پژوهشنامه ادبیات کردی
سال چهارم شماره 1 (پیاپی 5، بهار و تابستان 1397)

Kurdish poets have always had a special comment on Hafez's sonnets. Getting guarantee Hafez's lyrics in Kurdish sonnets regarding to becoming bilingual the sonnets has created a kind of industry called species -allusion surety. This research after the difinition of allusion and its variants ,carries out the analysis and the review of the persian- kurdish allusion the following mentioned industry and their place in Kurdish poetry. It turns out that the skill of Kurdish poets in this type of allusion to create a semantic link between the two hoops and preserving the sonnets structure is different. In this regard, ten sonnets from ten Kurdish poets have been selected;among,these are allusion of first four poets have been guaranteed from a similar sermon from Hafez Divan(poetical).Therefore. they are suitable for comparison place .From poems of other poets,the allusion that each has guaranteed from a different lyric ,are expressed. In this research, we first mentioned a brief description the states of Kurdish poet; then the allusion of that poet along with the meaning of Kurdish hoops is mentioned that for review the structure ,meaning and linkage Kurdish -parsi hoops have been analyzed. The dialects used in kurdish literature are different and includes kurdish ,kermanshahi , sorani , Horami and Kalhori.

Abstract Kurdish language and culture has extensive oral literature, which in addition to its age and value would be very helpful in understanding the narrow and vague points of some poets. Nezami Ganjavi is one of the poets who are influenced by his mother tongue and culture i.e. Kurdish language and literature, and the signs and symptoms of this influence appear in everywhere in his Khamseh Book. Nezami in Lilly and Majnoon poetry, by applying compositions and singulars of the Kurdish language, as well as the popular culture of the Kurdish people on the one hand, and the lack of understanding by writers and descriptors on the other hand, had left the ambiguities in the verses of Masnavi. In this research, we intend to eliminate the ambiguity of a difficult verse of Nezami by providing evidence of Kurdish language culture and beliefs and its correspondence with Lilly and Majnon. x x

The present study aims to investigate one of the most widely used prepositions, i.e. / naw/ in Kalhori Kurdish dialect from cognitive perspective. The methodology of this qualitative study is descriptive-Analytic. The data, whose authenticity has been approved by native speakers, has been extracted from interviewing with Kurdish speaking speakers. Also, in order to analyze this Kurdish preposition as a spatial preposition, the theoretical tools used are image schemas in cognitive approach. In this regard, by using container image schemes, the present study intends to show that in the semantic network of this spatial preposition, there are three distinct meanings: "in", "inside", "during " and one semantic cluster that its prototypical meaning is "in ". Also, this spatial preposition conceptualizes abstract concepts, as if they have containment that each can be taken inwards and outwards. The findings show that this spatial preposition establishes the "container/containee" relation between the arguments of a predicator.

The elegy poem may be written in a variety of formats. In Arabic and Persian literature, the most dominant form of elegy poetry is the ode. In the Kurdish literary language, the Poets used Masnavi's template more. Ahmad Bag Kumasi and Mowlavi Kurd are two great poetry writers who have deep and emotional links with each other. In terms of poetry style and social thought, the relationship between these two poets is remarkable. In the present study, we examine the rhetorical, musical, linguistic and intellectual functions of the poets' based on the traditional three-level Stylistics study and we will illustrate the points of sharing and differences in the style of the two poets at different levels. we showed Firstly, the intellectual and linguistic link between Ahmad Beg and Molavi is visible. Secondly, both poets have been avoiding linguistic and rhetorical criticism. Third, unlike Arabic and Persian literature, the elegy poem’s format of Kurdish literature is often Masnavi and lacks traditional order. Fourth, the elegy poems of these poets are most beautiful and influential poets. The glory of the times and the expression of the goodness of the dead person is one of the main themes of these two poets' Poem themes.

One of the most effective tools for artistic-literary creation is color, because color is not only a natural phenomenon, but also a psychological and aesthetic fact, and with literary imaging plays an important role in inducing different concepts to the audience; hence the interpretation and analysis of the color function in Poetry works of poets can familiarize the audience with their intellectual world and express many of the mental states and hidden aspects of the personality of the creator of the work of art. Therefore, the present paper intends to use the descriptive-analytical method to demonstrate the Molavi Kurd approach to colors and, by presenting an analysis in this field, depict an image and description of the poet's personality traits and dimensions. Studies show that colors and their diversity in the poetry of Molavi Kurd are of considerable frequency, including black, yellow, white and green due to the social situation of the poet's time, events and events of personal life, as well as his religious beliefs and beliefs. , Has a prominent presence. In addition, the frequency of dark and dark colors in the poet's poems reflects the overwhelming feelings of despair and distress in a section of the life of the poet that unpleasant events such as sickness, child and spouse death can be involved in this approach.

All different kinds of writings, and academic and wrings in particular, need an ordered system of punctuation. Oral tradition of language is sharply differentiated from the language of writing in terms of several significant factors, punctuation being one of them. The present study has been conducted to demonstrate the significance of punctuation in academic and bureaucratic texts. On the other hand, in the texts of creative literature including poetry and fiction, punctuation system doe not follow a fixed framework due to their nature; however, in academic writing the case id considerably distinguishable. As the present study demonstrates, punctuation is not supposed to be authorised in terms of the oral modes of language. It should rather be based on the structure and grammar of that language as well. Moreover, sentences include one or more words and they are all ended up with full stops. Although attempts have been made to conduct researches in the area of punctuation in Kurdish writing, punctuation in Kurdish does not follow a coherent and unified system.

This paper is an attempt to shed light upon different types of exiles, their specific characteristics, and the temporal and spatial aspects of them in Kurdish literature. Thus, the experience of exile for such men of letter in Kurdish literature as Mawlana Khalid, Nali, Haji Qadir, Piramerd, and Zeewar turns out to be a different experience. The first stage of exile starts with Mawlana Khalid, an exile within the religious framework, and its world vision is different from the other stages. That is, Mawlana Khalid and Nali viewed homeland and country through religion and did not pay a considerable attention to nation. After Mawlana Khalid, the next stage starts with Haji Qadir Koyi, and that is nationalism. Although Haji Qadir was exiled in the world of authority, he transformed his exile as an occasion to serve his nation and raise awareness among his people. This stage become a turning point in the literary works to focus on the issues related to authority. The exile of Haji Qadir and his fellows introduced homeland, country, and nation as a subject for poetry.

Whereas praise and blessing can be one of the subtitles of any story; its radiation in epic stories can be a combination of epical and lyric type in the view of literature types. In composing Kurdish Shahnameh, Almas Khan Kandooleei, affected by oral tradition and native culture, has composed some of lyric concepts in accordance with personal mood and cultural conditions of people of his area. The current paper, carried out through descriptive-analytical method, explores circumstance of praise expression by epic knights and also its expression in a comparative way, in five common stories of Firdausi’s Shahnameh and Almas Khan Kandooleei’s Kurdish Shahnameh (Bijan and Manijeh,Rostam and Sohrab, Rostam and Esfandyar, Siavash, Shoghad) with the aim of identifying frequency of praise and distinguishing cultural differences in their expression.Of the most important conclusions of the current paper is:expression of praise samples in Firdausi’sShahnameh is more laconicthan Kurdish Shahnameh and Almas Khan Kandooleei’s expression languageis bitterer and nippier than Firdausi’s language in expressing negative types of praise (curse).

"The Winter" Among the songs of the Mahdi Akavan sales is the most famous; and in the Kurdish poems of Parto Kermanshahi the most famous is a poem known as "The Armenian". In this research, these two poems have been studied and analyzed from a conceptive and semiotic perspective. The results showed that Parto was influenced by "the winter" of Akhavan at the tow levels of general image and in signs of "The Armenian". In an outline, sheltering a homeless person at night to the Butler, asking him, distrust against the people, and fear of the environment, and at the semiotics level, the opposition of signs such as: Luli / Displaced, the Christian / The Armenian, Cup / Glass, and Like it, are common in two works,but at the semantic interpretation level, the signs that have made the Akhavan's poem more interpretable, are moreclear than the Parto's signs. However, the two Caplets of Partoare capable to interpretation. The distinction between the two works, are the freshness and humor of theParto's poem, against the seriousness of the Akhavan's Poem.

The allegory has played an important role in the teaching literature in the past and present and a lot of the poets and writers have used of that for their purpose. The tow story " ANNASR" has composed by Syrian poet Omar Abu Rishe and " Hallo" has composed by Kurdish poet Swara Ilkhanyzade are in this filed. The title of this tow stories means eagle. This tow stories formally and contently have same traits and also have special traits, so the context is available for comparative stylistics studies. The layer comparative stylistics shows brightly the share and the role of every part of language in forming the style of every one. This essay is trying to find and describe the style of the tow poets in these stories in three layers include phonetic, structural or synthetic and rhetoric together. Some of the results are subscription in the synthetic and rhetoric layers. The method in this essay is descriptive- analytic.

With the advent of Islam and its expansion among non-Arab nations، Iranians embraced it openly and they did their best to promote it. In this respect، Kurd translators and commentators paid attention to the Qur'anic science and tried to make it understandable for their people via translation. Although Persian translations had done before Kurdish ones but with Kurd translators' efforts، this superiority was somewhat disappeared to the extent that today over 50 translations and exegeses are published in Kurdish language.
In this research، utilizing the descriptive-analytic method، we try to study Persian and Kurdish translations in the course of history and to survey their historical evolution. Also we try to study the types of these translations and focus on their features according to translation principles. Results show that the first Persian translation goes back to 3rd century (A.H) while the oldest available Kurdish translation returns only to one century ago. Among different Kurdish accents، that of Surani is used more in Qur'anic translations. Kurdish and Persian translations are of types: word by word، content based translation، free translation، commentary-like translation، and literary translation.

"Shirku Bikas" is one of the most significant poets of contemporary Kurdish literatureBickas was a poet who reflected social issues, cultural and economical poverty of Kurdish society in the mirror of his poems. In particular, the struggles of the Kurds with the Ba'ath regime is a main topic that he has devoted much of his intellectual energy, time and emotions to it. Bickas was one of those who looked at the long history of humanity and in his poetry he has used mythological signs and symbols. In his poems and writings, he has used the myths of his nation and other nations to enrich his poetry and to encourage and motivate the fighters and the young people. Ahmad Shamlou is also one of the most prominent poets of contemporary Iranian literature whom by his prose poetry preserves its persistence in the field of Persian literature. Shamlou is a poet who serves the people and his poetry is the social and political demands of the community and the expression of people’s pain. In order to express the community’s issues, Shamlou has used a great deal of symbols, especially mythological symbols. Mythological symbols have deepened Shamlou's poetry and they have established a link between present and past and have made his poetry more literary. Besides all of these .With the help of mythological myths Shamlou has also been able to express the pain of the people and their problems better in an indirect and artistic way, in the face of the repression which governs the society. In achieving this gold he has used both the Iranian and the international myths. In this research it has been tried to investigate the use of mythological symbols in the poems of Sherku Bickas and Ahmad Shamlou.