فهرست مطالب محسن نورپیشه قدیمی

The image as part of the message is the affect intermediate between the speaker and the audience. Examining the components of the image and its impact on the audience can inform us about the amount of emotion and affection of the poet; The diversity and dynamism of the image leads to its permanence in the minds of the audience and, as a result, conveying more affection. The diversity of the image, on the one hand, shows that the speaker has experienced it with all his senses, and on the other hand, it enables the audience to receive the message with various sensory receptors. In the present paper, we first review the theories related to affection, image, demilitarization, and their interactions with each other and with the audience; Then, a variety of verbal, visual and vocal images, cinematic images, and transformation in the vertical axis of imagination, identification through the image as well as the components of the image, such as verbs, the image of words and colors, and their connection with Rumi’s affection and emotion in Shams' sonnets are investigated.

It is not possible to receive the exact message of the poet and his detailed understanding of his experience unless his poetry is carefully examined, especially in lyrical poetry in which the poet speaks of his innermost self. What happens in the language, is a reflection of what has already happened in the poet's mind; because affection and excitement affect the language as well as the body. The way words are selected and combined with each other, and the type of sentences that speaker/writer uses provides a significant amount of information to the audience that affection and excitement are only part of it. A considerable part of our information about ontology, culture, manners, ethics, and social behavior of speakers/writers is based on the language they have used in their works. Linguistics, grammar, rhetoric and semantics are all effective tools for better understanding of the message lies in the language. The reflection quality of Mowlavi's affection and excitements on the language in his Divan-e Shamshas been analyzed, in present study, through three approaches of linguistics, grammar and semantics, and the emotional role of the message in pseudo-statements and interjection, the literary role of the message, the utilization of pronouns, and the type of sentences that manifest the poet's inner voice in secondary meanings are also studied.