جستجوی مقالات مرتبط با کلیدواژه "image schemas" 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.

Metaphor, being addressed either as a decorative element or as a cognitive process, has attracted the researchers' attention for a long time. According to the findings of cognitive linguistics, humans create and store fundamental conceptual constructions called image schemas in their minds so that when thinking about abstract matters by transferring these concrete constructions to language facilitate and complete the perception process. Saadi Yousef and Ahmad Shamlou have conceptualized many abstract concepts in their poems with the assistance provided by schemata. This research, descriptive-analytical method, while examining and analyzing the schemata in two selected poems of these two poets, to explain the way of thinking and, also, the foundations of their understanding of the world around them. As being indicated through the results, abstract concepts such as death, life, change, and immortality have been embodied in the form of these images and the three schemes of volume, movement, and force have been able to communicate in an organized, organic, and coherent manner with each other and in line with a certain goal. This may lead to the production of meaning and finally put the abstract concept of immortality and impact in the form of a visual tableau before the audience.

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.

Cognitive linguistics is a modern approach in language studies that addresses the relationship between human language and mind, as well as physical-social experiences. Mark Johnson and George Lakoff are pioneer theorists in this field. They assume that conceptual metaphor is distinguished from surrounding phenomena by explaining and objectifying abstract concepts to identify and share human experiences. This kind of metaphor is manifested in different types of schemas based on the concepts formed in the human mind. Because metaphysic imaginations and ethical concepts and their connection with perceptible cognitive and daily life experiences have a bold presence in language type and religious expression, examination of image schemas in Holy Quran’s metaphors reveals a system of conceptual structure and sophisticated meaning layers of Quran verses. This study has tried to investigate three types of schemas: path, containment, and force based on the description and analysis of Quran samples based on the theory of Lakoff and Johnson and mental constructs available in Ali 'Imran Surah. The internal context of language and imaginary images expressed in Ali 'Imran Surah has been explained in a way that reader can touch their concepts based on their daily experiences and find clear truths by reviewing the available abstract issues in this Surah. Research findings indicate that path schema in Ali 'Imran Surah emphasizes destination as the result of the path considering the sensual concepts, while containment schema in this surah is distinguished in positive and negative scopes as container and contained,.

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

This study aims at the semantic analysis of Gilaki body parts compound verbs based on the cognitive semantics framework introduced by Johnson’s (1987) named image schema model. To do so, a small corpus of Gilaki body parts compound verbs was prepared through library research and interviewing a number of native speakers of Gilaki language. The data analysis revealed that the Gilaki language uses image schemas in many different ways in the semantic structure of the body parts compound verbs. In fact, containment image schemas are known to be the most frequent image schema and the path image schema as the one with the lowest frequency. In addition, this paper provides the arrangement of different kinds of body parts, used in Gilaki compound verbs according to the different image schemas. Therefore, these kinds of semantic theories can deeply make understand the dominant mental processes in the construction of compound verbs in Iranian languages and provide new theoretical forms. The result is that all the compound verbs of the Gilaki dialect cannot be explained through Johnson's model. Such research can be done in all kinds of linguistic varieties and evaluated the linguistic interference issues, loan translation in the wider dimensions of language varieties.

Locative prepositions are one of the most important and widely used prepositional words of any language, which play an important role in representing human mental concepts in language. Basically, locative prepositions are one of the first prepositions that children produce in the process of learning their first language, and this is one of the most important reasons for the need to examine these letters cognitively. The aim of the present research is to investigate the polysemy of the locative preposition "between" in Persian language. To explain this polysemy, the principles of the school of cognitive linguistics and two theories of Principled Polysemy Tyler and Evans( 2001) and Image Schemas Johnson (1987) have been used. The research data were collected from the second edition of Hamshahri corpus and two dictionaries of Dehkhoda (1998) and Moien (2007). The results of the research show that the semantic network of the preposition "between" has one prototype spatial and four radial meanings. The prototype meaning of this preposition indicates the space between two things, and other meanings are placed radially around it and are expanded from it.

The present article has tried to study the conceptual metaphors of three stories from three languages which are written in the style of Stream-of-consciousness as a narrative device, to show how the mental functions establish relative similarities in the image schemas among these three languages, and also how these cultures create different image schemas. In this research, the extracting data from the corpus has been done by searching the keywords related to the domain of "happiness" and according to the relevant linguistic context. The description and analysis of metaphors have been done in a comparative way to examine the fields of source and existing mappings and at last the related image schemas. The data of this research shows that Sadegh Choobak (Sange Sabour in Persian) has used five image schemas, "Motion, Force, Existence, Volume and Space", William Faulkner (Sound and Fury in English) has used four image schemas, "Existence, Volume, Force and Movement", and Najib Mahfouz (Miramar in Arabic) has been used three image schemas, "Existence, Volume and Force" to express the feeling of " happiness ". The existing similarities show the universality of image schemas and differences indicate the culture-specific nature of image schemas.

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 present study, within the framework of cognitive semantics, has addressed the issue of imaginary schemas in the book of Siboyeh as a grammatical text and how it is reflected in the Persian translation. The purpose of this research is to explain the conceptual constructions as the substructure of language patterns in order to reach the intellectual foundations of the author and to make the book easier to understand and then to provide an accurate translation. The adopted descriptive-analytical method is based on incomplete induction and relying on Evans and Green's schematic model. Sampling has been done from eleven chapters (8666 words) of the al-Kitab that deals with the topic of al- Eshteghal. Power, containment, space, and displacement schemas had the highest frequency, respectively. In the translation, due to the stylistic features of Sibawayh, the two methods of terminological clarification and translation have led to the removal or replacement of the schemas of space, displacement and containment in significant cases, but the schemas of power They are represented in the target language with a similar linguistic structure.

Proverbs are fixed sentential expressions that express the well-known truth, social norms or moral concerns of a specific culture. Therefore, they have a linguistic-cultural aspect and are transmitted through generations and applied to various states of affairs in the world. Since most proverbial expressions are metaphorical in nature which rooted in bodily experiments, the present paper offers an image-schematic view to Guilaki proverbs in the domain of food and its related concepts. It takes up the twin task of distinguishing the image schemas in Guilaki proverbs and of defining their domain of semantic usages. The proverbs of this qualitative research have been collected in a library research method and analyzed based on Johnson’s (1987) opinions. The findings of the research reveal that the path, control and spatial schemas are used in Guilaki proverbs. They also showed that the desirable cultural concepts like kindness, hospitality and faithfulness are simultaneously applied alongside undesirable ones such as corruption, betray and ungratefulness.

The aim of the present study was to investigate the representation of image schemas in the language descriptions of sighted and blind children in the age groups of 6-8 and 8-10 years to determine the extent to which the lack of sense of sight can be represented in the representation of three image schemas (space, path and force schemas). For this purpose, of 10 blind children and sighted children were asked to describe 20 concrete situations in the form of interviews, A total, from collected data was elicited 944 sentences including three image schemas. Statistical studies show that sighted children used three image schemas significantly more than blind children. The average rank for sighted children is 33/4 and for blind children is 67/2. Blind children, because they lack one of the five senses, seem to have more limited sensory-perceptual perceptions than the group, and perceive a more limited range of environment and transmit it through language. This is if the age factor had little effect on the representation of the image schemas. In addition, these statistical results also show that blind children have used space schemas to a greater extent than blind children. In contrast, sighted children used the force schema significantly more than blind children, which seems to be different from the complexity of image schemas.

Proverbs in the reflection of culture and individual and social identity is one of the most important categories in language studies. People of every society and ethnicity use different methods and convey their meaning in the form of cultural and literary delicacies to others. Considering the importance of image schemas in cognitive semantics as one of the most important linguistic mechanisms and since little study and research has been done on Iranian proverbs and dialects, the need for this research was doubled. The question in this study is what is the frequency and type of imaginary schemas used in Tehrani proverbs and are there any proverbs without mental schemas? The purpose of this research, which is descriptive-analytical and qualitative, is to investigate the schemas of metaphors in the body of Tehrani proverbs based on the Evans and Green’s schemas model (2006) according to cognitive semantics. The statistical population includes the book Ghand-o-Namak (all Tehrani proverbs), in the form of purposeful sampling and contains 2000 proverbs. The results indicate that general types of image schemas such as containment, path, directional and force schemas are found in Tehrani proverbs, but containment schemas have the highest frequency compared to other schemas. Which is due to the urban lifestyle in the formation of this type of mental schemas and its metaphors.

Image schemas are among the subjects of investigation in cognitive semantics. The analysis of this cognitive device in narrative texts help us discovering the ideas and ideologies of the author from its language. Therefore, the present study intends to examine the image schemas of the field of emotions in the novel "Tales of Yusuf Tadres" by Adel Esmat, the Egyptian author, based on the views proposed by Lakoff and Johnson. To do so, the image schemas underlying 10 emotion concepts were extracted from the novel of Yousef Tadres Then, they were categorised and analysed in three schema s categories of containment, movement and quantity. The results showed that although the novel is composed of short but related stories, expressing the emotions of the narrator is the common element in all. The narrator tried to make the emotions more tangible and concrete and in doing so image schemas are beneficial cognitive and linguistic devices.

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.

Present research has been an attempt to investigate semantic aspects of “gereftan” diachronically, within the framework of cognitive semantics. The noticeable question in the present analysis is that if there exists a verb, namely “gereft/gir” which is used in modern Persian with many different meanings or if there exists different “gereft/gir”s, each is associated with a meaning. For diachronic analysis of semantic aspects of “gereftan”, the authors have collected historical data from Iranian languages, i.e., forms and meanings of this verb have been gathered from Avesta, ancient Persian, middle Persian and modern Persian, namely Dari (versified and prose texts from Islamic era). Main questions in this research are: Do present documents affirm the polysemy of “gereftan”? Which image schemas are represented in compound constructions in which this word has been the verbal part? What kind of relationship is there between the represented image schemas on the one hand and the semantic components which have caused polysemy of this word on the other hand?
Theoretical Framework: Polysemy: Polysemy is a technical term in semantics used for words having different, but related meanings. Thus, in lexical semantics, words with different meanings are considered polysemous; but under the condition that was mentioned, meanings have at least one semantic component in common.
Image schemas: Image schemas are schematic pictures from humans’ embodied experiences imagined and formed in their minds. Image schemas lack details. They are abstract entities which contain repetitive models related to humans’ embodied experiences. Image schemas’ source of emergence is interaction with the outer world and conceptualizations after experiencing the world. The fact that humans talk so easily about abstract entities is because of the similarities they see or create between concrete experiences and concepts and abstract ones. Image schemas have different types as containment, movement, surface, force, path, directional, source, destination, event, and possession schemas.
Gathering data for this research has been done in libraries and the analysis of the gathered data has been done using comparison and description. In order to determine semantic components of “gereftan”, first, different forms and meanings of this word have been cited from Avesta, Old Persian and Middle Persian. Then, using Dehkhoda dictionary, some parts of old versified and prose texts from Beyhaghi History and Shahnameh (by Ferdowsi) have been cited in order to investigate semantic function of “gereftan” in Dari Persian. Finally, evidences of semantic function of “gereftan” in New Persian have been found from Sokhan Persian dictionary. With observing the represented image schemas in the verb “gereft/gir” and the compound words in which this verb have been used, the authors have come to the conclusion that “gereftan” is a polysemic word according to historical and etymological evidences and certain types of image schemas are observed in linguistic constructions in which “gereftan” has been used. It was determined by the main semantic component of this word that in its own turn, has accompanied different meanings of “gereftan”.
The word “gereftan” is the remainder of the root “grab-” in Avesta and old Persian. The root “grab” is polysemous and had been used with the meanings “get”, “gain”, “understand” and “feel”. Getting something, occupying a place, understanding something and also feeling something all have a semantic component in common and that is [ get something] / [薫 something with oneself] either concretely or abstractly, as something which the agent do or the state which an experiencer experiences. In middle Persian, “giriftan/girift”and “gir” are the remainders of “grab-” in Avesta and in old Persian, associated with the meanings “get”, “feel”, “understand” and “percept”. In Dari, the word “gereftan” has been used with semantic components [ receive] and [ get the authority of]/ [ have something with oneself]. Today, in modern Persian this word is used with semantic components [ have something with oneself], [ possession], [ transmit power] and [ initiate]. This semantic component can be used with different degrees of concreteness and abstractness. For instance, in the compound verb “bu gereftan” “bu” has been considered as a concrete object which the patient of the verb receives and keeps it with him. In a sentence as “matlab ra gereftam” (I got the point), speaker’s intention is to talk about receiving the content of the transferred message which is of course an abstract entity. The patient of “gereftan” might be something concrete like “yek nafar” (somebody) or something abstract like “ghol” (promise). In addition to possession image schema, other types of image schemas like movement, path, source and destination are also represented in compound constructions in which one of the building parts is “gereftan”. Because with semantic fulfilment of “gereftan”, we have movement in a certain direction and at the point where the patient of the verb is, we have the destination of such a movement, the point at which the movement ends. With regard to these common semantic components, different meanings of “gereftan” can be analyzed considering the image schemas possession, path, source, destination and force. The concepts path, source and destination are primary concepts which are gathered together to form the image schemas movement and event.
Conclusion and Suggestions: Due to historical evidences, the verb “gereft/gir” must be considered as a polysemous verb and considering different “gereftan”s as homonym words is wrong. Historical documents and semantic evidences have shown that different meanings of “gereftan” have semantic component(s) in common, namely, movement in a certain path, from a certain source and reaching a certain destination. Today, these semantic components relate different meanings of “gereft/gir”. The investigations have shown that the type of formed and represented image schema is related to the main semantic component of the verb which has been used in a given compound verb. Observed image schemas in compound verbs with “gereft/gir” as verbal part are possession, force and source which represent semantic components [ have something with oneself], [ possession], [ transmit power] and [ initiate].

Human experiences of the environment can produce conceptual structures in mind which are used to organize thought and then language across a range of more abstract domains. Johnson (1987) calls these structures “Image Schemas”. These schemas are proposed as a more primitive level of cognitive structure underlying metaphor and provide a link between bodily experience and higher cognitive domains such as language. These schemas are divided into three groups: Containment, Path and Force schemas. As our standard language in Iran is Persian, Other dialects are exposed to be extinct. Taleshi is one of these dialects which has some similarities with old Persian. In this article, we studied Johnson’s image schemas in Taleshi’s proverbs and measured each schema’s frequency. The data were gathered through interviews with Taleshi native speakers, especially the illiterate ones and also examining the proverbs in some Taleshi’s books. The result showed that the frequency of containment schema was more than the others.

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 new schools in the field of linguistics, cognitive linguistics, which examines the relationship between human language, his mind, he pays physical and social experiences. The beliefs of the followers of this school is that of language, thought patterns and reflects the characteristics of the human mind. The study of language is the study of mental models spokesman. Discussion image schemas is interseting infrastructure in the studies of cognitive semantics. Human experience of the outside world, making creates in her infrastructure of mind that they convey in their own language To express abstract concepts in the form of their. This image schemas have the same conceptual structures. In this paper we examine the cognitive concept of "love" as one of the main aspects of thinking Saadi in Golestan be addressed. The Prime definitions and descriptions Saadi About Love were produced in the framework of the image schemas, path schema, Force schema meaning the motion and it was through content analysis. As a result, it was: Saadi v schema metaphor to express the concept of "love is sea", the schema of motion to express "Love is Travel" and the scheme of power to express "love is king" is used. And the requirements for it to be able to love and understand the objective phenomena.

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.