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The present research investigates the conceptualization of the metaphors of “fear” in the Quran. Conceptual metaphors are an important discourse in cognitive linguistics. In this approach, metaphors are believed to be a cognitive phenomenon which manifests in language. This research aims to identify the initial spheres based on which fear has been conceptualized in the Quran and endeavors to attain the stance of the Quran on this emotion. To this end, a body of 607 verses containing the concept of fear was collected. In the next stage, 18 concepts were identified using cognitive analysis. The two schemas of force and movement as the initial spheres play a major role in the conceptualization of “fear” in the Quran. In conceptualization based on movement, behavioral and physiological actions of people facing external forces indicate their lack of control and defeat by external forces, with a virtual basis in most cases. In return, in conceptualizing fear based on the schema of force, the presence of a range of forces such as pressure, blocking, and redirection in facing external forces express the voluntary reaction of people in overcoming the external forces. Hence, in line with its guiding purposes, the Quran has missioned the prophets, in many cases as a divine command, to ask His audience to confront the non-divine external forces with the force arising from – the fear – of divine majesty.

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This study sheds light on Ben Lovatt's idiosyncratic characterization, cognitive impairment, and peculiar perception of the world through the lens of cognitive and stylistic features such as schema and cognitive theories. It explores Ben's inability to make meaningful sense of the outside world, his failure to activate adequate schemata when necessary, and his foregrounded conceptual metaphor. Exploring Ben's foregrounded linguistic and cognitive patterns reveal that Ben, in many aspects, proves the particular belief in the story that he seems to be on the threshold between humanity and animality or a throwback who belongs to centuries ago. However, despite Ben's human-animal hybridity, the most striking point about the analysis of Ben's mind style is that Ben seems to be beyond the descriptions of other characters and has a particular way of seeing the world, which makes him seem different from others. This difference, eventually, causes his exclusion from the world and his suicide.
 

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I can't paste the abstract here. I don't know why. I send that as attachment file.
 

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Autism is a neurocognitive disorder. Many children with autism do not have a change in language and usually tend to have literal interpretations of phrases, which makes it difficult to understand metaphorical language, which can be seen in both visual and visual metaphors. The aim of this study was to compare auditory and visual metaphorical perception in children with mild autism and normal children. The present study is a cross-sectional and causal-comparative study. The statistical sample of this study includes 30 boys aged 7 to 10 years with mild autism studying in educational centers for exceptional children in Mashhad and 30 normal children matched in terms of age who were selected by convenience sampling method. After initial language assessment, they were assessed by metaphorical perception test and U Mann-Whitney test and SPSS 23 software were used to analyze the data. The results of data analysis showed that in metaphorical perception in general there is a significant difference between autistic and normal children (P <0.001), also, in understanding visual and auditory metaphors, the two groups showed a significant difference (P <0/001). The obtained results indicate that compared to normal children, children with autism have a lower performance in terms of understanding visual and auditory metaphors, and considering this issue can be used in planning and designing educational content and rehabilitation interventions in order to improve educational performance and social benefit of these children.
 

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Derivational suffix “-ak” is one of the Persian productive affixes attached to different bases and creates many different meanings. Historical evidence affirms despite of the diversity of meaning, all the derivations come from the same original affix, with high potentiality in polysemy. The present article follows the cognitive-typological approach aims at investigating the polysemous behavior of the mentioned suffix while introducing the (sub)schemas of derivations in the framework of Construction Morphology. It deals also with the processes of metaphor and metonymy as two bases involved in the semantic extension. And then, by concerning the achievements of the first part with typological considerations, it shows the relationship between the cognitive processes involved in the polysemy and the typological motivations that follow them, i.e., economy and iconicity. Moreover, it examines how the typological explanations, specifically the concept of the semantic map, are not only valid for cognitivists, but also it can address more specific issues such as explaining the existence of polysemy within a single derivation. In this study, the Semantic Map Connectivity Hypothesis is also confirmed by those derivations that simultaneously imply more than one meaning, or that have undergone a change in meaning over time.
 

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This study examines the cognitive processes underlying the comprehension of second language idioms using two different visual instructional techniques, visual representation of literal meanings versus virtual meanings of each idiom’s visual representation. For this reason, two environments (positions) (PFL vs. PSL), two different terms (opaque vs. transparent), and two different sufficiency levels (intermediate vs. advanced) are considered, which involves common teaching methods that use dual coding theory as two different visual techniques with verbal support to teach different types of idioms. The statistical population were 67 second language learners and 63 foreign language learners who participated in this study. A term comprehension test was used before and after the training. The results of repeated measure variance analysis based on pretest-posttest comparisons showed that understanding of SL idioms is different according to the learning environment, teaching technique and the type of idiom. However, it sounds that the level of sufficiency doesn’t affect any group’s comprehension outcomes. The results show that in the SL environment, the figurative technique was more successful than the literal technique. While in the FL environment, using the literal technique compared to the figurative technique, got better scores for the language learner. PSL learners were better than PFL learners in learning terms with opaque meanings, while PFL learners performed better in learning terms with transparent meanings. The results of this investigation support the Dual Idiom Representation Model, which states that PSL learners activate their existing lexical entries and understand them figuratively, while PFL learners must analyze the idioms.

 

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Explaining the nature of metaphor and its role in language has always been a controversial topic in the fields of linguistics, philosophy of language, rhetoric, and so forth. In metaphor analysis, these fields often converge in an inseparable manner. Donald Davidson, a 20th-century philosopher, is one of the influential theorists in the Philosophy of Language and the Theory of Meaning. His views on the essence and role of metaphor in language bear significant similarities to the ideas of  al-Jurjani, a prominent 5th-century Hijri literary scholar. This research aims, through a descriptive-analytical method and a comparative approach, to examine the intersection points of Davidson’s and al-Jurjani’s theories, with one addressing metaphor from a philosophical and linguistic perspective and the other from a rhetorical standpoint. For this purpose, Davidson’s essay "What Metaphors Mean?" is used as the basis for reviewing his theories on metaphor. Al-Jurjani’s views are analyzed with a focus on "Dala'il al-I'jaz." This study yields results in three areas. The first, identifies similar aspects in the two theories, indicating that both theorists reject the idea of metaphor being merely a shortened simile. They also critique the notion of "metaphorical meaning," emphasizing that the meaning of a metaphor cannot be reproduced in any form other than the metaphorical one itself. The second area involves finding complementary aspects in the two theories, considering Davidson's philosophical stance and al-Jurjani's rhetorical position. The third area elaborates on the connection between al-Jurjani's direct views on metaphor and the ideas indirectly inferred from theory of Construction.

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Imagery is one of the basic subjects in the domain of aesthetics of text, which has been noticed by the men of literary taste and art from the past.  The poets have regarded imagery as the integral part of their poetry and the critics have analyzed and investigated the literary works from this perspective. Imagery criticism, especially in the temporary era, has been attended to by the men of literature. Furthermore, Ashurai poetry, as an enormous portion of the nationally committed literary heritage, has always represented Ashura. This literary art has always been after beautiful and obvious depicting in form and content of the events and causes of this enormous movement.      Clarifying this part of the literary beauties in the contemporary Ashurai poetry is the aim of the present study using an analytic-descriptive methodology and based on the American school principles of the comparative literature. For this purpose, we investigated the poems composed by over 40 poets in the last century of the two nations. To this end, after extracting metaphorical images from the selected poems of the two cited languages, with equal number of these poems, the researchers applied tables and figures to provide the reader with a suitable statistical view of the issue. The results revealed the width and variety of the images in Persian poetry, the innovation and presentation of the new images in Persian more that English, the outstanding presence of the romantic and mystical elements in Persian Ashurai poetry, and the variety and vastness of the elements composing these images in Persian poetry.

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Proverb is one of the most known feature to investigate of eco-culture for every native. Kurdish people one of the most vast of iranian people which it's culture so enrich to cultural studies. Ilam one of the kurdish city which has very important features to studing in this field. Kurdish language is of different dialects, however it is of some commonalities from the view point of proverbs. This study wants to investigate Kurdish proverbs rhetorically via a descriptive study to find that these proverbs are of imaginative power or not and which one of literary devices are of more frequency. By investigating ilami-kurdi proverbs the study found that proverbs are of high rhetoric power and this is because of imaginative power of speakers. The deep structure of most of proverbs are based on simile. The study also found that the prerequisite to the understanding of some literary devices like symbol is familiarity with cultural norms.

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In this article, I have tried to see whether one can find any signs of Mowlavi's influence in the poetry of Hafez. Two considerations have made me deal separately with the form and the content of works of the two poets; a) the deeply static and change resistant nature of the Persian traditional culture, which makes it difficult to say whether one is facing a case of shared culture or one of poetic influence; and b) the need for use of two theoretical standpoints (intertextuality and metaphor v. metonymy) to deal with content and form respectively. The results I have come up with are as follows: 1. As regards the content, one can detect more of an empathy arising from cultural unity rather than any trace of influence of one upon the other. 2. As for the form, one cannot help noticing that Hafez is exceedingly conscious of form, whereas Mowlavi pays little attention to it. 3. Whiltst Hafez leans heavily upon metaphor, Mowlavi is greatly inclined towards metonymy; one tends to ascension, the other to movement forward along the same route. 4. Finally, Hafez does not seem to have made any greater use of the form and content of Mowlavi's poetry with an eye to emulation than of the poetry of other poets, both previous and contemporary with him.

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In this article, first, the philosophical implications of the metaphor of mind as the computer, were inferred from three perspectives: ontological, epistemological, and anthropological; Then, the elements of the curriculum were deduced from the mentioned philosophical implications, and finally, the implications of the mentioned metaphor in education were criticized. Since we think based on metaphors, according to the above-mentioned metaphor the mind is passive and has a mechanistic view to the student. The student does not have individuality and freewill. Evaluation based on this approach is also based on measuring low levels of educational goals and measuring memory instead of deep learning. The criticisms that have been made show that such an attitude towards human being is not acceptable from a philosophical and especially from an educational point of view. The above-mentioned metaphor can only be useful in explaining the function of the mind or brain on the basis of a weak version of functionalism, and has no further implications.

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Abstract: Time is an abstract notion, and it is always being understood by objective things. In the contemporary theory of metaphor, with its cognitive bases, there are some metaphors such as "time as a location or bounded space" or "time as an object". In these metaphors the relationship between time and observer is also being considered and two categories are extracted including "time moves and observer is motionless" and "time is motionless and observer moves". On the other hand, the amount of conventionality or novelty is also noticeable in cognitive view. In this article, time metaphors in Forough Farrokhzad's poems were extracted firstly. Evidence showed that these metaphors were the same as those which are used in ordinary Persian. In the next step, conventionality or novelty of poems was studied and it is found that in her first three books, "the wall", "the captive" and "rebellion", metaphors are mostly conventional but in her last two books, "rebirth" and "let us believe in the beginning of old season" conventional metaphors are extended and they were accompanied by novel features and even completely new metaphors were created.

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Anthony Kenny develops a theory on religious language as follows: Firstly, a metaphor consists of using a word in a language game that is not its home; secondly, a word belongs to a language game if either the input to the game or its output involves contact with the word's object; thirdly, God does not belong to any language game. Thus, all uses of the ‘God’ are irreducibly metaphorical. Michael Scott proposes three objections to this theory: 1) Kenny’s criterion for words belonging to a language game is implausible. 2) it could be satisfied. 3) In some sentences, both the subject and predicate are religious expressions, so, the use of ‘God’ in these sentences is not metaphorical. Relying on Kenny’s account of the ineffability of God, in this paper, I shall introduce the ‘longitudinal otherness’ and argue on behalf of Kenny against Scott’s objections. However, I shall show that Kenny’s idea is objectionable.

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Cognitive poetics theory provides a theory about literature, which is based on the language of literary text as well as the order of linguistic segments. Furthermore, this theory is rooted in the cognitive linguistics techniques, such as analogical analysis, in which conceptual mapping in literary texts can operate at three different levels: “attribute mapping,” “relational mapping”, and “system mapping” (Freeman, 1998). The first level is specified to the perception of similarity between objects, the second level is for studying the relations between objects, and the final level is for recognition of patterns created by object relations, which enables generalization to more abstract structure. In this paper, to study the operation of this theory, a Persian poem, called “A Tale”, written by Ahmad Shamloo, is going to be analyzed. This research argues that how cognitive poetics could produce an appropriate theory for systematic analysis of a literary work and its interpretation? The given response is that every literary theory has to cover seven criteria to be appropriate, so cognitive poetics cover all of them and provide a powerful device for distinguishing between the linguistic and poetic functions of language. Moreover, the general mapping skills, which make the cognitive ability suitable for producing and interpretation of metaphor, are the basis of this theory, which could clear the insight and limitations of traditional literary critics as well as evaluating a literary style by using cognitive poetics approach. The main goal of this paper is to show the difference between language and structure of poem and everyday conversation or any other genre. It also tries to show how systemic interpretation of each poem occurs according to system mapping.  

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The present paper aimed to comparatively study the orientational conceptual metaphors in Persian and Spanish. In this work, within the Lakoff and Johnson’s (1980) classification of conceptual metaphors as structural, orientational and ontological metaphors, we have tried to the concentrate on the examination of orientational metahors applied to data collected from Spanish, and to prove the use of these metaphors at the level of metaphorical mapping as well as linguistic representation in Persian. The analysis of 38 samples of orientational conceptual metaphors in the form of 10 names of mapping extracted from the Spanish novel Conversation in the Cathedral by Mario Vargas Llosa, a collection of papers in Spanish about conceptual metaphors, and a series of oral data, made us conclude that the similarities related to conceptual metaphors based on the human understanding of the sense of “space” and “direction” are more than the disparities in these two languages.  

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‎ An orientational metaphor is a metaphor in which concepts are ‎spatially related to each other, as in the following ways: up or down, ‎in or out, front or back, on or off, deep or shallow, central or ‎peripheral. Such metaphorical orientations are not arbitrary. They ‎originate from our physical and cultural experience. An orientational ‎metaphor organizes a group or system of metaphorical concepts in ‎terms associated with spatial orientation, for instance “up-down” and ‎‎“front-back”. An example would be the fact that many metaphorical ‎concepts concerning happiness (e.g. “feeling up”, “spirits were ‎boosted”, “in high spirits”) have to do with the spatial orientation of ‎‎“up”, whereas many metaphorical concepts of unhappiness (e.g. ‎‎“feeling low”, “feeling down”, “sinking spirits”, “falling into ‎depression”) have to do with “down”. These spatial orientational ‎metaphors are so common that we often use them unconsciously. ‎Those metaphors using the spatial orientation of “up”, “forward” and ‎‎“on” seem to be associated with positive feelings and events, while ‎terms such as “down” and “back” are associated with the ‎negative. The majority of spatial orientational metaphors employed in ‎the Qur’an can be divided into those that convey a positive experience ‎or feeling and those that express a negative or less satisfactory event ‎or emotion.‎

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Fotoohi . M. , PH.D.
 
Abstract
This essay is concentrated on Romantic Image. Romantic Image essentially is deferent with classic, symbolic, Surrealistic and imagistic Image, in nature and aesthetic. The author sets forth essence of romantic Image in three sections: The first section explains four special feature of Romantic Image 1) poet's transmutation in nature and things 2) images as shadow 3) running images and 4) individual aspect of image). The second section discusses the relation between images and their places in context of poem with two features of connection and running. The third section explains three functions of romantic images. The final part deals with the metaphoric pole of language in romantic writings.
This essay is aimed at distinguishing classical and romantic imagination and set forth process of creature, value of aesthetics and origin of image insights in these kinds of writing. 
 
 

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Study of conceptual metaphor of Light in the Divan-e-Shams In this paper, will be explained functions of light and visual clusters like Sun, candles, lights and etc, in the Ghazal of Molavi based on using cognitive theory of contemporary metaphor. Concept of light in the Divan-e- Shams indicate that visual recognition and knowledge is a concept and it present as a primary metaphorical mapping in deep-structure; Molavi concerned this mapping and secondary mapping "divine world is light", and he has accounted light as God, perfect man, place, food and wine, the guidance and hope. Also he has explained subject of existence and nonexistence. The metaphorical mapping makes appropriate categories for Molavi's abstract analysis and shows intratextual coherence of the sonnets with primary mapping. Key words: light, Molavi, conceptual metaphor, mapping, macro metaphor

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The current paper arose from the following thought: “What are the methods and techniques used in the translation of Culture-based metaphors?” The data used in this article is the result of a comparative study on the translation of Mathnawi by Reynold Nicholson. We used Harvey 2000 model to advance the research. In accordance with the needs of the study, metaphoric significance is presented. Six different types of significations are recognized here; than a sextet significance pattern, is presented, which might be used for any two languages being source and target for translation. As the final outcome of the research, different suggestions for these different signification types have been presented, which are based on the nature of the metaphors. Having these suggestions in hand, translators have a model to follow, so that they can overcome the translatability problems they may face in translation of metaphorical expressions. In the other words, applying this newly-born significance into translation practice and, finally, presenting a model for the translation of culture-based items are  two main achievements of the research.