sanaz taghipour hajebi; Kamran Pashaie; Parvaneh Adelzadeh
Abstract
Fear is one of the emotions that human beings have experienced throughout history, It has the same characteristics in almost all nations. With Conceptual metaphor, differences and similarities of cultures can be achived in statement and how. The present examines and compares this metaphor in the work ...
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Fear is one of the emotions that human beings have experienced throughout history, It has the same characteristics in almost all nations. With Conceptual metaphor, differences and similarities of cultures can be achived in statement and how. The present examines and compares this metaphor in the work of Afghani and Ishiguro, with method descriptive_ analytical and research data extracted within the framework of Lakoff and Gohnson with 57 case Fear conceptual metaphors in works of two author (29 case of Afghani and 28 case in Ishiguro works). The results show similarities between them and difference is less. Similarities were found in the origins of Living foundation , color of foundation hostility , sea, stagnation and inactivity, cold, death and matter.And the source domains fire, disease, weapons ,gambling and enemy were found in the Afghani works, but not in the Ishiguro. instead the source domain of the plant came in the Ishiguro and there are no Afghani works, that are different in the mapping name according to the sources. The main similarity of both is in the use of metaphors, which confirms the similarity by a difference of one percent.The ontological metaphor is in the Afghani works with 15 case and 26/31 percent and in the Ishiguro works with 14 case and 24/56 percent. In the structural metaphor, the mapping names of both are equal to 14 case with 24/56 percent. This slight difference also confirm the influence of culture and environment on the construction of fear metaphors.
saeedeh samimi; Parvaneh Adelzadeh; Kamran Pashaie
Abstract
The Karpman Triangle is a social or psychological paradigm that explains the interaction between people in a transaction analysis designed by Stephen Karpman. This paradigm identifies three psychological roles that subconscious individuals typically play in everyday situations; In the drawing model of ...
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The Karpman Triangle is a social or psychological paradigm that explains the interaction between people in a transaction analysis designed by Stephen Karpman. This paradigm identifies three psychological roles that subconscious individuals typically play in everyday situations; In the drawing model of the Karpman triangle, there are three sides. One side is called the savior, the other side is called the victim, and the other side is called the abuser. Each person has a main role and the most familiar role. Carpman calls this position the starting point. Although everyone has a role that they are most familiar with, when a person is placed on a triangle, he or she automatically rotates through all the situations and changes the maps. A leading article based on a psychoanalytic analytical approach will attempt to explain Tuba's character based on the Karpman triangle. What emerges from the retelling of Tuba's character in the novel is that Tuba's character rotates according to the Karpman triangle. And he moves in all three roles and plays a role in all three positions. It goes from the savior to the victim, and from the victim to the persecutor, in which the wandering is almost repeated and appears more in the role of the persecutor and the victim. Tuba gets stuck in the Carpman triangle and is in fact captivated by mental bases that result in nothing but despair and helplessness.
