جستجوی مقالات مرتبط با کلیدواژه "death" در نشریات گروه "ادبیات و زبان ها"

Iran has a rich cultural and historical background, and many of today's cultural moods and human behavior are from the distant past. "Death" as an important subject has occupied the human mind and thoughts in all eras. Death has received a lot of attention in the remnants of ancient Iranian myths and culture. Since the culture and believes of a nation could not be easily forgotten and remained permanent, so there should be similarities between these two parts of Iranian literary works, mythology and mysticism. My thology and religious myths have given mystical poetry more depth and has contributed to its richness. This article deals with the types and types of death, namely: emergency death and optional death in the myths and ancient section, as well as mysticism. Given that the Qur'an and hadiths have not been separated from mysticism, a brief look is taken at it.

The duality of life and death is considered one of the most important dualities that poets have paid special attention to. It is one of the dualities that attracts the recipient to arouse in him an optimistic feeling towards the expected birth. This duality was the focus of two poems by two poets, the first "Autumn Song" by the French poet Paul Verlaine and the second "Life in the Form of a Dead Leaf" by the Syrian poet Wafiq Sulaytin. The aim of the research is evident in its attempt to search for this duality in the two poems, through an inductive analytical comparative approach. The most important thing that the research addressed is summarized in analyzing the components of the poetic paintings; the auditory image and the visual image in the two poems, then the dialogue between the two texts on more than one level: the level of pronouns, the level of verbs, words and phrases, and reaching the dialogue of ideas. The most important results that the research reached are summarized in that man is a paper with two faces; If the Western poet chose his life to be on the first side; the world of material reality, then the Eastern poet had chosen to be on the other side of the paper based on his appreciation, appreciation and belief in this side. Hence, the point of difference between the two poets in their vision of the concepts of death and life; the first sees death as the end of life and the second sees it as its beginning in a Sufi view based on revelation. However, they agree on transcending the limits of closure and restriction in the poetic experience towards launching and liberating meaning from restrictions so that poetry becomes a new creative force capable of continuously revealing the depths, opening up to the horizon of meaning and the spaciousness of transcendence; transcending phenomena towards the hidden and transcending the body towards the soul.

Death is a fundamental concept in Western philosophy. Undoubtedly, many distinguished philosophers have tried to examine this notion and share their insights. In this essay, we briefly present views of thinkers such as Friedrich Nietzsche, Søren Kierkegaard, Martin Heidegger and Norbert Elias and then attempt to enter the realm of postmodern thought through pre-modernist and modernist notions. In order to limit the scope of postmodern discussion in this essay, postmodernist literary novels have been taken into consideration. To this purpose, two important works of this genre, in which the concept of death is central, namely In Watermelon Sugar by Richard Brautigan and Slaughterhouse-Five by Kurt Vonnegut, were analyzed. Also, in the Iranian story section, a short story by Yaqoub Yadali entitled "Hamhameh"(Uproar) has been discussed. Findings suggest that to postmodernists, the meaning of death is significantly different from that of modernists. Their point of view also affects their reader’s mentality and provides them with a new outlook on death. Postmodern readers come to the understanding that death is a simple and unique experience.

The conceptual domain refers to any mental organization of human experience. The regularity with which different languages employ the same metaphors, often based on their own perceptions, has led to the hypothesis that the mapping between conceptual domains corresponds to the neural mappings in the brain. The conceptual metaphor theory proposed by George Lakoff and his colleagues arose from linguistics but became of interest to cognitive scientists due to its claims about the mind and the brain. The main claim Lakoff makes in this respect is that metaphors are a matter not only of language but of thought in the first place. Metaphorical expressions in languages are manifestations of our thinking which is fundamentally metaphorical. Metaphor is not a mere stylistic or rhetorical figure, but a major and indispensable part of our ordinary, conventional way of conceptualizing the world.
Lakoff asserts that human thinking works effortlessly thanks to metaphorical thinking, but psychological research has found that metaphors are actually more difficult to process than non-metaphoric expressions. Furthermore, when metaphors lose their novelty and become conventionalized, they eventually lose their status of being metaphors and become processed like ordinary words. Therefore, the role of the conceptual metaphor in organizing human thinking is more limited than what was claimed by the linguists.
According to cognitive metaphor theory, metaphors originate in a process of “phenomenological embodiment”. They are formed when perceptual and sensory experiences from an embodied source domain, such as pushing, pulling, supporting, balance, straight-curved, near-far, front-back, and high-low, are used to represent abstract entities in a target domain. Cognitive metaphor theory is capable of explaining universal aspects of language and culture as well as cultural variation. While languages’ phenomenological foundations are universal, societies and social groups differ in terms of the associations they make between conceptual metaphors and abstract target domains. In other words, different societies and groups use different sets of metaphors to construct and interpret social reality in different ways. Cognitive metaphor theory for social research implies that studying the distribution of metaphors in natural language can reveal how common sense is constructed and negotiated within groups. Cognitive linguists themselves have studied the metaphors used in natural language. For instance, Lakoff studied the metaphors related to security used in political discourse. He developed a rhetorical approach to metaphor, known as critical metaphor analysis, which draws on the methodologies and perspectives developed in cognitive linguistics, corpus linguistics, and critical linguistics. He used the approach to examine metaphors from the domains of political rhetoric, press reporting, religion, and the communications of a wide range of political leaders.
Conceptual metaphor is the perception of a conceptual field known as intent through the perception of another conceptual field. The field of principle is formed through the process of planning, and the conceptual structures called image schemas link the understanding of the unseen to the visible. There are different types of image schemas, the most important of which are the kinetic, directional, force, and ontological schemas. A part of oral literature is affected by the loss of loved ones and depicts special topics about the phenomenon of death. The writings on tombstones are one of popular vessels that bear a certain aspect of the virtues and honors of the characters and reflect social, religious, and linguistic aspects from the various eras in which they were written. When we look at the writings on tombstones, we find that they are characterized by diversity in linguistic styles, including the conceptual metaphors they contain. What concerns us here is to study some of the conceptual metaphors that were written on tombstones to reveal the most important initial fields used in these writings and extract the most prominent schemas of their images. The results showed that conceptual metaphors in the writings on tombstones are understood by the transfer of mental representations from the field of principle (the most sensual and tangible perceptions) to the field of goal (death) in a metaphorical harmony created by the writer on the tombstones so that the mental representations are perceptible to the recipient and that the motor schema (32%) and the directional schema (28%) are the most prominent image schema in the inscriptions on tombstones.

Symbolist is one of the important and outstanding features of contemporary social sonnets. In these poems, some of the motifs have multiple meanings so they have became to symbols. Symbols and motifs are significant in analysis of literary works and stylistic studies, so by correct understanding of these symbolic motifs we will understand the perspective of the poet, his mentality and spirit, the level of thought and the political-social situation of his life period. Death is one of the oldest motifs that has been in the center of attention for a long time due to its tremendous impact on a person, and many works of art have created about that. From the total of 1236 sonnets written between 1350 SH to 1384 SH and collected in the book of Contemporary Social Sonnets, “death” is the motif of 308 sonnets, i.e. 25% of them. According to stylistic studies, the words "night", "day and morning", "silence and darkness", "spring", "reservoir and winter", "tree", "garden", "wind", "soil", "fire" " and "sun and sunshine" are motifs that came from the nature. Because of their multiple meanings, this motifs have symbolic function. This article tries to analyze these symbolic motifs with a descriptive-analytical method and express their exact meaning in some verses of contemporary social sonnets. Keywords: contemporary social sonnets, death, motif, motifology,

Understanding and examining the thoughts of a poet becomes possible when we can familiarize ourselves with their works and make an effort to find the poetic forms and specific language that they use as tools for expressing their ideas. This allows us to understand the extent of their impact on the audience and readers. Therefore, the aim of this article is to explore the concepts of death and life through the perspective of contemporary Iranian poet Tahereh Saffarzadeh, who employs a simple, conversational language and a kind of humor in her poetry. This style forms the foundation of her poetic language throughout her works. By recognizing the thematic elements present in her poems, we become familiar with the foundations of her worldview. On the other hand, the author intends to describe the image and concepts of death and life in Saffarzadeh's poetry.

The definition and concept that every human has of the phenomena, while being specific and individual, is connected to the common spirit of the group and leaves a mark and memories of the group. Thinkers and critics of humanities have placed this common collective spirit and general thoughts in the category of implicit concepts. Implicit concepts that are the same as myths from a point of view.Whether it is the myth of the surviving stories of the same people, or whether it is a mental concept, which includes various examples, this essay, using a descriptive-analytical method, compares and explains the similarities and differences between the two stories of Ki Khosrow. and Sarai (Azeri Turkish) deals with the archetype and the myth of death and water, based on the American perspective and school.The myth of both stories is related to death and water. What kind of death is interpreted as immortality and mystical death of Ki Khosrow, and what kind of death is done to show purity and the intended hero (Sarai) does not have a body. Both myths and legends present such a death to their heroes while passing through the birthing water.

Death is one of the concepts that has different meanings in human culture. Its common meaning is loss of life, and in addition to that, it also has other implicit meanings; including ignorance, sadness, bad temper, etc., and finally, from the mystical point of view, death, that is voluntary or optional death, is to die from the world's whims and desires and reprehensible carnal traits and to be revived to the divine life. Based on the words of Revelation, traditions and hadiths, a deeper understanding of the various concepts of death can be obtained. Ghazali and Attar are among those who have addressed this subject under the influence of anthropological discussions in the Quran and Hadith, as well as their mystical perspective. Although Ghazali has a mystical spirit, but when we compare his words with Attar's words, the difference becomes apparent. Ghazali is an ascetic and thoughtful theologian who has the color of Sharia and the element of logic in his words, and Attar is a mystic with a tasteful and artistic view of theology, and his imagination and mystery give an artistic color to his words.

The metaphor of humanism from Lakoff and Johnson's point of view means assigning some aspects of human existence(the destination field)to mental concepts and inanimate objects(origin field) orThe significance of this metaphor is that by taking advantage of the knowledge that it has about many aspects of his existence, he can help to better understand and accept abstract concepts by humanizing themThe aim of this study was to compare the humanism of death in Hadigheh and Masnavi based on Lakoff and Johnson's viewpoint and by documentary method.The findings show that death anthropomorphism in these two works is depicted in the form of a generalmetaphor of "death as a human with social relations and interaction", which has two subcategories of "Death as human with relation and confrontational interaction" and "Death as human with relations and amicable interaction".The results of his research show that, in Sanaei's thinking, death is in relation and "confrontational" interaction, as a colonel, warrior and murderer who seeks to exercise power to the lower hand, and in loving relations, in the form of shepherds, old andguests,he"cooperates"with other people.In Rumi's thought, the humanization of death is more than a "confrontational type, in which death as a judge, a martyr, colonel and warrior is at odds with people such as thecriminal,theconvictandthereceiverofawareness.Consequently,in Sanaei's thought, a person is introduced as helper In fact, based on a military and violent atmosphere,Rumi has drawn the relationship between man and death,but Sanaei has also focused on the relationship and interaction of peace, solidarity and tranquility.

"Conceptualization" is a dynamic process based on which language units serve conceptual operations and background knowledge. Cognitive science experts consider language structure to be a direct reflection of cognition; Accordingly, a single word can have different conceptualizations in different situations. Schemas, as one of the tools of cognition, are general concepts that are created from the internalization of lived experiences and are responsible for organizing, interpreting and exchanging information. Pragmatic micro-schemas are micro-schemas that are called depending on the situational and functional context. This research, paying attention to the macro-schema of self-destruction, seeks to classify the pragmatic micro-schemas and their corresponding conceptualizations. The scope of the current research is children's stories with the theme of self-destruction. Each of the stories is considered as a pragmatic and objective situation for calling a specific micro-schemas of the macro-scheme of self-destruction. The present research with analytical-descriptive method aims to answer how to conceptualize the self-destruction scheme in the situational contexts of children's stories. The result of the research introduces five pragmatic schemas as five different conceptual bases: schemas of discontinuity, continuity, individual discontinuity-continuity, collective discontinuity-continuity, and unwanted discontinuity. For the first time, this article focuses on self-destruction in children's literature

The domination of science in the modern era and the effort to have a realistic attitude to all aspects of life have made people today unable to adopt the solutions of the ancients (such as eschatologicalimmortality) to face death. By examining different types of pre-modern immortality, including ancestral, cultural, mystical, mythological, and eschatological, the present article has shown that their common components, i.e., communalness, certainty, and imagination, are almost opposite to the components of modern immortality. The components of modern immortality, which include individuality, uncertainty, memory (as opposed to the imagination), and the concept of eternal nature, are prominent in teenage novels of the 1390s. This research first reviewed the stages and tasks of mourning. While checking and determining the components of pre-modern and modern immortality, it has been showed the correspondence of each stage of mourning with different types of immortality. Then, relying on the novels of "SanjābMahiy-e aziz "and "Shekārchi-ye Koose-ye kar", the issue of death and the role of pre-modern and modern immortality are investigated in advancing the storyline, accepting another's death, and completing the tasks of mourning by the characters. It should be noted that the analysis of samples is based on qualitative content analysis with a descriptive-interpretive approach. The research results show that in both novels, resorting to pre-modern immortality components traps the characters in the initial stages of mourning, i.e. denial, searching, and bargaining. In contrast, the maturity of the characters with the completion of mourning tasks and reaching the stage of improvement and organization through the components of Modern immortality (centered on memory in the novel "SanjābMahiy-e aziz "and eternal nature in the novel "Shekārchi-ye Koose-ye kar" is realized.

Johnson and Lakoff consider conceptual metaphors as mappings between two domains called source and target domain. The function of these mappings is to objectify the abstract concepts of the target domain through the schemas of the source domain. The purpose of this research is to classify death-awareness stories based on "rebirth" in children's literature. In this regard, paying attention to the metaphor "death is a journey," this article seeks to answer how the schema-images of "journey" work in the conceptualization of "rebirth" and "resurrection." The method of this research is analytical-descriptive, and its statistical population is children's stories with the theme of rebirth and resurrection for the demographic group of early childhood. The result of this research shows that, according to the up/down orientational metaphor and the "path" scheme, the mentioned stories are divided into four categories: resurrection without transcendence, resurrection with transcendence, transfiguration with transcendence, and the chain of renewal. The above categories are also classified into subcategories. For the first time in Iran, this research examines reversible deaths with a cognitive semantics approach.

Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.

Since early decades of the 20th century, Persian novelists have made considerable efforts to provide native versions of various non-native narrative genres into their fiction. Since the introduction of the novel in Iran, writers such as Mohammad-Ali Jamalzadeh, Sadegh Hedayat, Bozorg Alavi, Bahram Sadeghi, Houshang Golshiri and many others have represented specific styles of narration and techniques to distinguish their works from their Western predecessors. Ismail Fassih, who is more famous for his crime fiction, has done something different in his novel, The Story of Javid, by creating a Gothic fiction, a genre that rarely appears in Persian fiction. In Gothic fiction, elements such as setting, character, and theme are used to create a certain effect in the reader. This article attempts to explore these elements in The Story of Javid by emphasizing the native aspects of this novel through a discussion of Fassih’s individual style of writing and the way his work connects to the social backgrounds of the mid-20th century Iran.Gothic fiction appeared in the mid-18th century, but evolved in the subsequent centuries and still has its own audience. The genre has European origins and there have been various outstanding works of Gothic fiction since its introduction. This literary genre has not been practiced widely in Iran. Esmail Fassih is one the limited number of writers who have provided Gothic fiction. This article provides a brief history of the genre and defines some of its main elements as practiced by the major writers of the mode. Then, a close reading of The Story of Javid will be provided using the elements of the Gothic. In the meantime, a discussion of socio-political aspects of Fassih’s novel and the way they connect to the Gothic will be provided.Death is a key feature of Gothic fiction, which, in The Story of Javid, is intertwined with the setting and the themes of the story to create a sad atmosphere of stillness and decay. In most Gothic stories, death and fear appear simultaneously. In The Story of Javid, plot structure uses suspense, and the key events of the story are connected to death throughout the novel. The combination of fear and death in Gothic fiction serves to create a deeper effect in the audience. Horror accompanies death in the novel to create an atmosphere that is reminiscent of the unconscious states of the mind. In Gothic fiction, characterization moves along the axis of black and white and the result is that characters are flat and less developed. In The Story of Javid, the reader encounters flat characters who simply embody the good or the evil. The purity and innocence of characters such as Javid and Sorayya Khanum, and the mischief and hypocrisy of characters such as Malekara and Leila highlights the duality of black and white in the novel.Esmail Fassih creates a gothic narrative in The Story of Javid, which is not common in contemporary Persian fiction. The story takes place in the remote past and is part of a history that no longer exists. The novel depicts a large mansion which contains spooky spaces such as underground corridors and water storage. The atmosphere of the story contains death and scary events, and the flat characters display clear duality between good and evil. The duality of good and evil is the most obvious feature of the story that moves the characters forward. Fassih depicts an Iranian version of the Gothic. What separates his Gothic fiction from many Western examples is the social aspect of the story, which deals with the open oppression of the government agents to the defenseless people, especially to the Zoroastrian minority. Therefore, Fassih does not simply imitate the Gothic, but provides a Persian model that is reminiscent of characteristics of the genre, while its social context -which is rooted in a historical reality-remains native.

One of the basic topics of cognitive linguistics is conceptual metaphor based on which an unknown and abstract conceptual field is inferred and understood by matching with known and concrete concepts in the human mind.that these well-known concepts originate from human experiences in all aspects of his life, including philosophy and literature. On the other hand, existentialism is a philosophical school that uses literature as a means to express its ideas; Existentialism's philosopher's turn to literary expression caused philosophy to merge with literature. Existentialist literature deals with themes such as loneliness, fear, sadness, emptiness, freedom, and death. Meanwhile, Arabic literature and especially poetry were not affected by the concepts of this school; And an example of this attention and luck can be seen in the poems of the contemporary Lebanese poet Khalil Al-Hawi, because the resonance and reflection of the elements of freedom and death are evident in his poems. He beautifully and artistically portrays the concepts of despair, pain, humiliation and despair caused by the consecutive failures of the Arabs and especially the uprising of 1967, which had a special echo in his soul and soul - all of which are abstract concepts - with concrete and tangible concepts in his poems. He has used conceptual metaphors to make his poems even more heartwarming. Therefore, the authors intend to analyze the conceptual metaphor in the existentialist components of freedom and death in Al-Hawi's poems with a descriptive-analytical method.

Existentialism is one of the most important contemporary philosophical currents, widely reflected in literature; situation, Boundary Situations and death are major existential concepts. In this paper, the reflection of the above concepts in the poems of Shams Langeroodi was surveyed. The results and numerous examples show that firstly, these concepts were reflected to a great extent in the studied poems; secondly, these concepts were reflected through artistic logic and poetic arrangements; and thirdly, some approaches and subdivisions can be seen among the results. Four existentialist approaches to death can be seen among the poems, which are, in order of frequency, as follows: 1. Death as a phenomenon that causes decay, ending, and termination 2. Death as a fact and as a boundary situation. 3. Death and anxiety 4. Death and absurdity and futility. Among Boundary situations, suffering is the most significant. The poet has reflected on the concepts from a variety of perspectives, and therefore the existentialist approach of the poems cannot be fully traced back to a particular thinker.

The approach of social semiotics is one of the prominent sub-branches in the science of semiotics, which reveals the meanings hidden in them by explaining the signs. This approach is based on the three domains of identity codes, signs of social etiquette and the nature of social signs. Since the obituary is a historical and realistic narrative, it has a lot of capacity to examine semiotics, especially with a social approach. The purpose of this research is to introduce an original and little-known Muqtali, in which valuable information can be obtained from the context of the Umayyad society by analyzing codes and social signs. This article tries to identify the semiotics of one of the original murders in the west of Iran in a descriptive-analytical way, and for this purpose, it has used the social semiotics approach of Pierre Giruo. This book is called Siral-Asrar Fi Misibeh Abi al-Imam al-Athar (AS) from the famous Ashura historiography and the work of Ayatollah Jalili Kermanshahi. The findings show that the author revealed the political, economic, social and cultural issues of the Umayyad period and the Ashura event using social symbols and codes, and at the same time expressed her views and ideologies. These signs depict the beliefs, ignorance of the people of the society, poverty of thought, rule of terror, hypocrisy and hypocrisy, violence and oppression, corruption of rulers and governors, etc. in the Umayyad society

"Spacemental poetry" is one of the contemporary styles of poetry in Iran which rose to prominence after the publication of its manifesto in the winter of 1348. Yadollah Royaee, the famous poet of this movement has tried to explain the ideological basis and the characteristics of this type of poetry and to keep it up-to-date. His works, which are a perfect reflection of Spacementalism, contain various linguistic, philosophical and aesthetic aspects. By explaining the ideological basis of his works and the Spacemental poetry, we discover many instances of Husserl’s phenomenology as well as some other philosophical and ontological issues. It also seems possible to find some reflections of Schopenhauer's aesthetics and his encounter with art and art works in "Haftad Sange Ghabr" – Royaee's famous work which presents his philosophical and ontological concerns. We argue that the collection offers an intuitive visualization of what Yadollah Royaee has created by thinking about death.