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

This paper focuses on the semantic extensions of zadan (to hit) in terms of two vital processes, namely, metonymy and metaphor by adopting the four-category framework of Riemer (2005) as its analytical tool. It provides a descriptive-analysis by looking at the data gathered from certain Persian texts such as the eight-volume of Sokhan dictionary. The analysis of the data revealed that all four categories including metaphor, effect metonymy, constituent metonymy and context metonymy play a role in the semantic extensions of zadan. Moreover, it was revealed that the aforementioned patterns had a considerable flexibility to explain the semantic diversity of zadan (to hit) in Persian. The flexibility had two dimensions: a) it had the ability to explain language specific examples which had compatibility with one of the existing sub-classes and could easily be placed under one of the suggested classifications; b) it also had the potential to improve the classifications in placing specific data which had no correspondence in English or Warlpiri by adding some new sub-categories to Riemer’s framework. Finally, the examination of the semantic diversity of zadan explicitly shows that out of the two main linguistic devices (i.e., metaphor and metonymy), metonymy by far plays a more significant role in creating the semantic diversity for the verb zadan and the semantic extensions are mainly the results of functions of metonymy and post-metonymy.

With the expansion of linguistic relationships among nations, the cultural impact has a natural effect and causes the creation of a mutual relationship between language and culture. Considering this case the most affected language can be more exposed to the entrance of vocabularies and language interpretations. So the role of the translator as the agent of transferring the culture of the source language to the target one is salient. In some Arabic works, there are words and structures which are considered as cultural taboo. Moreover, the translator should apply the most appropriate strategies that on the one hand can reduce the negative meaning of the taboo and on another hand can be loyal to the source language. It seems that euphemism is a good way for translation of taboo. This research tries to investigate taboos in the novel "alhava" written by "hayfa baytar" based on the descriptive analytical method and provides the most suitable translation for them relying on euphemism linguistic tools. The results indicate that by applying euphemism for translating taboos in the of novel effects on preserving and strengthening of social self-concept contact of the Persian audience. The furthermore respectively semantic implication (23%) semantic extension (20%) and metonymy (18%) are the most frequent mechanism in translation taboo words.

Allusion is one of the linguistic techniques which, like many other literary techniques, have been neglected by researchers and critics in different periods of history of rhetoric so that only one aspect i.e. alluding to a hemistich, a line, or some lines from another poet. For this reason, this study intends to look at the history of allusion as a figure of speech and its status in Arabic and Persian rhetorical subjects, and, while describing and interpreting rhetoric attitudes it refers to its types and names and finally gives a new definition and title for allusion by resorting to the principle of semantic extension to release it, to some extent, from semantic limitation of traditional rhetoric. Result of the research shows that the definition of allusion in all rhetoric books refers to some types which, in the more comprehensive fields as eloquence, rhetoric, prosody and plagiarisms, are referred to as esteghbal, tatabo, tamlit, esteaanat, idaa, tafsil, etc. Therefore, considering this mixture and the mismatch between the meaning of allusion and its types, it can be defined as participation and exchange of verbal and semantic elements − including a line, a hemistich, a verse, or a parable − between the speakers which is performed based on the circumstances or to embellish and emphasize meaning and which results in highlighting, referencing, creating meaning, and creating artistic ambiguity and brevity.

Apostrophe means paying attention to someone or something. It is a literary technique which has not been studied deeply despite its widespread role in fo regrounding the literary language, norm-breaking and creating a sense of defamiliarization in the audience. Its meaning is limited to the " transferring the speaker from the absence to the audience and vice versa ". In rhetorical texts apostrophe is attributed to the three areas of semantics, eloquence and rhetoric. Such triple attribution is due to two factors: the mixing of rhetoric areas in previous periods and the extension of apostrophe 's meaning in rhetorical books. But it seems that a variety of notions which are raised in traditional rhetorical books should be examined in the field of semantics. The only type of apostrophe which can be analyzed in rhetoric is the one proposed in some contemporary books as the result of semantic extension and is used in the vertical axis of poem. Therefore, regarding semantic extension, we consider apostrophe as any change in semantic structure, narrative, texture, etc which occurs without any background and surprises the reader. The presence of different types of apostrophe in various branches of rhetoric and literature lead to the creation of many names for this literary technique. This technique was not called apostrophe in the first period of the Arab rhetoric which coincided with the rise of Islam in Ibn Motaz period. It was always called “metonymy”. Then Asmaee used apostrophe in its technical sense in the second century (A.H) and Ibn Motaz presented it in Albadi. Gradually and in later periods rhetoricians such as Qodame Ibn Jafar, Ibn Rashigh Ghiravani, Abu Halal Asgari etc. gave other names to this technique such as inflection and dissuasion, completion, objection, Estetrad, Talvin, Shojaol Arabiyat and so on. Apostrophe has the same meaning in Persian rhetorical books. The first rhetorical book is Tarjomanol Balaghat written by Radviyni which is an imitation of Mahasenol Kalam by Marghinani. After that other rhetorical books were written to imitate it. Fortunately, contemporaries present apostrophe in their books such as The Art of eloquence by Mohammad Rastgoo and the works of Poor Namdariyan such as Journey in the Mist, Missing at the Beach and It the Shadow of the Sun. Types of apostrophe are not directly presented in rhetorical books. In the following section, some definitions of apostrophe are presented. We study each of them in terms of new meanings and add a number of new types. 1. Change of register in language: change of context and structure of a literary language to a slang language and vice versa. 2. Colloquial change: successive changes to address several audiences. 3. Grammatical change: changing pronouns, verbs and so on 4. Semantic change: it can be recognized only through semantic analysis. It includes varieties such as mentioning individual words in a speech or prayer after the speech, semantic change in poetry and hidden meanings. 5. Apostrophe 5.1. Appealing technique which means that the poet asks for an invisible power. 5.2. Rhythmical change: a sudden change in rhythm during the speech such as the poem of Jamshid, the sun and some of Molana’s sonnets. 5.3. Narrative change: (story in story mode): consecutive stories which are not related to each other such as Baha Valad ’s Maaref and Molana’s Masnavi. Each technique has rhetorical and literary functions which are its aesthetic criteria. Zemakhshari was the first person who presented the technical and aesthetic values of apostrophe. He considered apostrophe as the criterion for consciousness of the reader which brings him joy and happiness. Other rhetoricians followed Zemakhshari and mentioned this advantage for apostrophe. Here we mention other rhetorical functions for apostrophe which are associated with linguistic concepts: 1. Norm-breaking, defamiliarizing, foregrounding: apostrophe destroys the familiar and common processes of words and sentences and hence creates pleasure and surprises the reader. Thus, words become foregrounded and more pleasant and tasteful. 2. Art ambiguity: apostrophe creates the sense of defamiliarization a nd unexpected changes and makes the text ambiguous. it makes the reader to explore and understand the ambiguity and the result would be the reader's enjoyment. 3. Increasing text coherence: apostrophe in its broad sense is based on the collocation axis. Semantic cohesion and coherence can be achieved by the collocation of couplets and hemistiches. Although using apostrophe destroys the form and body of the language, it makes more motivation and tension in text and strengthens the vertical axis of the language and finally increases the coherence.