Relevant bibliographies by topics / Kurdish drama

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Academic literature on the topic 'Kurdish drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Kurdish drama"

1

Ali, Kanyaw Q., and Shaida B. Abdullah. "Genres of Drama in Goran's Poetry Collection (Operetta and Piece in a Short Screen)." Koya University Journal of Humanities and Social Sciences 8, no. 1 (2025): 189–99. https://doi.org/10.14500/kujhss.v8n1y2025.pp189-199.

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Dramatic poetry encompasses all characteristics of poetry, genres and elements of poetry, which presents a dramatic text in a poetic form to readers and viewers, and strives to enhance society and promote individual awareness. This genre aims to present the reality of society through tragedy and comedy. This study employs the analytical-practical criticism method to showcase Goran's skillful and experienced use of various genres and elements in his poetry. By his adept manipulation of the genres of drama, Goran has been able to introduce another form of poetry into Kurdish literature, known as
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2

Mirskii, G. "Is Iraq Drama Going to End?" World Economy and International Relations, no. 2 (2011): 70–78. http://dx.doi.org/10.20542/0131-2227-2011-2-70-78.

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The withdrawal of American troops from Iraq marks the beginning of a new stage in the history of that country. Iraq once again becomes a sovereign independent state. From now on, the huge task of ensuring security and putting an end to the terrible internal strife must be entrusted to the local authority. It is crucial to find a compromise solution to the Sunni-Shiite conflict. To achieve this end, the central power has to be really inclusive, giving the Sunnis their legitimate place in governing the country. The worst scenario would be the establishment of a Shiite-dominated regime that is pr
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3

Doná, Giorgia, and Helen Taylor. "The ‘Peaks and Troughs’ of Societal Violence: Revisiting the Actions of Turkish and Kurdish Shopkeepers during the 2011 London Riots." Sociological Research Online 20, no. 1 (2015): 83–93. http://dx.doi.org/10.5153/sro.3534.

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This article examines an instance of contained violence during the 2011 riots in London, when Turkish and Kurdish ‘shopkeepers’ in Dalston, East London prevented rioters from entering the area. Introducing a ‘peaks’ and ‘troughs’ approach to the sociological study of violence, the article argues that we need to look at the troughs of non-violence in order to understand the peaks of violence and vice-versa. Based on a small-scale empirical study, this article also shows that contrary to the dominant representation of social actors playing fixed roles during social unrest, we found shifting posi
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4

Szanto, Edith. "Mourning Halabja on Screen: Or Reading Kurdish Politics through Anfal Films." Review of Middle East Studies 52, no. 1 (2018): 135–46. http://dx.doi.org/10.1017/rms.2018.3.

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AbstractTowards the end of the decade long Iran–Iraq war, Saddam Hussein launched a deadly attack against the Kurds, known as the Anfal Campaign, killing more than a hundred thousand. One of the largest acts of genocide occurred on 18 March 1988 in the Kurdish city of Halabja. On that day, sweet-smelling poison gas was poured over the city, killing at least five thousand. Since 2001 Kurdish moviemakers have memorialized the tragedy of the Halabja massacre by producing cinematic dramas and narrative documentaries. These films are part of a discourse of authenticity and a politics of culture tha
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5

Kurdi, Diyar, and Chiad Abdulkarim. "PATRIOTIC THEATER: A STUDY OF GHARBI MUSTAFA’S LEYLA, THE KURDISH BRIDE & W.B. YEATS’ CATHLEEN NI HOULIHAN." Humanities Journal of University of Zakho 13, no. 2 (2025): 253–63. https://doi.org/10.26436/hjuoz.2025.13.2.1550.

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The present study is an attempt to examine the representation of patriotism and nationalism in Irish and Kurdish plays. Specifically, the researcher deals with two dramas one penned by the Kurdish playwright Gharbi Mustafa, and the other by the Irish dramatist William Butler Yeats. Their stage plays, Mustafa’s Leyla, The Kurdish Bride (2010), and Yeats’ Cathleen Ni Houlihan (1902), have been taken into account in order to analyze how the two aforesaid plays are patriotic in nature. For the purpose of achieving the aim of the study, i.e., investigating expressions of national pride and belongin
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6

Mom, Gijs, and Georgine Clarsen. "Editorial." Transfers 6, no. 1 (2016): 1–3. http://dx.doi.org/10.3167/trans.2016.060101.

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The recent wave of refugees into Europe is—apart from a heartrending drama of human suff ering—a lesson in mobility. We increasingly find that current forms of mobility are diffi cult to analyze without taking such public dramas into account: it seems that more than ever the politics of mobility are crying out for the mobility student’s attention. While in Europe a gulf of ambiguous empathy was triggered by the ultimate expression of immobility (a shocking image that so quickly moved around the world of a little Syrian boy called Aylan Kurdi lying facedown on the beach, his head pointing towar
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7

Mirskii, G. "Drama of the Arab East." World Economy and International Relations, no. 11 (2014): 77–87. http://dx.doi.org/10.20542/0131-2227-2014-11-77-87.

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New upheavals have shaken the Middle East this summer. A small but determined army of Sunni jihadists that had operated in the war-torn Syria suddenly crossed the border into Iraq and launched a large-scale military campaign. In a matter of days the invaders captured the second largest city of Iraq, Mosul, and although heavily outnumbered by the Iraqi army, put it to flight. The militants, known as ISIS (the Islamic State of Iraq and Sham, the latter word meaning Syria and Lebanon) and led by an exceedingly tough and ruthless commander Abubaqr al-Baghdadi, are descendants of the infamous terro
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8

Emre Cetin, Kumru Berfin. "Pushing the limits of the family on Turkish television: Lost City, an alternative voice?" European Journal of Communication 31, no. 6 (2016): 694–706. http://dx.doi.org/10.1177/0267323116677206.

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This article discusses the shift in the representation of the family through a case study of Lost City (2012–2013). The programme challenges the dominant representations of the family on Turkish television that are mostly framed by a particular neighbourhood culture and are characterized by organic solidarity. As outsiders in Turkish society, a prostitute, a Kurdish family and a Black illegal immigrant challenge the unity of the Toptas family that has moved to Istanbul from the Black Sea region of Turkey and who are trying hard to survive against poverty and the ‘cosmopolitan culture’ of the c
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9

Watelet, Charlotte. "La mémoire comme ressource face à l’incertitude : les effets de l’encampement sur les Kurdes syriens réfugiés au Kurdistan irakien." Critique internationale N° 104, no. 3 (2024): 89–108. http://dx.doi.org/10.3917/crii.104.0089.

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À partir d’une ethnographie menée dans un camp de réfugiés kurdes syriens installé au Kurdistan d’Irak suite à l’éclatement de la guerre en Syrie, cet article analyse la manière dont l’encampement agit sur les exilés et réinscrit ces derniers dans une trajectoire de violence historique. Alors qu’ils se réfugient dans un environnement à première vue familier, les Kurdes syriens se retrouvent finalement dans une situation de marginalité qui fait rejaillir des années d’oppression et dévoile une condition de vulnérabilité éternelle. L’encampement est ainsi vécu comme une situation de domination hi
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10

Farer, Tom J. "Human Rights and Foreign Policy: What the Kurds Learned (A Drama in One Act)." Human Rights Quarterly 14, no. 1 (1992): 62. http://dx.doi.org/10.2307/762552.

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Books on the topic "Kurdish drama"

1

Metîn, Mîrza. Lîstikên tomerî: (Dîsko 5 no'lu Bûka Lekî Gor). Avesta Basın Yayın, 2018.

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2

Hawrami, Hama Karim. Dramay Kurdî lenaw dramay cîhanda. Dezgay Çap û Biławkirdnewey Aras, Zincîrey Roşinbîrî, 2001.

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Hewramî, Ḧeme Kerîm. Dramay Kurdî le naw dramay cîhanda. Dezgay Çap u Biławkirdinewey Aras, 2001.

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4

Shānī, Ṣabāḥ Hurmuz. al- Taqlīdī wa-al-itiqlīdī fī al-masraḥ al-Kurdī: Majmūʻat maqālāt naqdīyah manshūrah. Ṣaḥārá, 1993.

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5

Ashraf, Darvīshīyān ʻAlī, ред. Afsānahʹhā, namāyishnāmahʹhā va bāzīhā-yi Kurdī. Nashr-i Rūz, 1987.

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6

Salar, Eḧmed. Huner u jiyan. Le biławkirawekanî Dezgay Çap u Pexşî Serdem, 2005.

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7

translator, Elişêr, ed. Evdirehîm Rehmî Hekarî: Nûjenkirina helbesta Kurdî û avakirina şanonameyê di edebîyata Kurdî de. Lîs Basın-Yayın, 2016.

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8

R̄ewuf, Dana. Gûtarî ezmûngerîy le r̄ewtî şanoy Kurdîda: Tîşkêk bo ser pantayîye ezmûnkarîyekanî bizûtnewey şanoy Kurdî qonaẍî heştakan. Sara Distribution, 1995.

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9

Çêdo, Çetoyê. Dîroka şanoya kurdî. Peywend, 2015.

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10

Ḧesen, Şêrzad. Dujminî gel u₋₋ mêgelîzm: Hevde witar̄ lemer̄ şanoy Kurdî w cîhanî. Ḧikumetî Herêmî Kurdistan, Wezaretî Roşinbîrî, 2005.

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Book chapters on the topic "Kurdish drama"

1

Brodie, Geraldine. "Harrison’s Hecubas." In Tony Harrison and the Classics. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198861072.003.0007.

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Harrison’s Hecuba provides an opportunity to examine his engagement with the centrality of a significant female role from the perspective of his persona as a political activist. Harrison’s collaboration with Vanessa Redgrave enabled him to craft a production criticizing the intervention of the USA and its allies in Iraq, and to take his critique to the geopolitical centre of the policies he condemns through his portrayal of Hecuba’s interaction with her Greek victors. Harrison’s introduction to the published text addresses the contradictory attitude whereby the public weeps for one Hecuba but
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