Literary Genres

Communication effectuée le 15 mai 2010, dans le cadre du Séminaire Pierre Loti, sous la direction de Sophie Basch et Pierre Dupont.
Avec la participation de Suzanne Lafont, Sarga Moussa et Gaultier Roux.
Centre de Recherches sur les Poétiques du XIXe siècle (CRP19). Université Sorbonne-Nouvelle (Paris III).

Mezősi Miklós Musiké, logos és a deinon: a többszólamú próza születése a szofisták szelleméből Tragikus história: Aischylos, Sophoklés és Thukydidés Bevezetés Amikor Bulgakovnál, A Mester és Margarita első fejezetében a földre szállt Sátán bemutatkozik, okmányokkal igazolva kilétét, történetíróként-"историк"-aposztrofálja magát ("Igen, talán historikus is vagyok"). Majd hozzáteszi: "Ma este érdekes históriák színhelye lesz a Patriarsije Prudi". A gyanútlan olvasó talán nem sejti még, hogy e "históriák" deinos, azaz a jelenlévők számára rettenetes, hamarosan bekövetkező szörnyű eseményekre, azaz "önmagukon túllépő, a logosszal szorosan összetartozó sorscsapásokra" utalnak. Érdekes históriák színhelye az irodalom-történetírás is.... Jelen írás középpontjában három olyan fogalom áll, amelyek együttesen döntő szerepet játszottak az irodalom történeti fejlődésében. A zene és irodalom kapcsolatának, valamint a tragédiaköltészet prózába merülésének a leírására a musiké, a logos, valamint harmadikként a kettő közös szorításában lévő deinon ("rettenet; félelmetes dolog") szavak látszanak alkalmasnak. Első lépésként a musikénak és a logosnak a bekövetkező deinont létrehozó kooperatív poétikáját Aischylos Agamemnónjának "operajelenetén" mutatom meg. Ezt követi egy Sophoklés-kardal kulcsszavának, a "deinos" melléknévnek (újra)értelmezése, amelynek köszönhetően beláthatóvá válik a műfajok fejlődésének azon szakasza, amely mentén a dráma előkészíti a terepet a próza számára. A deinon a továbbiakban az új műfaj, a történetírás poétikája építőköveként funkcionál. A történetírás a legelső prózai műfaj; egyedül a görög világképben a Kr. e. 5. század derekától beálló változásokra új művészi eszközökkel reflektáló Thukydidés történetírása bizonyult képesnek a tragédia lényegi jegyeinek produktív átmentésére. Darien Shanske, aki az attikai tragédia meghatározó jegyeként írja le a deinont, ami "az önmagán túllépő, a logosszal szorosan összetartozó sorscsapásra vonatkozik", ugyanezt a fogalmat a thukydidési történetírás központi kategóriájává teszi meg. Shanske Thucydides and the Philosophical Origins of History című könyvében

The application of new media to 21st-century novels is the trigger of emerging narrative genres, which revolutionize the narrative panorama and leave space for innovative conceptual approaches. The influence of popular new media creates original circumstances for the development of new kinds of interaction between the storytelling and the reader/spectator, accentuating the rising need for social, multimedia engagements. The newest concepts and approaches of the emerging, wide fields of transmediality and intermediality in transmedial narratives are objects of the handbook ‘Fictions of the Internet’. From Intermediality to Transmedia Storytelling in 21st-Century Novels (2018) by Anna Weigel-Heller.

Dialogue and polemic are important sources documenting confessional strives between Catholics and Utraquists in the 15th century, widely used by historians. Unfortunately, they have not been theoretically reected. By adopting some notions by Thomas Nail, this study aims to provide a few  basic observations on the nature of the border between polemical and dialogical mode of speaking: the border cannot be easily deined by literary genre alone, the border is unstable and can shift even in a relatively short period of time; and nally border is not impenetrable, some elements can be used by both polemical and dialogical mode of speaking and both modes can coexist in one literary work, as is shown on example of Dialogus by Jan of Rabštejn.

From a Literary Work to a Movie and Back. Literary and Literary Studies Contexts for the Art of Screenplay
Screenplays are a paradoxical and ambivalent phenomenon. On the one hand, a screenplay is a literary genre and its development attests to the process of its emancipation from the power of fi lm and fi lm theory. On the other hand, however, the screenplay read as the text "is becoming a movie" already during the act of reading. The screenplay-as a quasi-literary phenomenon-can be a useful and inspiring tool in fi lm interpretation, as it opens up a variety of methodological possibilities.

RESUMEN Diálogo, carta, tratado, homilía, testimonia e incluso poesía son las principales formas de la controversia adversus Iudaeos, que recurrió a la exégesis del Antiguo Testamento como base de la argumentación. Las circunstancias históricas del desencuentro entre el cristianismo y el judaísmo afectaron en gran manera a los escritos de esta polémica, que van desde la apo-logía de los primeros tiempos a la reiteración de tópicos antijudaicos de la época del imperio cristiano. El uso de las formas literarias dependía en gran manera de la finalidad de las obras y especialmente de los destinatarios, aunque en muchas ocasiones no es fácil saber si eran los judíos, los cristianos o ambos colectivos. PALABRAS CLAVE: polémica adversus Iudaeos, literatura cristiana de época imperial romana, géneros literarios, apología cristiana, literatura grecorromana. LITERARY FORMS AND GENRES OF THE CONTROVERSY ADVERSUS IUDAEOS IN THE ROMAN EMPIRE PERIOD ABSTRACT Dialogue, Epistle, Treatise, Homily, Testimonia, even Poetry are the main forms of the controversy adversus Iudaeos, that resorted to the exegesis of the Old Testament as the basis of the argument. The historical circumstances of the disagreement between Christianity and Judaism have a direct relationship with the contents of this controversy: in the early life of Christianity the writings were apologetic, and during the Christian empire were repeated the anti-Jewish topics. The use of the literary forms depended on the purpose and the recipients of the works. In many cases, however, it is not easy to know wether the recipients were the Jews, the Christians or both collectives. KEY WORDS: controversy adversus Iudaeos, christian literature of Roman Empire period, literary genres, christian apologetics, Greco-Roman literature.

In this paper, I explore the ways in which Vladimir Nabokov incorporates different literary genres in his novel Ada or Ardor by analyzing the different elements and the examples of the literary genres identified in the narrative. I will also discuss the reasons for Nabokov’s choice of these particular genres in relation to the story, as well as his interpretation of the traditional forms of the literary genres in question.

Este trabajo parte de considerar anacrónicas las categorías de "novela antigua" y "novela romana", y de la inquietud por definir el género literario contemporáneo que guió la escritura de la obra. El autor propone leer Las metamorfosis como una fábula milesia, para lo cual emprende un doble camino: por un lado, estudia la tradición que comienza con las Milesíacas de Arístides de Mileto y la traducción de Sisena y que tiene como máximo exponente a Apuleyo; por otro lado, analiza Las metamorfosis en base a las características de la milesia.

Resumen: En este artículo presentamos las etapas fundamentales de la historia del desarrollo metodológico de la "historia de los géneros literarios" o también llamada "crítica de las formas" en los estudios del Antiguo Testamento. Proponemos delimitar los avances y búsquedas de esta metodología en tres períodos. El primero de ellos presenta a Hermann Gunkel y sus primeros discípulos. Exponemos sus propuestas fundamentales para la aplicación de la crítica y los logros principales obtenidos. El segundo período está caracterizado por los primeros intentos de sistematización y por grandes autores que desarrollaron el método. El tercer período lo consideramos el momento de mayor cristalización en la metodología; se produjeron diferentes manuales y obras que simplificaban su enseñanza al gran público. Finalmente se introducen nuevas propuestas y principios de aplicación, fruto del desarrollo de otras convicciones científicas en los estudios del Antiguo Testamento, que enriquecieron el método y le exigen hoy sustanciales reformas.

This thesis provides an overview of the literary characteristics of the Book of Jonah and discusses the literary categories that scholars have associated with it, namely historical, imaginative, or humorous literature. After a hermeneutical discussion of multiple genres within these literary categories that have been used to describe the Book of Jonah, this work concludes that the book is best described as a ‘didactic, satiric novella’.

Literature is an art, a product of society which produces and mirrors society as it looks at human beings at various levels, social and cultural sides out weighing the rest. Through its generic forms, literature depicts the human beings and how they cope with life. It is a mirror through which people perceive their behaviours, ape and correct where necessary and reject what is not benefitting them. With this regard, this study explores the social and didactic functions of oral literary genres with particular interest in proverbs from four languages used and taught in Rwanda viz Kinyarwanda, English, French and Swahili. The choice of the four languages goes with the researchers’ domains as language teachers in higher education in particular. The study is qualitative and bears literary analysis. Using paremiological perspectivism, the researchers throw light on proverbs as the tools for learning and teaching society; source of knowledge and ethical values for people to cope with life issues. It was demonstrated that most of the proverbs discussed are ethically and socially didactic as they warn, caution and teach about wisdom, respect, and various human values. Those oral literary genres are source of knowledge and wisdom which are pedagogical materials for human lives from generation to generation.

A História, como categoria ampla, debruça-se sobre objectos colhidos em diferentes suportes. De entre eles, destacam-se os testemunhos escritos.
Ainda que História e Literatura sejam campos de estudo distintos, eles são permeáveis e interpenetram-se em múltiplos níveis. Se, por um lado, é possível afirmar-se que toda a obra literária é influenciada de alguma maneira pelo contexto sócio-histórico da sua criação, por outro, somos obrigados a reconhecer que os eventos históricos são material de que a literatura se alimenta.
A crónica é exemplo desta intersecção entre a história e a literatura. Tida inicialmente como sinónimo de relato histórico, foi a partir do século XIX que ela se institui como um género que, vivendo na página do jornal, toma o quotidiano como matéria, reflectindo e teorizando sobre ele. Misturando o sério com o humor e a ironia, metamorfoseando-se em pequena narrativa, arrancando-se da página do jornal, a crónica tem vindo, nos últimos dois séculos, a instituir-se como género distintivo no panorama português, oferecendo quadros vívidos acerca do momento histórico que o cronista testemunhou e deu à interpretação dos seus leitores.
Assim, apesar de partir de uma abordagem ancorada nos Estudos Literários, a presente comunicação pretende analisar algumas crónicas de António Lobo Antunes e de Miguel Esteves Cardoso, produzidas entre as décadas de 80 e 90, num momento em que Portugal, perdidas as colónias e conquistada a democracia, abraçava o sonho europeu.
Como veremos, embora com enfoques e abordagens diferentes, os textos de Lobo Antunes e Esteves Cardoso oferecem ao leitor do início do século XXI informação preciosa para o entendimento da História nacional das últimas décadas.

Palavras chave: PORTUGAL – ANOS 80 E 90 – CRÓNICA

The first in Polish humanities study on litany written by an academic in the field of theory of literature with the use of the methods of historical and theoretical poetics. The book contains a concise reconstruction of origins of litany in the ancient cultures. The dissertation also deals with the character of connections between the Christian worldview and the analysed genre. It emphasises the thousand years lasting presence of litany in the Polish literature, where the poetic and religious elements were still intermingled. The participation of litany in the creation or development of the other literary genres is described on the examples of the forms of a troped Kyrie and canonical hours, acathist, lament, elogium, hortulus, preambulum, credo, poetic prose, European ghazal, modern alba and serenade. Methods of theory of versification are helpful to estimate to what extent the litany influenced the Polish, especially modern verse forms (the poems by Bak, Harasymowicz, Herbert, Iwaszkiewicz, Klejnocki, Liebert, Norwid, Pasierb, Podsiadlo, Rózewicz, A. Rymkiewicz, Slobodnik, J. Twardowski, Wierzynski, Wojaczek, Woroszylski and others). The book also deals with the typical for the Polish literature overrepresentation of women among the authors of litanies (Deotyma, Grossek-Korycka, Hartwig, Illakowiczówna, Kamienska, Konopnicka, Ostrowska, Szymborska, Zawistowska and the others) and the adoption of patriotic litany tradition by the poetry (models of litanies by Mickiewicz and Ujejski).

V. G. Borukhovich regarded the classics as a complex of different disciplines. In this he followed not only his university teacher S.Ya. Lurie, but also the St. Petersburg school of history and philology as a whole, to which he undoubtedly belonged. As a researcher and creative person, S. Ya. Lurie influenced many aspects of V. G. Borukhovich, namely: on the problems of his works, on his translations of the works of ancient authors into Russian, on the methods and principles of his research. S. Ya. Lurie and V. G. Borukhovich were both historians and philologists. In V. G. Borukhovich’s research activities history and philology formed a close unity and, in many respects, determined not only his specifics as a researcher of the ancient world as a whole, but also his approach to the study of ancient literature. V. G. Borukhovich studied the history of Greek literature during all periods of his life as a researcher: in Leningrad (St. Petersburg), Gorky (Nizhny Novgorod) and Saratov. He explored in detail the most important genres of Greek literature: epic, lyric, drama, philosophical and historical prose, oratory and mythography. V. G. Borukhovich investigated development of the literary process like a historian, and in the study of historical problems he widely used the methods of philology.

Cet article interroge la notion d’« éclatement » des genres à partir d’une étude de l’épique dans La Légendes des siècles de Victor Hugo. L’« éclatement » est à entendre en un double sens : non pas seulement dislocation et dispersion du genre en « petites épopées », mais aussi, plus fondamentalement, redéfinition de l’épique comme un mode spécifique de vision du monde, qu’éclairent les textes théoriques d’Auerbach et de Staiger sur l’épopée comme mode d’extériorisation et d’élucidation.

This paper examines the notion of “explosion” [éclatement] undergone by the epic genre in Victor Hugo’s La Légendes des siècles as a twofold phenomenon: not only the dislocation and dispersion into a multitude of “small epics” announced by the book’s subtitle, but more essentially a redefinition of the epic as a specific mode of seeing the world. Such a fresh approach is studied in the light of Auerbach’s and Staiger’s theories about the epic considered as a mode of exteriorisation and elucidation.

L’article ofereix una visió de conjunt del corpus de poesia lul·liana, des d'una perspectiva cronològica i formal. Situant cada text en el seu context de composició i en relació amb la seva tradició literària, és possible observar una evolució clara en l’ús del vers i de la rima com a formes de producció de textos. També es posa de manifest que la tria d'aquesta forma està estretament lligada a la recerca de mecanismes de promoció i difusió del missatge apostòlic i intel·lectual lul·lià per a diferents públics i en diferents contextos.

This article offers an overview of Ramon Llull’s poetic works from a chronological and formal perspective. By connecting every text with its context of composition and its literary tradition, an interesting pattern in the evolution of Llull's use of poetic forms emerges. It also becomes clear that Llull's purpose when choosing this form was the promotion and dissemination of his apostolic and intellectual message.

La satire : du genre littéraire au mode de representation 517 La satire : du genre littéraire au mode de representation Nadia N. Shama (*) Résumé L'objectif de cet article est de distinguer entre la satire en tant que genre littéraire et mode d'écriture. Je développe cette conception en retournant aux origines historiques de la satire dans la rhétorique traditionnelle. Ce travail est un travail comparatif analytique qui cherche à présenter une définition plus concrète de ce qui est connu largement comme « écrit satirique ». Pour ce faire je présente les trois actants de la communications satiriques tout en montrant le rapport qui existe entre eux. Je distingue et définit ensuite les différentes notions qui se trouvent dans les maintes définitions du mot satire pour mieux le cerner. En tant que mode, la satire peut loger tout genre littéraire, j'essaye donc de mettre l'accent sur la compatibilité entre le mode satirique et notamment les fromes brèves. Je passe ensuite à une distinction entre l'éloquence et la véhémence pour illustrer la différence qui existe entre la satire agressive et la satire qui fait rire. À la fin, je présente deux variantes de satires : la satire ad hominem et la satire humaniste. Mots-clés : Satire littéraire, mode satirique, formes brèves, communication satirique. (*) Maître-assistant à la faculté des lettres, Université Ain-shams

250 novels were published in Slovene between 1873 and 1918 as a feuilleton, near one half of them among the Slovene emigrants in the U. S. A. The production grew constantly, the newspapers, novelists and translators were clearly labeled as liberal (Slovenski narod, Edinost, Clevelandska Amerika) or catholic (Slovenec, Soča, Domoljub, Amerikanski Slovenec), so were the messages of their novels; only one was somewhere inbetween, the American newspaper Glas naroda. The share of the genuine novelistic production was one fourth (due to the liberal press in Slovenia) and was growing, among the source languages French was in the first place, followed by English, German, Russian etc.; the preference for Slavic literatures diminished with time. The first serialized novel in Slovenia was written in German (Jakob Alešovec, Laibacher Mysterien, Laibacher Zeitung 1868), the first Slovene one appeared in 1873 (Josip Jurčič, Ivan Erazem Tatanbah, Slovenski narod). The most prolific author was Miroslav Malovrh, the house author of Slovenski narod, writing predominantly chivalric historical novels, Henryk Sienkiewicz as the most translated author was ranked second, followed by Karl May, Alexandre Dumas, and August Šenoa. After the publication in newspaper, novels were regularly reprinted in a book form. Seldom this was not the case, hence the novels slipped into oblivion (Anton Mahnič, Josip Vandot, Zofka Kveder). In Slovene American press original novels were an exception (it serialized just Slovene popular classics), however, it published a lot of new translations (thanks to the editors Janez Trček, who was the most productive among translators, Louis J. Pirc, and Bert P. Lakner), which haven't been catalogized by Slovene bibliographers yet and were therefore more or less unknown: travelogue novels by Karl May, social novels by Victor Hugo, Émile Zola, anti-war novel by Bertha von Suttner etc. In Slovenia, Peter Miklavec was the most effective translator. Next to the title, the names of authors and translators were often not mentioned, or were replaced by the abbreviations or pseudonyms. The repertoir of the authors of the serialized novels in Slovene newspapers is unique and just partly comparable with literatures in other languages. The paper includes figures and charts, and is concluded with the chronological list of all novels published as feuilleton in Slovene newspapers, along with the names of identifiable authors, original titles, and the deciphred names of the translators.

Орчин цагийн монгол хэлний эх судлалын нэгэн гол хэрэглэгдэхүүн болох уран сайхны эхийн хэлбэр, бүтэц, хэв шинж, найруулга, хэрэглээний холбогдолтой зарим өвөрмөц жишээ баримт цуглуулах явцад монголын уран зохиолд харилцаа дуу, харилцаа шүлэг хэмээн нэрлэгддэг төрөл зүйлээс гадна бас ямар нэгэн зохиолын хариу юм уу түүнд хариулал болсон шинжтэй, бүхэлд нь харилцаат зохиол гэж нэрлэмээр өвөрмөц зүйл байгаа нь ажиглагдлаа.

Il problema della classificazione dei generi letterarî greci, com'è noto, è assai complesso, e non sarà oggetto specifico di discussione in questa sede 2 . Tratteremo, invece, un caso particolare che a esso si ricollega e che ha da sempre diviso le opinioni degli studiosi che si sono trovati, chi in un modo chi in un altro, a dover affrontare i vv. 411-452 della Teogonia di Esiodo. In tal occasione il poeta descrive i poteri della dea Ecate 3 .

Le roman de moeurs oppose une résistance à l ’étude de sa généricité en raison de la difficulté à penser ensemble les critères historiques et formels qui peuvent le définir. Sa lecture croisée avec l ’étude de moeurs développée par la littérature panoramique des années 1830-1840 rappelle la nécessité d’une approche contextuelle faisant la part belle aux supports, aux dispositifs éditoriaux et aux visées cognitives des textes, qui procèdent bien souvent d’un même projet d’écriture mêlant sociographie et fiction.

La Chambre claire rassemble quelques considérations sur l'essence de la photographie articulées autour de plusieurs clichés -des portraits d'inconnus essentiellement -réalisés la plupart par des professionnels. Cependant, au détour de la réflexion, le discours ne cesse d'emprunter des chemins de traverse. Cinq années après la publication de son autobiographie (le très formel Roland Barthes par Roland Barthes), l'auteur, en explorant le vaste champ de la photographie, suit un chemin introspectif qui l'amène, au fil du texte, à se (re)découvrir : ce travail d'auto-engendrement est ainsi lui-même travaillé par la question de l'engendrement, entre filiation perdue (en amont : la mère) et filiation impossible (en aval : l'absence de descendance). Et tout le lexique employé pour décrire l'acte photographique dit cette obsession de la filiation. À tel point qu'une intuition émerge : La Chambre claire, bien plus que Roland Barthes par Roland Barthes, est peut-être le véritable lieu du discours sur soi, en forme d'autoportrait oblique.

Leonid Frisman, prof., dr hab (Charków) Tatjana Awtuchowicz, dr hab., prof. UPH w Siedlcach На лицевой стороне обложки -главный корпус Дрогобычского государственного педагогического института имени Ивана Франко (ныне университет), фото Надежды Бучок; на тыльной стороне обложкифилологический факультет Донецкого государственного университета (надеюсь, здание не пострадало во время военных действий), фото Александра Кораблёва

This essay tries to map out place of Experimentations  introduced by P S Rege in modern Marathi lyrical poetry. Unexplored genre conventions, which mainly focused on 'print' and 'private' mode of poetic communication is the prime area of these experiments. Texts, on the one hand tries to deal with newly introduced notions of modern poetic discourse and on the other hand incorporates various Spech Genre of everyday Life in poetry. The essay signifies the importance of concept of experimentation not only in terms of style and form, but also with changing themes and visions.

Regarded as the high point of Chilean writer Roberto Bolaños (1953-2003) oeuvre, the novel 2666, published posthumously in 2004, is divided in five disharmoniously connected parts. In this thesis, I argue that 2666 assimilates different literary genres such as the American realist novel, crime fiction in more that one variant, and finally the bildungsroman. The first part of the thesis is dedicated to a close reading of the novel, analyzing its structure, the narrators modulation and Bolaño's stylistic changes in each section, in order to understand how such genres are assimilated. The authors main themes the link between ethic and aesthetic, art and violence are reached through formal analysis, in a constant dialog with other works that belong to genres which Bolaño tries to assimilate. By approaching 2666 this way, many questions are raised regarding two main issues: what sort of novel is 2666? And what does it represent to the literary writing in early 21st century? The book is often classified as encyclopedic and maximalist, and placed side by side with other long American novels; I disagree with those labels, and seek to show how limited they are, reflecting upon the way 2666 rejects common categorical interpretations. Based on connections the novel itself suggests, I establish a link between 2666 and modernist novels that deal with the concept of a total novel. I propose then a diachronic reading that claims that Bolaño recovers what is still possible from the modernist ideology, which gains new meaning in his own poetics, inseparable from the specters of failed utopias, the crisis of humanism, and the ubiquity of late capitalism in all its violence. The connection between 2666 and high modernism, however, is not stable or simple. It is through its gaps, leftovers, excess and disharmony that I develop the concept of a monstrous novel that assimilates other genres and exposes contradictions intrinsical to contemporary poetics.

ئه‌م توێژینه‌وه‌یه‌ هه‌وڵێکى شیکاریی-تیۆرى و پراکتیکییه بۆ خوێندنەوەی جۆره‌ ئه‌ده‌بییه‌کان، واتە ژانرەکان یان چەشنە ئەدەبییەکان له‌ ئه‌ده‌بى نووسراوى کوردیدا. تا ئه‌مڕۆ که‌مترین توێژینه‌وه‌ له‌م باره‌یه‌وه‌ ئەنجام‌دراوە، بەڵام له‌ ئه‌ده‌بى جیهانیدا بایه‌خى زۆر بەم بابەتە دراوه‌ و مێژوویەکی کۆنى هه‌یه‌. بە سەرهەڵدانی ڕێبازی مۆدێرنیزمی ئەدەبی، توێژینه‌وه‌ى ورد لەسەر ئەم مژارە پێشکه‌ش کراوه‌. له‌ به‌شى یه‌که‌می وتاری بەردەستدا له‌ ڕوانگه‌یه‌کى تیۆریکەوە باس له‌م مێژووه‌ ده‌که‌ین؛ له‌ ئه‌ریستۆوه‌ تا ده‌گاته‌ نوێترین ڕوانگە له‌م باره‌یه‌وه‌، وه‌ک ڕوانینه‌کانى ژێرار ژێنێت بە نموونە. به‌شى دووه‌م تایبه‌ته‌ به‌ کێشه‌ى جۆره‌ ئه‌ده‌بییه‌کان له‌ ئه‌ده‌بى کوردیدا. له‌ ڕوانگه‌یه‌کى تیۆریک و پراکتیکییەوە، باس له‌ ڕوانینى هه‌ندێ له‌ نووسه‌ران و ئه‌دیبانى کوردى سه‌رده‌مى نوێبوونه‌وه‌ دەکرێ و تیشک دەخرێتە سەر کێشه‌ى ڕوانینى ڕه‌خنه‌یى و زاراوه‌سازى بۆ جۆره‌کانى ئه‌ده‌ب. توێژه‌ر ته‌واوى سه‌رچاوه‌ کوردییه‌کان له‌ باره‌ى جۆرە ئەدەبییەکانەوە دەخاتە ژێر لێکۆڵینه‌وه. له‌ سه‌ره‌تادا له ‌لاى توێژه‌رانى کورد شیعرى لیریک و شیعرى ئێپیک هه‌بووه‌، پاشان شیعری دراماتیک وه‌ک تایبه‌تمه‌ندییه‌کى ئه‌ده‌بى ڕۆژئاوایى بۆ زیادکراوه، کە ئه‌مه‌یان به‌ لاوازی له‌ ئه‌ده‌بى کلاسیکی کوردیدا هه‌ستى پێ­کراوه و زیاتر لە ئەدەبی کوردیی سەدەی بیستەمدا دەر‌کەوتووە. پاشان ئه‌م دابه‌شکردنە لە ڕوانگەی توێژەرانی ئەمڕۆی ئەدەبی کوردییەوە گۆڕانى به‌سه‌ردا دێت، به‌هۆى ئه‌وه‌ى شیعر هه‌رده‌م ڕووبه‌رێکى بەربڵاوی داگیرکردووه. ته‌نیا دوو بن‌جۆر، یان ژێرچەشنی شیعر له‌ ئه‌ده‌بى کوردیدا زۆرتر لەوانی تر گەشەی سەندووە، ئه‌مانه‌ش شیعرى لیریک و شیعرى فێرکارین. چیرۆکەشیعرەکانی ئەدەبی کلاسیکی کوردیش خاوەنی مۆرکێکی گێڕانەوەیین و جێگای سەرنجن‌. هۆکارى سەرەکیی گەشەی هەندێ بن‌جۆر لە ئەدەبی کوردیدا بۆ تایبه‌تمه‌ندیى ئه‌ده‌بى کوردی کە لە وتارەکەدا شی‌کراونەتەوە، ده‌گه‌ڕێته‌وه.‌