Interdisciplinary Studies of Literature, Arts and Humanities

Abstract The concept of comparison has been so long-lasting and durable that can be taken into account as both a humanistic and social tradition. In the present study, with a view toward comparative literature, and from the point of view of the psychological theory of “pyramid of needs” by Abraham Maslow, the authors intend to analyze some classical works such as Faraj Bad az Shedah, Kalile va Damneh, Qaboos-Nameh, Tarikh Beyhaqi, and Ghazaliyat-e Hafez. Drawing on a psycho-literary analysis perspective, the purpose of the present study is to reveal the scope and capacity of each discipline in offering new horizons for future research. The results of this study show that the ideas proposed by humanistic psychologists to represent a motivational analysis of human behavior, such as the one proposed by Maslow, have already been considered in the Persian literature in an explicit or implicit manner. This study, for the first time in the Persian literature, analyzes realistic narratives and proposes two major findings: a) the effectiveness of a psychological theory in relation to literature is proven and b) a better understanding of the value of literary texts in representing mental and abstract concepts is gained.  

Abstract The Comparative Children’s and Young Adult Literature, a new area of comparative knowledge, is built in the intertextual relationship between Children’s and Young Adult Literature with comparative literature. The relationship of the Poetics and the comparison with the knowledge, puts both of them in the category of Cognitive methods. The explanation of the Territory of Research in this field has been examined in the other article of researchers, but knowing the methods of Problem-Analysis and Problem-Creating is also considered one of the necessary steps in this process of epistemology that has been ignored. Therefore, in this article, the structural logic of the relationship between the components, indicators and elements of the texts in a Coherent formulation is examined. In addition, answering to the question of how and what issues can be considered in the field of Comparative Children’s and Young Adult Literature is the concern of this article. The purpose of the article is to explain the method of identifying and creating a research problem in the field of Comparative Children’s and Young Adult Literature with the help of the Intertextual model of Genette's Transtextuality theory and to propose a structural and Poetics model with intertextual components.

Abstract This study explores the representation of intergenerational silence of women within contemporary Iranian crime literature, a silence viewed as a symbolic act embodying collective psychic continuity and functioning as a cultural mechanism of survival. Grounded in trauma and intergenerational memory theories, and emphasizing the concepts advanced by Caruth, Hirsch, and LaCapra, silence is portrayed not as absence but as a complex narrative articulation of pain and re-enactment of suppressed memory. The research aims to investigate processes through which remembrance and the transmission of wounds redefine feminine identity against patriarchal and cultural hierarchies of power. Using a descriptive–analytical approach and an interdisciplinary method, the study examines the correlation between crime fiction and trauma psychology through feminist and generational lenses in the Iranian novels, The Young Skull and Jordan's Crime. Findings indicate that silence functions not as narrative closure but as a platform for the repetition of the unsaid and gradual recovery of wounded memory, an unseen language acting as resistance and reconstruction of collective identity. Ultimately, trauma, intersecting with silence and transgenerational transmission, opens the possibility of restoring feminine discourse and reconstituting fractured subjectivity, enabling repetition rather than cessation.

Abstract Othering, as the basic political economy of identity construction, has been operative in human societies since ancient times, but it has been conceptually investigated only in recent times. Employing contrapuntal reading, the deconstructive strategy adapted by Edward Said from classic Western music, the present paper deals with the issue of identity politics in “Odysseus’s Tale of Trials” from Homer’s Odyssey to unravel the ideological subtext of this canonical romantic epic and give voice to the figures monsterized and suppressed by the hero and the narrative voice. It is argued that The Odyssey has significantly contributed to the construction of Western subjectivity, giving a sense of national or cultural identity to both ancient Greek people and modern Western man via setting them in opposition to their others. However, upon a contrapuntal reading, Odysseus is no different from the so-called savage, barbarous, villainous others he confronts in his quest and the identity constructed for both parties is merely a matter of convention and discursive power. Thus, the findings of this study challenge the commonsensical identity politics at work in Western culture, in the hope of paving the way for further critical readings of such classical texts and reevaluating their translations.

Abstract Adaptation studies gained a renewed focus on the understanding of the mutations contained in the area of film adaptation namely by drawing on theorists like Linda Hutcheon and Robert Stam. This being the case, studying the film adaptation is to work as a platform to detect the social, political and cultural changes of the history. Twain’s The Adventures of Huckleberry Finn as a nationally definitive work for the American literature has been persistently adapted to films since the advent of cinema. Mostly these adaptations occur at specific historical times in American history like Taurog’s adaptation of The Adventures of Huckleberry Finn (1931) that studies the existential reality of the novel during the 1860s. And as adaptation studies, in this perspective, expand the horizon for cultural materialists who investigate the historicity of the text, the type of thinking that is promoted in this study is how the film adaptation ideologically has challenged the core of this nationally definitive text of American literature to further probe into the social and historical issues of the time of adaptations.

Abstract Imagology in Comparative Literature: Knowing the Self from the Other's Perspective
 
Abstract:
 
The present paper examines imagology in comparative literature. Imagology is one of the most important and rooted areas in comparative literature since it is the foundation of comparative literature in France. Impression and influence which form the beginning of the French views of foreign literature depend on the pictorial knowledge of the other. An important part of this knowledge belongs to the culture of the "observer" and the ways in which he or she looks at another's image and in this view involves the culture in which he or she has inhabited. Thus, the present paper deals with the exotic images and literary stereotypes that have been created through the perspective of another. In the end, the paper draws on research on travel writing in the field of comparative literature by analyzing several travelogues. The paper will demonstrate that, at times, there has been misunderstandings about the subject in Iran. By analyzing and critiquing these examples, we emphasize that not every research in which there is a comparing of images belongs in the field of comparative literature.
 
Keywords: Comparative Literature, Exoticism, Imagology, Other, Self, Stereotype, Travelogue.

Abstract This research traces the changes made to Shakespeare’s Hamlet by The Simpsons which is a medium different from literature. In one part of The Simpsons, a TV series with global popularity, a short adaptation of Hamlet is presented. In this article, this series is examined to understand how the medium uses Hamlet to criticize the American life style. This study investigates the transition of canonical literature to popular culture and adopts an interdisciplinary perspective to search the interactions of literature and media. First off, the generic conventions of The Simpsons and the history of its characters will be explained, and then the questions posed by Linda Hutcheon in adaptation studies will be addressed. This research indicates that the adaptation of Hamlet in The Simpsons, on the one hand parodies the highbrow culture and canonical literature, and on the other hand criticizes the stereotypes of the American nuclear family through exaggerated humor. Cultural critics in the United States have critiqued The Simpsons' ideological content but in Iran, animations have rarely received critical attention. This article will investigate how The Simpsons have responded to high culture through double adaptation.

Abstract In interdisciplinary studies, the dialogue between philosophical topics and textual data in literature is of great importance, and in the meantime, the examination of Bakhtin's thought system in the field of philosophical anthropology and the theory of "otherness" is one of the important topics in this field. It emphasizes the need to stay away from the bipolar system and refuse to recognize "self" without interacting with "the other". On the other hand, literature and especially the novel, through the representation of the human world in the text, is a suitable platform for understanding this confrontation and dialogue in cultures and societies. Therefore, this research tries to do an intertextual analysis between the two narratives of "Malakout" by Bahram Sadeghi and " Miyan Hofrehaye Khali " of the Peiman Ismaili, focusing on the selection based on the common theme of the doctor's mission to the remote city, to investigate the institution of "self" and "Another" has dealt with two works with a different genre approach and will reach the conclusion that these two poles, in both of them, in addition to the process of change and transformation, are somewhat fluid in the narrative of "Malakout". In addition, this institution has a human and abstract aspect in the narrative of the Kingdom, but in the story " Miyan Hofrehaye Khali" it takes on more of an ethnic and cultural aspect.

Abstract Theorists of diaspora studies have considered three different states for immigrants who live far from their ancestral homeland: the desire to return to one's original homeland, the attempt to make the new land one's home and considering homeland as a fluid conception. Iranian-Afghan writer Alieh Ataee has also addressed this issue in her latest work, Koorsorkhi: A Story of Soul and War (2021). The present descriptive- analytical paper examines characteristics of the immigrants in this collection, based on the three perspectives mentioned above. The results show that due to the existence of unresolved issues and problems in Afghanistan and the permanent political unrest, a small number of immigrants are willing to return to their homeland. In contrast, there is a greater number of immigrants who are completely disillusioned with their ancestral homeland and want to create a home in the new country. There is also a group who is caught in-between their original homeland and their new home, and this constant confusion has caused serious injury to their psyche. Koorsorkhi points to a new situation to which the paper refers as the "borderline identity", a situation in which the immigrant consciously chooses when to be considered as Afghan or Iranian, depending on the circumstances.

Abstract One of the cases of research in the field of comparative literature is the study of cinematic adaptation. The scope of the present article is the study of John Rawlins' special interpretation of One Thousand and One Nights in the form of its recreation in the movie Arabian Nights (1942). This movie, which is named after the book, One Thousand and One Nights, has distanced itself from One Thousand and One Nights and has distorted it. This distortion or change inheres in the adaptation because Rawlins does not want to be completely faithful to the story and practically sacrifices fidelity to his creativity. The main issue of the research is that since the director of the film is a Westerner who represents the East, the question is whether this change is ideological and the film should be examined in the field of Orientalism studies. Has he distorted the East? The results of the research show that Rawlins has completely metamorphosed Shahrazad's character and introduces her as a female dancer who dances for Arabs and enchants them with her dance. Rawlins maybe interpreted as to have distorted the East and through this distortion of the East Rawlins maybe interpreted as to have presented stereotypical and negative images of the Orient. Rawlins’s adaptation maybe interpreted to portray the Orientals as autocrats, law-breakers, emotional, superstitious and authoritarian people.

Abstract Impressionism and existentialism are both schools of thought that consider the human and his/her existence as the center of the universe. In Impressionism, it is the individual who, as the creator and recorder of a moment, immortalizes it because he/ she is the one who experiences and then creates and represents that moment. Existentialism also maintains that philosophical thinking begins with the subject of human, not merely subjective thinking, and that life is meaningless unless one gives it meaning. The present study seeks to answer the question: why and how did both Alavi and Al-Gharbawi use a combination of impressionist-existentialist approach in their works: "The Station", and "the Only One" and "Meet" respectively? The importance of the research lies in its examination of a gap in criticism; it seems that interdisciplinary approach to criticism can offer a more comprehensive  study of the text. For this purpose, the current research makes an attempt to offer a new form of reading the text by combining the two schools of impressionism and existentialism. To do this, three short and very short stories have been selected, one from the contemporary Persian literature and the other two from the contemporary Arabic literature. This research is of analytical-descriptive nature. The results indicate that Alavi and Al-Gharbawi try to express the loneliness and emptiness of the life of the contemporary man. Although Alavi tends to associate this loneliness with gender criticism, both authors have been able to draw on impressionism and existentialism to reach an epiphanic moment of recognition and understand the feeling of philosophical absurdity.

Abstract Pirzad's novel A Day Before before Easter, delves into the evolving identity of Iranian Armenians, highlighting their diasporic and transnational identities, despite acknowledging historical roots. Based on the ideas of “hybridity” and “translation sites” as the framework, this study explores at how translation sites as symbolic spaces influenced the development of multiple and hybrid identities of Armenian and Muslim characters as well as the possibility of linguistic and cultural interactions between them. Three distinct translation sites, the church, the school, and the graveyard, were identified in this study. These sites revealed how the characters' identities were developed based on their interactions with Muslim Iranians, affecting their language, religion, and society. The school functioned as zones of connection and communication between Muslims and Armenians where some Armenians display hybrid, multiplied identities while the church functioned as a site of “counter-translation,” where Armenians maintained a solidified and diasporic identity, enclosed by their religious and ethnic boundaries. The study suggests that identity conflicts at the translation sites in the story created a space for negotiation, fostering reconciliation and the blending of national and Armenian heritages among the characters.

Abstract One of the fields of comparative literature is interdisciplinary studies. Interdisciplinary studies make connections between disciplines. The link between literary criticism and literature and translation is one of the interdisciplinary fields. This article deals with the Orientalist analysis of Burton's translation of One Thousand and One Nights. The main problem of the research is what was the reason for Burton's attention to One Thousand and One Nights and devoted attention to One Thousand and One Nights and why he chose to translate it? The aim of the article is to show that Burton's translation of Arabian Nights aligns with the tenets of Orientalism, suggesting that in translating One Thousand and One Nights, he viewed the West as superior and perceived the East, as portrayed in the stories, as lesser. The research method employed in this article is descriptive, analytical, and based on library resources, while the theoretical framework draws on Edward Said's Orientalist theories. The findings of this study indicate that in translating One Thousand and One Nights, Burton projected a sense of Western superiority and Eastern inferiority, using translation as a means to explore the East rather than appreciating its literary merit, a standpoint rooted in imperialism. This research showed that the translation of the Thousand and One Nights reflects Burton's orientalist attitudes and imperialist prejudices, and shows that he considered the translation as a tool for the superiority of European ideas against eastern culture and presents the East as an essentialist geography of lust to the world.  

Abstract Life writing, with an ancient history among mankind, has increasingly created a huge and interdisciplinary movement in scientific and research centers since the late twentieth century, especially in various fields of modern knowledge, especially humanities and social sciences such as anthropology, ethnography, psychology and sociology, in branches such as women's and gender studies, cultural studies, colonial studies and postcolonialism. But in Iran, despite the long tradition of writing life narratives and the growth of its modern examples over the past century and a half, not only do we not see Life writing studies, but even its necessity and basic concepts are not well understood. With the aim of recognizing this concept as an independent identity, emphasizing the necessity of initiating these studies, and presenting a perspective on it in Iran, this article has been written to outline the idea of biography and life writing and outline its generalities. Life writing is intended as an umbrella term to encompass all works that somehow contain a realistic narrative of human life in recording personal memories, experiences, perspectives, and feelings. In the broad field of "biographies" in a variety of formats and media, including written, visual, audio, and mixed types, This concept includes a wide range of writings in the description of a life or parts thereof, in various types of life writing, such as autobiographies, fictional autobiographies, memoirs, work reports, , collective biographies, memorials, testimonies, obituaries, wills, registration forms, personal resumes, obituaries, and even digital forms in blogs, tweets and stories, .

Abstract This study aims to explore the connection between meaning and form in the context of Iranian art, investigating the relationship between the structures of Persian literature and the principles of geometry and aesthetics in traditional Iranian architecture. In this approach, art is considered as the manifestation of unity in multiplicity, and the pattern of form emerging from meaning within the Iranian‑Islamic intellectual system is contemplated. This approach demonstrates that interdisciplinary studies are an effective tool for uncovering the hidden layers of connection between poetic language and the spatial organization of architecture, and can provide a new framework for a comprehensive understanding of Iranian art. The research method is qualitative‑analytical and based on the comparison between poetic texts and architectural spatial structures. Accordingly, five prominent examples of traditional Iranian architecture have been selected, along with poetic samples from Rumi, Hafez, Saadi, and Nezami as comparative exemplars. The analyses reveal that the pattern of geometric proportions present in the mentioned architectural works correlates semantically with key concepts of Persian poetry, such as unity and love (in Rumi’s Masnavi), balance and moderation (in Hafez’s ghazals), ascent and perfection (in Nezami’s Khamsa), as well as moral order (in Saadi’s Golestan). The findings emphasize the coexistence of meaning and form systems and the symbolic function of geometry in conveying philosophical and mystical concepts; thus, Iranian art can be regarded as a reflection of the interaction between intellect and intuition, and a blend of poetic language and geometric logic. In addition to explaining the theoretical foundations of the connection between meaning and form, the research outcome paves the way for quantitative‑conceptual analyses in interdisciplinary studies of Iranian art and architecture.

Abstract This article aims to indicate how Akhavān-Sāles- the greatest defender of Nimāei poetry- introduced Nimāei poetry as the superior poetry and norm against the rival and sometimes contradictory poetic currents of his period. Our approach is based on the theory of discourse analysis by Laclau and Mouffe. By analyzing how discourses are articulated in literary works, we examine the influence of broader social, political, and cultural elements on the creation and reception of literature. This approach will enrich our understanding of critical literary works and demonstrate the power of interdisciplinary research to provide a deeper understanding of the social and political contexts that influence literary texts. The results show that Akhavān, with his mastery and sufficient knowledge of Persian poetry and a tendency towards socially committed literature, deconstructed and rejected other poetic discourses by expressing their structural (aesthetics) and content flaws. By introducing Nimā’s method as a mythical approach, free from other poetic discourses’ defects and shortcomings, Akhavān endeavored to convince Nimā’s opponents and revealed the superiority of his poetic style and its distinction from other poetic currents. Akhavān’s embracing of classical poetry and thought and his attempt to adapt the intellectual and formal themes and roots of Nimā’s innovations with classical poetry’s style is the secret of his success in reconciling the traditional and modern thought in the world of poetry.

Abstract The discovery of the motives behind human actions turned into a controversial issue among philosophers during the seventeenth and eighteenth centuries. While supporters of libertarianism maintained that human actions stemmed from an inner will, the Necessitarians, on the other hand, believed human actions were an effect of previous external causes. David Hume, however, came up with a middle-way solution for this dispute which he named his Reconciling Project. This comparative study aims to discover the concept of the Reconciling Project in the works of Alexander Pope. To achieve this the article would elaborate upon Hume’s thoughts on the theme mentioned above expressed in the eighth chapter of his book An Enquiry Concerning Human Understanding entitled Of Liberty and Necessity. It would trace it to the works of Pope by analysing Pope’s views in Essay on Man and his notion of The Ruling Passion. It would be argued and concluded through a comparative method that Hume’s thoughts had found their way into the works of Pope, and both thinkers found human instincts as the real motive behind human actions. Through an intertextual analysis, it would also be concluded that this was either the direct effect of Hume's thoughts on Pope or that both figures were influenced by the same intellectual currents of the eighteenth century, Enlightenment, and secularisation.

Abstract Labor literature describes, explores, and reflects the difficult problems and conditions of workers' lives. Labor narratives voice the demand for justice and resistance against exploitation by workers, those who become victims of the capitalist system. Labor literature and critical criminology are closely related to the criticism of the capitalist system and focus on workers as vulnerable groups in society. The Woman in Men's Shoes is considered one of the significant works of labor literature in Iran, highlighting the challenges faced by workers in the workplace. This study, using Laclau and Mouffe’s discourse analysis method, aims to provide a deeper reading of labor narratives and, by focusing on corporate crimes against workers, depicts social inequalities. Furthermore, by examining the discourses of "workers/lower class" and "managers/upper class," it analyzes the hegemony of managerial discourse and evaluates the key factors involved in the disregard of workers’ human rights. The findings of this research indicate that commercial companies may resort to any means to gain profit. In such an environment, workers are exploited and subjected to corporate violence, and their human rights are violated. The novel The Woman in Men's Shoes shows how corporate crimes and the harmful behavior of capitalists are ignored, and workers become victims of structural inequalities.

Abstract Persian and Russian socialist realist literary works can be comparatively studied for their differences in language as well as the historical encounter between literatures of the two countries. The goal of this paper is to draw on the French school of comparative literature to study the influence of the Russian socialist realism on Persian literature with a focus on four famous Persian and Russian novels, that is, Maxim Gorki's Mother (1906), Nikolai Ostrovsky's How the Steel Was Tempered (1936), Bozorg Alavi's Her Eyes (1952) and Ahmad Mahmoud's Neighbors (1974). According to the results, the most important elements of socialist realism in the two Persian novels are: attention to the masses and the rise of the lower class, partisanship, typification, metamorphosis of the characters and apostasy, elements that did not exist in Persian novels before the emergence of Tudeh Party of Iran and the familiarity of Iranian writers with leftist ideas.

Abstract During the Arab literary movement and by the beginning of the Arab world's interactions with Europe in the early nineteenth century, comparative literature gradually spread to the Arab countries. Since then, comparative literature in the Arab world has faced ups and downs and has gone through various stages of development, and there have been many efforts in this respect, especially, in Arab universities as centres for its development. The emergence, development and different stages the comparative literature has gone through in the Arab world are topics that need investigation, and the present paper deals with this history. For this purpose, the paper focuses on universities and the relevant academic researches on this discipline until the end of the twentieth century through a historical analytical lens. The results show that although by the end of the twentieth century comparative literature in the Arab world has significantly evolved as a result of its development, growth and dissemination, compared to the Western world, it has only put behind its embryonic stage and the research still face many difficulties. Therefore, in general and even in comparison with other literary studies, comparative literature has not reached the status it deserves.

Abstract Literature and music have a close and complementary relationship with each other. In performance, poetry is the infrastructure of mind and the language of music, with which it has a strong connection. In fact, what melodies and musical instruments express through the sounds, the poetry manifests more tangibly via words. In this interdisciplinary research, the induction of sounds, due to the repetition of consonants and vowels, has been examined in the light of Murice Gerammont's theory and via a descriptive-analytical approach. Accordingly, the pragmatic axis shows the angles of inducing meaning and, more importantly, the effectiveness of poetry and the way music and poetry influence each other, which is examined via the introduction of examples of vocal music and, specifically, Akhavan Sales's "Dandelion" performed by Mohammad Reza Shajarian. Each vocal division in Iranian music has its own characteristics and expresses different moods, and both the composer and the singer should select the music division and vocal corners with the consideration of the meaning and the content of the selected poems. The results show that sounds and words, with clarity, brilliance and darkness, have been successful in conveying the two discourses of slight hope and overwhelming despair and that it is the sound which determines the color of the feeling of the music and instruments and makes the poetry and musical works more effective and lasting.

Abstract The purpose of the present article is to study two novels, A Shawl as Long as the Silk Road by Mahasti Shahrokhi and A Concise Chinese-English Dictionary for Lovers by Xiaolu Guo through Gayatri Chakravorty Spivak's perspective in her "Can the Subaltern Speak?". This descriptive-analytical research adopts a postcolonial approach to view the above mentioned novels comparatively with a view to elements and concepts such as language, marginalized other, Eurocentrism, patriarchy, ignoring female agency, subalternity, impossibility of self-expression for women, female dependency and the need to form a family and gain socio-economic status. The study shows that both protagonists are neglected in their destination country and in their romantic relationships, and their self-confidence is lowered. They cannot obtain a proper social standing, nor are they accepted in the society; they are always reminded of their difference from others in order to establish their subalternity. Despite being encouraged by their lovers to live according to a European lifestyle and their occasional success to follow the advice, Katayoun and Tswang still remain as "others" and outcasts who do not even have the power and voice to express themselves. Although both of these women try to express their opinions, at least in their personal romantic relationships, their condition and people's attitude towards them would not change as a result of this articulateness. In the end, neither of them succeeds completely. At best, they have been able to express how the Subaltern does not have the opportunity to speak out or to be heard. Even if she has gained knowledge about her status and conditions and strives to achieve her goals, the concerns of the Subaltern woman are not of much value- at least- from either the perspective of an imperialist system or that of a patriarchal society.

Abstract Idealists believe that understanding the filmic world and the world around it depends on the perception and the ways in which the mind of the audience work. Realists, in contrast, see re-creation and representation as a reflection of an external, undistorted reality. The views of Andre Bazin, the leader of the realist movement, have always been met with skepticism and opposition, and the idealists have taken advantage of this movement to explain different views on cinematic representations. In phenomenological theory in which Husserl plays a pivotal role, understanding representation is an intuitive and direct process. Phenomenologists emphasize subjectivity, the power of imagination in the representational experience, and the role that consciousness and awareness play in the independent existence of objects, whether imaginary or real. Their main emphasis is on analyzing the performance of the imaginative force, the emotional response, and the mental representation of the spectator's presence in the film's cosmos. Vivian Sobchack the phenomenologist of the present age, goes beyond this view and believes that films, like humans, can comprehend mental processes such as perception and have agential activity; therefore, they should be analyzed with these characteristics in mind. The present study adopts a phenomenological approach with the aim of revealing the viewer's perception of the cinematic representational experience. Hence, the research problem is to analyze and understand how the spectator communicates with the phenomenon of film and cinema. The research method is qualitative-interpretive.

Abstract This essay discusses the political dimensions of Omar El Akkad's American War and Kim Stanley Robinson's The Ministry for the Future, exploring their distinct yet interconnected critiques of governance, authoritarianism, and global cooperation in times of existential crisis. Drawing upon diverse political theories, such as Hobbesian social contracts, Arendtian distinctions between power and violence, and Marxist critiques of systemic inequality, the analysis situates these novels within the broader context of speculative fiction’s role in reimagining political systems. By examining themes of climate change, radicalization, systemic reform, and international diplomacy, this study illuminates the enduring relevance of speculative narratives as blueprints for understanding and addressing contemporary global challenges. These narratives not only critique existing power structures but also offer innovative perspectives on the possibilities of systemic reform. Ultimately, the essay positions speculative fiction as a vital tool for envisioning alternative trajectories for a just, inclusive, and sustainable future, emphasizing its transformative potential in shaping political and ecological discourse.

Abstract Abdullah Pashew and Mofdi Zakaria are contemporary poets who lived during the reign of Ba’ath in Iraqi Kurdistan and the colonization of Algeria by the French, respectively. As committed poets in such situations, the two have turned their poetry into a mirror for reflecting the suffering of the colonized Kurdish and Arab peoples and by emphasizing the necessity of decolonization, they consider revolution as the only path to freedom from the clutches of colonialism and occupation. In addition to the suffering caused by the occupation of the lands, feelings of humiliation and frustration as the main reasons for these poets' revolutionary tendencies, deprivation, cultural assimilation of the colonized people and other crimes have pushed Pashew and Mofdi to take action in the form of rejectionism and revolution. Due to a lack of independent research on the causes for Pashew's and Zakaria's tendencies for revolutionary action, the present paper intends to do a comparative analysis of this phenomenon as reflected in these poets' works. The main questions to ask are, how and in what forms the underlying factors for revolutionary action are manifested in their poetry and to which concepts these factors are tied. To do so, the author has used a descriptive-analytical and comparative method based on a sociological study of their motifs. The study shows that issues originated from the hegemony of colonization and occupation have forced these poets towards rejectionism and revolutionary action. The scope of Mofdi's revolutionary poems is much wider than Pashew's, but Pashew's poems express a much deeper anger, which is at times mixed with cursing and eruptions of rage and hatred.