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Journal articles on the topic 'Kurdish drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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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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11

RAKYOVSKI, Tsvetan. "A “STRANGENESS IN MY MIND” BY ORHAN PAMUK – HOW THE NOVEL IS MADE." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (2020): 143–47. http://dx.doi.org/10.37708/ezs.swu.v18i1.17.

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e article explores the diversity of narrative techniques in Orhan Pamuk’s novel A Strangeness in My Mind. The main idea is that the drama of a private life is told against the background of the drama of the life of Istanbul. To do this, the novel parallels the biographical ‘I’ of the main character and the historical ‘He’ of the City. This comparison provokes the idea of the novel’s close relation to the history of Istanbul and Turkey over the last fifty years. Orhan Pamuk does not spare the reader any of the specific, purely "Turkish problems" with the Kurds and Greeks, as well as the radical

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12

Marcou, Jean. "Les Kurdes, entre les mutations du tournant du millénaire et les tourments du Moyen-Orient contemporain." Confluences Méditerranée N° 127, no. 4 (2024): 105–18. http://dx.doi.org/10.3917/come.127.0105.

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La question kurde est le drame sans fin de populations d’ethnie et de culture communes aux prises pour l’essentiel avec les quatre États où elles se trouvent, qui n’acceptent que péniblement la réalité de leur identité distincte et qui refusent absolument l’idée de leur indépendance, qu’elle découle de sécessions segmentées ou d’une unification politique irrédentiste. Dans leurs quatre États de peuplement, les Kurdes ont aujourd’hui des statuts politiques très différents, allant d’une autonomie reconnue officiellement (Irak) à une situation effective extrêmement précaire de leurs droits (Iran)

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13

"Foreign Series in the Kurdish Satellite Channels and Their Role in the Development of Awareness among Young People in the Kurdistan Region (Korean Series as a Model) (A Field Study on a Sample of Students of the Institute of Fine Arts in the City of Sulay." AL – Bahith AL – A a‚LAMI 5, no. 22 (2019): 55–84. http://dx.doi.org/10.33282/abaa.v5i22.306.

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The dubbing process for the Foreign Dramas by the Kurdish language became a serious phenomenon in the Kurdish satellite TV, especially in the past few years. It attracted a wide audience, especially young adolescents. And prepared by some breakthrough hostile to Kurdish culture and value coordinated by others remedy for the structural gaps and lapses have, as a result of climate which is brought into existence globalization and secretions variety dimensional, saturated value and cognitive effects bearing a strong identity of its elements. From here, the problem of this research is the ambiguit

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14

"Non-Observance of Conversational Maxims in a Kurdish Comedy Drama." ZANCO Journal of Humanity Sciences 27, no. 4 (2023). http://dx.doi.org/10.21271/zjhs.27.3.26.

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15

Salman, Jihan Farsat, and Marwan Najeeb Tawfiq. "A Pragmatic Analysis of Impoliteness in the Kurdish Drama TV series Ax û Tax." اداب الرافدین, December 1, 2023. http://dx.doi.org/10.33899/radab.2023.180981.

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16

"The Mental image of students in the media department about dubbed dramas on Kurdish channels." Qalaai Zanist Scientific Journal 8, no. 5 (2023). http://dx.doi.org/10.25212/lfu.qzj.8.5.11.

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17

Kristian Montolalu, Reynaldo Rudy. "The Analysis of Israel – Turkey engagement on Syria and the US Foreign Policy of pulling out forces: Who controls what?" Jurnal Diplomasi Pertahanan 7, no. 3 (2021). http://dx.doi.org/10.33172/jdp.v7i3.774.

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The issue of Syrian Civil war has tinted the International Relations issue at least from 2011 where a protest against President Assad’s regime resulted to the large-scale war between the anti-government rebel group which get backed by the United States, Turkey, Saudi Arabia and their other supported ally in the region while the Syrian government has the back up from Russia and Iran. There are three campaigns that influence the full-scale of conflict; the effort against Islamic State, tension between the Syrian government and the opposition as well as related to Turkish forces military operatio

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18

Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2409.

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   All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).   As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see

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19

Bromberger, Christian. "Iran." Anthropen, 2019. http://dx.doi.org/10.17184/eac.anthropen.108.

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Entre les mondes arabe (Irak, États du Golfe…), turc (Turquie, Azerbaïjan, Turkmenistan) et européen (par la trouée du Caucase et de la mer Caspienne), l’Iran forme un ensemble distinct dont la population est fortement attachée à sa spécificité. Cette forte originalité au sein du Moyen-Orient, les Iraniens la doivent à leurs origines symbolisées par leur langue, le persan, une langue indo-européenne, à la doctrine religieuse qu’ils professent en majorité, le chiisme, qui s’oppose au principal courant de l’islam, le sunnisme, enfin, paradoxalement, à leur forte occidentalisation due à un couran

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