فهرست مطالب نسرین علی اکبری

One of the functions of reader-response criticism is to provide a suitable platform for the reader's discovery and participation in creating meaning in the text. The Clear cut gaps are among the components that determine the reader's participation in expanding or limiting the meaning in the reading process. The subject of this research is the novel “Light a Candle for Me” from the list of the Flying Turtle in the research quarterly for children and teenagers, with the approach of Chambers, which has received five Flying Turtle awards. The author entrusted parts of the narrative to the narrator to develop in the text and in the form of direct and indirect description of the emotional and value world of the characters, especially describe the protagonist who is a teenage girl. However, in some parts of the novel, he has created Clear-cut gaps that draw the implied reader perception into the text, and he describes and splits the hidden layers of meaning and interprets them at different formal and meaningful levels such as stylistic, descriptivel levels, characterization, communicative and ideological ones. it deals with the emotional ideological concerns of the main character of the story

The present study examines and analyzes approaches to conceptualization of love in the work of contemporary poet Yadollah Behzad Kermanshahi. Adopting the method of description and analysis of data and relying on foundations of conceptual metaphor, this study tries to discover the hidden layers of imagery through identifying and analyzing the source domains of the metaphors   and to explore the thoughts predominating over the poet’s worldview. The results indicate that Behzad uses a wide variety of source domains such as anthropomorphism, reification, foodification, spatiality, elements in nature, health and illness, heat and light, shackles and imprisonment, sacred tasks and affairs, and schemas related to journey and direction. It must be noted that the hidden layers of these images entail positive meaning and concepts of love to the extent that, even when the poet uses negative source domains, his view of love is still positive and reassuring. Therefore, it could be stated that the poet assesses love with an absolutely affirmative worldview, considering it as a miracle that is the essence and delight of life and gives rise to hustle and bustle and fruitful activities in the world.

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,

Metaphor is among those phenomena whose conception has been basically revisited by cognitive linguists. Being elaborated on in terms of conceptual domains and image schemata, metaphors are now defined not just as a literary device, as it was thought of in traditional approaches, but as a linguistic means for the expression of abstract ideas on the basis of embodied experiences. Adopting a cognitive approach, the present study seeks to identify the tools that are employed by Yadollah Behzad and Mohammad Javad Mohabat for metaphorical reflection of grief in their poetry. Detailed analyses of our data demonstrate that in the works of both poets the notion of grief has been metaphorically expressed via animism, placeness, and also referring to natural components and comestible phenomena. The shared mechanisms one can find in both poets’ works hint to the shared experiences that both poets might have had in their life. Moreover, the fact that Behzad has used other notions like “time” and “downfall” in his poetry shows that he has perceived grief in a variety of other experiences as well.

Although the metaphor was first considered a deviation from the standard norms of automatic language and being solely confined to works of literature, it is now viewed as a basic characteristic of the human mind and accordingly ordinary usage of language by cognitive linguists. The fundamental belief is that human beings tend to comprehend abstract concepts in terms of more concrete ideas and manifest this correspondence in their language. Time is one of those abstract domains whose actual manifestation in ordinary and literary styles has interested cognitive linguists since the 1980s. The present study seeks to investigate the metaphors that have been employed by Yadollah Behzad Kermanshahi for the concrete presentation of time in his poetry. By doing so, not only the source and target domains of time-related metaphors will be exhaustively introduced but also the hidden layers of Behzad’s viewpoint toward time will be discussed in detail.The following three questions constitute the core of this study: 1) What are the main mechanisms for the metaphorical expression of time in Behzad’s poetry? 2) What are the underlying layers of these time-related metaphorical expressions? 3) How could the cognitive analysis of these metaphorical expressions lead us to a comprehensive understanding of Behzad’s conception of time? Yadollah Behzad was a major Persian poet whose works have placed him in the circle of famous contemporary literary figures both in his hometown, Kermanshah, and Iran. Although his works offer various potentials for conducting original research projects on the nature of thematic and metrical characteristics of Persian contemporary classical poetry, the available literature on Behzad’s artistic career seems still too weak.After presenting an introduction of our theoretical assumptions based on Lakoff and Johnson’s (1980) pioneering work in the second section, we have allocated the third part to the cognitive treatment of our data, which have been taken from Behzad’s collections of Gol-e Birang and Yadgar-e Mehr. Going through the available examples of metaphorical expressions of time in Behzad’s selected works, we first pick those which we deem as more artistic and then try to elaborate on their internal constituents including their source and target domains and also mapping mechanisms. The results show that Behzad has employed 10 mega metaphorical schemata, each of which contains several micro metaphorical domains: Human-oriented Schema: This is one of the widely-employed schemata for the concrete manifestation of time in Behzad’s poetry. This general schema encompasses a number of micro metaphorical domains including human-oriented metaphors with negative imaginations, human-oriented metaphors with bifaceted imaginations, and human-oriented metaphors with positive imaginations. Animal-oriented Schema: As another generally-referred-to category for the linguistic manifestation of time in Behzad’s poetry, this schema includes two metaphorical domains of time as a crow and time as a horse. Comestible Schema: This domain is of very limited use in Behzad’s works, therefore we could not find a variety of subdomains for it. Place and Container Schema: As was the case with the animal-oriented schema, this category consists of two micro metaphorical domains including time as an encircled space, and time as a refillable container. Object Schema: This schema, too, encompasses two micro metaphorical domains of time as a countable object, and time as a colorable object. Book-oriented Schema: This schema is not of various types in Behzad’s poetry, therefore, we did not propose any micro subdomain for it. Natural Element-oriented Schema: As was the case with the previous mega metaphorical schema, this category is too limited in Behzad’s works to contain micro subdomains. Time as an Agent: In the previous parts, we were mainly concerned with physically-embodied mega schemata which were used to concretely portray time in Behzad’s poetry. Besides, in his attempt for metaphorical expression of time, Behzad has also referred to time as a natural agent from which certain phenomena evolve. Tangible Abstract Schema: Although this might seem paradoxical at first, this schema can get a convincing definition in Behzad’s artistic style. Instead of using purely concrete categories as the source domain, in certain cases, Behzad deliberately makes use of some abstract categories as the source domain for metaphorical expression of time. These domains, however, are less abstract than the “time” itself. Duration of Time: This schema is also of different nature than the classical physical schemata, which are employed for metaphorical expression of time. In this case, Behzad uses the very duration of time to concretely depict the abstract concept of “time”.

The current research aims to investigate mood and modality in Sorani Kurdish within the Systemic Functional approach (Halliday and Matthiessen 2014). Specifically, the present study is an attempt to explore the nature of mood markers and the formalization of modality in Sorani Kurdish. The primary data has been collected using the Plank Questionnaire, administered to 442 participants. To explore mood-marking, the mood constituent in Kurdish clauses will be delineated, with the subject, finite, and mood adjuncts identified as the three main components of the mood constituent. Then, system of modality in Kurdish, modalization, and modulation will be discussed. Data analysis suggests that finite in Kurdish does not stand on its own and needs to be conflated with the predicate. The main grammatical categories used in Kurdish to represent modalization and modulation are modal verbs and pseudo-grammaticalized modal clauses. Statistical data also shows that mood adjuncts are only sporadically used in Kurdish to describe modality. Moreover, the morphological subjunctive mood will be analyzed as operative over verbal categories and hence not part of the mood constituent.

 In Iran, as well as in Iraqi Kurdistan, the critique of literary texts using ‘literary theories’ has grown in recent years. The present study investigates published articles in ‘Literary Criticism’ and ‘Sulaimaniyah University’ journals. The research method in this article is criticizing the critiques. The aim was to answer two questions: Why has this kind of critique and theory taken up so much volume? How have researchers applied this theory? The volume of the articles includes 188 Persian and 76 Kurdish articles. After discarding 46 Persian and 29 Kurdish articles in terms of the basic structure, the scope was reduced to 142 Persian and 47 Kurdish articles. After analyzing the articles, it was found that the theory of structuralism was used in 47 Persian articles (33.9%) and 15 Kurdish articles (33.09%). The theory had the largest share in the articles compared to the type of critique and other theories. An attempt has been made to apply the critique and theory of structuralism in these articles, to express the differences and correspondence of the type of attitude in Kurdish and Persian articles. The findings of the research are that in the published articles of both journals, this theory is not fully understood and they have a general view that can be one of the reasons for the great application of this theory in published articles. Looking at how this theory is used, it can be said that Kurdish researchers have dealt with this theory more superficially and most of the time there is no analysis of the type of structure in the text. Also, unlike Persian articles, theories such as structuralist mythology, paleontology, structuralist psychology, Bakhtin conversation logic, do not exist in Kurdish articles at all. Another point in the published articles of the two journals is the refusal of researchers to study the sources in the original language or the sources of the first degree of constructivism, which is directly related to the type of application and analysis of texts.

The critique of literary texts using ‘literary theories’ has grown in recent years in Iran, as well as in Iraqi Kurdistan. This could be due to a kind of imitation of Europeans and a new definition of criticism, with the influence of Anglo-American cultural and social developments. Because in the West, since the beginning of the twentieth century, turning to literary theories has become very important and many books have been written about it. Every article or literary research needs theoretical support, and every researcher must use one or more literary critiques and theories to advance the work in order to maintain the scientific level of his / her research and its tastelessness. Literary Criticism Journal is one of the most popular journals in the field of academic literary criticism, which was launched in 2008 and soon became a base for many critics in the field of criticism and theory. Sulaimaniyah University Journal is one of the most prestigious academic journals. Therefore, the present study investigates published articles in ‘Literary Criticism’ and ‘Sulaimaniyah University’ journals.  

To achieve the purpose of the study, in addition to using Cochran's formula for the statistical analysis, metacriticism was used. In this regard different and close words and terms have been used, such as critiques of criticisms, reading of readings, etc. Metacriticism goes beyond literary criticism and criticizes ideas, rules, and methods of critiques together. In other words, it is a way of generally looking at criticism. Studying the critical discourse of Metacriticism can help to perpetuate the interlocution and dialogue between different critics.   Results 3.1.    Data Analysis to Investigate the Amount of Using the Structuralist Theory in The Two Journals To answer the first research question of the study, after analyzing the articles, it was found that the theory of structuralism was used in 47 Persian articles (33.9%) and 15 Kurdish articles (33.09%). The theory had the largest share in the articles compared to the type of critique and other theories. An attempt has been made to apply the critique and theory of structuralism in these articles, to express the differences and correspondence of the type of attitude in Kurdish and Persian articles. 3.2.   Data Analysis to Answer the Question of How to Apply the Structuralist Theory in The Two Journals With respect to the second research question of the present study, the authors studied the published articles based on different genres to find out the amount and the application of this theory. The following themes were observed in 142 Persian and 47 Kurdish articles. A: Classic poetry B: Contemporary poetry articles C: Articles that are about classical prose/fiction texts D: Articles that are written about contemporary or modern prose texts/stories E: Articles that are written about a film F: Articles that are about critical texts or critiques of criticism and theory G: Articles that are about different theories of structuralism with no specific textual analysis.  

 The findings of the present study showed that in the articles of both journals, this theory is not fully understood and they have a general view that can be one of the reasons for the great application of this theory in published articles. Considering how the structuralism theory is used, it can be said that Kurdish researchers have dealt with this theory more superficially and most of the time there is no analysis of the type of structure in the text. Also, unlike Persian articles, theories such as structuralist mythology, paleontology, structuralist psychology, Bakhtin conversation logic, do not exist in Kurdish articles at all. Another point in the published articles of the two journals is the refusal of researchers to study the sources in the original language or the sources of the first degree of constructivism, which is directly related to the type of application and analysis of texts.

The general feminist scholars believe that, as the differences in the language of feminine and masculine language are in the speech, it also appears in the writings. The purpose of this article is to investigate the effect of gender on the language of Fryba Vafi during the application of simile. So, six of Fariba vafi's works, choice and effects of gender on his simile have been studied. This review includes "Types of linguistic gender in the simile," "The type and quality of the author's simile about the story's men," and "body images" in these works. The findings show that Fariba vafi is a good example of a feminist interpretation of the world around him and, with the influence of gender, has tried to make his role as an enlightening narrator in this context when making likeness. . Indeed, the fabrication of likeness by Fariba vafi is one of the modes of expression created by his feminine language. This gender-specificity is more in line with the "moshabah" than "moshaba beh". vafi has generally used this gender simulation to inspire his female world. The image he gives men in this simile represents the specific emotional and psychological distances of women story with their men. The female body does not imply direct and explicit.

One of most ancient genres of art and literature which has been considered as the primary foundation of human's beliefs is vulgar literature. The simple language, folk tone, the native beliefs, words and terms are the most outstanding features of folk literature. The study of such literature provides some achievements in the historical sociology considering past, people's beliefs, and their methods of life. Mohammad Reza (Fariborz) Hamzei has considered the folk, cultural elements of his own reign in the novel. The present study is to examine the novel of Varcham in the light of descriptive-analytical methods to express the elements and beliefs in the aforementioned novel. This novel can be perceived as the main source for cultural, social and linguistics researchers, because it expatiates places, events of that time as well as people. Hamzei has exerted idioms, vocabularies, precepts, the religious, spiritual beliefs of people. The common precepts of time have been inserted among the book, it causes to make the novel as the literary treasure for the following generations. The writer has referred to Kermanshah ancient places and lakes, besides foods, plays, clothes, music and the people's beliefs.

Abolghasem Lahooti, the poet, author, teacher and journalist, is among the first pro-modernisms. He is one of the poets in Persian poetry. Some of them have been announced his poems as beholder of modernism and mentioned some instances of exiting rhythm in his poems and composing in prosodic style and syllabic rhythm which are the most important aspects of that new poetry. He understood the local rhythm of the poem before Russian, French and Turkish poem. As some believed, he inspired of them to innovate the Persian poem. His early poems are like those of his father's, Mirza Ahmad e Elhami. But after his immigration to Tehran he experienced the new contraptions around poems. He excogitated content more than surface "Vafaye Beahd" (It's composed in 1288 Sh contemporary, Yad Ar ze Shame e Mordeh by Dehkhoda) is one his first experience from his 50 pieces as "Langroodi's 20 pieces and according Bashiri's commutation in 28 Ghete e has composed in syllabic rhythm. Although these are not as well as other his poems but they're important for syllabic rhythm. Kordish poem is one of Irainan's poem which influenced old syllabic rhythms in Kordish poem has 10 - 8 - 6 rhythm. There is pause and short silence in middle of hemistich. It is the main feature, this short pause has occurred in poems with 10 rhythms after fifth and in poems with 8 rhythms after forth and in poems with 6 rhythms after third rhythm. Lahoty has influenced Kordish poems; here are two types combined and noncombined rhythms: 1) Noncombined (single rhythm) poems that is composed with one syllabic rhythm. They have been classified into 3 rhythms: 10 rhythmic, 8 rhythmic, and 7 rhythmic poems. Lahoty has composed in these rhythms. 2) Combined rhythm: he applied 2 or 3 syllabic rhythms and the hemistiches equals to rimes this feature compensate deficiency from combination of 2 different rhythms. In most of these rhythms 10 syllabic ones are formed by combination to other syllables which could be counted by their frequency in Lahooti’s Divan. He has applied twice 9 syllabics and once 11, with the most common 10, 8, 7 syllabics. It should be noticed that all rhythms aren’t rhythmical. But have differed in number of syllables and arrangement in Lahooti's Divan. Combination of 7 & 10 Combination of 10 & 9 Combination of 10 & 5 They're beautiful rhythms. It appears that Lahooti feels more nostalgic to his hometown and his mother tongue, the rhythms prove this claim, because 9 and 11 rhyme (have been used 3 times) are most common. So, he can be known the genius of his period. As he has a lot of experiences in composition of Kordish poems, he could have used the rhythm possibilities of Kordish poems in Persian poetry.

As called archetypal criticism interchangeably, mythological criticism focuses on the common, recurrent, and conventional elements in literature that cannot be explained in terms of tradition or historical influences. This kind of criticism studies every literary work as a part of the whole of literature. According to this type of criticism, the archetypes – including images, characters, plot, and theme – are present in all literary works; thus, providing a ground for studying the mutual interactions of the works. By choosing the snail as a linguistic sign, the poet identifies with snails; therefore, they are both unified within a metaphorical monism as the essence of his poetry. By choosing the snail as unified with his being, the poet creates diverse images in his poetry that draw the reader into the depths of text. On the other hand, he describes the snail in his poetry with a narrative tone like a fictional character and makes the reader undecided. The tone of the narrative puts the snail as a fictional character that transcends the poet's work and opens the horizon of the text into a hyperreal and mythical reading. For this reason, the snail as a sign of the poet himself makes this work a proper subject to the archetypal criticism.

Study of locally fashion in the literature of a country causes to know better the gazetteer cultures of that country. One of the features of the Iranian country is the cultural variety. The variety is obvious in the cultural diverse. After this disillusionments that the Iranian enlightened experienced in cause of social transformation, one of the way they could to collate with Pahlavey order of Modern-Minded was cancellation to kinsman. One of the aspects of this cancellation was attention to the cultural and reflection in the literature. Kermanshah as the fifth province of the country come to sight in the historical novels and labor literature is pioneer and some of the Persian novels happened in this place, and in this research three novels, Ahokhanom husband, The cloudy years and Varcham are studied. In this studying in point of view the element qualitative and insufficiency and median and moral such as historical places,art craft, famous persons, language and literature, words,idioms, poems,proverbs, melodis,dances, musics, animals,plants,objects,prof ssi ons,cust oms, beliefs, clothes ,foods and so on are studied and analysed.

Structuralism is one of the most common and oldest doctrines of narrative science. This school of thought following Linguistics is based on the idea to draw the structure of the stories or to explain the basic structure of the narratives. Greimas as one of the story archaeologists has used Propp to show the structure of the stories. He points out that each story has a number of sequences and each sequence composed of a number of action patterns.In this paper, an effort has been made to show how this approach is capable of analyzing the Persian stories. Accordingly it become clear that actors are the most important elements of the stories; additionally abstract concepts, characters and appearance of the characters play significant roles to maintain the remarkable effects of the stories.

Interpretation of colour in Haft Paykar is of fundamental importance. Colour is a major sign of narrative way of Nizami to express his attitude towards ontology. Thus, colour has a symbolic and interpretable field and understanding its symbolic meaning requires recognition of its interpretive background. Identification of such a background leads to understanding the symbolic link between colour and its origin, light. Relation between light and colour in Nizami’s narration has attracted other elements such as seven stars, seven domes, seven climates, seven ladies, seven metals, Bahram, time etc which have external and internal relations with colour. This relation in its symbolic interpretation has made the “Creator’ as light and “man” as colour; colour and light as unity and multiplicity.This paper explains Nizami’s viewpoint about symbolic interpretation of colour, external and internal relation between colour and form and the content of the story narrated in each coloured dome and their interpretive backgrounds.

'Nizami''s 'Haft Paykar' has been anslysed based on reception theory in this paper. The background of such a reception is the combination of myth and gnosis in a symbolic language. Its characteristic is the transcendent understanding of the context through interaction between the reader and the context and its content is the perciptable and clear awareness of the reader and it is interpreted as Nizami's sacred observation of creation.Nizami's Haft Paykar as a lingual phenomenon has been assumed the external that reflects its interior (content) similar to a mirror. In other words, the appearance is the manifestation of its interior, which in turn represents a heavenly prototype; the content cannot be manifested without its appearance. The appearance is smaller than its interior; thus, it cannot reflect the whole interior but it can be the mirror and manifest it symbolically. From such a viewpoint dome is assumed as the mirror of heaven (seven planets). In order to explain such a reflection correlated elements such as location (heaven, dome, Haft Paykar and centre), number (seven), light, color, the material of planet and personality (Bahram, Shideh and Semenar) have been analyzed.

The Present Paper is intended to investigate the relationship between the Dome, as a religious symbol in Islam and many other religions , and the prevailing beliefs among nations. It is also the objective of the paper to determine the mythological role of the in the Persian poetry. Referring to beliefs in Hinduism ,as well as ancient myths of Egypt, symbolism of water and fire, together with certain asian beliefs, specially in southern Russia , attempts will made to pave way for a thorough investigation this... .