جستجوی مقالات مرتبط با کلیدواژه "طرح واره های تصویری" در نشریات گروه "ادبیات و زبان ها"

The purpose of the present article is to explain the foundations of Fariba and Fafi's knowledge and the formation of her feminine language, based on the theory of image schemas. Therefore, the present research aims to show that, from the perspective of cognitive linguistics, metaphor is not just a linguistic tool in order to decorate words; Rather, it is a cognitive tool that is undoubtedly related to the author's gender. This article has been done by analytical-descriptive method based on library studies and its theoretical framework is indebted to Johnson's visual schema theory. In this article, after reflecting on cognitive linguistics, we have lingered on metaphor, and then by introducing the theory of image schemas and its branches, we have reported the image schemas of Fariba Wafi's works. In the end, this article comes to the conclusion that Wafi's image schemas represent her cognitive system as a woman and are considered to strengthen the foundation of her experiences to achieve a specific language. By discovering the image schemas used in Wafi's works, it can be seen that the image schemas of this author's works originate from the unity of her stable attitude and actions as a woman with her cultural and physical environment, and all of this ultimately leads to the formation of a special language for her.

One of the new scientific fields directly related to the human mind is cognitive science. Visual diagrams, first proposed by Mark Johnson, are one of the most important infrastructures in this field. Due to its psychological nature and direct connection with the mind, vocabulary can be investigated through cognitive studies. Cognitive science and its related disciplines, such as cognitive linguistics, have provided researchers with the necessary tools to conduct cognitive research due to their communicative nature. The goal of this article's authors is to use these tools to decipher the meaning of words.The current research involves a case study of equivalent vocabulary found in Persian and Arabic in biology courses during the first and second terms. The aim is to determine the use of visual schemas in equivalent vocabulary and examine these two languages based on Johnson's linguistic approach. The research method is descriptive-analytical. The study seeks to investigate how far equivalent words in Persian and Arabic in biology lessons from seventh to twelfth grade reach meaning with the application of physical experiences, and whether they have been found in language form.The purpose of this research is to show the prominent role of image schemas as semantic tools in making abstract spaces concrete in people's minds. After analyzing the data, it was found that the volumetric schema has the highest rate in equivalence of words in Arabic language. The Arabic word is not found in the movement schema, but it has an equal contribution as the power schema does in transferring meaning for equivalent words between Persian and Arabic languages.

The purpose of this article is to explain how Sarrami knew the world based on the theory of conceptual metaphor. this paper, we show that, according to cognitive linguistics, metaphor is not merely linguistic, but it is a tool for cognition. The theoretical framework of this paper is indebted to theory of Johnson's image schemas. In this article, after explaining the metaphor and introducing the theory of image schemas, we report the image schemas of Sarrami poetry. This article concludes that the image schemas of this poem show the poet's cognitive system and strengthen the foundation of his experiences to achieve a specific language. By discovering conceptual metaphors in this work, it can be understood that the images of this poem originate from the unity of the poet's attitude and stable actions with the cultural and physical environment, etc., and ultimately lead to the formation of a specific language. This article is an analytical-descriptive method based on library studies

Metaphors are the linguistic manifestation of conceptual metaphors that in cognitive linguistics refer to understanding an idea or a conceptual field based on another idea or conceptual field. A conceptual domain can consist of any systematic organization of human experience. According to Lakoff and Johnson (1980), metaphors can not only be used to talk about phenomena, but also to think about them with their help. The current research has examined the conceptual metaphor and the visual schema of the human concept in the works of Dr. Shariati and Professor Motahari based on cognitive linguistics, and the researcher has analyzed the schema and metaphors using the theory of Lakoff and Johnson (1980). This research is of content analysis-description type and used quantitative-qualitative method. The corpus of current research data are composed of four works by Motahari and Shariati, two of each of which were selected. After extracting the data, the researcher analyzed the data using SPSS software and the log-Liner test. The results of the research show that both authors have used conceptual metaphors and visual schemas in explaining the concept of human in their works, and their frequency is higher in Shariati's works. Another result obtained from this research shows that there is a significant difference in the representation, variety and frequency of conceptual metaphors and visual schemas in the works of Dr. Shariati and Professor Motahari.

Semantics is one of the branches of cognitive linguistics, whose main goal is to create a connection between words and abstract and mental concepts through the modeling of human physical actions. In this regard, one of the important methods is the use of image schemas, which were first proposed and explained by Mark Johnson. The visual schema plays a significant role in the audience's understanding of the influence of human interactive relationships with abstract concepts. The Holy Quran is a book in which many abstract concepts such as the unseen, death, soul, types of punishments, types of rewards, etc. are used; Applying the visual schema theory to these verses plays an effective role in inducing the message of the verse to the audience. The upcoming research is written in descriptive-analytical method. The purpose of this research is to show the prominent role of image schemas as one of the semantic tools in abstract concepts in the Quran and concrete for these concepts for the audience. In this regard, the verses referring to reward and eagle have been chosen as examples of abstract concepts in the analytical study, focusing on visual schemas of movement, volume and power schemas, and it is expected that the result will be that volumetric schemas are used in reward. And the eagle has a higher frequency than other schemes.

One of the typical areas for examining literary works and comprehending their complex concepts is cognitive studies in the field of semantics in new language research. In the meantime, the idea of image schemas is one of the discoveries of cognitive semantics, which investigates the foundation of the perception of abstract concepts in sensory and organized mental experiences. This idea guides the examination of linguistic-literary works beyond their apparent meanings. This method makes it possible to comprehend the metaphysical meanings of the Holy Quran, a linguistic miracle. This article investigates the Quranic story of Moses and El-Khader based on Johnson's image schemas theory in three levels of volume, power, and movement using the descriptive-analytical method with a linguistic approach to determine the cognitive meanings in the verses. This study demonstrates that image schemas have established a balance between human conceptualization and perception. Among these, volumetric systems are the most prevalent and provide the best language for making sense of abstract ideas. In addition, knowing the schemas facilitates tangible and expansive comprehension of abstract concepts. In addition, coordinating schemas with experiences created by them has significance.

The path of mystical journey is a path that is full of meanders. A mystic must overcome obstacles heroically to reach God. These are not physical barriers. According to the theory of image schemas first presented by Lycoff and Johnson, the mystic thinks and speaks about these obstacles by using force schemas. This study tried to compare Sanā'ie and Ayn al-Quzāt Hamadāni’s views about obstacles in the path of mystical journey by analyzing force schemas in their two works of Hadiqah al-Haqiqah (Garden of Truth) and Tamhidāt (Preparations) through a descriptive-analytical method. The units of analysis were the distiches and stanzas that contained force schemas in the mentioned works. The scope of our research was all their contents. The similarities of the intellectual foundations of the two mystics were reflected in the schemas of the second and third types. The word of God, moral vices, dependence on the world, soul, and knowledge of God were the main axes of these two types of schemas in the two works. The differences between the lived experiences and types of mysticism of the two mystics were found to have led to a significant difference in their use of the first type of schema. Also, they were different in their frequencies of using schemas, such as appearance of Shari'a, the devil, moral vices, divine zeal, and status, because of their varied lived experiences and intellectual foundations.

The purpose of this paper is to explain the Forough's cognitive bases about the concept of death. This article intends to present the metaphors, similes, symbols, allegories of Forough based on Johnson pictorial schemas while using conceptual analysis method. Forough's pictorial schemas on abstract concept of death show that the metaphors of death is rooted in her lived experience and indicate her cognitive system. By identifying Forough's metaphorical mappings about death, it could be found the subcategories of the mappings, and understood how restricted numbers of mappings have shaped Forough 's life and thought and also unifies her attitudes and permanent reactions in physical, social, and cultural environment.

A conceptual borrowing; the speaker speaks of a certain unclear concept by relying on known experiences and visual schemas can be understood by the audience. Imam Ali (AS) also used this category of cognitive linguistics in the Nahj al-Balagh with tools such as "above" Until the language of Nahj al-Balaghah is comprehensible to everyone, despite having complex and spiritual matters. Therefore, the purpose of writing this article is to analyze and analyze the conceptual metaphors of the "above" container in the Nahj al-Balagha language descriptive and analytical method has been discussed, and after reading the difference of metaphor in the cognitive approach and in the traditional approach, Firstly, in Nahj al-Balaghah, the word above has a strong metaphorical focus which implies a spatial relationship and is derived from the combination of "high" and "longitudinal" Secondly, changing the position of the route path in the borderline, has drawn other schemas, which constitute the concept of the source, These designs are the basis of the construction of an abstract concept. Thirdly, in the above-mentioned case study of Nahj al-Balaghah, it was revealed that "direction and movement" was the concept of origin, and abstract concepts such as "domination, majesty, enumeration, extent, affection, and ..." are the meaning of the destination. Key word: Conceptual metaphors, supermodel, visual schemas, Nahj al-Balagh, meaning of the preview, semantic network Abstract A conceptual borrowing; the speaker speaks of a certain unclear concept by relying on known experiences and visual schemas can be understood by the audience. Imam Ali (AS) also used this category of cognitive linguistics in the Nahj al-Balagh with tools such as "above" Until the language of Nahj al-Balaghah is comprehensible to everyone, despite having complex and spiritual matters. Therefore, the purpose of writing this article is to analyze and analyze the conceptual metaphors of the "above" container in the Nahj al-Balagha language descriptive and analytical method has been discussed, and after reading the difference of metaphor in the cognitive approach and in the traditional approach, Firstly, in Nahj al-Balaghah, the word above has a strong metaphorical focus which implies a spatial relationship and is derived from the combination of "high" and "longitudinal" Secondly, changing the position of the route path in the borderline, has drawn other schemas, which constitute the concept of the source, These designs are the basis of the construction of an abstract concept. Thirdly, in the above-mentioned case study of Nahj al-Balaghah, it was revealed that "direction and movement" was the concept of origin, and abstract concepts such as "domination, majesty, enumeration, extent, affection, and ..." are the meaning of the destination. Key word: Conceptual metaphors, supermodel, visual schemas, Nahj al-Balagh, meaning of the preview, semantic network Abstract A conceptual borrowing; the speaker speaks of a certain unclear concept by relying on known experiences and visual schemas can be understood by the audience. Imam Ali (AS) also used this category of cognitive linguistics in the Nahj al-Balagh with tools such as "above" Until the language of Nahj al-Balaghah is comprehensible to everyone, despite having complex and spiritual matters. Therefore, the purpose of writing this article is to analyze and analyze the conceptual metaphors of the "above" container in the Nahj al-Balagha language descriptive and analytical method has been discussed, and after reading the difference of metaphor in the cognitive approach and in the traditional approach, Firstly, in Nahj al-Balaghah, the word above has a strong metaphorical focus which implies a spatial relationship and is derived from the combination of "high" and "longitudinal" Secondly, changing the position of the route path in the borderline, has drawn other schemas, which constitute the concept of the source, These designs are the basis of the construction of an abstract concept. Thirdly, in the above-mentioned case study of Nahj al-Balaghah, it was revealed that "direction and movement" was the concept of origin, and abstract concepts such as "domination, majesty, enumeration, extent, affection, and ..." are the meaning of the destination. Key word: Conceptual metaphors, supermodel, visual schemas, Nahj al-Balagh, meaning of the preview, semantic network Abstract A conceptual borrowing; the speaker speaks of a certain unclear concept by relying on known experiences and visual schemas can be understood by the audience. Imam Ali (AS) also used this category of cognitive linguistics in the Nahj al-Balagh with tools such as "above" Until the language of Nahj al-Balaghah is comprehensible to everyone, despite having complex and spiritual matters. Therefore, the purpose of writing this article is to analyze and analyze the conceptual metaphors of the "above" container in the Nahj al-Balagha language descriptive and analytical method has been discussed, and after reading the difference of metaphor in the cognitive approach and in the traditional approach, Firstly, in Nahj al-Balaghah, the word above has a strong metaphorical focus which implies a spatial relationship and is derived from the combination of "high" and "longitudinal" Secondly, changing the position of the route path in the borderline, has drawn other schemas, which constitute the concept of the source, These designs are the basis of the construction of an abstract concept. Thirdly, in the above-mentioned case study of Nahj al-Balaghah, it was revealed that "direction and movement" was the concept of origin, and abstract concepts such as "domination, majesty, enumeration, extent, affection, and ..." are the meaning of the destination. Key word: Conceptual metaphors, supermodel, visual schemas, Nahj al-Balagh, meaning of the preview, semantic network

On the basis of power schemas, it has been tried, in present study, to explain the principles of   Hafez's cognition. So, from a cognitive linguistic point of view, we want to show that metaphor is not a simply linguistic tool, but a definitely cognitive tool that embellishes the speech. The theoretical framework of this study is based on the term "image schema" that has been explained by Mark Johnson. After a little deliberation on the direction of cognitive linguistics, we have stopped, in this study, on metaphor, and then, power schemas of Hafez's poetry have been reported through introduction of image schemas and their lateral discussions. The results show that the power metaphors Hafez used in his poems reflect his cognitive system and reinforce the foundation of his experiences. Undoubtedly, in the field of power metaphors, one can examine the clusters have come out of the main body through the discovery of metaphorical mappings Hafez has used in his poems, and it can also been realized that the power of his metaphors are functions of a limited number of mappings which stem from the unity of Hafez's attitude about and his stable actions with the cultural and physical environment.

Metaphor as one of the most important studied phenomena with semantics and semantic approach is considered a cognitive mean to express abstract concepts and experiences based on objective and tangible human experiences. Joseph Lakoff and Johnson in his book “Metaphors we live by” published in 1980, talks about a new view in the area of metaphor. Presenting empirical evidence, they have questioned the traditional rhetoric view that considered metaphor as merely a mean to adorn speech and form words. New research by Lakoff and Johnson on metaphor proved that not only metaphor is only one of the specific forms of verbal and literary language, but it also has more important roles in human life than language. Moreover, human cognitive system is basically metaphorical which orientates on human thought, behavior and language. In other words, the role of metaphor in the study of stylistic features and the measure of the innovation of poet is very important, because creativity and innovation are made possible by creating metaphors. Hence, according to the theory and to emphasize Naser Khosrow lyrics, using an analytical- descriptive method, we will peruse the poems of Naser Khosrow and by providing evidence from his poetry, explain how surveyed cognitive infrastructure become novel and literary metaphors. This article is an attempt to survey and analyse his poems to illustrate the metaphors of the pictorial and orientated schema in Naser Khosrow lyrics are considerable and have not yet been investigated .

In the present research, the common metaphors in body of proverbs in northern Khuzestan within the framework of cognitive semantics, based on Evans and Green Schematic Model (2006) are studied. Recordings of languages and dialects plays an important role in preserving language and cultural transmission from one generation to another one.Therefore, one reason of gradual loss of local languages may be attributed to the lack of literary texts. In this regard, proverbs as a component of culture, national, personal and social identity are significant. Proverbs can play a major role in transferring and recognizing concepts and language studies. The role of proverbs and discovering their cognitive structure in regard with the surrounding environment can have a major effect on how to select topics and their purposeful processing in Iranian dialects. Therefore, the need for this study in the framework of cognitive semantics is of great importance. The present study was done through descriptive –inductive method and some data were gathered based on a field study of local speakers. Results of the study revealed that the interaction between experience and environment in forming schemata and conceptual metaphors have a valuable role which appear as practical concepts in audience discourse. Furthermore, the overall schema types specified in Green and Evans Model (2006) including space schema, containment schema, force schema, unity schema, and existence schema were traced in proverbs of Dezfuli Dialect in the north of Khuzestan.

One of the principles of cognitive semantics is the corporatization of the concepts. Language users build basic conceptual structures according to their physical experiences in the world through which they can trigger the whole meaning and interpret other more abstract events. Mark Johnson categorized these concrete experiences under the name of “image schema” theory and divided it into 3 subcategories called path schema, containment schema and force schema. Accordingly this paper tries to analyze Vahshiye Bafghi poems to figure out the extent at which this salient poet has used these tools to convey meaning. For this purpose, 66 out of Bafghi’s quatrains which include 264 hemistiches, has been selected. The analyses revealed that 114 cases the poet has used the image schema to convey meaning. In most cases, the path schema has been used with verb like “pass, hasten, and go” which imply some sort of motion. After that, the containment schema, using words such as snare and seclusion, have the most share in meaning construal. And finally the force schema with using expressions which imply separation and banned items, have been used by Bafghi to facilitate the process of decoding and interpretation on his intentions.

Multiple theories are proposed in respect of cognitive linguistics among which، «conceptual metaphor» and «image schema» have the highest importance. image schemas are some structures of cognitive process which are formed because of the physical experience of human in contact to the external world and provide the possibility for understanding and analysis of abstract concepts. Image schema have different species such as، containment Schemas، path Schemas، force Schemas. Cycle Schemas is one of the kinds of image schemas which can be formed by natural or conventional mapping. Abstract concepts of cycle schemas in the poems of Sa’di can be placed in to three categories: 1) request; 2)complaint; 3)desertion. And the abstract concepts of cycle schemas in the poems of Hafez can be placed in to three categories: 1) request; 2)complaint; 3)submission. The cognitive analyses obtained from the cycle schemas of these poets include: 1) sa’di’s understanding of time movement is liner and Hafez’s understanding of it is circular. 2) sa’di’s liner movement understanding indicates to realization and Hafez’s circular understanding indicates to his idealization. 3) Because of liner movement understanding Sa’di is placed in to tragic human-being group and due to circular movement understanding Hafez is regarded as spic human. 4) The form of the vocabularies’application and general structure of the poems indicate to the decentralization of Sa’di and centralization of Hafez.