پژوهشنامه ادبیات کردی
سال دوم شماره 2 (پیاپی 3، پاییز و زمستان 1395)

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.

Classical and Modern Kurdish fiction has its own elements each. This paper is an attempt to explain the important movement from classical narratives to modern story-writing in the light of recent narrative theories. The study provides an analytical classification of classical Kurdish tales in order to define their characteristic features and determine their differences from the narrative techniques applied in modern stories. By doing so, the important shift from classical to modern story-writing is explained. Identifying the cultural, linguistic, historical and narrative traces of Kurdish tales in modern Kurdish fiction, on the on hand, and identifying its modern elements, on the other hand, will help Kurdish authors to produce works which have a firm root in Kurdish history and culture and, at the same time, appeal to modern audiences.

The lyric poetry collection Khurshid and Kharaman is the love story of Khurshid, an Eastern Prince, and Kharaman, daughter of a Chinese Emperor. This collection is composed in local language (Gorani Kurdish dialect) in the form of manuscripts that are found among the noble families in such regions as south of Kurdistan, Kermanshah, north of Ilam, Asad Abad in Hamedan province, and west of Lorestan. The literati of these regions recognize Almas Khan-e Kanoule'ei, the great poet of the twelfth century in Hijri calendar, as the poet of the collection. Although people are interested in epic and lyric poems of this kind, and these poems were once quoted in their circles, little has been done to collect, and publish these scripts. The present study aims to introduce the lyric poetry collection Khurshid and Kharaman using a descriptive-analytical approach. First, a short biography of Almas Khan is presented. After that, a summary of the story is given. Next, a brief look is cast on the structure and content of this collection including: its formal elements (form, rhyme, row, and descriptions), type and elements of the story (point of view, character, tone, space, marvel elements, dialogue, and suspense). Finally, the collection is compared with other lyric and lyric-epic poetry collections in Persian literature.

As called archetypal criticism interchangeably, mythological criticism focuses on the common, recurrent, and conventional elements in literature that cannot be explained in terms of tradition or historical influences. This kind of criticism studies every literary work as a part of the whole of literature. According to this type of criticism, the archetypes – including images, characters, plot, and theme – are present in all literary works; thus, providing a ground for studying the mutual interactions of the works. By choosing the snail as a linguistic sign, the poet identifies with snails; therefore, they are both unified within a metaphorical monism as the essence of his poetry. By choosing the snail as unified with his being, the poet creates diverse images in his poetry that draw the reader into the depths of text. On the other hand, he describes the snail in his poetry with a narrative tone like a fictional character and makes the reader undecided. The tone of the narrative puts the snail as a fictional character that transcends the poet's work and opens the horizon of the text into a hyperreal and mythical reading. For this reason, the snail as a sign of the poet himself makes this work a proper subject to the archetypal criticism.

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.

The word nostalgia that is synonymous with "homesickness" in Persian means a feeling of reminiscence combined with longing for the lost memories of past. The recollection of such memories induces sadness and sorrow, and casts the shadow of desolation. The most important causes that create a sense of nostalgia include: yearning for the good old days of childhood, imprisonment or immigration, war and loss of independence of the country. Local poets such as Kurdish poets are no exception. Their lyrics are appropriate manifestations of such inner feelings. The greatest manifestations of nostalgia can be found in the poetry of such poets. In their works of poetry, these poets talk about the memories of peaceful days in their luscious and vivacious land with a hope and bright outlook to the future. Among such poets, Hemin is one. Taking advantage of the natural elements, using oral literature, and relying on the folklore as well as local culture on the one hand, and making use of various literary devices on the other hand are the special characteristics of Hemin’s style that makes his reader to come to a better understanding of his poetry. His interest in the simplicity of language resulted in a work of poetry that is closer to the actual language of the people. He can be described as a social poet, for social and political issues of the day had a profound influence on his poetry. Most aspects of nostalgic poetry are there in his poems. In this study, various kinds of nostalgic themes in Hemin’s poetry are dealt with using descriptive-analytic approaches. The results show that the most recurrent aspects of nostalgic themes in Hemin’s poetry are consecutively home-oriented nostalgia, remembrance of the beloved, imprisonment, exile, and the death of loved ones.

Comparative Literature is a new branch of literary researchs in wich the similarities and diffrences of scholors and writers of different nations are investigated. Pride, that is the offspring of common feelings of human, is one of those cases that is suitable for researching in comparative studies. This concept has a special place in both Kurdish and Arabic literature due to their historical and cultural connections. It is a fact that comparative literature, as a literary and critical outlook, goes beyond linguistic and cultural bounderies of nations and deals with studing the connrctions and influences of their literature.  The present author investigates the concept of Essential Honoar in the poetry of Nali  &  Motanabi. Both Nali and Motanabbi have beautiful poems in this field. Essential Honoar is one of the prominent prides in Nali and Motanabbi's collection of poetry. Ultimately, Motanabbi and Nali have used this concept in their poems in an artistic way.