پژوهشنامه ادبیات کردی
پیاپی 1 (پاییز و زمستان 1394)

In terms of scope and diversity of topic as well as historical antiquity, literature of the Middle East is outstanding among world literatures, and Persian literature, in particular, has acquired a special reputation in this regard. As a living and dynamic Indo-Iranian language, Kurdish is in closer affinity with Persian language than all the others in the same group and enjoys a historical link with it. This close affinity has affected Kurdish popular culture as well as literature. Although the prosody and meter of Kurdish poetry has been derived from the Behers of Arabic Prosody, the use of these Behers in classical Kurdish poetry is akin to that of ancient Persian poetry. Moreover, the meters employed to compose macaronic and Arabic poetry used by Kurdish men of letters, match the meters which Persian poets have used in composing macaronic and Arabic poetry. In this paper, in addition to elucidating such cases, a general conclusion of the discussion is also presented.

Kurds along with other ethnic groups live in Iran as their common territory and they might participate in Iranization. Thus, the discursive presence of Kurds in Post-Revolution Persian novels could raise two issues: either they are relatively and occasionally represented or they are seldom represented. To assess these hypotheses, the present research project decided to study the Post-Revolution novels written in three decades of 1360-70; 1370-80 and f1370-80. In view of this, the researcher opted for a list of 120 novels which were nominated as the best or the most widely read novels in Iran. The systematic random sampling was conducted and f 20 novels were chosen as the research data. The select novels were analyzed through content analysis. The findings indicated that Kurd's representation in the discourses of novels was not significant. The results could be of use in researches in Persian literary criticism and the country's cultural policies engineering.

Mola Kheder Ahmad Shaveisi Mikaeeli, known as Nali (1800-1856 A.D.) is one of the greatest Kurdish language and literature in Baban School. Literary, standard language of his poems has gained the title of Kurdi Hafez for this poet of the nineteenth century. He mastered and composed poetry in Arabic, Persian and Turkish languages. His Divan shows his extended knowledge especially in Kurdish, Persian and Arabic literature. He is the one who could change literary language of Kurdish poems from Hawrami, which had reached its peak by Molavi Kurd before, to Kurdish Surani. Divan of this great Kurd poet is full of litrary and artistic delicacies. One of his divan’s themes is his paying attention to colloquial literature, in different ways. Writers of this essay by reading the whole Naali’s divan have investigated and extracted these proverbs. The conclusion of this research indicates that although Naali is one of the great classical Kurdish poets and owns a perfect and formal language, colloquial literature especially sayings and proverbs are his favored subjects and does not show any deficits comparing with Persian divans.

“Beyt” has a special place among different topics of Kurdish folk literature and researchers have always concentrated on this field. It is a narrative poem with epic and lyrical content in which narration has a more prominent role than in similar texts in Kurdish folk literature. Also, it has some differences with similar poetic forms in other languages; for instance, epic minstrelsy in Persian, Asik songs among the Turks, English ballad, DanishWeiss, Spanish romance and the Russian Bill Nay. Beyt is a document on Kurdish identity which connects them to the past. Behind its motifs and elements there is a meaning which is more spiritual than material and, if interpreted via correct methods, it will display an undeniable value. Beyts have various and vast dimensions. For instance, rich recourses of ancient vocabulary, music and tune, verse and poetry, narration, story, culture, tradition and historiy, geography, social commentary, and so on. The study of each one of these dimensions requires long time and high expenses, and each of them can be written in a book or independent books. However, regarding their variety and richness, little studies have been done on them.

Elegy is one of the most common and existing genres in the literature of most languages and dialects. The southern Kurdish literature that is known with feyli and Kalhori dialects, has also not gone away from the use of this genre of literature. In a kind of elegy that is called “Pâêa muri” or "Mur" in the southern Kurdish region, the honors, praised personality traits, good morals, and sometimes physical appearance of the dear deceased ones are counted. Sometimes, the speaker in this memorial speaks for his own sufferings as well. The woman, the man of the house, and the child are among the privileged individuals mentioned in the Kurdish elegies. The authors of this research collected these musicals with field surveys among older men and women - as the main guardians of the suspicion. In order to explain Mur as one of the cultural phenomena, in addition to categorizing, they examined the content and explained and analyzed them.

Combining the realities of life with traditions, beliefs and extreme daydreaming of people of Caribe area, which was a mixture of African black slaves’ beliefs with the Indian traditions before Coulomb, leaded to the rising of Realism Style. Although this style of writing is mostly attributed to Latin America and Colombian writer, Gabriel Garcia Marquez, one can’t claim that this style of writing belongs only to this area, since we can trace this style of writing in Eastern literature such as local and native literature of Iran territory too. In this line, the novel of “The Last Pomegranate” written by Kurdish famous writer, Baxtiar Ali, is one of the professional Kurdish novels whose writer tried to write it in Magic Realism style. This study tries to investigate and analyze the employment of magic realism techniques in this novel. The findings revealed that the writer has employed most indexes and features of magic realism in the novel elequently. The writer has pictured the realities of his own societies in an unfamiliar and magic space and place so eloquently that the reader cast himself/herself in doubt of what is real and what is unreal and magic. In addition, the writer opens new perspectives to us, where a humane and ideal life deprived of cruel and racial prejudice is pictured.

The use of narrative in poetic language has been common since long ago, and narrative as an integral and important part of ancient texts has been used in texts such as the Iliad and Odyssey of Homer and inscriptions Gilgamesh. In this study, the history of structuralism will be discuss briefly, and then considering the views of the famous structuralist author, Greimas, the structure of the narrative poem "The Eagle", written by Suwara Ilkhanizada would be analyzed. In this poem, given the narrative basis, both elements of "narrative" and "narrator" are there. This paper seeks to closely investigate these elements. The influence of Structuralism on literary criticism research in this era can be seen clearly. "The Eagle" including images, opposing views and conflicting advices, turns its attention to the ideal world of man and introduces it as a great value. In this poem eagle, raven, ethics, nature, and a contradictory situation are talked about. In an indirect way, it attracts the readers’ mind, and compels them to think. The flow of the story moves from initial relief to the climax, and finally returns to peace. This story, actively affects the mind and soul of the reader. The dialogues follow a literary style of writing. The roles, positions, and characters of eagle and raven are represented in a way that the reader understands the story of the two characters’ opposing ideas and views. The social aspect of the protagonist is positive, and it is depicted in an artistic way. "The Eagle" is a didactic piece of poetry, and a kind of allegory.