poems of the two poets. This frequency is due to the fact that in addition to the period being far from their homeland, they experienced an increased feeling of sorrow and roving even when they were living in their own country.

The term realism refers to the literary movement that emerged in England and France in the nineteenth century. Socialist realism is a type of realism that deals with the social analysis, study, and visualization of social relations and other related issues. A significant characteristic of social realism is its attention to the man and his problems in society. The novel Jani Gal (The Pain of the Nation), written by Ibrahim Ahmad, is a prominent example of the realistic works in Kurdish literature. Ibrahim Ahmad tries to represent the people and their social circumstances in the way they are in the real life of the people of Iraqi Kurdistan. The realistic style clarifies the facts; however, the author should not clearly express his political and social attitude. Adopting a descriptive-analytical method, the present study attempts to analyze Jani Gal as a socialist-realistic novel and its three basic principles, which include; political orientation, ideological views, and nationalism. Ibrahim Ahmed has been thus introduced in the present study as the representative of socialist realism in Kurdish literature.

"mam and zin" and “Sham and Wali Dewana “in Kurdish literature are of the most famous love stories which both portray a chaste love full of sorrow and failure. The stories are similar and share much in many aspects, and an independent comparative study of the two romantic stories has not been conducted; hence, the author of the present article intends to investigate these two stories adopting a descriptive-analytic approach. In “Wali Dewana and Sham”, love stems from childhood and school lessons; and in “Mam and Zin”, love starts in adolescence; the enthralled lovers endeavor to marry, and in this way seeks assistance from friends and relatives, but there exist obstacles and inhibiting factors causing the failure of two lovers and their ever increasing mania and devotion which portrays their lasting despair and disappointment in the stories. Adherence to chastity and fidelity to the beloved until the moment of death and the hope for reunion in the Hereafter are the features of chaste love which is manifested in both stories.