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Folklore has been a phenomenon based on nostalgic and autochthonous nuances conveyed with a story-telling technique with a penchant for over-playing and nationalistic pomp and circumstance, often with significant consequences for societal, poetic, and cultural areas. These papers highlight challenges that have an outreaching relationship to the regional, rhetorical, and trans-rhetorical devices and manners in Kurdish folklore, which subscribes to an ironic sense of hope all the while issuing an appeal for a largely unaccomplished nationhood, simultaneously insisting on a linguistic solidarity. In a folkloric literature that has an overarching theory of poetics – perhaps even trans-figurative cognitive poetics due to the multi-faceted nature of its application and the complexity of its linguistic structure – the relationship of man (and less frequently woman) with others takes center stage in many of the folkloric creations. Arts are not figurative representations of the real in the Kurdish world; they are the real.
The Cambridge History of the Kurds is an authoritative and comprehensive volume exploring the social, political and economic features, forces and evolution amongst the Kurds, and in the region known as Kurdistan, from the fifteenth to the twenty-first century. Written in a clear and accessible style by leading scholars in the field, the chapters survey key issues and themes vital to any understanding of the Kurds and Kurdistan including Kurdish language; Kurdish art, culture and literature; Kurdistan in the age of empires; political, social and religious movements in Kurdistan; and domestic political developments in the twentieth and twenty-first centuries. Other chapters on gender, diaspora, political economy, tribes, cinema and folklore offer fresh perspectives on the Kurds and Kurdistan as well as neatly meeting an exigent need in Middle Eastern studies. Situating contemporary developments taking place in Kurdish-majority regions within broader histories of the region, it forms a definitive survey of the history of the Kurds and Kurdistan.
Rediscovering Kurdistan’s Cultures and Identities: The Call of the Cricket offers insight into little-known aspects of the social and cultural activity and changes taking place in different parts of Kurdistan (Turkey, Iraq, Syria and Iran), linking different theoretical approaches within a postcolonial perspective. The first chapter presents the book’s approach to postcolonial theory and gives a brief introduction to the historical context of Kurdistan. The second, third and fourth chapters focus on the Kurdish context, examining ethical changes as revealed in Kurdish literary and cinema narratives, the socio-political role of the Kurdish cultural institutions and the practices of countering othering of Kurdish migrants living in Istanbul. The fifth chapter offers an analysis of the nineteenth-century missionary translations of the Bible into the Kurdish language. The sixth chapter examines the formation of Chaldo-Assyrian identity in the context of relations with the Kurds after the overthrow of the Ba’ath regime in 2003. The last chapter investigates the question of the Yezidis’ identity, based on Yezidi oral works and statements about their self-identification.
Informed by the interdisciplinary approach of Critical Discourse Analysis (CDA) and theories of identity, nation, and media, the study investigates the ways Kurds, the world's largest stateless nation, use satellite television and Internet to construct their identities. This book examines the complex interrelationships between ethno-national identities, discourses, and new media. Not only offers the first study of discursive constructions of Kurdish identity in the new media, this book also the first CDA informed comparative study of the contents of the two media. The study pushes the boundaries of the growing area of studies of identity, nationalism and transnationalism, discourse studies, minority language, and digital media.
Since the early twentieth-century, Kurds have challenged the borders and national identities of the states they inhabit. Nowhere is this more evident than in their promotion of the 'Map of Greater Kurdistan', an ideal of a unified Kurdish homeland in an ethnically and geographically complex region. This powerful image is embedded in the consciousness of the Kurdish people, both within the region and, perhaps even more strongly, in the diaspora. Addressing the lack of rigorous research and analysis of Kurdish politics from an international perspective, Zeynep Kaya focuses on self-determination, territorial identity and international norms to suggest how these imaginations of homelands have been socially, politically and historically constructed (much like the state territories the Kurds inhabit), as opposed to their perception of being natural, perennial or intrinsic. Adopting a non-political approach to notions of nationhood and territoriality, Mapping Kurdistan is a systematic examination of the international processes that have enabled a wide range of actors to imagine and create the cartographic image of greater Kurdistan that is in use today.
This book focuses on the cultural and intellectual activities of Kurdish migrant women through artistic and aesthetic forms of production in Belgium, France, Germany, Sweden and the UK. Using in-depth interviews with over 40 Kurdish women artists, Ozlem Galip examines how artistic, literary and cultural productions, incorporating the fields of film, theatre and music, are articulated within the structures of nation states, leading to the interrogation of the impact of western and local knowledge, patriarchy, the nation-state and globalisation. Galip also analyses how European policies affect the development of cultural engagement of Kurdish migrant women, and how such engagements help these women to integrate into European society. Examining the gendered experiences of diaspora from all four regions of Kurdistan; Iraq, Iran, Syria and Turkey, this book challenges ideas about gender, migration and art through the lens of women artistic production with a focus on women-led activism and the changing integration and migration policies of Europe.
Without a doubt, this decade’s most discussed and developed documentary productions in Turkey come from Kurdistan, a name that provokes nationalist panic in Turkey, yet delineates distinct cultural, linguistic, and political boundaries nonetheless. Documentary film productions by Kurdish filmmakers from Turkey determine the major tendencies of this emergent genre, with such productions offering a unique opportunity for a nuanced understanding of national cinema. The larger body of films, fiction and non-fiction termed as Kurdish cinema complicates the category of national cinema, a concept discussed heatedly within the field of cinema studies. Documentary film is proving to be a particularly complex tool for the Kurdish social and political existence, as Kurds lack the official tools of history-writing and cultural preservation that are categorically associated with the capacities of a state. By delving into Kurdish documentary films as products of complex societal, political, and historical processes, the articles in the volume highlight the intersections of media production, film text, and audience reception, and expand on vibrant debates in the field of film and media studies through situated case studies. Bringing these chapters together, this book will stimulate academic discussion around this emergent and lively genre of documentary film production, and encourage further research and publication.
Kurdish nationalism remains one of the most critical and explosive problems of the Middle East. Despite its importance, the topic remains on the margins of Middle East Studies. Bringing the study of Kurdish nationalism into the mainstream of Middle East scholarship, Hakan Özogálu examines the issue in the context of the Ottoman Empire. Using a wealth of primary sources, including Ottoman and British archives, Ottoman Parliamentary minutes, memoirs, and interviews, he focuses on revealing the social, political, and historical forces behind the emergence and development of Kurdish nationalism. Contrary to the assumption that nationalist movements contribute to the collapse of empires, the book argues that Kurdish leaders remained loyal to the Ottoman state, and only after it became certain that the empire would not recover did Kurdish nationalism emerge and clash with the Kemalist brand of Turkish nationalism.
"From all four parts of Kurdistan and across the diaspora, Kurdish women from different geographical, political, and educational backgrounds pick up a pen, reflect, and remember. Going beyond exoticising stereotypes and patriarchal representations, Kurdish Women's Stories gives 25 women authorial freedom to write about their own lived experiences. With contributors ranging from 20 to 70 years of age, we hear stories of imprisonment, exile, disappearances of loved ones, gender-based violence, uprisings, feminist activism, and armed resistance, including first-hand accounts of political moments from the 1960s to today. Conceived as part of Culture Project's self- writing program, this book is essential reading for anyone who wants to better understand the struggle of Kurdish women through their own words. Contributors: Diba Alikhani, Kobra Banehi, Khanda Hameed, Nazanin Hasan, Nafia Aysi Hasso, Deejila Haydar, Zhala Hussein, Ruken Isik, Seveen Jimo, Lanja Khawe, Nahiya Khoshkalam, Hero Kurda, Khanda Rashid Murad, Rozhgar Mustafa, Dashne Nariman, Bayan Nasih, Avan Omar, Nasrin Ramazanali, Mother Sabria, Bayan Saeed, Bayan Salman, Farah Sharefi, Susan Shahab, Simal (Anonymous), Shahla Yarhussein"--