چند معنایی

Employing Construction Morphology (CM), the present study aims to examine the Persian compound words, ending in the verb stem “bast”. The data is comprised of 51 compound words and 1791 attested sentences. The latter body of data comes from various reliable sources, including the diachronic corpus of Farhangyar-e Zaban-e Farsi, the synchronic corpus of Persian Language Database, Bijankhan Corpus, Iranian Geographical Dictionary, Zansou Dictionary (1372), Dehkhoda Dictionary (1377), Persian Wikipedia webpage, and Google webpages. The findings suggest that semantic variations of these compounds figure in the concepts of Action, Location, and Instrument. Accordingly, the dominating schema and sub-schemas of theses words, and their relations are described. The study also suggests that approximation- along with metaphoric and metonymic extensions- has a role in the expansion of the schema.

The purpose of this article is to analyze the semantic network of the past tense in the Qur'an. The use of this tense in the Qur'an is sometimes related to concepts that are based on intellectual, narrative, and customary evidence, so it is necessary to conduct this research. For this purpose, by relying on the theories of the field of cognitive semantics in the field of schema, metaphor and conceptual permission, and with the descriptive-analytical method, this quality of use is explained. The findings show that the past tense in the Qur'an sometimes conveys transtemporal concepts by changing the paradigmatic schema and removing the element of time, and metaphorically, it enters new conceptual fields. And it encodes concepts such as certainty, impossibility of realization, probability and distance from reality. Also, by highlighting the hidden components in the exemplar schema, it conveys concepts such as priority, speed, etc. in a virtual form. As a result, the past tense in the Qur'an can be considered a multi-meaning category. He knew that under the influence of context, he conceptualizes a network of meanings.

Passing through metaphorical language and reaching literal language requires a path from ambiguity to clarity of meaning. This path starts with seemingly unrelated expressions in terms of meaning, and by passing through the area of unconventional metaphors and transforming these elements into conventional metaphors, it finally leads to literal combinations. Fuyama (2023), considers the process of understanding metaphorical expressions similar to the performance of particles in the double-slit experiment in quantum physics, based on which, determining the particle or wave characteristics of particles, like understanding the category of compositional and non-compositional expressions, after passing through the filter the meaning is accepted by the speakers. To test this hypothesis, through internet questionnaires, 108 participants were asked to answer 192 metaphorical expressions according to the degree of ambiguity; rating them from 1 to 7. The method of conducting this research is descriptive-analytical and the data were extracted from the works of several contemporary Iranian poets. The results show that seemingly unrelated expressions have the highest degree of ambiguity and are responsible for generating new meanings. Also, the overlapping of some areas indicates the change of the category of metaphorical expressions, which depends on the acceptance of new meanings by the speakers.

In this research, with the approach of construction-based in the framework of the theory of Construction Morphology, selected Persian equivalents of the third Academy have been investigated and compared to English terms. This research has explained the patterns of word formation based on structural-semantic schemas using a descriptive-analytical method. This paper aims to know the hidden and obvious angles of word formation in the word formation science language. The data were taken from the seventeen books of the third Academy and in a total population sampling method (51200 terms). According to the findings, among the 51,200 approved terms, about 8,995 terms were created with the suffix addition method. By adding 11 suffixes and 156 suffixes (nominal and verbal), the Third Academy has used 192 active and semi-active suffixes and sufixoid in the construction of terms approved by the Third Academy. Science has expanded some existing suffixes structurally and semantically. Despite the praiseworthy efforts of the Third Academy, it is possible to point out the existence of multiple suffix derivatives, the semantic-structural heterogeneity of some Persian suffixes compared to English suffixes, and the contradiction with some principles and rules of word selection.

Studying linguistic layers of the word “wajh” in Quran by use of lexical semantics leads to semantic understanding of this word. This word is used in Quran according to the semantic network in different layers such as: God, prophets and human beings. The study aims to explain semantic fields of the words connected to the word “wajh” in Quran relied on syntagmatic and paradigmatic relations of words. In this research the word “wajh” in Quran is studied with regard semantic network and rely on Bonn school and context theory by use of analytic-descriptive method. The findings of the research show that the word “wajh” is used in meanings such as face, attention, interest, Qibla and way, essence, satisfaction and divine values, intention to act, fraud and dignity. Also, this word and its derivatives have been used in different meanings, such as the divine wajh, prophetic and humanistic aspects (a high-ranking human being, a loser and the outward appearance of human being). The word “wajh” is added to the word “rab” in its highest layer. This collocation shows that God’s essence is not knowable and God must be known through His names and attributes.

Metaphor and metonymy are applied routinely as ongoing linguistic phenomena in meaning extension. The present study, paying attention to Persian complex verbs, i.e. compound and phrasal verbs containing loanwords, examined the metonymic and metaphoric meaning shifts of the loanwords in Persian light verbs. Evidence is mainly extracted from the Persian Dictionary of Secret Words and is analyzed based on the cognitive model proposed by Ruiz de Mendoza and Galera-Masegosa (2011). The results showed the independence of metonymic processes and the dependence of metaphors on the metonymic shifts. It was also found that the processes involved in Persian are far more complicated. A total of twelve patterns were categorized, eight of which were unique to Persian. Among these, three patterns were based solely on metonymy and others were obtained from the interaction of metaphor and metonymy, namely: metonymic expansion of the metaphoric domain, metonymic reduction of the metaphoric domain, a successive chain of expansion and reduction of the domain, metonymic expansion of the source domain and metonymic reduction of the target domain, metonymic reduction of source domain and metonymic expansion of target domain, double reduction of source and target domain, metaphoric amalgams of two target domains in a single source domain, and metaphoric chain with metonymic reduction of the first source domain. The other four patterns corresponded to ones proposed by de Mendoza and Galera-Masegosa (i.e. metaphoric expansion of source domain, metaphoric reduction of source domain, metaphoric reduction of target domain, and metaphoric amalgams). A total of nineteen patterns were obtained, which shows that human language has a high capability in the interaction of metaphor and metonymy.

The term loanword reflects the reciprocal influence between countries and cultures that share historical, cultural, religious, economic, and political ties. For instance, Arabic and Persian are two languages with a shared lexical reservoir resulting from their historical and civilizational interactions. The influence of Arabic on Persian is evident in the incorporation of Arabic-origin words into Persian’s linguistic repertoire. However, Persian has often altered the meanings of some loanwords, leading to semantic overlaps that pose challenges for Arab students learning Persian and for translators. For this reason, this article examines such vocabulary, aiming to compile a catalog of these words, classify them, and deduce the principles Persian employs in adapting these terms. The study is limited to words collected by researchers from various sources and identified in dictionaries as being of Arabic origin and borrowed into Persian. The findings indicate that Persian has not integrated the meanings of some Arabic words into its lexicon as they are but has instead adapted them with new meanings according to its linguistic needs. Verbs, compound nouns, and adjectives are among the categories most affected by semantic changes, often resulting in ambiguity and confusion for Arab students and translators.

Layered stylistics as a branch of modern stylistics in which the structural and content role and value of the works in five phonetic, lexical, syntactic and semantic layers are used to show the ideology governing the text and using this method, the text is free from confusion and There is a semantic interference. In this article, the eighth journey of Sinbad is a play by Bahram Bayzaei as a creative writer, based on the layered stylistic component, and we determined how he was able to bring out the aesthetic effects of this work of art with various stylistic techniques and literary techniques, and also how By analyzing the stylistic basics in different layers, one can understand the intellectual messages governing the text of the work.

The descriptive-analytical method and based on the library sources of Sinbad"s 8th voyage is investigated using layered stylistic components and intratextual evidence.

The main character of the story reaches the level of knowledge and self-awareness by going through hard experiences from the stage of ignorance and unconsciousness. That is, in a way, it is the process of self-knowledge and recognition of phonetic rhythms and musical repetition of syllables and words with high frequency to produce rhythmic and poetic prose in this play.

By combining old and new language, narrative expression, rhetorical effects, objective and subjective images, types of norm avoidance, defamiliarization, etc., Baidaei created a new style as an individual style with the title of poetic plays and fine artistic prose, and also not only this work His drama, but all his drama works are the best example to explain the components of layered style.

Haft-Peykar” is one of the most prominent literary works with symbolic expressions many linguistic capacities of which have ramined unknown. Since the content of a coalition work indicates the meanings of words and their applications and, furthermore, the lexical manifestation of style is rather more in the work than other layers, the analysis of the lexical layer is more effective in discovering the linguistic capacities and artistic connection of language and meaning. This study is an attempt to determine the role of this linguistic structure in creating and representing the secondary narrative by examining the lexical layer, especially the art of word selection in the Black Dome. In order for the words to be effective and for the reader to understand the text more deeply, the poet narrates a story parallel to the story of the Black Dome at the lower level. The choice of terminology in “Nezami’s” words is in appropriate alignment with their value in the textual and hypertext context. Hence, the words that play a role in representing the deep narrative are symbolic codes that provide multiple understanding potentials in the content, and from a structural point of view, they are loops for constructing the continuity in the deep narrative that is constructed and associated with the events of the story in such a way that their omission destructs the perception of the secondary narrative. Paying attention to the frequency and homogeneity take the words out of monotony. On the other hand, presenting the story codes in a polysemous way, calligraphy, substituting the adjectives with nouns, and bringing a personal pronoun before them, are suitable ways to highlight the codes.

Holistic structure studies is a new approach in examining and analyzing works that have a macro-organizational structure. Texts such as Rumi"s Mathnawi al-Masnavi, which on the surface have an irregular arrangement and structure, but if you pay attention to its components with a holistic view, the meaningful relationship between its parts can be interpreted. Safavi (1386) during his studies on the structure of the Mathnawi, shows that Rumi used two methods of "parallelism" and "cross-reflection" to establish a meaningful connection between the stories and concepts presented in the Mathnawi"s six notebooks. In this research, an attempt has been made to study the fourth book of the Mathnawi from the perspective of the holistic structure with the semantic and semantic method to answer the question, what is the semantic structure and parallels used in this book?

The current research was conducted with an analytical method and a structuralist approach based on a holistic and semantic perspective.

The results of the investigation show that the fourth book has seventeen main discourses and the central core of the fourth book is also presented in the "9" discourse. Each discourse has sub-sections and sub-stories, and based on the topic of the discourses, it is the central topic of the fourth book of science, which is divided into three categories: "partial science, total science, and enlightened science".

Rumi"s emphasis is on the necessity of partial and general knowledge scholars to follow Ishraqi scholars. He described the first two groups as needing guidance and learning and considered only enlightened scholars to be omniscient by reaching divine knowledge and the light of truth.

Language has a very significant role in transferring culture and vocabulary; in addition, language, as one of the most important elements, plays a fundamental and active role in preserving and transferring the historical and cultural heritage of a nation. This study is based on empiricism and rationalism, two opposing tendencies in semantics, uses the comparative and descriptive method to do research into the word "cow", compares the semantic system of "cow" in Persian and Chinese languages, and looks at the similarities and differences of this word from the aspects of usages and semantics (irony and metaphor) in the literature of the two languages by exploring fourteen dictionaries. The studies show that the word "cow" in the Persian language has a negative and derogatory meaning and is mostly used as a metaphor for stupid, ignorant of etiquette, and cowardly people; while in the Chinese language, the word "cow" is a metaphor for powerful, hardworking, stubborn, boastful, and selfish people. In the ancient Chinese language, the "cow" is a symbol of status and dignity, and in the ancient Persian language, it is a symbol of fertility; because the cow is one of the most useful animals.

In ancient Iranian languages (Avestan and Old Persian), in addition to inflectional structure, syntactic relations and semantic roles of the core and local cases would be examined. In these languages, the complements of the verb, which can be nouns, adjectives, or pronouns, are represented through case markers that indicate different roles depending on the verb. The representation of verb complements and the function of cases in the accompaniment of different verbs have not been the attention of researchers in this field, except for brief references- it is better to say that the investigation of this issue has been somewhat neglected in ancient Iranian languages. Therefore, in this article, the complements of one of the commonly used and more frequent roots of the Avestan language- but not of the Old Persian- dā, have been investigated. In the Avestan texts, it is mostly found in the meanings of giving, creating, and setting, and in the Old Persian inscriptions, it means giving and creating. According to the analysis of the sentences containing the root dā, the complements of this root, depending on the meaning and context, are shown by the accusative and dative cases in the Old Persian, and accusative, dative, genitive and locative cases in the Avestan. Either of them has several semantic roles, such as theme/patient, recipient, beneficiary, object complement, goal, and location.

Conceptual metaphor is defined as the understanding of one conceptual domain in terms of another. This phenomenon is not purely lexical but is examined through the mapping of one domain onto another. In discourse, new metaphors can emerge from conventional mappings, stabilizing both the source and target domains. Functional linguistics views text as a semantic and pragmatic unit, introducing tools to measure formal coherence. They also see coherence as a process in which topics and events are logically and culturally connected within discourse. On the other hand, cognitive linguistics defines semantic coherence as “related to the compatibility of [textual] semantic relations”. This research addresses two key questions: 1) To what extent does cognitive metaphor impact the semantic coherence of a specialized text? 2) What is the relationship between semantic and formal coherence according to cognitive and functional linguistic analyses? Various discourse analysis methods were employed in this study. A corpus of 640 instances of conceptual metaphors from Art History textbooks was collected and analyzed using coherence tools. The research shows that the semantic coherence resulting from conceptual metaphors is reflected in the structure of the text. Furthermore, it explores the relationship between semantic and formal coherence from both cognitive and functional perspectives.

Semantic deviation is one of the artistic and literary tools and methods that, the poet creates innovation in his style of expression and poetic language.. Farzan Sejoudi is one of the famous researchers in the field of semantic norm avoidance, who by combining his views with the views of other theorists of norm avoidance, especially Leach, has given this literary technique a local form and identity, and has divided the types of semantic norm avoidance into two parts, visualization and abstraction, and a regular pattern provided to literature researchers to analyze poetic texts with it. Sanan Antoun, a famous Iraqi poet and writer, is one of the poets of modernism, who has used various semantic deviations to create his own poetic language. The present study tries to investigate the types of semantic deviance in the poems of Sinan Anton based on the theory of Farzan Sajjudi and explains the role of signs and the interaction between them in the formation of semantic deviance in the poems of this poet. Based on the findings of the research, Anton creates a set of signs in the text of his poem with the help of the artistic capacities of animalism, anthropomorphism, plantism, reification and kinetic, and with the help of the game of signs, he deviates from the rules of the standard language and creates a semantic deviation in his poems. The innovative aspects of his poetry strengthen the meaning and give abstract concepts such as war, death, enmity, life, love, peace and altruism a sensual and physical dimension.

One of the devices used in the Holy Quran is the connective such as "إن" and "لو". Given the special role of this syntactic device in understanding the meaning of the text, it is necessary to study  it thoroughly. This inquiry seeks to analyze the syntactic structure and semantic function of this connective device using a descriptive-analytical approach, and then to study its application and semantic function in the Holy Quran. The results show that at the level of syntax, the preservation of the meaning and conditional structure of these two connectives has been accepted by most grammarians. Regarding function, these connectives are used to remove doubt about incompleteness and convey generalization. Examination of the verses also shows that " لو " is used extensively in the Quran, while "إن" is used less frequently, and that semantic function of these words is clearly reflected in all the verses in which they are used.

Tangsir novel is an outstanding naturalist work in Persian fiction. The naturalistic work is written based on descriptions and adjectives and predicates have many functions. In this essay, the descriptive function of adjective and predicate in the novel Tangsir, by Sadegh Chubak, has been investigated. What kind of metagrammatical function can adjectives and predicates have in the formation of the writer's literary doctrine, the treatment of characters in the story, and the creation of atmosphere. Examining the aesthetic function and the semantic function of the descriptive role of predicate and adjective and comparing these two grammatical roles in the formation of the main components of the naturalism doctrine can lead to important results in literary criticism, which is a great strategy for the authors of this doctrine in paying attention to their main components according to the function Grammar of vocabulary. Therefore, the present research answers the question that what is the meta-grammatical function of predicate and adjective in Tangsir novel and the literary doctrine of naturalism?

This research is descriptive-analytical. Based on this, this research was prepared by extracting and analyzing the adjectives and predicates in the text of the novel "Tangsir". Discuss Tangsir is the story of suffocation. the story of the suffocation of the proletariat; Accordingly, documentary sentences that confirm this content have been used a lot. In this section, the adjective has a more prominent function; Because in this section, the frequency of words is very important. The adjective gives color to the whole text and the author has used it more in this section. The difference is small, for example, the color black is repeated 19 times as a predicate; But as an adjective 21 times, in general, it can be said that the adjective was more useful for the author in this section. In addition to suffocation, just as the author has taken the style and atmosphere of the story to darkness and the bitter human truth by using adjectives indicating the blackness of the atmosphere and the life of the lower class, he also uses the preposition in the same direction, which has a complementary role to the adjective. The word dark as a predicate has a high frequency, it is repeated 16 times as a predicate in the story, and the word black 19 times, while the word light as a predicate in Tangsir's novel, such as words like light, is used a total of 10 times, and the color white is used 10 times.

In describing the characters of his story, the author has used descriptive tools such as prepositions and adjectives, among which prepositions are more functional. The number of predicates used for characterizing has been more than the number of adjectives; Because it is more difficult for the author to create descriptive sentences than to use independent documentary sentences to describe the characters of his story. In the field of literary function, the adjective has more functions; Because it has a literary structure and makes the text of the story more imaginative. The literature that the author has given to the text with the adjective has a major difference with the literary function of the predicate. The highest function of adjectives in this section can be seen in compound adjectives and compound derivatives, which have both norm-avoidance and literary functions, such as creating metaphors. 23 compound adjectives and 48 compound derivative adjectives are used in Tangsir's novel. The structure of the adjective has an effect on its literary function, which the author has given to the text by using and creating compound derivative adjectives; But the number of predicates that created a literary function in the text was very limited and they did not add literaryness to the text to the extent of adjectives. In the comparison of the use of colors in order to create space and the literary doctrine, the colors used as attributes have more variety, and therefore they can help the author more in creating space; But the two most frequent colors, white and black, were almost equal, and the frequency of black is used more frequently than white, either as a predicate or as an adjective, which creates a dark background in the story. A small amount of black color can be seen in the text, which can be concluded that the text has given a darker atmosphere to the story. But because the variety of colors in the predicate is less, creating space with colors is mostly created with adjectives.

One of the main concerns of linguists and more specifically dialectologists is identifying, studying, and recording indigenous dialects as a part of the cultural heritage of different societies. Relying on a descriptive approach, the present study provides a general sketch of the semantic systems of Bāseri dialect of Fārs; one of the southwestern Iranian dialects. The study emphasizes the words used to name wooden handicrafts in this dialect. In this article first, the socio-historical features of Bāseri tribe of Fārs are introduced and then the linguistic features of this dialect are presented. Finally, the data collected based on a field study of Bāseri tribe are introduced to the reader along with some pictures of the wooden handicrafts used by Bāseri tribe in cooking, husbandry, installing their tents, and weaving carpets. The study reveals significant differences between Bāseri dialect of Fārs and the standard Persian language from the semantic point of view. The present study's findings can be used by linguists, dialectologists, and teachers of Persian to speakers of other languages.

Norm avoidance has always been one of the most effective ways to highlight the language of poetry. This phenomenon is very important in contemporary Arabic poetry, to the extent that the meaning of a poem sometimes revolves around it. Muzaffar Nawab, a contemporary Iraqi poet, is one of the poets whose syntactic and stylistic deviations have a special appearance in his poetry. One of the main reasons for Nawab's deviation from norms is the importance of expressing his poetic concepts; Because the poet's attempt is to use special poetic styles to use various manifestations of morphological, syntactic and semantic norm avoidance in his poems, to impress the audience more and more to support the Palestinian ideals. Unlike many idealistic poets who confine themselves to popular words and expressions and special spoken literature, his only goal is to convey his mental concepts to the audience. According to this poet's approach in using expressive styles, the present research is based on the fact that by analyzing and examining Mozafar Nawab's poetic language, he has analyzed the various manifestations of his non-normativeness in the field of syntactic and semantic issues. The findings of the research indicate that the poet's non-normativeness is mainly in syntactic issues and in situations such as: "the ways of expressing conditional sentences, the way of reflecting noun sentences, the use of vocative letters and..." and in the semantic discussion in cases such as "emotional effects, simile , repetition, paradox, diagnosis, slang and..." has been manifested.

The language of journalism in Afghanistan has undergone various transformations over the past one and a half centuries. One such transformation is the semantic change of vocabulary, specifically lexical attrition. This study examines the semantic changes in the Persian language words used in Shams al-Nahar, the first printed periodical in Afghanistan, and compares it with Kabul Weekly. This research aims to illustrate the type and frequency of semantic changes characterized by semantic and lexical attrition (the obsolescence of one meaning of words or their complete abandonment) and identify the factors contributing to these changes in Shams al-Nahar. This research is fundamental in purpose, descriptive in analytical method, and library-based in research methodology. The description and analysis of the data indicate that the majority of changes are of the type involving the complete obsolescence of words. The reason for these changes is the tendency of the Persian language to shift from complexity to simplicity. The findings reveal that a number of Urdu words were prevalent in Shams al-Nahar. Additionally, the use of several relatively obscure words, particularly Arabic words, in Shams al-Nahar indicates that during the period of this publication, ornate or bureaucratic prose was very prominent in journalistic language. In this research, which for the first time addresses the semantic changes in the Persian language within Shams al-Nahar, the researcher has statistically presented the type and frequency of semantic changes in this publication.