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McGurk effect is a perceptual phenomenon in which subjects use information from both auditory and visual modalities to come into a unified percept. In the classic example of McGurk, when auditory /bɑ/ is dubbed over the lip movements of /ɡɑ/ , subjects report perceiving /da/. Although this illusion is not considered a universal one, it is experienced by the majority of subjects. The effect had been the subject of multiple studies in different languages. The present study is the first survey which examines this effect in Persian and Kermanshahi Kurdish language. Our main question is to examine whether the effect is significant in Persian and Kermanshahi Kurdish language. We also investigated the effect of gender on the occurrence of this phenomenon. It investigated McGurk in Persian and Kermanshahi Kurdish subjects. 121 (11*11) audiovisual stimuli were presented to 120 subjects (60 Persian speakers and 60 Kermanshahi Kurdish speakers). The Results demonstrate a reduced McGurk effect in both Persian and Kermanshahi Kurdish subjects; however, the probability of its occurrence is significant in Kermanshahi Kurdish. The phenomenon is highly significant when an auditory labial CV is dubbed with a visual velar CV for Persian subjects; however, for Kermanshahi Kurdish subjects the effect was robust when an auditory velar CV is dubbed with a visual palatal CV. The effect of gender (both presenter and subjects) on the occurrence of this effect is also studied in this research. Results show significant effect of gender on audio-visual perception of consonants. However, if the percept happens, female presenters significantly affect the audio-visual perception of the subjects.                     
 

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Research background
Aladdin Sajjadi (1978) has devoted fivepages to enigma in his book Kurdish Literary Texts and while giving a short definition of Chistan, he has also briefly explained 14 Sorani Kurdish Chistans. Ayubian Markazi (1982) has published 377 Sorani Kurdish enigmas with their answers. Afkhami (1982) has a book entitled Awa chiya? (What is it?) on the same subject. Ahmadi Dehgolani (1989) published 1001 Kurdish enigmas and riddles in a book of the same name.
Discussion
Sorani Kurdish uncles are divided into three categories in terms of shape: the first category, which is the most common, mentions the characteristics of a phenomenon, and the other side must guess that phenomenon from these characteristics as observed in the following example:
Asľi la šax-āna rezq-i la mal-ana, ø ʔāw-i la čom-ān-a
it is translated as: the primary ingredients of a soup are from the mountains, the food of the people of the houses, its water is from the river. Answer: The soup is local. Because this type of soup is made from vegetables and water and plants, they bring it from the mountains and its water comes from streams or springs whcih is the food of the family.
The enigma has the following features:
1. Every enigma is composed of two parts: the presence and suspension, or absence of the text. The first part includes the presence of the text, which includes the description of the requested item, and the second part, which is the suspended part of the text or the hidden part, can be identified by the signs and characteristics of the first part. The following features, except for item twelve, which consider the whole of the thing, are all related to the presence of the text.
2. The first part consists of one or more sentences.
3. The sentence or sentences of the first part are questions or news. It seems we can consider the deleted question "What is it?" For enigma that are newsworthy.
4. The enigmas are in two forms, poetic or prose.
5. Poetic enigmas have one of syllabic rhythms or prosodic.
6. The syllabic rhythmic enigmas are divided into short paragraphs of equal syllables and in them the stop or cut is also observed (Parsa, 2022, p. 167).
7. Rhytmic enigmas have rhymes at the end of the sections.
8. The features of the enigma are expressed in real, metaphorical, or a combination of the two (ibid., p. 175).
9. Sometimes descriptions, in pairs, form paradoxical images.
10. The descriptions used in the enigmas are literally simple and devoid of difficult vocabulary.
11. The adjectives in the enigmas in terms of rhetoric are all tangible.
12. The enigma is an allusion of the described (Parsa, 2022, p. 170).
The answer to enigmas which belong to the missing part in the text is often tangible and seldom sensible.
Conclusion
Sorani Kurdish enigmas can be divided into three categories: enigma, pseudo-riddle, and riddle. The frequency of riddles is higher than other cases and more than 98% of the statistical population have been allocated to this study. This kind of riddle is a rhetorical allusion from the determined. The second type, is called pseudo-riddle. The structure is not ironic, it is just a simple news sentence that people have made using their linguistic ability and because of the structure and arrangement of words - which has not been heard before - and because it looks like a foreign language expressing it through riddles make the listener confused. The audience of the first and second types is mostly children and adolescents. The third type is a kind of riddle and it seems that their audience is all people, including young people and adults. The riddles are generally related to livestock and agricultural communities. Nearly 98% of riddles are tangible things that, due to the social context of their time of creation, are mostly related to nature, but with the advent of technology, items such as guns, samovars, glasses and the like have also been included in them. The subject of objects includes animals, plants and flowers, fruits and vegetables, means of life, body parts and spiritual matters such as God, prayer, Quran and the like, which spiritual matters have the least frequency. It seems that the reason for this should be sought in cases such as having an emotional view of people in the past, lifestyle and most importantly in their audience. This is because most of the audience are children and adolescents, and it is easier for them, especially children, to recognize sensory matters. On the other hand, in addition to the entertainment aspect, Chistan can also have an educational aspect for these people, and certainly the senses and thinking towards them are more in line with their age. On the other hand, in addition to the entertainment aspect, Chistan can also have an educational aspect for these people, and certainly the tangible cases and thoughts about them are more in line with their age. In addition to entertainment, puzzles can play a good educational role among adolescents, increasing accuracy and focus in recognizing objects, testing intelligence, and enhancing memory. In addition, the enigma is a group game, and this strengthens the spirit of work and collective play in children, acquaints them with the rules of the game, and increases respect for the rights of others by following the rules of the game and observing the turn of others. It also strengthens responsibility in them. In addition, the collective nature of the game and its attractiveness are effective in reducing depression, and this can be a good platform for psychological and sociological research.
References
Afkhami, A. (1968). What is it?, Bookan.
Ahmadi Dehgolan, M. (1989). 1001 Enigma and riddle. Ahmadi.
Ahmadi, A. (2010). Kurdis Enigma and riddle. College.
Ayubian Markazi, S. O. (1982). Come and learn what the Kurdish enigmas are? Movafagh.
Blockbashi, A. (2009). Living in your own culture and looking at other cultures. Gol Azin.
Parsa, S. A. (2016). Analysis of Iranian folklore, relying on Kurdish oral literature. Culture of Kurdistan, 28, 11-22.
Parsa, S. A. (2022). Rhetorical analysis of enigma in folklore. Culture and folklore Literature, 10(43), 161-182.
Sajadi, A. (1978). Texts of Kurdish literature. Kurdish Information Group.
Shohani, A. R. (1995). Classification of the subjectal of Kurdish enigmas. Popular Culture and Literature, 2(1), 135-158.
Tafazli, A. (2015). History of pre-Islamic Iranian literature (edited by Zhaleh Amoozgar). Sokhan. 

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This paper investigates the conflation of “Path” conceptual semantic in Motion events in the Central-Kurdish (Sorani) Language, Ardelani Dialect, in light of Talmy notions in this regard. According to Talmy, in each Motion event, four main elements i.e. “Figure”, “Ground”, “Path” and “Motion” are involved. These conceptual meanings can be lexicalized either on “Verb Root” or on “Satellite”. By considering a conceptual meaning like “Path” and investigating the surface element that shows it, we can define the typology of languages as “Verb-Framed” or “Satellite-Framed”. In this paper, after analyzing sample sentences containing “Path” concept, in addition to showing the way this concept is lexicalized in Kurdish, we would define typology of Ardelani dialect among Indo-European languages. Data used in this paper is a selection of 23 sentences extracted from a corpus of 890 sentences containing Motion event that have lexicalized Path concept. These sentences have been produced by 18 different native Ardelani speakers in three different groups.