Literary interdisciplinary research
Ali Reza Shabanlu
Abstract
Introduction
Love is one of the basic concepts in Islamic mysticism and the basis of creation in the perspective of mysticism. Because love is an abstract concept, the mystics' words about love are metaphorical and symbolic, and in order to reach the foundation of the mystics' thinking and thought about ...
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Introduction
Love is one of the basic concepts in Islamic mysticism and the basis of creation in the perspective of mysticism. Because love is an abstract concept, the mystics' words about love are metaphorical and symbolic, and in order to reach the foundation of the mystics' thinking and thought about love, it is necessary to analyze and interpret their words. Therefore, in this article, we intend to use the conceptual theory of metaphor to reach the basic concept or concepts that mystics have used to depict the image of love and reflected in their speech. Therefore, in the first step, we identify the metaphors of love in Molvi's works, in the second step, we specify the source domain of metaphors. In the third step, we will examine the relationship between social context and metaphor in order to reach the cultural and intellectual origins of love metaphors and the macro concept that lies behind the linguistic forms.
Discussion
In this article, we analyzed the interpretations of love in Mowlavi's works and we saw that Mowlavi, with numerous and diverse metaphors, described love as having attributes such as learnable, uplifting and transforming, eternal and eternal, the origin of everything, generous, great and abundant, pure. , purifying, bountiful and rich, sheltering and liberating, attractive, dominant, carrier, life-giving, crazy, enlightening, eventful, leader and helper, beautiful, rebellious, brave, violent, catch, precious, delicious, holy, destroyer and sublime. He has known and got these attributes from the three domains of lover, king and God. Therefore, the mappings "Love is a lover" and "Love is a king" and "Love is God" are three conceptual keys of love, and two conceptual keys "Love is a lover" and "Love is a king" are derived from the macro metaphor "Love is God". Therefore, according to Mowlavi, love is God and all the attributes and characteristics of God, such as the two main features of being a creator and annihilator, are in love. Other characteristics of love can be placed under two important characteristics (creation and mortality: یُحیی و یُمیت).
To know the empirical context of the metaphor "Love is God", attention should be paid to the characteristics of the beloved. In Mowlavi's thoughts, love is literally in the meaning of the beloved, and since the beloved can have different types and people, its attributes are also numerous, but these attributes are common in the two general directions of life-giving and death. That is, the love that causes the lover to live a happy and euphoric life and the love that causes the lover to be hurt and destroyed.
The cultural and intellectual background of this metaphor is the ancient Iranian beliefs about the existence of two entities: spirit and matter. The ancient western, Iranian, Indian and Islamic ideas were founded on the originality of the spirit and validity of the substance. According to this idea, the soul is the whole and the matter is a part, God is the whole and man is a part, the upper world is the whole and the material world is a part. This dualistic thinking has led to the emergence of two groups of good and evil in all areas of thought, and the metaphors of love in Molvi's works are also based on the dual oppositions of good and evil and their subsets and their counterparts. Contrasting the water of life with the water of death (floods and storms), the wind of life (like the spring wind) and the wind of death (autumn wind), the fire of life (like the gold plant and the heat of the sun, which was obtained from Abraham being thrown into the fire, and is a type of test.) with the fire of death. The fire of life embraces the lover like Abraham and purifies it from material pollution and elevates it from the current level to a higher level and makes the copper of his existence golden. In addition, Mowlavi lived in an environment full of Jewish and Christian ideas, and in the Masnavi, he has repeatedly mentioned stories from the Torah and the Bible, and it is possible that in addition to the story of Abraham being thrown into the fire, which is also in the Holy Quran, with the story of the three Jews of Shadrach, Meshach, and Abednego, who were thrown into the fire by the order of Nebuchadnezzar, was familiar and took the life-giving fire from that story. In addition, he may have been familiar with the myth of Isis and Osiris, in which, like the story of Abraham, the child of King Melkart and Queen Astarte did not burn in the fire.
Conclusion
As we can see, Molavi's metaphors are taken from myths. The same myths that told the ancient people about the different aspects of the king, god, lover and its characteristics. This statement means that the linguistic and intellectual works of the ancient traditions were still present in the intellectual resources of Mowlavi and in the popular beliefs and atmosphere of his society, and perhaps he came to such an understanding of love without his will and expressed the attributes of love often with the same mythological interpretations, and sometimes he has used non-mythical language; For example, the elements of the metaphors related to the king and the lover are the same elements of the solar mythology, some of which have found their way to Mawlawi's thoughts through Jewish and Christian texts: elements such as sunshine, sun, rain, cloud, horse, fire, light.
Literary interdisciplinary research
Motahareh Azadi khah; Maryam Amir arjomand; Mandana Hashemi
Abstract
The purpose and meaning of life is currently one of the most difficult and important questions for human beings. Today, answering this question and addressing this issue is felt more than ever. Victor Frankl is a theorist who has answered this question through his difficult experiences. In his doctrine, ...
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The purpose and meaning of life is currently one of the most difficult and important questions for human beings. Today, answering this question and addressing this issue is felt more than ever. Victor Frankl is a theorist who has answered this question through his difficult experiences. In his doctrine, which is called "meaning therapy", he has tried to remind human that everyone should discover a meaning in his life and institution so that he can overcome hardships and avoid emptiness and despair. Frankel believes that purpose and meaning should be such that even the most difficult moments of life are meaningful. The purpose of this study is to investigate the components of meaning therapy in the poetry of two contemporary poets, Shamloo and the Third Brotherhood, and to compare the views of these two poets on the meaning of life in order to provide solutions to the meaning of life. This research has been done by descriptive-analytical method; In this way, first three important components of this theory are explained and then in the poetry of Shamloo and the Third Brotherhood are studied and compared. The statistical population in this research is a complete collection of works of two poets. The result of this research shows that Shamloo has accepted the three components of love, suffering and death and has found meaning to continue living from each of them; And unlike him, the Third Brotherhood suffers from an existential vacuum and is constantly in revolt against his life.
Literary interdisciplinary research
somayeh rezaee; Jafar fasaee
Abstract
Literature and especially stories written for children, if written based on a correct understanding of childish personality and spirits and childhood psychology, can not only help meet some of the child's needs, but also strengthen children's ability to meet their needs. Have an effective role in this ...
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Literature and especially stories written for children, if written based on a correct understanding of childish personality and spirits and childhood psychology, can not only help meet some of the child's needs, but also strengthen children's ability to meet their needs. Have an effective role in this and help the parents and educators of the child.Since the needs of fictional characters shape and direct their behaviors and such story events occur and in fact the arousal of a need creates instability in the storyline, one can analyze fictional characters in children's stories and finally explain the aspect according to Glaser theory. The treatment and the effectiveness of the stories on the personality and improving the mental health of the child audience.In this study, in order to achieve this goal, selected fiction works (authorship and translation) (works that have won the most awards) in the period 1300-1390, based on the book of lasting leaves (about 145 stories), were selected. After selecting the works, fictional characters (main and secondary) were extracted in all stories; Then, the needs of the characters in the story were explained and what choices lead to the arousal of these needs and what effect the type of choice of the characters has on their destiny, and then a comparison was made between the five needs.
Literary interdisciplinary research
mortaza mardiha
Abstract
Abstract:Reason and love are two abstract nouns and like lots of this kind of nouns have been a kind of elastic concept. For longtime this resiliency have caused vast discussions concerning their essences and limits of meanings. Philosophers, mystics, and intellectuals have commented in some way for ...
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Abstract:Reason and love are two abstract nouns and like lots of this kind of nouns have been a kind of elastic concept. For longtime this resiliency have caused vast discussions concerning their essences and limits of meanings. Philosophers, mystics, and intellectuals have commented in some way for their demarcation. The great Persian poets have also used and introduced these concepts in different ways. This article is to follow the course of semantic changes of these two words in Shahnameh, Panj Ganj, and Masnavi. We found that Ferdowsi has used these two words in the meanings close to their usual applications; Nizami has represented romantic love at its most exciting level and has also had some primary and raw remarks about the transcendental reason (Aghl-e Kolli) and reason derived by revelation. Mowlavi has been in an outstanding manner as a groundbreaker in changing the implications of the concepts and attributed such spiritual and mystical meanings to them that they reach the borders of homonyms. That is why Mowlavi’s conceptions of reason and love, because of their untenable method were limited within a discourse of spiritual aristocracy while usual and practical usage of these words remained close to the approaches and symbols of Nizami and specially Ferdowsi
Samad Aliaghayee; Vahid Gholami; Sadegh Mohammadi Bolbolanabad; Adel Dastgoshadeh
Abstract
This investigation aims to study cognitive megametaphor of "love" in the Now a Girl is my Homeland, a poetry book by Sherko Bekas, a Tucholsky awarded Kurdish poet. Cognitive megametaphors in which are needed to understand the literary words, talks about a conceptual discourse model which treats the ...
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This investigation aims to study cognitive megametaphor of "love" in the Now a Girl is my Homeland, a poetry book by Sherko Bekas, a Tucholsky awarded Kurdish poet. Cognitive megametaphors in which are needed to understand the literary words, talks about a conceptual discourse model which treats the undercurrent aspects of texts. According to cognitive approach and by using these data poems, megametaphor of "love" will be discussed. Analyzing data is based on theories about conceptual metaphors and megametaphors presented by Lakoff and Johnson (1980), and Kovecses (2010). The main questions of this study are: how megametaphor of "Love" is shown in Bekas poetry and also how micrometaphors in the undercurrent of the poems form megametaphor at the superstructure. The results of the study show that "Love" is the most common concept in these poems, and all micro conceptual metaphors in these poems appear in the realm of love megametaphor.
