جستجوی مقالات مرتبط با کلیدواژه "شیرکو بیکس" در نشریات گروه "ادبیات و زبان ها"

The present study was conducted to examine cognitively the text worlds in the text of Shirkoo Bikas's Chair based on the theoretical framework of the text worlds proposed by Werth (1999). The authors seek to demonstrate how the cognitive mechanism proposed by Shirkoo Bakas shapes the formation of a complete mental image in the reader's mind. How is the nature of Shirkoo's new poetic experience in Chair represented? Based on the questions raised in this study, the research hypotheses are formulated as follows: The nature of Shirkoo's poetic experience in the novel poem Chair can be understood based on the theory of text worlds, through the process of constructing deictic-ontological sub-worlds. The cognitive mechanism adopted by this poet for forming a complete mental image in the reader involves expanding and elaborating world-building elements and advance-function propositions, combined with the reader's prior knowledge. Since the text world and the sub-world are structurally equivalent in terms of the elements of world-building and advance-function propositions, the expansion of various sub-worlds provides the reader with more details to construct a mental image.

Literature Review:

Among relevant works on the Text World approach one can refer to Afrashi (2015) Dehghan (2020) and Sadeghi Esfahani (2010). In addition, Golfam et al. (2012) highlighted layers of meaning, and Talaei & Abbasi (2019) explored historical narratives. Gholamhosseinzadeh & Rafaei Ghadimi (2020) analyzed Persian poetry, while Gavins (2001, 2003) dissected novels using text worlds theory. Lahy (2006) focused on place representation in poetry. Whitley (2010) studied Ishiguro's novels, and Halam (2013) applied text world theory to short stories.

A descriptive-analytical approach was employed, anchored in the theory of text worlds, with data sourced from Shirkoo's Chair using a documentary method. The novel Chair was chosen due to its innovative poetic narrative, supplemented by an interview with Shirkoo. The analysis focused on selective data relevant to research questions, emphasizing Shirkoo's vivid imagination, even in translation. Hypotheses were tested by extracting data into sub-paragraphs for independent analysis. Diagrams illustrating text worlds aided in comprehending the analyses.

Theoretical Framework:

The theory of text worlds is a discourse-processing linguistic theory whose initial proposal was first suggested by an English linguist in a series of articles published between the 1980s and 1990s (Lahy, 2014: 284). The complete theory was then presented in the form of a book titled Text Worlds: Representing Conceptual Space in Discourse after Werth died in 1999. After his death, researchers such as Stockwell (2002), Gavins (2000, 2001, 2003, 2007), and Lahy (2003, 2004, 2006) made significant efforts in the expansion, development, and necessary revisions of the theory of text worlds. The theory of text worlds, as a discourse framework, not only addresses how a particular text is constructed but also how the context surrounding that text affects its production and reception (Gavins, 2007: 8). The first level of the theory of text worlds provides a tool for examining how a spectrum of contextual factors influences the construction and understanding of a specific discourse. These mental representations are known as text worlds. The second level of this theory focuses on this domain of conceptual activity and provides a framework through which one can examine the precise structure and cognitive effects of individual mental representations (Gavins,2003:10). The third and final level of discourse proposed by Werth is the sub-worlds. Sub-worlds emerge from within the text world and represent a kind of realized substitution of the parameters of the text world.

The narrative of the novel Poem Chair is Kurdish and is narrated in a city which is Sulaymaniyah. The narrator at the beginning of the narrative of the novel poem Chair is Shirko himself, who talks about his characteristics and his poetic experience. In the middle of the narrative, with a change in perspective, Chair becomes the narrator and recounts the story of its life from birth to death. In this work, human characteristics were attributed to the chair; it walked, talked to itself, and interacted with others, being present as an actor on all levels of the text worlds. The examination of hypotheses and answering questions was based on dividing the extracted data into distinct para-discourses that were explored and analyzed in the previous section, and here are the cognitive results presented accordingly:In discourse 1, the reader starts constructing a mental world by using information related to the world-building elements and combining it with their background knowledge. Through this process, they establish the spatial and temporal setting of the world. Then, by providing further details about themselves, they create the first ontological sub-world. In discourse 2, the narrator delved into expressing their poetic experience using a type of referential-cognitive sub-world. The narrator appeared in the guise of poetry to articulate their poetic experience, taking on the form of both a poem and a narrative, transforming into prose and a play as well. In Para-discourse 3, the narrator employed a figurative approach to discuss an abstract concept such as loneliness. Using a metaphor of personification, they attributed a bird-like structure to the concept, as if it were sitting on a chair. In fact, by doing so, the narrator prepared the necessary cognitive framework to introduce a new entity named Chair in the reader's mind. This way, they introduced the previously undefined element of Chair as an object in the textual world of the Chair. In discourse 4, the narrator provides more details about the physical appearance of the chair to give the reader a complete image of it. In discourse 5, the deictic sub-world was implicitly internalized through the use of direct quotations, providing a mental image of the place and characters of the birthplace of the chair to the reader. In discourse 6, the mental representation of the discourse shifted from a static arrangement of objects and entities to dynamic physical movement, emphasizing the impact of expanded propositions in creating a mental image in the reader's mind.

Semantic deviation, including various types, is one of the most important methods of deviation in the process of the creation of literary language and it plays an important role in representing aspects of meaning, imagination and image in literary language. Shêrko Bêkas and Seyyed Ali Sälehi as two important representatives of contemporary Kurdish and Persian poetry, have used different methods of semantic deviation in their literary creations, so the comparative analysis of different methods of semantic deviation in the poetry of these two poets is a necessity of research in this field. In this research, relying on different species of semantic deviation, we investigate and analyze the various appearances and functions of semantic deviation strategies in the poetry of Shêrko Bêkas and Seyyed Ali Sälehi, so that we can get a better understanding of the construction of literary language in the poetic language of these two poets and explain the connection of different frequencies and functions of semantic deviance strategies with the poetic worldviews in their poems. For this purpose, two collections of poems "You Can Recreate Me with a Sip of a Kiss" by Bêkas and "The Last Romances of Rira" by Sälehi have been used as the basis of analysis. The results of the research show that among the different types of semantic deviation, "abstraction", "Visualization" (with sub-branches: fluidity, materiality and animism), "coloring" (with sub-branches: coloring elements different from one's own color and coloring the abstract and by-nature-colorless objects or elements), "Synesthesia" and "paradox", are the most important and most frequent methods used by Bêkas and Sälehi in semantic deviations and according to the approaches, life experiences and specific worldviews governing the poems of each of these two poets, different types of semantic deviations (according to their nature) have appeared with different forms and frequencies in the poems of Bêkas and Sälehi. The research method is descriptive-analytical and the data has been collected in a library and document analysis method.

The present study is not only the first comprehensive study about a Kurdish poet using Text World theory, but also the least not the last research of the formation of the location of the text world layer of Chair written by Shirko Bikas which has been done with the descriptive-analytic method and the aim of achieving the location of the text world of Chair based on Text World Theory. The data have been selected and collected from Chair via library method. Examining the formation of the text world of Chair using world-building elements and function-advancing propositions showed that the text world of Chair is represented through place names, and in the absence of place names, through the world-building elements of time and character. Also, one part of the representation of the location of the text world of Chair is obtained through the verbal phrases of function-advancing propositions. In addition, the representation of location in the text world of Chair provided cognitive-poetic evidence to support Shirko Bikas's claim that location and names cover a wide range of her works.

The present study aims to metaphorically represent the semantic layer of the sub-worlds in the concept of worlds in the Text Worlds Theory proposed by Werth in 1999. In this study, the nature of Shirko Bikas's poetic landscapes was studied linguistically, and it was determined the type of his perspective and point of view. The methodological nature of this qualitative study is descriptive-analytical, and the data were collected by a library method from the book titled chair written by Shirko Bikas. This study also showed how the poetic landscapes of Sherko Bikas's poetry were the means of expressing his thoughts and mentality at the beginning of the chair. Thus, relying on the concept of metaphor in Text Worlds theory, the Kurdish poet's metaphorical worlds were deciphered at the beginning of the chair to discover the attitude based onwhich this work was created. The results showed that the external underlying mega-metaphor as internal mega-metaphor is represented through the surface structural micro-metaphor of wind, poetry, story, and play all of which are considered as human.

The mythical critique or the archetype debate is one of the forms of the critique that results from the work of Carl Gustav Jung which is welcomed by a broader scope today. The water archetype is the most obvious achievement for the natural characteristics in the literatures and the mythology of different nations which has a huge presence in a Kurdish literature. This vision can be seen in one of the most important literary poems of contemporary thought. The presence of water images in Sherko Bekas's poems is a sign of the solidity and the fixation of water in collective memory, which has been represented in literature. Water is one of these archetypes that has not been focused yet in the Kurdish literary product in terms of archetype. The new and innovative side of this course is reflected firstly in coming back to show water’s archetype and the study of Sherko Bekas poems. This study, which is being carried out in an analytical and descriptive way, relies on the mythical-psychological view of the appearance of the water image in Sherko Bekas poems to make it clear to us how much it is with archetypes principles. The results of this study show that Sherko used a number of global symbols to express the value of his criticisms and understandings, and many times we can see the important characteristics of Yung and other researchers of this field of archetype in Bekas’s poems which is manifested in different way. The most important work for the symbol of life being it which manifests itself in his poems.

From the point of view of semioticians, we live in a world of verbal and non-verbal signs that are effective in conveying and representing human intentions. In semiotics, these signs, which are made meaningful by the existence of cryptocurrencies and causal relations, are examined. Daniel Chandler was able to explain new aspects of this science with his theory of the five cryptocurrencies. In contemporary Persian poetry, Ahmad Shamloo has used many verbal and non-verbal cues in his collection of Fresh Air to explain various concepts, including love. In his poetry, love is not just a physical phenomenon related to human biological characteristics and has various semantic clusters. In Kurdish literature, too, Sherko Bekas uses love precisely as a cryptic concept in his poems, which, beyond its symbolic dimensions, recreates a whole of human, social and even political relations. The reinterpretation of these meanings and the semantics of Shamloo and Bekas intentions is possible through the application of Chandler's theory. The results of the present study show that Shamloo and Bekas, by mentioning explicit and implicit signs in the text of the poems, have introduced love as a multidimensional phenomenon and have linked social, political and cultural issues with it. This innovation, achieved by each of these poets, has been effective in interpreting their love poems in fresh air collections and small mirrors.

The use of imaginative elements as well as artistic and poetic images in the poetry of Sherko Bekas is so significant that attracts the attention of every eyes reading them and every ears listening to them. It is fair enough to call Bekas the greatest and the most innovative poet in Kurdish literature. This study in the field of comparative literature seeks to investigate such images and imaginative elements in the works of Bekas, and the famous Arab poet Darwish, using an analytical-descriptive approach. In order to keep the length of this study reasonable, one selected ode from each poet is considered. The deft use of poetic fantasy and imagination is laudable in both odes; more various and more significant in Bekas, however. The poetic fantasy and imagination of Darwish is not as expanded as that of Bekas.

Shirkoo Bikas (1940-2013) is a pioneer Contemporary Kurdish poet and the winner of Swidish literal award of “Tokholoski” in 1987-1988. he also won the title of “Fello- citizen” from the greatest civil society of Florance. the topic of the study is” the reflection of social issues in the poems of Shirkoo Bikas” the purposes of the study are the introduction of this competent poet to the non-kurdish- speaking people, the better knowledge to the literal techniques in the expression of one of the pivotal issues of his poem(freedom), and a better knowing of the poems of a contemporary poet. Statistic population is descriptive and based on his poems translated to persian. the data have been gathered by the libray method and analyzed by the technique of content analysis. the results show that the depiction of the fearful atmosphere of Iraqi society during the Ba, th government, the expression of the pain and fortures of the society and the issues like this have given a new manifestation to the freedom in his poems, which the images created by the poet with this concept is a justification of this issue.

Content analysis is one of the different approaches of literary criticism for reading and criticizing literary texts around us.  Content analysis is a method for discovering and understanding thoughts, themes and governing world of a text, or different texts. Trough this approach the covered and uncovered content of a literary text is studies in a systematic way.Using the available sources and analyzing their content is the research method for this study.This paper tries to study the main themes or motifs of Human, Struggle and Love in Shirko Bikas, Kurdish- Iraqi poet, and Ahmad Shamlou, Iranian Poet. The content analysis of their poetry shows common world, concerns and thoughts in their poetry.