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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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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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In the present paper we aim, in an analytic and comparative manner, at an investigation of the conceptual metaphor "LOVE IS WAR" as a way of understanding of falling and being in love and speaking of them in Hafez's Divan and Petrarch's Canzoniere within the framework of Lakoff's Conceptual Metaphor Theory. What comes out through this examination reveals that although the two collections turn out to be similar in many ways in terms of metaphorical theme, there are two major differences between them in terms of imagery: to begin with, Hafez employs more warfare terms and expressions than Petrarch does, and secondly, Love in Petrarch's poetry on many occasions reveals itself in the image of Cupid, God of Love in ancient Roman mythology, who with his bow and arrow aims at the lover's heart and captures him. In Hafez poetry, however, there is no such explicit imagery which personalizes the abstract and invisible force of love emotion in the form of a god, but in it we encounter a beloved, or the eyes and eyebrows of which, that, in a figurative manner, shoot arrows at the lover's heart and ensnare him.

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Aspect is a grammatical category which along tense and mood, appears in grammatical structure of the clause and affects its whole meaning. The available works conducted on Persian aspect have mainly no theoretical frame work and proper classification for this category.  In this paper, attempts are made to conceptualize grammatical and lexical aspect on the basis of appropriate frame works. At first, by utilizing the metaphorical extension approach as a branch of grammaticalization theory and by introducing diachronic studies conducted on old and middle Persian, grammatical aspect is conceptualized within a cognitive framework. Then, in terms of aspectual features derived from Vendler (1967) and by a bottom-up approach, five lexical aspects are introduced and three others are predicted to be found in Persian. Finally, the effect of context on the type of aspect is brought under consideration. Finding a new lexical aspect, predicting to have three other lexical aspects, and conceptualizing the grammatical and lexical aspect in Persian are among findings of this investigation.

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Human being perceives phenomena by perceiving another series of phenomena, especially by using metaphors which enormously facilitate the comprehension of abstract concepts. While metaphors play an important role in generating science, language and even remodeling our way of thinking, there is hardly specific model for metaphors that can be used in scientific branches and particularly in terminologization. Building a model would not only be useful for word formation but also appears fruitful for terminologization in artificial intelligence and machine translation. The question which may be raised here is whether to know if it is possible to design a model which compiles both conceptual and lexical categories so that it represents a combination of platonic & Aristotelian perspectives and definitions longly addressed for metaphor. To answer the above mentioned questions; we have adopted Alexeeva’s metaphorical model which is in continuance with platonic perspectives on the subject and is in alignment with cognitive approaches. The hypothesis may be formulated as if Alexeeva’s model would be sufficient enough in creating new metaphors. Once we have briefly evoked the recent investigations about metaphor and have quickly revised its functional classifications, we analyze its pertinent illustrations in Persian corpus language and present our new model on the basis of cognitive sciences. We would finally see the possibility of terminologization in our new proposed model. The results of this investigation show that Alexeeva’s metaphorical model is not fully-fledged enough to be addressed in terminologization. However by altering and moderating some features of this model, we may redesign the sand hour glass model so that the concepts which are shaped in the 1^st sphere is mapped via assimilation in the 2^nd sphere, according to which a single term , may find two different extensions in their respective spheres. Although the term used in 2^nd sphere is conceptually speaking similar to the 1^st sphere, but the extensions of term in these two spheres are considerably different. As the extension of the term utilized in the 1^st sphere is extended, the 2^nd sphere has used the metaphor in a different sphere or context. Consequently, our proposed model is not merely projected in language, but the terms created inside it are nourished mutually by conceptual lexical realm. Therefore, in contrary to what it is stated by Alexeeva, metaphors are not exclusively lexically labelled, but they are also conceptually marked. We are finally convinced that according to the context that metaphors are utilized in, we could expect different extensions and appreciations of the terms.

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The use of various metaphors in mystical texts has opened up a new horizon for the readers and has expanded their understanding of the meaning of the universe. Because of its associative function in mystical texts, metaphor creates new experiences for the reader—experiences that are foreign to the reader’s personal experiences. This research draws on George Lakoff’s and Mark Johnson’s studies on “Conceptual Metaphor” (Cognitive Linguistics). These two theorists believe that reasoning and conceptualization inseparably depend on physical and environmental features. In Mawlānā’s poetry, the act of conceptualizations and reasoning is tied to biological capabilities and physical and social experiences of the individuals. There is a chain-like network of metaphorical relations in Mawlānā's cognitive world ‎ that starts from conception of an embryo in womb and continues to weaning the child. The conception of Jesus in Mary’s womb and Jesus’s birth are one of the most common metaphors to explain Mawlānā’s understanding of the Master’s unity. Furthermore, inside this network, Mawlānā uses the mother-child relationship to account for God-Human relation. This paper studies the metaphor of mother and all the images related to the growth of a child, for example the breastmilk, through which Mawlānā explains the steps of seyr-o solook (spiritual quest for the truth). 

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It has been a few decades since the first contemporary studies about “metaphor” were carried out, and the conceptual metaphor has a special position within the different literary theories, constantly incorporating new perspectives into metaphor research in conjunction with the other fields of study. Based on the theory of cognitive metaphor, metaphors exist everywhere and essentially,it is the metaphorical structures, which affect the people’s understanding. Therefore, we encounter different questions, which include, “what’s the nature of the addressee’s relations with metaphor?”, “can metaphor be effective in persuading the people to accept or reject a certain imposed attitude?”, “which variables can increase or decrease the persuasive impact of metaphor, and what should be the features of each of these variables?” Therefore, the present essay is aimed at looking into metaphors from the view of these questions and introducing the persuasive variables of metaphor in the format of an organized model. To this end, the present study capitalizes on the literature as the theoretical backing of the model and presents the persuasive metaphor model based on Hovland’s persuasion model, exploring its variable characteristics in terms of a theoretical framework in accordance with the results of the previously done research studies. Therefore, inspired by the four variables of McGuire, Wood and Eagly, five variables have been put forward and the theoretical features of each of them have been investigated in line with the characteristics of metaphorical relationship for the persuasive communications of metaphor. These variables include a) metaphor-sender, b) metaphor-receiver, c) metaphorical structure (made of the source domain and target domain), d) communicative conduit and e) texture (location, time, etc.). In addition, we have also analyzed the interactions and exchanges of metaphor with other rhetorical strategies.

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Aims: This study was conducted to compare the effectiveness of cognitive-behavioral therapy and dialectical behavior therapy on the pain metaphorical perception in patients with chronic pain.
Materials & Methods: The study method was semi-experimental with a pre-test-post-test design and control group. The population was all people with chronic pain in the first six months of 2024 in Tehran. Accordingly, 45 patients with chronic pain were selected voluntarily and randomly assigned to intervention and control groups (each group n=15). The Questionnaire of the study was Raiisi`s Pain Metaphorical Perception. The first experimental group received eight sessions of 90-minute cognitive-behavioral therapy, but the second group received eight sessions of 90-minute dialectical behavior therapy.
The control group did not receive any intervention. The data were analyzed using multivariate analysis of covariance by SPSS-26.
Findings: The results indicated that cognitive-behavioral therapy and dialectical behavior therapy significantly increased components of pain metaphorical perception (object, force, human, and causality) in patients with chronic pain (P<0.001).
Conclusion: The findings of this research emphasized the effectiveness of cognitive-behavioral therapy and dialectical behavior therapy on the pain metaphorical perception. As a result, by changing the metaphors of pain in patients, the interpretation of pain can be changed.
 

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Aims: The purpose of the present study was to investigate the effectiveness of emotion focused therapy on the metaphorical perception of pain and time in patients with musculoskeletal pain.
Materials & Methods: The study method was semi-experimental with a pre-test-post-test design and control group. The population was all people with chronic pain in the 2024 in Tehran. According to this purpose, 30 patients with musculoskeletal pain were selected voluntarily and randomly assigned to intervention and control groups (experimental group=15, and control group=15). The Questionnaire of the study was Raiisi`s Pain Metaphorical Perception, and Raiisi`s Time Metaphorical Perception. The experimental group received twelve sessions of 90-minute emotion focused therapy. The control group did not receive any intervention. The data were analyzed using multivariate analysis of covariance by SPSS-26.
Findings: The results indicated that emotion focused therapy significantly increased components of pain (object, force, human, and causality), and time metaphorical perception (matter, place, and object) in patients with musculoskeletal pain (P<0.001).
Conclusion: The findings of this research emphasized the effectiveness of emotion focused therapy on the pain, and time metaphorical perception. As a result, evidence-based psychotherapeutic approaches such as emotion focused therapy can influence metaphorical understanding.
 

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The current study investigates the similarities and differences of conceptualization of SADNESS in representative corpuses of ordinary (non-poetic) and poetic language. Analysing two separate corpuses (Persian Language Data Base and Farsi Language Corpus), the writers managed to identify and extract the relevant conceptual metaphors of SADNESS in both ordinary language and contemporary poetics respectively. Then according to Conceptual Metaphor Theory of Lakoff and Johnson (1989), the most frequent generic and specific mappings of SADNESS in both ordinary and poetic language were determined. The study showed that almost all the generic metaphors of SADNESS occur in both types discourse, though some of them occur significantly in either the one or the other type. An analysis of the two sets of metaphors revealed several important differences between poetic and non-poetic conceptualization of SADNESS, including the higher degree of agentivity, positive conceptualization of SADNESS and unconventionality in poetic language compared to non-poetic genre. The finding that almost all the identified metaphors are found in poetic and non-poetic language supports Lakoff and Turner’s claim (1989) that there is nothing essentially different about poetic metaphors.
 
 

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This paper analyzes the stability or changes of the Persian Language Speakers' views towards Bravery, as one of the concepts of the target domain of Morality from Kövecses's (1393: 43) point of view. The main question of this study is weather the concept of Bravery has changed from 8^th to 10^th  lunar century compaired to the contemporary period. Moreover we aim to find a pattern to represent these changes. To achieve this goal, the authors studied the conceptual change or stability, through comparing the conceptual metaphors of Bravery. The results of this study show changes in some cultural components of this concept in Persian language speaker's society. It should be noted that the comparison of historical and contemporary evidences show that the general source domain of objects in both cases have been remained unchanging but the special source domains of objects have changed. The high frequency source domains of conceptualizing Bravery in Persian language are as follows: Power, Path, War, Material. The theoretical framework of the present research is the theory of conceptual metaphors proposed by Lakoff and Johnson (1980) and the Trim's pattern for the conceptual networking of metaphors (2007).

The speeches of a generation are never exactly the same as their fathers or even their children. Although the speech differnces between successive generations may be insignificant and not much attention be paid to it, at intervals of several hundred years or more, the changes will be revealed. Arlotto suggests that variations can be considered as the equipments for historical linguistic discussions. Lakoff and Johnson believe that when a new metaphor is added to a language, it changes the conceptual system of the language as well as the way of understanding and the relative reactions of the people. Moreover they believe that language is constantly changing and adapting itself to the new conditions of the language community as people accept the new metaphorical concepts and lose the old ones. Their example to prove their claim is the changes in the cultures around the world due to the eminence of this metaphor: TIME IS MONEY.
Accordingly, we are going to vrify common conceptual metaphors of Bravery in Persian Language to achieve  the stability or changes of the Persian Language Speakers' views towards Bravery, as one of the concepts of the target domain of Morality from Kövecses's (1393: 43) point of view. The main question of this study is weather the concept of Bravery has changed from 8^th to 10^th  lunar century compaired to the contemporary period. Moreover we aim to find a pattern to represent these changes. To achieve this goal, the authors studied the conceptual change or stability, through comparing the conceptual metaphors of Bravery.
The main hypothesis of this research is as follows: The comparison of the metaphorical mappings of Bravery between the extracted metaphors from the historical and contemporary corpus of the Persian Linguistic Database shows that the source domain of conceptualizing Bravery has changed over time in Persian Language. In order to verify the hypothesis, the authors have used a descriptive deductive method applying the corpus based analysis method  proposed by Anatol Stefanovich.
The results of this study show changes in some cultural components of this concept in Persian language speaker's society. It should be noted that the comparison of historical and contemporary evidences show that the general source domain of objects in both cases have been remained unchanging but the special source domains of objects have changed. The high frequency source domains of conceptualizing Bravery in Persian language are as follows: Power, Path, War, Material. The theoretical framework of the present research is the theory of conceptual metaphors proposed by Lakoff and Johnson (1980) and the Trim's pattern for the conceptual networking of metaphors (2007).
Verifying the conceptual metaphors of Bravery as the active and inactive mappings in time intervals and its presentation through a diachronic network of metaphorical changes can be considered as the innovation of this research

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In the present study, we analyze the semantic fragmentation and conventionalization in Persian compound nouns ending in the verbal stems –andāz ‘throw’, -band ‘fasten/close,’ -foruš ‘sell’, -gir ‘catch’, -keš ‘pull’, -paz ‘cook’, -yāb ‘find’, and -zan ‘hit’ from the usage-based perspective. The analysis is based on a 800 data set extracted from diachronic and synchronic corpora. The words produced from the general compounding pattern [XV _PRS]_N can be categorized in a range of semantic categories, including agent, instrument, location, and object. In describing the semantic fragmentation of [XV _PRS]_N, we propose the human agent as the starting meaning, from which the instrument sub-pattern is derived by the mechanism of metaphorical extension. However, to justify the object and location meanings, we consider the metonymic extension mechanism to be involved. The sense extension mechanisms do not only apply to the individual words but can happen on the pattern level. It is also argued that these mechanisms are not mechanically applied to all the patterns ending in the verbal stems, instead, it is the usage and the communicative needs of the speakers that determine the semantic fragmentation of any patterns. To illustrate this point, as a case study, we focus on the development of instrument meaning in the pattern [X-paz _PRS]_N. We show that the instrument sub-pattern is a recent linguistic phenomenon that coincides with the introduction of modern cooking equipment with mostly English names to Iranian society. The increasing use of these types of equipment has led to a new communicative need for naming such instruments. This extra-linguistic factor has motivated the pattern [X-paz _PRS]_N to be extended through analogy with English compound instrument nouns. The findings of this study may contribute to the understanding of word-formation patterns in general and compounding patterns in particular.

 

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The nihilistic transition in Akhavan's poetry is the main focus of this research. Akhavan's poetry, with its modern philosophical background, contains profound meanings that make it worthy of analysis beyond the ordinary. One of the most obvious of these meanings is the dialectic of hope and despair. Akhavan's acquaintance with the ideas of modern Europe, like for instance, the philosophical ideas of Friedrich Nietzsche, led us to analyze the tendencies of the nihilistic transition of his poetry considering Nietzsche's "transition from passive nihilism to active nihilism”. Upon analysis it became clear that Akhavan's poetic thought reflects Nietzschean nihilism, as it can be traced in his views such as denying the metaphysical tendency and relying on the human will of elitism, specific views of morality, becoming, and also eternal return, considered as the way to create the superman. Thus, the results of the research showed that Akhavan's poetry, seemingly is a reflection of a kind of passive imagery. However, with a closer look, it became clear that his poems have specific formal and semantic features based on which the emotion of despair and nihilistic thought became active rather than being passive. The method of the current study was qualitative and the approach to analysis was a philosophical critique approach and it also adopted a descriptive approach.
Introduction
One of the dominant themes of contemporary Persian poetry is the dialectic of "hope" and "despair", which, above all, is the result of the socio-political factors of the age, which sometimes lead to specific philosophical insights. One of the contemporary poets of Persian is Mehdi Akhavan Sales, whose poetry is often associated with socio-political themes, but after a while, his political grief and national ideal moved towards philosophical grief and a genuine human ideal which by taking ontological questions, finally confronts his poetry with a nihilistic vision. Part of this insight is the result of the Akhavan's acquaintance with the philosophical ideas of Nietzsche (1844-1900) (see: Akhavan Sales, 1981: 146-145; Akhavan Sales, 1990: 337, 89, 40). In this regard, Nietzsche seeks to unload human knowledge from mere rationalism and replace it with emotions and feelings. He spoke in the language of life and comprehensively acknowledged life through “the will to power" and the belief in "becoming" and "eternal return" in order to re-evaluate the values ​ of the superhuman. Like Nietzsche, Akhavan separates his path from its contemporaries.
Theoretical Background
 Asadollahi and Fathi (2020), in an article, examining the types of Nietzschean nihilism in Forough Farrokhzad's poetry and analyzing the tendencies of his poetry, have acknowledged life in its specific nihilistic transition. The difference between this research and the present article expresses the different poetic thought and behavior of contemporary Persian poets with a desperate context and the nihilistic culture of their time. Mousavi and Homayoun (2009) have also investigated Nietzsche's passive absurdity in the Blind Owl. Given the theoretical foundations of Nietzschean nihilism, the authors have shown that the narrator in this work, despite much effort, is finally unable to free himself from passive nihilism and to change to active nihilism unlike Zoroaster Nietzsche.
Objectives and Questions
 The main objective of the current study is denying the continuity of absolute passive nihilism and proving the organic flow of general nihilism in Akhavan's poetry - which, like Nietzsche's system of nihilism, begins with passive nihilism but ends with active nihilism. We call this approach the "nihilistic transition" in Akhavan's poetry. Therefore, this article intends to answer the following question: What are the methods or tendencies of Akhavan's poetry in acknowledging life in the approach of Nietzschean nihilism and how do they manifest themselves?
Analysis and Discussion
In general, denial and despair are the major themes in Akhavan’s poetry. However, one can also detect a stability in his thoughts. Both of these contradicting views shape his worldview (Mokhtari, 2000: 458 - 459). Thus, although in most of Akhavan's poems a concept of futility can be seen, he also embraces life:
Whatever you want to do, you know yourself / if it is useless, or whatever it is, how many and why, / this is and there is no other./ Death says: Hmm! How useless! / Life says: But you have to live again, / you have to live, / you have to live! ... .” (Akhavan, 1991: 178)
In summary, the transition from passive nihilism to active one can be traced in these themes: Akhavan's poetic thought and style in dealing with metaphysics, the metaphorical truth in the Akhavan's view on destiny, and the manifestations of becoming and eternal return in his poetry.
 
References
Akhavan Sales, Mehdi (1981). From this Avesta, fifth edition, Tehran: Morvarid.
Akhavan Sales, Mehdi (1990). Innovations and the gift and meeting of Nima Yoshij, second edition, Tehran: Bozorgmehr.
Akhavan Sales, Mehdi (1991). In the small autumn yard in prison; Life says but you have to live ..; Hell but cold, Tehran: Bozorgmehr.
Assadollahi, Khodabakhsh and Chiman Fathi (2020). "Comparative analysis of Forough Farrokhzad's poetry and Nietzschean nihilism". Research of contemporary literature of world. No.1.pp. 29-60.
Mokhtari, Mohammad (2000). Man in Contemporary Poetry or Understanding the Presence of the Other, Tehran: Toos.
Mousavi, Seyed Kazem and Fatemeh Homayoun (2009). "Passive nonsense in the blind owl." Journal of Literary Criticism. No. 8. pp. 111-139.

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Cognitive linguists do not negate the metaphorical creativity inherent in the works of poets and writers. According to the ‘Cognitive Poetics’ theory proposed by Lakoff and Turner (1989), poets and writers frequently employ the same conventional conceptual metaphors in their compositions that are prevalent in everyday language. The creative aspect of poetry emerges from the adept manipulation and modification of these commonplace conceptual metaphors, achieved through the application of four conceptual tools: expansion, complication, questioning, and combination. The primary objective of this research is to introduce these strategies and assess their applicability in conducting a cognitive analysis of certain novel metaphors found in two collections of short stories authored by Zakaria Tamer (1931), a distinguished contemporary Syrian writer. The analysis of the data indicates that Tamer has utilized the same everyday conceptual metaphors in his narratives. Consequently, the creativity exhibited by this author could potentially be attributed to the proficient application of the aforementioned tools in the usage of ordinary metaphors. Based on the data analysis, it is observed that Tamer, in the creation of the metaphors examined, has predominantly employed the tool of combination, sparingly used the tool of questioning, and has made moderate use of the tools of expansion and complication. The findings also suggest that Tamer, through his judicious use of metaphor, not only imparts elegance and beauty to his prose but also effectively communicates the underlying concepts and messages of his stories to the reader.
1. Introduction
Lakoff and Johnson (1980) challenged the traditional view of metaphor as a literary array by proposing a contemporary theory of metaphor. They found, based on linguistic evidence, that the conceptual system by which humans think and act is metaphorical in nature. In this theory, metaphor is one of the main mechanisms of the thinking process that plays a crucial and fundamental role in understanding abstract concepts and reasoning.
According to this theory, metaphors are present in all types of language; in the language of literature, science, politics, religion, art, and any linguistic aspect that is the product of the human mind. Everything that exists about metaphor and its principles can also be explained in the corpus of literary language, and in this respect, there is no difference in analysis, except that in literary metaphors, the principle of metaphorical creativity is more noticeable.
Lakoff and Turner (1989) in their book “More than Cool Reason: A Field Guide to Poetic Metaphor” examined and identified various types of poetic metaphors and claimed that poets and writers use the same ordinary conceptual metaphors of ordinary people in literary creation; with the difference that they complicate them, expand them, challenge their inappropriateness, or combine them in a way beyond the usual way.
In the field of recognizing the influential indicators in the creation of new metaphors and explaining the interrogative power of literary metaphor, no research has been done so far in Arabic short stories. This research intends to examine Zakaria Tamer’s creativity in creating metaphors or highlighting some colloquial metaphors in the short stories of two collections; “Suhail al-Jawad al-Abyad” and “Damascus al-Haraiq”.
Zakaria Tamer is a contemporary and famous Syrian storyteller who has brought this field of Arabic literature to a distinguished position with his short stories. In his works, he has addressed social and human concerns such as poverty and class conflict, oppression and tyranny in Syrian society, and has depicted the pain and suffering of the people of his land and their emotions and feelings. The literary status of Zakaria Tamer necessitates that his writing style be examined from a cognitive-linguistic point of view, especially metaphorical creativity in conceptualizing the themes of his stories.
Narrative literature tells the story of characters and situations that are related to human experiences, thoughts, and observations, and makes the reader think about the content of the story and the ideology of the writer. Therefore, the creative use of metaphor, in addition to adding to the delicacy and beauty of the text, highlights the themes of the stories and can practically provide the reader with a deeper understanding and experience of their message.
Research Questions
This research answers the following questions:
1-What has caused the difference in conceptualization in Tamer’s stories compared to ordinary language?
2-How is the frequency of the fourfold tools of metaphorical creativity in Tamer’s stories?
3-What impact has the creative use of metaphor, imagery, and anthropomorphism had on this author’s stories?

2. Literature Review
So far, no research has been conducted on metaphorical creativity in Arabic short stories. Among the related studies on Lakoff and Turner’s (1989) theory of poetic metaphor, we can briefly mention the following: Kovecses (2010) dedicated the fourth chapter of his book “A Practical Introduction to Metaphor” to the topic of metaphor in literature, explaining the tools of metaphorical creativity introduced by Lakoff and Turner (1989), along with examples in poetry and prose. In another work titled “Metaphor and Poetic Creativity” (Kovecses, 2009), he refers to the influence of cultural, material, and belief contexts that inspire poets to create poetry and poetic metaphors. Flores (1998), in his article “Time, Life, and Death in Shakespeare’s Sonnets,” aimed to examine the use of techniques for creating poetic metaphors proposed by Lakoff and Turner (1989). He studied the conceptualization of time, death, and life in Shakespeare’s poems and, after examining several general-level metaphors, mentioned specific-level metaphors such as “Time is a conqueror,” “Time is an oppressor,” “Death is a ruler,” and “Life is a war with time or death” in Shakespeare’s sonnets. While emphasizing the practicality of Lakoff and Turner’s model, Flores considered the techniques of expansion, complication, and combination in creating new mappings in Shakespeare’s poetry. He stated that the poet did not use the questioning technique, as this feature is more often seen in surrealist poems. M. Freeman (1995), in his article “Conceptualizing Metaphor: The Conceptual World of Dickinson,” examined Dickinson’s poems from a cognitive poetics perspective. He stated that this poet, using the questioning tool in the overall structure of her poetry, questioned the validity of the metaphor “Life is a journey,” which is a metaphor of religious and educational literature. Considering the scientific advancements of her time, she replaced it with the metaphor “Life is a journey in space.” From the research conducted in Persian, we can refer to the article by Pourabrahim and Ghayathian titled “Investigating the Poetic Creativities of Hafez in Conceptualizing Love.” The authors concluded that the difference between Hafez’s language and ordinary language in conceptualizing love is the result of the creative use of cognitive mechanisms in the work, using four indices of metaphorical creativity. Among these, combination and complication had the highest usage, and the questioning index had the least usage in highlighting the concept of love.

1. Methodology

This study employs a library research method and uses a descriptive-analytical approach. It’s grounded in the emergent theory of cognitive poetics and leans on Lakoff’s conceptual metaphor theory, along with the literary strategies outlined in Lakoff and Turner’s 1989 book. From Tamer’s extensive works, the two collections “Suhail al-Jawad al-Abyad” and “Damascus al-Haraiq” were chosen for the research corpus. For the analysis, sections of the stories that exhibit metaphorical innovation were selected. Given that the article is in Persian, an effort was made to initially provide a smooth translation of the chosen text. Subsequently, the discussion delves into the analysis of conceptualization techniques in that section, based on the theoretical framework.

1. Results

In response to the questions posed in the article, it must be acknowledged: what distinguishes Tamer’s language from ordinary language is the creative use of metaphorical conceptualization, which results from the application of four tools: expansion, complication, questioning, and combination. The use of these tools creates complex meanings and introduces a unique innovation in conceptualization, something that does not occur in everyday conventional metaphors. Among the four indices mentioned, Tamer has made more use of the combination technique and less of the questioning technique. He has moderately benefited from the expansion and complication techniques. In addition, the author has simultaneously used the techniques of expansion, complication, and combination in most cases. He first expands a part of our knowledge about the source domain - which has not participated in previous metaphorical mappings - and then unusually describes this part using the complication tool. The simultaneous use of the expansion and complication techniques gives a new meaning to conventional surface-level metaphors and leads to the creation of new or specific-level metaphors. Along with these two techniques, in the combination process, by mixing conventional conceptual metaphors, our inferential power from the concepts of the text is placed beyond our inferential power from each of those metaphors. The creative and immersive use of metaphor, imagery, and characterization in this author’s stories brings the reader to the peak of artistic pleasure during a dreamy encounter with the text. In addition to creating delicacy and beauty in the text, it highlights the central themes in his stories and provides the reader with a deep understanding of their content and the author’s message. In summary, poets and writers are able to create a new and unique world in their works by changing and manipulating everyday conceptual metaphors, and explaining this creativity is possible with the logic of Lakoff and Turner’s (1989) techniques.
 

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The purpose of this paper is to examine the metaphorical conceptualization of "death" in the Novel "I am alive" by Masoumeh Abad (2014) to find out how a teenage girl who was held captive by the Ba'athist regime in Iraq for 4 years, perceive  and represent the phenomenon of death. This analysis has been done within the framework of conceptual metaphor theory (Lakoff & Johnson, 1980, 1999; Lakoff, 1993) and the findings of the research reveal that the authors have used various conceptual domains including school, fighting, entertainment, journey, disease, natural phenomena, beverage, reward, key, as well as the cognitive mechanisms of personification, animism, and Objectification, all of which are based on metaphor to express the concept of death.
 

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The term ‘SciArt’ refers to bilateral relations between art and science, including artistically-inclined science, science-minded art, and intertwined SciArt activities. In this definition, different disciplines from metaphysics to physics are reckoned as science, as different types of art- from literature to music are counted as art. The SciArt approach, in the fields of philosophical inquiry, can be accounted for by Farabi’s works. As Farabi holds, rational well-being and rational truths just might be brought to mind of people via imagery and analogy. In Islamic philosophy, two representatives of the field are Ibn Tufail and Suhrawardi. I will compare and contrast the main characters of these two major figures in chronological order. Plus a few more philosophical and mystical issues Ibn Tufail developed in scientific matters like anatomy, autopsy, and vivisection in the non-allegorical style. Contrary to Ibn Tufail, Suhrawardi explains mystical vs. philosophical problems in his fictions, using the allegorical style. He represents the world of spheres and the sublunary realm by a variety of imageries like nine shells, eleven layers of a basin, and eleven mountains. Both Ibn Tufail and Suhrawardi use fictional manner to explain mystical as well as philosophical themes.

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Metaphorical systems are orderly groupings consisting of conceptual, ontological, and structural metaphors based on sensory experiences and are the result of our interaction with the surrounding environment. The term conceptual metaphor was introduced into the literature by George Lycoff and Mark Johnson, based on cognitive science models and semantic approaches, and with the question of whether conceptual metaphors are separate or interconnected. A new group called "metaphorical systems" was introduced, which includes the metaphor of the "great chain of existence" and the "structure of the event metaphor." This study tries to examine the types of metaphorical systems in selected poems from the work of Khalil Mutran and the poetic collection of Golchin Gilani to determine which types of metaphorical systems the two poets have used in their poetry? And what conceptual features have this kind of use of metaphor give to the poetry of Khalil Mutran and Golchin Gilani? The results indicate that Mutran describes the society as a phenomenon as well as a complex abstract system using the " great chain of existence " metaphor and its related features and the results that govern the individuals of the society, conceptualizes as an event using the "event structure metaphor". Golchin Gilani also deals with man, war and death as a phenomenon in the shadow of "metaphors of the great chain of existence" and uses the metaphors of "event structure" to conceptualize the fleeting moments of life, happiness and kindness in the mind of the audience.
Metaphorical systems are orderly groupings consisting of conceptual, ontological, and structural metaphors based on sensory experiences and are the result of our interaction with the surrounding environment. The term conceptual metaphor was introduced into the literature by George Lycoff and Mark Johnson, based on cognitive science models and semantic approaches, and with the question of whether conceptual metaphors are separate or interconnected. A new group called "metaphorical systems" was introduced, which includes the metaphor of the "great chain of existence" and the "structure of the event metaphor." This study tries to examine the types of metaphorical systems in selected poems from the work of Khalil Mutran and the poetic collection of Golchin Gilani to determine which types of metaphorical systems the two poets have used in their poetry? And what conceptual features have this kind of use of metaphor give to the poetry of Khalil Mutran and Golchin Gilani? The results indicate that Mutran describes the society as a phenomenon as well as a complex abstract system using the " great chain of existence " metaphor and its related features and the results that govern the individuals of the society, conceptualizes as an event using the "event structure metaphor". Golchin Gilani also deals with man, war and death as a phenomenon in the shadow of "metaphors of the great chain of existence" and uses the metaphors of "event structure" to conceptualize the fleeting moments of life, happiness and kindness in the mind of the audience.