Literary interdisciplinary research
Nahid Behmanesh; Foroogh Kazemi
Abstract
Introduction
According to the Conceptual Metaphor Theory, metaphor is the result of cognitive patterns in the mind and it is part of the thought. In this view metaphor is a mechanism for conceptualization and each concept to any extend abstract and complex, can be structured by various metaphors which ...
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Introduction
According to the Conceptual Metaphor Theory, metaphor is the result of cognitive patterns in the mind and it is part of the thought. In this view metaphor is a mechanism for conceptualization and each concept to any extend abstract and complex, can be structured by various metaphors which each of them is a part of comprehensive metaphorical systems, together achieve the complex goal of describing that concept with its all aspects as we understand them. Although such metaphors do not present a single continuous objective image; they are overlapping and hence have coherence.
World concept is an abstract concept that has been usually taken into account in Persian literature. In present research the main issue is to study the overlapping of “world” structural metaphors in Sa’adi’s and Parvin’s poems. This study has been concentrated on “world” structural metaphors to answer the following questions: a) what are the structural metaphors of “world” target domain in Sa’adi’s and Parvin’s poems? b) How is metaphorical coherence and overlap of “world” structural metaphors in both poets’ poems?
A study that has paid its attention on overlapping and coherence of metaphors is for Hezaji and other (2020) by the name of “The Process of Coherence between the Conceptual Metaphors of the Holy Quran”. The researchers found Quran’s metaphorical language has offered coherence to all the desired concepts and thoughts towards its main goal. Among studies have been done about Life concept that is similar to World concept is Charteris-Black’s study (2017) that has surveyed metaphors of competition and ideology. He concluded that the effort for the creation of power is the result of ideological metaphor “Life as a race”. Luo (2018) by a corpus-based study on Life concept has discovered Chinese Life metaphors on the base of the cognitive linguistics approach.
This research is a theoretical descriptive-analytic research. To find answers to questions, after mentioning the background; first Lakoff and Jhonsn’s (2003) cognitive perspective about metaphors and metaphorical coherence has been studied. Then based on the concepts of this view, the overlapping of metaphors of “world” in poems of Sa’adi and Parvin has been examined. Data have been gathered from Sa’adi’s (2002) and Parvin’s (2018) Ghasides and Ghetaas by taking notes. For discovering “world” structural metaphor, it was an attempt for extraction of both categories of explicit and contextual metaphorical mappings from the text through a deep studying. Then quantitative and qualitative comparison and analysis was done. It is noteworthy that some poems have had more than a “world” conceptual metaphor; therefore they have been repeated in related conceptual metaphors. In present research for each poet 1200 Ghasides and Ghetaas were chosen by random sampling method.
Review
The survey of the structural metaphors of “world” in Sa’adi’s and Parvin’s poems shows because of the abstract essence of the concept and hence lack of its clarity, both poets have tried to express it through metaphors. Metaphors “world is journey”; “world is building”; “world is farm” in both poets’ poems convey a solid cultural foundation and are overlapped and hence have coherence. The base of overlapping of the mentioned metaphors is highlighting surface, progress, and content in a different way. In “world is journey” the surface can be passed by a specified program, in addition; its content is our behaviors on this path. In “world is building” the surface is the foundation and its content is life. In “world is farm” the surface is covered by careful attention to actions and behavior and its content determines the type of the life after death. Although each of the World metaphors in both poets’ poems makes understandable one aspect of life; altogether concentrate on all aspects of “world”. These metaphors in both poets’ poems grounded in correlation within their experience and conception of world; however, metaphorical variety of “world” concept is more in Parvin’s poems, generally there is an overlap among their aims.
Conclusion
The findings show among 94 extracted “world” structural metaphors, 21 have been seen in Sa’adi’s poems and 73 have been discovered in Parvin’s poems. Common structural source domains in both poets’ poems for conceptualizing “world” are building, journey, sea, farm, economy and war. Furthermore, the frequency of occurrence of structural metaphors “world is journey”; “world is building”; “world is farm” is high in both poets’ poems. The metaphor “world is farm” refers to the importance and role of how to live and shows the content of life for achieving the goals. The mentioned metaphor is overlapped with metaphors “world is journey” and “world is building”.
Literary interdisciplinary research
ayoob moradi; Farhad Doroodgarian
Abstract
While challenging this view, Lakoff declared that the nature of human thinking is metaphorical and the human mind uses tangible things to understand abstract concepts. One of the areas where the mind and language take help from metaphorical images is the issues related to healing. Persons, use metaphorical ...
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While challenging this view, Lakoff declared that the nature of human thinking is metaphorical and the human mind uses tangible things to understand abstract concepts. One of the areas where the mind and language take help from metaphorical images is the issues related to healing. Persons, use metaphorical language due to explain experiences related to illness. An issue that provides the possibility to modify the way the patient face the disease by manipulating the metaphorical system. in this research, an attempt has been made to analyze the book "From Qaitariya to Orange County"in an analytical-descriptive way, focusing on images related to the field of illness and healing. To conduct the research, all the images related to the subject, and among these, 101 samples that included images containing the narrator's evaluations about the disease were analyzed. The results show that metaphors related to disease, such as enemy, monster, sports competition, ruthless commander, prison, melting element, mob, companion, submerging element, crushing element, abyss and storm, respectively, are the most frequent in the text. The images in all of which show the narrator's negative view of the disease. issue that has caused more and more mental and physical erosion of the patient.
Literary interdisciplinary research
maryam dorpar; mozhgan mirhoseini
Abstract
The nature of metaphor is collective and communal, and since historical issues play a role in the selection of the origin of metaphors and their cognitive function, in the present research, the reasons for the emergence of the conceptual metaphor "the lover is light" in Persian love poetry are discussed. ...
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The nature of metaphor is collective and communal, and since historical issues play a role in the selection of the origin of metaphors and their cognitive function, in the present research, the reasons for the emergence of the conceptual metaphor "the lover is light" in Persian love poetry are discussed. Therefore, firstly, the descriptive-analytical method was used to analyze the lyrical poetry of Sa’di and Monzavi, and then, the motifs of the sun were studied and analyzed using the comparative method. The results of the research show that in Sa’di's poem, one of the factors of the emergence of this macro metaphor is the lover's veiled face and the need to clarify the beauty of the beloved and how he is present, but in the Monzavi's poem where the beloved is not veiled, the cognitive functions of this metaphor change. It has been found significantly and the target area has changed from the lover to the lover, and the metaphor "the lover is light" has found creative aspects that are conceptualized from a different perspective every time. The role of the elements of the sun in the contemporary iranian images and the image of the female sun on the pottery show the extension of the metaphor "the sun is the goddess" which fits with the conceptual metaphor "the lover is the sun" in the Persian romantic sonnet.
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.
Literary interdisciplinary research
Ali Reza Shabanlou
Abstract
زبان شناسان شناختی، استعاره را ابزاری شناختی میدانند که بواسطة چیزی متعارف و تجربی، چیزی دیگر را میشناسیم. از نظر آنان استعاره در سراسر زندگی روزمره و نه تنها در زبان، ...
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زبان شناسان شناختی، استعاره را ابزاری شناختی میدانند که بواسطة چیزی متعارف و تجربی، چیزی دیگر را میشناسیم. از نظر آنان استعاره در سراسر زندگی روزمره و نه تنها در زبان، که در اندیشه و عمل ما جاری است و نظام مفهومی معمول ما که در چارچوب آن میاندیشیم و عمل میکنیم، ماهیتی اساساً استعاری دارد. آنان مدّعیاند در نظریههای سنتی، به رابطة استعاره با تفکر توجّه نشده است؛ بلکه فقط به تعابیر زبانی استعارهها در شعر و ادبیات توجه کردهاند و بین زبان روزمره و زبان ادبی تمایز نهادهاند. از این رو تعریف جدید را در تقابل با استعارة زبانی، استعارة مفهومی نامیدند که دارای ویژگیهای چون یکسویگی نگاشت و اصل تغییر ناپذیری است و به انواعی چون استعاره متعارف و بدیعی و تصویری تقسیم میشود. در این مقاله، نظریة استعاره مفهومی و برخی از تناقضهای درونی آن را نقد کردهایم که برخی از نتایج عبارتند از: شناخت و فهم استعاری نیست بلکه قیاسی است؛ استعاره مبتنی بر شباهت است و تغییر ناپذیری اصل معتبری نیست.
Literary interdisciplinary research
hashem karami; nasrin aliakbary; zaniar naghshbandi
Abstract
Our conceptual systems that we think about have a metaphorical structure that appears as conceptual metaphors in human culture, art, and customs, and this can be discussed in the discussion of cognitive linguistics. Conceptual metaphors objectify mental matters and evaluate the attitudes of poets and ...
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Our conceptual systems that we think about have a metaphorical structure that appears as conceptual metaphors in human culture, art, and customs, and this can be discussed in the discussion of cognitive linguistics. Conceptual metaphors objectify mental matters and evaluate the attitudes of poets and writers in different areas of this category. One of these abstract concepts is time. The present research has been done in line with this issue and based on the mentioned theory, in which the concept under discussion in the works of Mohammad Javad Mohabbat and Parto Kermanshahi has been analyzed. In the works of the mentioned poets, time becomes objective in different ways, Kermanshahi ray sees time as a bloody human being and Mohammad Javad Mohabbat sees time as a generous human being, the view of two poets on the category of time in the discussion of zoology They are also very close to each other and look at time with a negative view. Sometimes time appears as a curtain in their poems and sometimes as countable objects; they refer to time as an enclosed space, with different attitudes. This research has been done with a descriptive-analytical method in which, while objectifying the concept of time, we have explained and interpreted the commonalities and differences of different fields for the audience. Findings show that the view of Mohammad Javad Mohabbat and Parto Kermanshahi in objectifying the concept of time with nature is also prominent, but in all cases above,
Anahita Partovi; Soheil Saadatinia; Nadia Hajipour
Abstract
The present study is aimed to compare the conceptual metaphor of “grief” in Marsiya(written by Mullah Ali Fakher) and Habsieh(written by Masud Sa’ad Salman) poems, from cognitive semantics point of view. Data includes 4300 verses from selected Marsiya and about 18000 verses from Habsieh. ...
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The present study is aimed to compare the conceptual metaphor of “grief” in Marsiya(written by Mullah Ali Fakher) and Habsieh(written by Masud Sa’ad Salman) poems, from cognitive semantics point of view. Data includes 4300 verses from selected Marsiya and about 18000 verses from Habsieh. 12 names of mapping were found in Habsieh and 16 in Marsiya (including: “Power”, “Thing”, “pain”, “Disaster”, “Hardship”, “Human”, “living thing”, “Time/Event”, “Material”, “Element of nature”, “Container”, “fire”, “Utensil”, “Food”, “Captivity”,” Disease”, “Plant” and “culture” . 8 names of mapping are common in both Habsieh and Marsiya including: “Thing”, “Human”, “Fire”, “Material”, “Dish/container”, “Utensil”, “Food/edible” and “Disease”. But Habsieh and Marsiya are different in elaborating the feeling of “grief”. For instance “grief” with the name of mapping “Human” is a broody and depressed human being in Marsiya while in Habsieh , “grief” with the name of mapping “Human” is a friend and companion for a man who is alone in prison.
