2024-10

QALAAI ZANIST JOURNAL (القضية : 3) (الحجم : 9)

The Embodiment of the Elements of Personal Psychological Theory of the Scientist Adler for the novel Khaj Al-Berlin by the novelist Hassan IbrahimShvan Qasim HasanDepartment of Kurdish Language, Faculty of Humanities, University of Zakho, Kurdistan Region, Iraqshivan.qasim@uoz.edu.krdDawlat Mohammed AhmedDepartment of Kurdish Language, Faculty of Humanities, University of Zakho, Kurdistan Region, Iraqdewletmihemed@gmail.comKeywords: Psychological Analysis of Personality, Feeling Inferior, Alfred Adler, Khaj Al-Berlini, Rasho.Abstract: The novel, Khaj Al-Berlini by Hassan Ibrahim, is considered the most important literary genre with in literature, and it is also an effective tool for embodying social life and customs within Kurdish society in all its sects. It is one of the Kurdish novels in which the lifestyle and social personality of the Kurdish characters, different levels and types, are reflected in it.The literary criticism of the school of psychoanalysis in its entirety and the theory of personal psychological analysis, in particular, of the scientist Alfred Adler is one of the most important psychological theories that paid clear attention to the personal components, which has a great relationship with the human personality, that mentions the social dimension of the human personality. As for the psychological theory for the scientist Freud, which focuses on the unconscious and the human instinct. The scientist Adler believes that the worker and the social conditions block the human interactions within society and prepare the sexual instinct for these interactions between characters. For this reason, what is meant by the psychological personality theory of the scientist Adler in the novel Khaj Al-Berlini by Hassan Ibrahim. We chose theaforementioned novel as a special sample for this study and entitled “The Embodiment of the Elements of Personal Psychological Theory of the Scientist Adler for the novel Khaj Al-Berlin by the novelist Hassan Ibrahim”, we applied the descriptive-analytical approach to this study.

2023-12

uod (القضية : 2) (الحجم : 26)

Abstract Nostalgia is considered as a term for psychology and human studies in general as well as in literary studies in particular, this term is taken from psychology. Nostalgia is a state of the human subconscious, expressing the writer's nostalgia for the past and the happy times when he lived in the past. There are two main types of nostalgia: individual nostalgia and collective nostalgia. The novel, as a literary text, can express the pain and aspirations of the individual, and for this reason, the novel has become a literary genre that is sought in a large way, besides, it carries the writer's message to the society and embodies through it the social customs and traditions of people. This study aims to prove that nostalgia is present and existed in the Kurdish novel, and it also aims to show how it is embodied within the fictional text. We took the novel “Stockholme Te Chi Dit Beja (Say, Stockholm City, What Did You See)” as a raw material for the study by Bave Nazi, in the end, it became so clear to us that the aforementioned writer embodied the nostalgia in an extensive way within the novel for the purpose of strengthening the monologue technique and its types. We also found that the writer took the advantage of nostalgia to strengthen his narration techniques in general. This study entitled “How to Take Advantage of Nostalgia for The Purpose of Developing the Monologue Technique in “Stockholme Te Chi Dit Beja (Say, Stockholm City, What Did You See)” By Bave Nazi as a case study. We applied the Analytical -Descriptive Approach in this study.

2022-09

Nawroz Acadimic journal (القضية : 11) (الحجم : 3)

Abstract: Hayranok or Short Kurdish Folk Songs compose a distinguishing part of the Kurdish literature. They pass the images and tales of traditions, norms, and the culture of Kurdish people through generations. The depiction of Kurdish boys and girls is clearly observed in Hayranoks. As folk literature covers a wide range branches such as drama, poetry, novel, ... etc., Hayranoks portray dramatic scenes between Kurdish boys and girls. They, more specifically, illustrate the dramatic conflicts these characters undergo to give an image about the conflicts of Kurdish people in life towards tbe challenges and the social factors. Therefore, this paper attempt to practically study the types of conflicts in the dramatic scenes of Hayranoks. A number of Hayranoks are selected as data for this study. The data covers different types of conflicts; however, in this paper, the conflicts of man versus society and versus himself are selected since these types are common in Kurdish Hayranok. Keywords: hayranok, drama conflicts, types of conflicts, man versus himself, man versus societ.

2022-01

Academic Journal of Nawroz University (القضية : 4) (الحجم : 10)

Abstract: Magical realism is a new genre of writing in the contemporary mythical literature in which fantasy and reality are mixed and have a peculiar composition that due to its broad horizons, sometimes it has some common grounds with other literary methods and styles. Though it is regarded as a new literary style and method by many researchers and literary critiques, it remains considered a branch of realism and cannot be viewed as an independent literary school, because it does not have an independent and modern framework and because in it are reflected many of foundations and peculiarities of realism. Due to strange fundamentals, removal of borders where reality and fantasy, unique dreams and deeds, and unreasonable actions are mixed, it is possible to search for the fundamentals and dimensions of magical realism in Kurdish literature, namely in the mythical literature. For achieving this objective, the subject matter of this study has been taken from Kurdish literature. therefore, the title “An Analysis of the Principles of Legend in the Mythical Folkloric ‘’Mame Alan’’ based on the Magical Realism’’, is selected for this study. Key words: Realism, Magical realism, Epic of ''Mame Alan'', Folklor پوخته‌ ڕیالیزما جادوویی شێوازه‌کێ نوی یێ نڤیسینێ د ئه‌ده‌بیاتا داستانییا هه‌ڤچه‌رخدایه‌ کو د ئه‌وێدا، ڕه‌گه‌زێن واقع و ئاشۆپێ تێکه‌لی هه‌ڤدوو دبن و خودان پێکهاته‌یه‌کا تایبه‌تییه‌ کو ب ئه‌گه‌رێ ئاسۆیا به‌رفره‌ها ئه‌وێ، هنده‌ک ده‌مان خالێن هه‌ڤپشک لگه‌ل ڕێباز و شێوازێن دیترێن ئه‌ده‌بیدا هه‌یه‌. سه‌ره‌ڕای ئه‌وێ چه‌ندێ کو گه‌له‌ک ژ ڤه‌کۆله‌ر و ڕه‌خنه‌گرێن هه‌ڤچه‌رخ ئه‌وێ وه‌کو شێواز و ڕێبازه‌کا نوو دهه‌ژمێرن، لێ ڕیالیزما جادوویی وه‌کو به‌شه‌ک یان ژی بێژین جوره‌ک ژ ڕێبازا ڕیالیزمێ دهێته‌ ل قه‌له‌مدان و وه‌کو ڕێبازه‌کا سه‌ربه‌خۆیا ئه‌ده‌بی سه‌ره‌ده‌ری لگه‌ل ناهێته‌کرن؛ چونکی خودان چارچووڤه‌کێ سه‌ربه‌خۆ و نوی نینه‌ و گه‌له‌ک بنه‌ما و تایبه‌تمه‌ندیێن ڕێبازا ڕیالیزمێ تێدا ڕه‌نگڤه‌دده‌ن، ئانکو بنیاتێ وێ یێ سه‌ره‌کی هه‌ر ڕێبازا ڕیالیزمێیه‌. ژ به‌ر بنه‌مایێن سه‌یر و سه‌مه‌ر، نه‌مانا سنوور و تێکه‌لبوونا ڕاستی و ئاشۆپێ، خه‌ون و کار و کریارێن نامۆ و سه‌ره‌نجڕاکێش، ڕویدانێن دویری عه‌قل و لۆژیکێ، د شیاندا هه‌یه‌ کو د ناڤا فۆلکلۆرێ کوردیدا و ب تایبه‌تی ژی داستانێ، ل دویڤ به‌رجه‌سته‌بوونا بنه‌ما و ڕه‌هه‌ندێن ڕیالیزما جادوویی بگه‌ڕین. هه‌ر ژ بۆ ئه‌ڤێ مه‌به‌ستێ ژی مه‌ که‌ره‌ستێ ئه‌ڤێ ڤه‌کۆلینا خۆ ژ فۆلکلۆری وه‌رگرتییه‌ و د ناڤا ئه‌ویدا ژی، مه‌ داستانا ''مه‌مێ ئاڵان'' هه‌لبژاتییه‌ کانێ هه‌تا چ ڕاده‌ ئه‌م دشێین به‌رجه‌سته‌بوونا بنه‌مایێن ڕیالیزما جادوویێ تێدا ل ژێر ناڤونیشانێ ''شڕۆڤه‌کرنا بنه‌مایێن ئه‌فسانێ د داستانا ''مه‌مێ ئاڵان'' یا فۆلکلۆریدا لدویڤ ڕیالیزما جادوویی'' ده‌ستنیشان بکه‌ین.‌ په‌یڤێن کلیل: ڕێبازا ڕیالیزمێ، ڕیالیزما جادوویی، داستانا ''مه‌مێ ئاڵان''، ئه‌ده‌بێ فۆلکلۆری.

2021-12

Juod (القضية : 2) (الحجم : 24)

Abstract Racial Emotion in the National Discourse of Mala Khaleel Mishakhti Despite the fact that the roots of racism are deeply-ingrained in the history and is sometimes regarded as something of the fact, it is now considered one of the largest cultural, ideological, and political ordeals and issues of our present day world. Due to the importance of this phenomenon’s impact on the world, literature of all nations is not free from anti and pro-racism positions. Affected by various sources of pressures and other factors, racial discourse dominated the national and patriotic rhetoric of Kurdish writers and poets. Mala Khaleel who is regarded as one of the contemporary Kurdish poets in the Kurdish literature, sometimes resorted to racial discourse in his poems. This study is entitled (Racial Emotion in the National Discourse of Mala Khaleel Mishakhti). It is an attempt to demonstrate the reasons and factors behind the presence of this phenomenon in his poem, and to figure out its source and characteristics. The hypothesis of this study is that the poet employed racial rhetoric in his poems which is not ideologically triggered, but it is rather the result of actions and reactions. In this study, the analytical and descriptive approach is utilized. Key words: racism, racial discrimination, nationalism, discourse, emotion. پۆخته‌: هه‌رچه‌نده‌ كو ره‌گه‌زپه‌رستى دیارده‌كا كه‌ڤنه‌، لێ نهۆ ب ئێك ژ مه‌زنترین گرفتێن رۆشنبیرى و ئایدیۆلۆژى و سیاسیێن جیهانا هه‌ڤچه‌رخ دهێته‌ هژمارتن. ئه‌ده‌بیاتا پڕانییا ملله‌تێن جیهانێ چ وه‌ك ئایدیۆلۆژییا، چ وه‌كو ورووژان و كارڤه‌دان یان ره‌تكرن و دژایه‌تیكرن تێكه‌لى هزر و ئاراسته‌یێن ره‌گه‌زپه‌رستیێ بووینه‌. جارنا نڤیسكار و شاعرێن كورد ژى ل ژێر فشاره‌كا زێده‌ و وه‌ك كارڤه‌دان و ورووژان گووتاره‌كا ره‌گه‌زپه‌رستانه‌ تێكه‌لى گووتارا خۆ یا نه‌ته‌وه‌یى و نیشتیمانى كرینه‌. ( مه‌لاخه‌لیل مشه‌ختى) ژى ئێكه‌ ژ شاعرێن نویێن كورد كو جارنا گووتاره‌كا ره‌گه‌زپه‌رستانه‌ د شیعرێن ویدا دهێنه‌ دیتن. ئه‌ڤ ڤه‌كۆلینه‌ ل ژێر ناڤێ(ورووژانا ره‌گه‌زپه‌رستانه‌ د گووتارا نه‌ته‌وه‌ییا مه‌لاخه‌لیل مشه‌ختیدا) هه‌ولدانه‌كه‌ بۆ به‌رجسته‌ ئه‌گه‌رێن سه‌رهلدان و دیاركرنا سیما و تایبه‌تمه‌ندى و ژێده‌رێن ئه‌ڤێ گووتارێ. ئه‌ڤ ڤه‌كۆلینه‌ ل سه‌ر ئه‌ڤێ گریمانه‌یێ هاتییه‌ ئاڤاكرن كو گووتاره‌كا ره‌گه‌زپه‌رستانه‌ یا ئاراسته‌كرى د شعرێن مه‌لاخه‌لیل مشه‌ختیدا دهێته‌ دیت، لێ ئه‌ڤه‌ ره‌گه‌زپه‌رستیه‌كا ئایدۆلۆژى نینه‌ به‌لكو پتر ورووژان و كارڤه‌دانه‌كا ده‌مكییه‌. د ئه‌ڤێ ڤه‌كۆلینێدا پشتبه‌ستن ل سه‌ر میتۆدا وه‌سفى شرۆڤه‌كارى هاتییه‌كرن. په‌یڤێن سه‌ره‌كى: ره‌گه‌زپه‌رستى، جوداكارییا ره‌گه‌زى، نه‌ته‌وایه‌تى، گووتار، ورووژان

2021-03

Juoz (القضية : 1) (الحجم : 9)

Abstract: The Role of Monologue Technique in prolepsis Events in Bave Naze’s Novel ‘’Hewara Nebihisti’’ as a model. A Novel as an important and wider literary genre from epical literature type, if it can’t be said overall, but it comprises most the techniques and elements of narration. Accordingly, these techniques and elements are, as series, related to each other and they are usually complementary to each other. For instance, the dialogue wouldn’t be produced without characters, also, without having a dialogue and characters, no conflict and events will be created and etc. Monologue also, with its types as major technique that has its sensitive impact on in the literary works in general and in the novels particularly, it has a great role. So, if a novelist is a skillful one, he/she will get the best advantages from that sensitive technique and makes the novel most effective in terms of technique. Bave Naze as a Kurdish experienced novelist, got a great benefit from Monologue technique in his novels and he abled to activate that technique to motivate ad progress the other techniques in his writing as well, the event in particular, which the Monologue Technique could directly change the events, that is, the study case of this research is a novel by Bave Naze entitled ”Hewara Nebihisti” which it is dealt with by the process of Monologue technique so effectively, in addition, the technique with its types enhanced the events of in the different settings of the novel, therefore, the title “ The Role of Monologue Technique in progressing Events in Bave Naze’s Novel Hewara Nebihisti As model, is selected for this study. Keywords: A Novel Hewara Nebihisti, Monologue Technique, Types of Monologue, Elements of an Event. Process of prolepsis the Events. پوخته‌: ڕۆمان وه‌کو ژانره‌کێ ئه‌ده‌بییێ گرنگ و به‌رفره‌هـ ژ جورێ ئه‌ده‌بیاتا داستانی، ئه‌گه‌ر نه‌بێژین هه‌موو، به‌لێ پڕانییا ڕه‌گه‌ز و ته‌کنیکێن ڤه‌گێڕانکی ب خۆڤه‌ دگریت. هه‌لبه‌ت ئه‌ڤان ڕه‌گه‌ز و ته‌کنیکان په‌یوه‌ندییه‌کا زنجیره‌یی ب هه‌ڤدووڤه‌ هه‌یه‌ و گه‌له‌ک جاران دبنه‌ ته‌واوکه‌رێن هه‌ڤدوو یانژی دروستکه‌رێن هه‌ڤ؛ بۆ نموونه‌ بیێ هه‌بوونا کاره‌کته‌ران دیالۆگ دروست نابن، دیسان بێی هه‌بوونا کاره‌کته‌ر و دیالۆگان، چ ڕویدان و ململانێ دروست نابن و... هتد. مۆنۆلۆگ – ب جورێن خۆڤه‌ - مینا ته‌کنیکه‌کا خودان باندۆر و هه‌ستیار د به‌رهه‌مێن ئه‌ده‌بی ب گشتی و ڕۆمانێدا ب تایبه‌تی، ڕۆله‌کێ مه‌زن دگێڕیت کو ئه‌گه‌ر ڕۆماننڤیس که‌سه‌کێ شاره‌زا بیت، دێ شێت ب باشترین شێوه‌ مفای ژ ڤێ ته‌کنیکا هه‌ستیار وه‌ربگریت و ژ لایێ ته‌کنیکیڤه‌ ڕۆمانا خۆ پێ خورت و ده‌وله‌مه‌ند بکه‌ت. (باڤێ نازێ) وه‌ک ڕۆماننڤیسه‌کێ ب ئه‌زموونێ کورد، د ڕۆمانێن خۆدا مفایه‌کێ مه‌زن ژ ته‌کنیکا مۆنۆلۆگێ وه‌رگرتییه‌ و شیایه‌ ئه‌ڤێ ته‌کنیکێ بێخیته‌ ل ژێر خزمه‌ت و پێشڤه‌برنا ڕه‌گه‌ز و ته‌کنیکێن دیترێن ڕۆمانێن خۆ ب تایبه‌تی ڕه‌گه‌زێ ڕویدانێ کو ته‌کنیکا مۆنۆلۆگێ ئاراسته‌ و ڕه‌وتا ڕویدانێن ڕۆمانا وی، گوهوڕینێ ب سه‌ر دا دهینیت، له‌وڕا که‌ره‌ستێ ڤێ ڤه‌کۆلینێ ڕۆمانه‌که‌ ژ ڕۆمانێن (باڤێ نازێ) یا ب ناڤێ ''هه‌وارا نه‌بهیستی''، کو ئه‌ڤ پرۆسێسا ناڤبری زۆر ب شاره‌زایانه‌ و هه‌ستییارانه‌ سه‌ره‌ده‌ری لگه‌ل هاتییه‌کرن و ته‌کنیکا مۆنۆلۆگێ - ب جورێن خۆڤه‌ - ل گه‌له‌ک جهێن ڤێ ڕۆمانێ‌ دبیته‌ ئه‌گه‌رێ به‌رڤ پێشڤه‌برنا ڕویدانێن وێ؛ ژ به‌ر ڤێ چه‌ندێ ناڤونیشانێ ڤێ ڤه‌کۆلینێ ل ژێر ناڤێ ((ڕۆلێ ته‌کنیکا مۆنۆلۆگێ د پێشڤه‌برنا ڕویدانێن ڕۆمانێدا - ڕۆمانا ''هه‌وارا نه‌بهیستی'' یا (باڤێ نازێ) وه‌ک نموونه‌ -)) دا هاتییه‌ هه‌لبژارتن. په‌یڤێن کلیلک: ڕۆمان، تەکنیک، پێشدابرن، مۆنۆلۆگ، ڕویدان.

2018-12

Juoz (القضية : 1) (الحجم : 6)

Abstract: Faqe Tayran’s epic of Shekhe San’an, as an epic of Kurdish classic literature, has a lot of dramatic characteristics via which the bases of many dramatic techniques and types can be identified. Dramatic conflict which is regarded as the essence of drama without which the dramatic text loses its effectiveness, interest and taste and is dull. The dramatic nature of this epic allows one to be able to handle it as a dramatic text, especially because the dramatic conflict is powerfully manifested in this epic. Dramatic conflict according to its nature, concept and state is divided into some types: the general one, the concept of embodied conflict, the type of conflict and antagonism. In this study, antagonism is adopted because this type of dramatic conflict is in conformity with the nature and content of this epic more than do the other types. Therefore, this study is entitled "Embodiment of Dramatic Contradicted-Power Conflict in Faqe Tayran’s Epic Poem “Shekhe San’an - Man vs. self, man vs. man as a simple –" Key words: Shekhe San’an , Dramatic conflict, Types of conflict, Man vs. self, man vs. man. پۆختە:پۆختە: داستانا "شێخێ‌ سەنعان" یا (فەقیێ‌ تەیران)، وەكو داستانەكا ئەدەبیاتا كلاسیكا كوردی، خودان گەلەك ساخلەت و تایبەتمەندیێن دڕاماییە كو د شیاندا هەیە بەرجەستەبوونا پڕانیا توخم و تەكنیكێن دڕامایی تێدا دەستنیشان بكەین. توخمێ‌ گرنگێ‌ ململانا دڕاماتیكی، ب گەوهەر و هەبوونا دڕامایی دهێتە هەژمارتن كو بێی ئەڤی توخمی، دەقێ‌ دڕامایی چ تام، باندۆر و باڵـكێشیا خۆ نینە و یێ‌ بێ‌ گیانە؛ چونكی توخمێ‌ ململانێیە كو ژیان و زیندووییێ‌ ددەتە دەقێ‌ دڕامایی و كەڵـەژان، سەرەنجڕاكێشی و داغباربوونێ‌ تێدا دروست دكەت. سروشتێ‌ دڕاماتیكی یێ‌ ئەڤێ‌ داستانێ‌ ژی، دەرگەهێ‌ ئەوێ‌ چەندێ‌ بۆ ڤەكۆلەران ڤەدكەت، كو بشێین وەكو دەقەكێ‌ دڕامایی سەرەدەریێ‌ لگەل بكەین. ب تایبەتی ژی، توخمێ‌ ململانا دڕاماتیكی كو گەلەك بهێزی د ئەڤێ‌ داستانێدا بەرجەستە و خویا دبیت. ململانا دڕاماتیكی لدویڤ سروشت، چەمك و ڕەوشا خۆ، دابەشی لسەر چەندین جوران دبیت، مینا: (جورێ‌ تێگەهێ‌ ململانێ‌ یێ‌ بەرجەستە، جورێ‌ چۆنیەتیا ململانێ‌ و جورێ‌ هەبوونا هێزا هەڤدژ). مە ژی جورێ‌ "هەبوونا هێزا هەڤدژ" هەلبژارتیە؛ چونكی ئەڤ جورێ‌ ململانا دڕاماتیكی، زۆرتر ژ جورێن دیتر لگەل سروشت و ناڤەڕۆكا ئەڤێ‌ داستانێدا دگونجیت. لەوڕا مە كەرەستێ‌ ڤەكۆلینا خۆ ژ ئەڤێ‌ داستانێ‌، لژێر ناڤونیشانێ‌ "بەرجەستەبوونا ململانا هێزێن هەڤدژێن دڕاماتیكی د داستانا "شێخێ‌ سەنعان" یا (فەقیێ‌ تەیران) دا ــ ب نموونەیا جورێن مرۆڤ دژی خۆ و مرۆڤ دژی مرۆڤی ــ "، هەلبژارت. پەیڤێن سەرەكی: شێخێ‌ سەنعان، ململانا دڕاماتیكی، جورێن ململانێ‌، مرۆڤ دژی خۆ، مرۆڤ دژی مرۆڤی.

2018-03

Juoz (الحجم : 6)

Faqi Tayran’s Epic “Shekhe San’an’s” is considered one of the well-known and great literary works in ancient Kurdish literature due to its dramatic structure and its possession of various practical artistic elements. These features could give a chance to present numerous studied to that elements. The character as an element can be regarded as an important one rather than the elements of text in dramatic text. Characters perform the process of dramatic acts and without characters there are no other elements in dramatic text such as dialogue, plot, event, conflict, tension .... etc.finally, without dramatic characters, the epic text is considered as a dead text that has no literary spirit and meaning.Generally, according to the importance of dramatic characteris divided into main types; simple character complicated character. These two types, complicated character in particular, consisting of three main dimensions. These dimensions as Natural, Social, and Psychological ones, and among all these three dimensions, psychological one has a great importance to the dramatic characters. Due to the interests of dimensions that the mentioned epic has, we started to select a title to this study as entitled: The embodiment of Dramatic Character dimensions in Faqi Tayran’s Epic “Shekhe San’an’s”.The quantity of the embodiment of these three dramatic dimensions is stated throughout studying that epic as well as the clarification is presented so practically. Keywords: Shekhe San’an, Dramatic Character, Types of Characters, Dimensions; Natural, Social, and Psychological. پۆختە: داستانا "شێخێ‌ سەنعان" یا (فەقیێ‌ تەیران)، ئێكە ژ داستانێن بەرنیاس و خودان باندۆرێن ئەدەبیاتا كەڤنا كوردی. ژ بەر سروشتێ‌ دڕاماتیكیێ‌ وێ‌، د شیاندا هەیە كو لێكۆلینێن جورە بە جورێن ب توخم و تەكنیكێن درامایێڤە لسەر بهێنە ئەنجامدان. هەلبەت پشتی توخمێ‌ دەقی، توخمێ‌ كارەكتەری ب گرنگترین توخمێ‌ بنیاتنەرێ‌ درامایێ‌ دهێتە هەژمارتن. كارەكتەر وەكو هەلسۆرێنەرێ‌ دەق و پرۆسەیا نواندنا درامایێ‌ دهێتە ل قەلەمدان؛ چونكی بێی هەبوونا وی د ناڤا دەق و پرۆسێسا دراماییدا، چ دیالۆگ، مۆنۆلۆگ، ڕویدان، ململانێ‌، گرێ‌ و... هتد نابن. كەواتە ئەم دكارین بێژین كو بێی هەبوونا توخمێ‌ كارەكتەری دڕاماتیكی، درامایەكا بێ‌ دیالۆگ و بێ‌ ڕویدان و ململانێ‌، دەرئەنجامێ‌ وێ‌ دێ‌ درامایەكا مری و بێ‌ گیان بیت. كارەكتەرێ‌ دڕاماتیكی ب شێوەیەكێ‌ گشتی، ل دویڤ كاریگەریا خۆ دابەشی سەر دوو جورێن سەرەكیێن (سادە و ئاڵۆز) دبیت. ئەڤ هەر دوو جورە ژی ـــ ب تایبەتی یێ‌ ئاڵۆز ـــ سێ‌ ڕەهەندێن سەرەكی د هەر دەقەكێ‌ دراماییدا بخۆڤە دگرن، كو ئەو ژی ڕەهەندێن سروشتی، جڤاكی و دەروونینە. ژ ڤان هەر سێ‌ ڕەهەندان ژی، ڕەهەندێ‌ دەروونی بهێزترین و خودان باندۆرترین ڕەهەندێ‌ كارەكتەرێ‌ دڕاماتیكیە. هەر ژ بەر هەبوون و بەرجەستەبوونا ڤان هەر سێ‌ ڕهەهەندێن كارەكتەرێ‌ دڕاماتیكی د ڤێ‌ داستانێدا، مە ئەو وەكو كەرەستێ‌ خاڤێ‌ ڤێ‌ لێكۆلینا خۆ لژێر ناڤونیشانێ‌ (بەرجەستەبوونا ڕەهەندێن كارەكتەرێ‌ دڕاماتیكی د داستانا "شێخێ‌ سەنعان" یا (فەقیێ‌ تەیران) دا) هەلبژارتیە. و ل بەردەوامیا لێكۆلینكرنا ڤێ‌ داستانێ‌ ژی، ڕادەیێ‌ بەرجەستەبوونا ڤان هەر سێ‌ جورێن ڕەهەندێن كارەكتەرێ‌ دڕاماتیكی، مە پراكتیزە كریە و دەرخستیە. پەیڤێن سەرەكی: شێخێ‌ سەنعان، كارەكتەرێ‌ دڕاماتیكی، جورێن كارەكتەری، ڕەهەندێن سروشتی، جڤاكی و دەروونی.

2015-12

Juod (القضية : 2) (الحجم : 18)

Saleem Hizani's epic of Yusif and Zulaikha, as an epic of Kurdish classic literature, has a lot of dramatic characteristics via which the bases of many dramatic techniques and types can be identified. Dramatic conflict which is regarded as the essence of drama without which the dramatic text loses its effectiveness, interest and taste and is dull. The dramatic nature of this epic allows one to be able to handle it as a dramatic text, especially because the dramatic conflict is powerfully manifested in this epic. Dramatic conflict according to its nature, concept and state is divided into some types: the general one, the concept of embodied conflict, the type of conflict and antagonism. In this study, antagonism is adopted because this type of dramatic conflict is in conformity with the nature and content of this epic more than do the other types. Therefore, this study is entitled "The Embodiment of Dramatic Conflict in Hezani's Epic of Yusif and Zulaikha: Antagonism as a simple". پوختە: داستانا "یووسف و زولەیخا" یا (سەلیمێ‌ هیزانی)، وەكو داستانەكا ئەدەبێ‌ كلاسیكێ‌ كوردی، خودان گەلەك تایبەتمەندیێن دراماییە كو مرۆڤ دشێیت بەرجەستەبوونا زۆربەیا توخم و تەكنیكێن درامایی تێدا دەستنیشان بكەت. توخمێ‌ ململانا دراماتیكی، كو ب گەوهەر و هەبوونا درامایی دهێتە هەژمارتن و بێی ڤی توخمی، دەقێ‌ درامایی چ چێژ، كاریگەری و سەرەنجڕاكێشیا خۆ نینە و یێ‌ مریە. سروشتێ‌ دراماتیكی یێ‌ ڤێ‌ داستانێ‌، ڕێكێ‌ ددەتە مرۆڤی كو بشێت وەكو دەقەكێ‌ درامایی سەرەدەریێ‌ لگەل بكەت. ب تایبەتی ژی، توخمێ‌ ململانا دراماتیكی كو گەلەك بهێزی د ڤێ‌ داستانێدا بەرجەستە دبیت. ململانا دراماتیكی لدویڤ سروشت، تێگەه و ڕەوشا خۆ، دابەشی چەندین جوران دبیت، وەكو: (جورێ‌ گشتی، تێگەهێ‌ ململانێ‌ یێ‌ بەرجەستە، جورێ‌ چۆنیەتیا ململانێ‌ و جورێ‌ هەبوونا هێزا هەڤدژ). مە ژی جورێ‌ "هەبوونا هێزا هەڤدژ" هەلبژارتیە؛ چونكی ئەڤ جورێ‌ ململانا دراماتیكی، پتر ژ جورێن دیتر لگەل سروشت و ناڤەڕۆكا ڤێ‌ داستانێدا دگونجیت. لەوڕا مە كەرەستێ‌ ڤەكۆلینا خۆ ژ ڤێ‌ داستانێ‌، د بن ناڤونیشانێ‌ "بەرجەستەبوونا ململانا دراماتیكی د داستانا "یووسف و زولەیخا" یا (سەلیمێ‌ هیزانی) دا ــ ب نموونەیا جورێ‌ هەبوونا هێزا هەڤدژ ــ "، هەلبژارت.

2015-07

Juod (القضية : 1) (الحجم : 18)

Dramatic Dialog in ''Sheikh Sana'n's'' aka (Faqiye Tayran)', as an epic of Kurdish classic literature, has a lot of dramatic characteristics via which the bases of many dramatic techniques and types can be identified. Dramatic conflict which is regarded as the essence of drama without which the dramatic text loses its effectiveness, interest and taste and is dull. The dramatic nature of this epic allows one to be able to handle it as a dramatic text, especially because the dramatic conflict is powerfully manifested in this epic. Dramatic conflict according to its nature, concept and state is divided into some types: the general one, the concept of embodied conflict, the type of conflict and antagonism. In this study, antagonism is adopted because this type of dramatic conflict is in conformity with the nature and content of this epic more than do the other types. Therefore, this study is entitled "The Embodiment of Dramatic Conflict in Hezani's Epic of Yusif and Zulaikha: Antagonism as a simple". پوختە: داستانا "شێخ سەنعان" یا (فەقیێ‌ تەیران)، ئێكە ژ داستانێن ئەدەبێ‌ كەڤنێ‌ كوردی كو وەك شیعرەكا شانۆیی، ژ گەلەك لایەنانڤە مرۆڤ دشێت ژبۆ ڤەكۆلینێن ئەكادیمی مفای ژێ‌ وەرگریت. د شیاندا هەیە كو ئەڤ داستانە، وەك سیناریۆیەكا باش، ژلایێ‌ دەرهێنەرەكێ‌ خودان شیانڤە بهێتە دەرهێنان و پێشكێشكرن، چ وەك شانۆ یان فیلم. تەكنیكا دیالۆگا درامایی، پشتی توخمێ‌ كاراكتەر، ب گرنگترین و هەستیارترین تەكنیك د ئاڤاكرنا دەقێ‌ دراماییدا دهێتە هەژمارتن، ژ بەر بەرجەستەبوونا بهێز و بەرفرەها ڤێ‌ تەكنیكێ‌ د ڤێ‌ داستانێدا، مە ب كەرەستێ‌ ڤێ‌ ڤەكۆلینێ‌ هەلبژارت یا كو ب ناڤونیشانێ‌ "بەرجەستەبوونا تەكنیكا دیالۆگا درامایی د داستانا "شێخ سەنعان" یا (فەقیێ‌ تەیران) دا" یە.