1.Introduction
Persian and Kurdish literatures are among the richest and most prolific literatures in Asia and the world. A brief overview of the literary history of these two languages reveals that, due to their geographical proximity and cultural and economic exchanges throughout various historical periods and the present, numerous similarities can be found between the literary movements and trends in both cultures. Nima Yooshij (1895–1959) is one of the most prominent pioneers who liberated Persian poetry from the constraints of classical prosodic meters and presented a new poetic form and style to the audience. Similarly, Abdullah Goran (1904–1962) is recognized as the father of modern Sorani Kurdish poetry; he was the first to free Sorani Kurdish poetry from the strictures of classical prosody and syllabic meters, revitalizing the poetry with a fresh form and spirit.
This study aims to explore the following issues:
a) The historical and social contexts behind the emergence of modern Persian and Sorani Kurdish poetry, highlighting the similarities and differences between these modernist movements.
b) The similarities and differences of these movements in terms of cultural capital and habitus based on Pierre Bourdieu’s theory of practice.
c) The influence of the mindset, ideology, life experiences, and disposition of each modern poet in the emergence of modern poetry.

2.Materials & Methods
This interdisciplinary study employs a descriptive-analytical and documentary research method based on library studies and data mining through exploration of scientific online databases. Before commencing the analysis, the theoretical framework of the study is presented. Subsequently, based on the data derived from the theoretical framework, an examination of the poetry of the target poets is conducted.

3.Discussion & Result
3-1. The Field of Literary Production in the period of Nima and Goran
In the subfield of Kurdish poetry during Goran’s era, there exists a fundamental and essential difference from the subfield of Persian poetry in Nima’s time: the absence of the concept of “literary struggle” in the same form and intensity as it appeared in the Persian poetic subfield. In other words, on the one hand, because modernist Kurdish poets before and during Goran were to a considerable extent familiar with modern Ottoman and European literature and had been exposed to various forms of modern poetry, there was relatively little resistance to breaking away from the traditional structures of Kurdish poetry and moving toward free verse liberated from meter and rhyme. On the other hand, even if there were disputes or disagreements, they were never recorded or manifested in the form of literary polemics as clearly and explicitly as seen in Persian literary history.
3-2. Nima’s and Goran’s Cultural, Social, and Symbolic Capitals
A turning point in the economic capital of Nima’s family, which significantly contributed to his success, was the insistence of his family—particularly his mother—on enrolling him at the St. Louis School in Tehran. After graduating from St. Louis, Nima was employed at the Ministry of Finance with a modest salary, which meant he could financially support himself to some extent. On the other hand, his wife Aliyeh’s employment—with a stable income—also served as a form of economic capital for Nima, as her financial support during times when he was unemployed alleviated his concerns about poverty and household expenses.
Due to the forms of capital he possessed, Goran developed a new habitus, which became ingrained in him. By establishing a dialectical relationship between this habitus and his positioning within the Kurdish literary field, he was able to actualize this refined literary disposition, taste, and approach in practice. This action, as noted by Shayānmehr (2019: 53), "is shaped based on practical sense; it is not merely reliant on rational and calculated reasoning, but has a reactive dimension." In essence, it is a response to the transformations occurring in external social and literary fields.
4.Conclusion
The modern Persian and Sorani Kurdish poetry movements are recognized by prominent figures such as Nima Yooshij and Abdullah Goran. The findings indicate that the major political and social changes that took place in the late nineteenth and the first half of the twentieth century in Iran and Kurdistan constitute the primary and most significant reasons for the transformation of literature and reform of poetry in these two regions. The Constitutional Revolution and its aftermath, along with Sheikh Mahmoud’s uprising in Sulaymaniyah, stand out as the most prominent factors. Additionally, the presence of various forms of capital—such as foreign language proficiency, familiarity with and study of modern European literature and poetry, relatively stable economic conditions during certain periods of the poets’ lives, social connections, and access to modern educational institutions—led to the establishment of a shared habitus among poets like Nima and Goran.
The results also revealed that the modes of practice of pioneering poets like Nima and Goran were similar, and that certain common factors and shared experiences in their lives and literary activities contributed to the creation of poetry in new and modern forms and content. Their possession of shared cultural capital—such as knowledge of foreign languages and study of European modernist poets, an aesthetic sensibility grounded in literary criticism, and editorial involvement in journals such as Music for Nima and newspapers like Jin and Bayan for Goran—are among the most significant similarities between the two. The findings further show that the concept of “struggle” or “conflict,” which is intense in the subfield of Persian poetry between veteran and emerging poets, is not evident in the Kurdish poetic subfield. Moreover, unlike the Persian literary community, many fields, including the field of literary production during Goran’s era, were aligned with and served the political field.