Journal of Kirkuk University Humanity Studies

The art of the essay is considered one of the most significant forms of literary prose due to its role in shaping Arab intellectual thought and its engagement with societal issues. Through presenting ideas and opinions, essays aim to analyze and propose solutions to various social concerns. An essay is typically a moderately lengthy composition; it should not be excessively long, maintaining a balanced and concise structure.
The writer organizes the essay into three essential parts: the introduction, where the topic is outlined and key ideas are briefly introduced; the body, which elaborates on these ideas and represents the core of the discussion; and the conclusion, where the writer summarizes the key points to ensure the message is clearly delivered to the reader.
One of the critical aspects of effective essay writing is the presence of coherent ideas and a compelling style that captures the reader’s attention, evokes emotional engagement, and leaves a lasting impression.

This research deals with the study of textual casting in the poetry of Ahmed Jarallah Yassin and the statement of the effect of this casting in showing the poet's poetry as if it were a single unit, and studies the analysis of the methods that the poet relies on in constructing the poetic text by linking meanings and words and the ways in which this casting contributes to psychological and aesthetic change on the recipient.
The poetry of this poet was chosen because of the emergence of the casting phenomenon in his poetry and its taking up a large space in it, and we limited our study to the collection (To telegrams that arrived late) so that the research would not be long and expanded and go beyond the framework that we defined for it.
I divided the research into an introduction, in the first section of which I dealt with the poet's life and his literary and critical works, then what was written about him in academic studies, and in the second section I dealt with the term study sample, then entering the research, which I divided into five sections: 1. Reference 2. Deletion 3. Repetition 4. Substitution 5. Linking. I concluded the research with a conclusion in which I summarized the most important findings of the research..

Kazuo Ishiguro’s Never Let Me Go (2005) is an outstanding and thought-provoking novel that clearly presents how a dominant ideology gradually influences the students, shaping and conditioning their minds through the use of the school as a hegemonic institution. This process can be understood through the concept of brainwashing, a powerful device used to manipulate and control the minds of individuals, compelling them to adopt the views, values, and ideas of a specific system, which eventually creates a dependent and submissive individual. This study aims to explore how Never Let Me Go illustrates the process of the students’ brainwashing, leading them to passively accept their predestined roles as organ donors within the framework of the dominant ideology. It examines the novel from a Marxist perspective, emphasising how the school, as a key educational and ideological institution, exploits the students by turning them into mere means of production, thus making them live in a distorted and false reality. In this way, the students’ condition mirrors that of the exploited proletariat in a capitalist society.

Causative verbs, in general, refer to the relationship between two events. It refers to an event that is stimulated by another person or power. Grammatically, it is used to describe a relationship between two events in which the second event is a consequence of the first event. The current research investigates how some students can not differentiate between the meanings of the common causative verbs (have) and (get). The researcher aims to evaluate the effectiveness of employing casual conversations in improving the relevant participants' understanding or/and correct usage/use of causative verbs (have) and (get). It is hypothesized that casual conversations can be used as a technique in teaching students the two causative verbs (have) and (get). An experiment is conducted on a group of students at Noor Al-Iraq Preparatory School for Girls. The students are divided into two groups: the control group and the experimental group. The control group are taught causative verbs with usual teaching methods while the experimental group are taught the two causative verbs (have) and (get) using short causal conversations that are presented for them using a projector. The results of the test reveal that the students of the experimental group provided correct responses to most of the items of the test whereas the students of the control group responded to a few items.

Pragmatics involves examining how context influences meaning, establishing a connection between language and situational factors. Deixis is a key element in this relationship. Without understanding deictic expressions within a text, interpreting its intended meaning becomes challenging. Recognizing deixis within literary works facilitates clearer understanding and interpretation. Levinson (1983) and Fattah (2011) categorize deixis into five types: person, time, place, discourse, and social deixis. Each type has its own impact in short stories. This study employs a descriptive qualitative approach because it identifies and analyzes types of deixis in Muhammad Fariq Hassan’s Kurdish story, “Pashmawei Merdmndalek,” which is published in 19/8/2011, and to find the answers of these questions: What roles do spatial and temporal deixis have in making up realistic fiction in stories? In what respects does deixis make readers feel closer to the characters and make the story more emotional? Using "I" and "we" involve first-person deixis, so how does that affect our view of the character’s feelings and problems? How does using different social deixis highlight the power relationships between people in a story?
The methodology includes a close reading of the text, identifying deixis items, and categorizing them according to the five types. The findings reveal that the total deixis instances amount to 453. Person deixis is predominant, appearing 236 times (52%), followed by temporal deixis with 164 instances (36%). Discourse deixis occurs 21 times (4.6%), place deixis 20 times (4.4%), and social deixis 12 times (2.6%).

This study discusses that Dickens in his novel Great Expectations uses clothing and reading not only as symbols of class, but as tools for shaping the matter of identity and enforcing or resisting social expectations. This research aims to discuss and study the social classes and the role of clothes and reading in Great Expectations novel which is written by Charles Dickens in Postcolonial framework. The title will be discussed by referring to the themes, symbols and scenes. The introduction presented a brief summary of the author’s life, his important works, his writing style and his literature period. After the paragraphs of Charles Dicken’s life, his method of writing, his aims through the books and Victorian period which he belongs to. The role of Clothes presented to show what Dickens wants to present with, and what is the relation between clothes and social classes. Also another idea was discussed in this article which is the self-improvement theme through the character of Pip and his dreams in postcolonial thoughts. This research also aims to provide a more comprehensive comprehension of Dickens' societal critique, specifically with relation to the delusions surrounding material wealth and the transformational potential of education. The study's ultimate goal is to demonstrate how Great Expectations poses timeless queries regarding class, identity, and human development in addition to reflecting the socioeconomic circumstances of 19th-century England. Finally, the conclusion presented a clear image and a brief summary of the topic to the reader to comprehend the main points of the work.

The novel as a literary genre emerged with the rise of the middle class and their political ideology of nationalism. The emergence of a postcolonial national identity in modern Iraq accompanied the spread of the novel genre as a key cultural medium that helped to formulate the national identity of the new state. Much has been written about the Iraqi novel especially when it starts to gain much popularity after the 2003 American invasion of the country. However, it has been usually studied in the context of literary criticism via its different schools and approaches. This paper studies the Iraqi novel at the turn of the century as a cultural phenomenon that not only represents but also formulates the national identity of the contemporary Iraqi state. To avoid generalizations, the paper focusses on two significant novels by Iraqi writer Ali Bader: Papa Sartre (2001) and the Tobacco Keeper (2008). The paper follows combines textual analysis of the two novels with cultural reading of their larger context following Richard Johnson's (1986) approach of studying cultural phenomena via the three phases of their production context and formulating conditions, their status as texts to be culturally consumed and analyzed, and finally the responses or outcomes that emerge from consuming these cultural texts. This three-phase approach provides rewarding insights into the selected literary texts as they function and interact within their cultural space, redefining and remaking the fragmented and problematic identity formations that they are written in and that they engage with.

Psychoanalysis evolved significantly and rapidly in the early twentieth century, intertwining with literature in most of its aspects. The story of the Oedipus complex was and remains the first spark for its declaration as an independent theory by Sigmund Freud, the psychoanalytic pioneer and Austrian neurologist. Frank O’Connor’s story, “My Oedipus Complex,” once again recaptures the fragrance and depth of the theory. This article aims to illuminate the psychological state of Larry, the male child, during the period of his father's presence and absence, as well as the ways in which these two binary oppositions influence and shape his personality, his perception of his father, and his relationship with his mother. It argues that the father’s presence and absence have a direct impact on the development of the equal, symmetrical, and competitive relationship between the male child and his father. It concludes that the absence of the father gives the male son a sense of possession, control, and dominance over the space of his presence with his mother, his closeness to her, and the space of the home, as he is the only dominant male. The father’s presence also disrupts the male child’s state of mind and makes him feel that he is a competitor to his mother and the home. This leads to a difficult psychological environment that breeds domestic conflict, which is framed by the psychological conflict of the male child throughout the father-son relationship narrative.

Metatheatre and social media are rich and complex subjects for investigation in modern American drama. The intersection of social media and metatheatre reflects the complexity of modern communication. In a time where personal live interaction is dominated by digital engagement, theater should be changed to integrate with these aspects and to question conventional narrative structure by using new techniques to attract audience. This paper investigates metatheatrical elements in relation to social media and its effect on contemporary life. It tackles two contemporary plays: Annie Baker's The Flick (2014) and Lauren Gunderson's Silent Sky (2016). Baker and Gunderson's works utilize metatheatre as a device to engage the audience in reflecting their own experiences with social media. They use self- referential techniques to illuminate the boundaries between illusion and reality to encourage the audience to compare their visual interaction with their real daily lives. In both plays metatheatrical moments explore the effects of social media in societal issues.

Changes are part of the continuity of any language process and represent its constituent parts. Different linguistic periods (from an etymological point of view) may be the best evidence of this nature of language. Identifying Phonological and semantic changes according to historical stages is important, as the nature of the quality and quantity of changes can be determined, as well as the progress and delay of the changes, which is done by finding the roots of words. Also, not all words of a language have roots and are clear, because over time many words are vague and unknown, or at one stage the word has disappeared and did not enter the next period of the language, this is due to internal and external factors that cause changes in language.
Iranian languages have a share root and originated from the same language, separated over time. The presence of share words and the proximity of grammatical structures of these languages indicate their ethnic relationship. Iranian languages are a branch of the Indo-Iranian language family, which also belongs to the Indo-European language family. Iranian languages have gone through several different periods and conditions, the difference between these periods is determines by three stages: (Old, Middle, New). In each of these stages, the remains of several languages. The remains of four ancient Iranian languages remain: Mady, Sakay, Avesta and Old Persian. These languages were closely related to each other. The language considered to be the mother of these four languages is called Old Iranian. Kurdish, as one of the new Iranian languages, is a branch of the northwestern Iranian languages, while Persian belongs to the southwestern branch (Western ancient Iran). In the Middle stage, according to the geographical proximity of the languages to Kurdish, the languages of western Iran (Sassanid Pahlavi, Ashkani Pahlavi) were used. This study attempts to determine the phonetic and semantic changes through the roots of words for those (Yai) base that have obvious roots.

Languages are constantly changing over time, so that new words become common and used, while old words may become less common or extinct. This phenomenon is called lexical growth and change. This research is entitled (Lexical change of Khoshnawaty sub-dialect), discusses the changes that have occurred in terms of lexical lexicons of the dialect Grammar and phonetics within a language are somewhat closed systems, while the culture of each language is determined by the constant development and changes in the society in which the language is used it fits. Therefore, the lexical system is a relatively open system, which in today's world constantly has a logical outcome. This study presents both internal and external factors as causes of language change, but focuses on investigating additional linguistic factors related to lexical change, addition and loss Lexicon in an era of increasing global technological progress and movement. The influence of sociolinguistics, politics, exposure, historical motives, technology and other external factors in the study as the additional linguistic motives behind this The process of lexical change is discussed.

This study explores the poetic purpose in the works of the contemporary poet Qabad Jalilzadeh, not through traditional stylistic approaches, but rather through an analysis grounded in the poet’s own intellectual and philosophical framework. The research investigates selected poetic texts that place the poet himself under scrutiny, raising questions about whether the poetic intent was genuinely the driving force behind the structure and content of the texts, or whether it served as a contrasting element to be challenged or reversed.
The poet often presents a poetic intent, only to contrast it immediately with its opposite. While some of Jalilzadeh’s texts may appear to deviate from dominant societal beliefs, a closer examination reveals a deeper internal structure in which the poet expresses alternative views. His mode of thought and creative composition differs significantly from common perceptions, particularly regarding religious and sacred themes, which he views through a distinct and often critical lens.
This contrast is revealed through both internal and external paradoxes that shape the poetic discourse in his works.

Historical criticism is one of the critical approaches that studies the text from outside the literary text and is more concerned with the external factors that play an important role in the structure of the text and is interested in the historical dimension in the text. Among the critical approaches or theories of this critical approach, there is a critical approach or theory led by the French critic (Hippolyte Adolphe Taine), which explains literary texts in terms of three inevitable natural laws or elements such as: race, time and environment. (Taine) believes that literary texts are the result of the effects of these laws and three elements, which affect, on the one hand, the emergence of literary texts within the framework of a system of natural laws and subject them to this system; like any other system. On the other hand, (as Taine pointed out), they can be considered critical standards and principles in the process of studying the literary text, and the critic must adhere to these factors and three laws and study the author and the literary text as two basic pillars of the literary creativity process from the perspective of the three laws and elements.

One of the fundamental components of cognitive semantics is the use of image schemas, a concept introduced by George Lakoff and Mark Johnson. Image schemas aim to conceptualize abstract and mental notions through embodied experience, reflecting the interaction between language, cognition, and physical and social reality. Among the most prominent types of image schemas are the container, path, and force schemas.
This study adopts a cognitive-analytical approach to examine the metaphorical usage of two key human organs—*the eye* and *the heart*—in the poetry of the renowned classical Kurdish poet, Mahwi. Through these bodily references, Mahwi constructs profound cognitive and spiritual meanings.
The findings reveal that Mahwi frequently employs the container schema, portraying the eye and heart as vessels that preserve human emotions such as hope, anxiety, longing, and sorrow. Simultaneously, he utilizes the path schema to illustrate the dynamic relationship between the lover and the beloved, framing the eye and heart as channels for mutual emotional movement. Additionally, the force schema is applied metaphorically to express the poet’s experience with struggle, pain, and internal resistance. Through these image schemas, Mahwi succeeds in crafting rich poetic imagery that connects physical embodiment with abstract cognition.

This paper, entitled "Polysemy: Identification and Analysis Across Linguistic Frameworks," offers a comprehensive examination of polysemy as a linguistic phenomenon through the lens of major theoretical traditions. The study systematically analyzes how polysemy is conceptualized, defined, and identified within traditional linguistics, structuralism, generative linguistics, functionalism, and cognitive linguistics. For each theoretical framework, the paper elucidates the distinctive methodological approaches and analytical criteria employed to distinguish polysemous words from. While these linguistic paradigms approach polysemy from divergent theoretical perspectives—ranging from structuralism emphasis on semantic relationships to cognitive linguistics' focus on metaphorical extension and radial categories—they converge on a fundamental understanding of polysemy as the phenomenon where a single lexical form encompasses multiple semantically related meanings. Nevertheless, significant differences emerge in how these approaches establish semantic relatedness, determine meaning boundaries, and explain the cognitive and historical processes underlying polysemous extension. The research aims to provide a critical comparative analysis of these theoretical frameworks, highlighting their respective contributions to polysemy research while identifying their methodological strengths and limitations. By synthesizing these diverse approaches, this study seeks to advance our understanding of the complex mechanisms governing lexical polysemy and its centrality to linguistic theory.

Following the dissolution of the Ottoman Empire after the First World War, the Turkmens—regarded as remnants of the former empire—chose to remain within the borders of the newly established Iraqi state. During the Ottoman era, Turkish served as the official language of the state, and consequently, individuals proficient in Turkish were trained and employed in both administrative and educational sectors. However, with the advent of British occupation, Arabic gradually replaced Turkish, leading to widespread unemployment among many bureaucrats and educators. Nonetheless, the British authorities soon recognized that education conducted solely in Arabic would not be effective in regions with a dense Turkmen population, such as the provinces of Kirkuk and Mosul. As a result, it was decided that the first four years of primary education would be conducted in Turkish, while Arabic would be introduced in the fifth and sixth years. In accordance with the agreement reached between the British administration and the monarchy, the educational and cultural rights granted to the Turkmens—particularly the right to receive education in their mother tongue—were maintained throughout the republican era. In the post-2003 period, the right of the Turkmens to mother tongue education was formally codified into law, extending this right across both primary and secondary levels of education. In light of these developments, this study will examine the trajectory of Turkish-language education in Iraq across three key historical phases: the Monarchical period, the Republican era, and the post-2003 era.

Müftî Efendi stood out as one of the well-known and respected poets of the 18th century in the literary world and lived largely in Kirkuk. The poet, who made a name for himself by gaining recognition in a wide geography during his lifetime, settled in Baghdad after being appointed as regent in the following years and continued the rest of his life there. The only work of Müftî Efendi that has survived to the present day is his divan, and this work is basically based on the mentioned divan. In this study, which consists of 84 leaves in total, is examined in detail, in the introduction section, general information about the poet's biography, literary direction and divan is mentioned, as well as his effort to produce a work compatible with the literary understanding of the period. When it comes to the main part, the prominent elements in the descriptions of the beauty of the lover in the poet's work are discussed with a detailed analysis. These depictions are based on aesthetic elements such as face, height and size; It is presented to the reader in a comprehensive manner, evaluated in the light of its artistic style, fine description ability and deep imagination.

Oral literary works such as folk tales, stories, and epics are among the most prominent elements of oral culture. They have emerged in response to the material and spiritual needs of societies and reflect aspects of daily life. These narratives are passed down orally from generation to generation, contributing to the preservation of cultural continuity.
The Turkmen of Iraq represent one of the essential components of Iraqi society, having inherited a rich folkloric heritage in which folk tales and narratives occupy a central position. These stories serve as vital mediums for transmitting cultural values, traditions, customs, and the social and cultural components of their community.
The oral productions of Iraqi Turkmen, in both form and content, parallel those found throughout the broader Turkic world. While many of these tales exhibit narrative characteristics, they are often dominated by an epic tone. Their influence is not limited to Anatolia but extends across the cultures of Central Asia. Research suggests that the oldest Turkmen tales in Iraq stem from ancient oral traditions, dealing with themes of heroism, battles, and the socio-cultural life of the Turkmen people.
This study aims to shed light on the narrative traditions of Turkmen folk tales in Iraq, with a particular focus on the traits and patterns of storytellers. It seeks to understand how oral transmission has contributed to shaping the cultural identity of the Turkmen.

Mufti Bekir Efendi of Kirkuk, who lived between the late 18th and early 19th centuries, is recognized as one of the significant poets of classical divan literature. Throughout his life, he held the position of mufti in Kerkuk and its surrounding regions and also served for a period as a deputy judge (nâib) in Baghdad.
The only known work of Bekir Efendi is his divan, compiled systematically. The first known copy of this divan is preserved in the Manuscripts Collection of the National Library of Ankara under the catalog number 06 Mil Yz A 7096. This copy was the subject of a master's thesis in 2012, where it was stated that no other copies of the divan were known at that time.
However, recent research led to the discovery of another copy of the divan in the private collection of Dr. Sabah Abdullah in Baghdad. This Baghdad copy consists of 129 leaves and includes several couplets and poems that do not appear in the Ankara copy. The presence of these unique pieces in the Baghdad manuscript offers new insights into the literary legacy of Bekir Efendi.
The primary aim of this study is to introduce these previously unpublished couplets and poems to the academic world, thereby contributing to the comprehensive evaluation of Bekir Efendi’s literary heritage and providing new material for future research on Ottoman-Turkish poetry.