مجله جستار های زبانی
سال یازدهم شماره 3 (پیاپی 57، امرداد و شهریور 1399)

The main purpose of present article is studying Tehran billboards based on Halliday’s functionalism regarding social semiotics. Communicative and functional roles are the main roles of language in functional approaches. Advertising billboards are tools trying to communicate and transfer messages to audience. They try to communicate with the audience and convey meaning and message through a variety of multi-layered texts. Each billboard image is sometimes a text that contains different elements such as color, shape, line, and speech, and there are always different linguistic and extralinguistic factors involved in conveying commercial messages. In this paper, an attempt is made to represent the three experiential, interpersonal and textual metafunctions in the image and speech of advertising billboards from the perspective of Halliday’s functional approach and to determine how to convey meaning through semiotic mechanisms. Therefore, in order to accomplish the objectives of the paper (representing the metafunctions in images and speeches of billboards),the topics of social semiotics, semiotics of images, metaphor, action and tension processes of discourse are also discussed to explain how to convey meaning through verbal and visual signs. The main assumption is that advertisers have been able to convey and express meaning through words and images by using theoretical mechanisms and metafunctions of Halliday’s functional grammar and its connection with the field of special discourse. Therefore, in order to conduct the research, during a simple random sampling with a free subject, billboards in Tehran were photographed and then the research data were analyzed by analytical research methodology. Billboards containing visual and textual texts have been analaysed in accordance with theoretical mechanism of systematic grammer in terms of ideational, interpersonal, textual metafunctions and semiotics to achieve semiosis methods. Findings confirmed the desirable performance of this functional theory in the field of advetising billboards. Results of this study indicates that Halliday functional approach with its sociological semiotic features is an ideal model for achieving and gaining means of expressing meaning and can well be the basis of classifying, analyzing and explaining words as well as image. In these billboards textual texts have informative function and visual texts have expressives function.The current article shows that interpretation of meaning is done in different methods in multi-layer texts of billboards and the manifestation and embodiment of mentioned metafunctions are indicative of the fact that each advertising billboard is in fact a unitary and integrated text and the coherence resulted from aggregation of verbal and visual layers, provides a suitable basis for the semiosis of the various concepts and transmission of it to the audience.

Sounds is the main tool for embodying meaning and conveying mental concepts to the audience. According to Ibn Jani, Ava has an inherent meaning, which is consistent with the term phonology in contemporary linguistics. Accordingly, the role of inductive sounds, the rhythm of which has a special meaning in mind, is significant in the analysis of the meanings of the Holy Quran. He also claims a semantic connection between derivatives whose original number and type of sounds are the same but different in the order of the letters. Since phonetic signification has a clear scientific basis, there must naturally be a semantic commonality between words with common letters (with special connotations), just as the discovery of semantic connection between derivative derivatives is one of the introductory lexical topics for understanding verses. However, the high number of words of great derivation in the Qur'an also necessitates attention to this type of derivation. Therefore, the present article seeks to investigate and investigate the semantic relationship between the derivatives of "(ح، ل، م) " on a case-by-case basis with a descriptive-analytical method and through linguistic study of inductive sounds and discovering the fit between word and meaning. Examine its role in understanding the vocabulary of the divine word and answer the questions raised:1. Based on the phonetic process, what are the semantic implications of the phonetic arrangement in the Qur'an with the focus on the sounds "(ح، ل، م)"? 2. According to Ibn Jani's theory, what kind of semantic fit does the derivatives of the sounds "((ح، ل، م " have? 3. What is the function of explaining phonetic data in derivatives of "(ح، ل، م) "? Accordingly, the research hypotheses are:1. The arrangement of letters corresponds to its semantic functions and implies the meaning of these words. 2. There is a semantic and sometimes contradictory semantic connection between the roots that have a derivative similarity. 3. Some of the functions of research are to express the coordination of the results obtained from Ibn Jani's phonetics and theory, to analyze the semantic relationship of derivatives based on the principle of substitution. Also, while pointing to the value of sound in conveying the meaning and conveying the message, it reveals another aspect of the verbal, spiritual and economic miracle of the Qur'an. According to the Qur'anic evidences and citations of linguists, one of the tools of God to convey the meanings and concepts to the audience more effectively is to use phonetic art with the aim of contemplating verses and strengthening the verbal, spiritual and economic miracle of the Qur'an. The phonetic load of the letters is very close to the characteristics of the intended meaning and best conveys the meanings of the words. There is a coincidental and sometimes contradictory semantic connection between derivatives, because according to the phonetics of each sound, it is effective in embodying the meaning of a word. Also, based on derivation theory, it plays a role in receiving other meanings of derivatives with the same phonemes, just as the arrangements of "(ح، ل، م) " in the context of phonetic codes indicate common meanings: hidden heat, softness, closure and strength..

Mazandarani is one of the Iranian languages which has many speakers in Mazandaran province in north of Iran. In the present research, one of challengeable topic ,namely, light verbs in Mazandarani language is investigated based on cognitive linguistics. Some linguists claimed that light verbs have no any core meanings, but they have metaphorical meanings. The aim of this research was to describe complex verbs in Mazandarani by cognitive approach. The main questions of research are: are there any light verbs in Mazandarani language? Can light verbs in Mazandarani contribute to develop semantic meanings? Do the light verbs produce new meaning when compounding with noun, adjective and adverb? Is compounding of preverb and light verbs a productive process? The hypotheses of research are: There are many light verbs in Mazandarani language. The light verbs in Mazandarani can develop semantic meaning and the semantic space of light verbs indicates that they can produce new meaning. Also,  compounding of preverb and light verb is a productive process. The data of research are collected based on speech of some Mazandarani speakers and Tabari dictionary. Semantic space of complex verb, verb type, proverb and type of the light verb surveyed. Differences in shaping of the complex verb in Mazandarani in contrast with Farsi were compared from different aspects such as: morphology, syntax, lexical and semantic. In addition the features for identification of these verbs are used. As a result we can say that complex verbs in Mazandarani according to the cognitive approach is productive process which applies the physical aspects and social experiences of life and by applying light verbs in combination, the meaning of compound verbs figuratively expands to easily create new concepts and transferring takes place, applying these new verbs cause productivity. The compound verbs compositionally have a compositional meaning. In discussion of semantic space, a certain verb on the base of type of proverb it takes can be situated in a semantic space and creates different semantic space. There are also semantic islands. These islands are branches of light verbs construction that suggest the same concept of the verb on the base of same light verb and special verb are associated.

Audiovisual translation is a thriving new area of research on a-century-old practice of an intercultural communication mode. Subtitling as one of the most popular forms of audiovisual translation has been practiced by professionals in various ways. Traditionally, subtitlers have been asked to individually carry out the linguistic transfer between languages, to decide the in and out times of subtitles on screen, as well as to carry out the simulation, revision and quality control of the subtitles; an obsolete attitude which may not be compatible with today’s real world facts and working conditions and demands. Subtitling has also gained a special attention by language teaching experts as a very useful educational tool with many benefits for foreign language learners, hence the importance of subtitling education development. The present article investigates the influence of subtitle training classroom experience on subtitler trainees’ attitude towards teamwork skills in subtitling practice. Considering the special time constraints of subtitling projects and the different skills required for this translation, the role of teamwork has been typically highlighted in such projects both at the professional and freelance levels. To study the current situation and the relationship between subtitling education and teamwork in the Iranian training setting, 167 male and female English translation students at undergraduate level were selected to contribute to this project. The participants attended a 5-month subtitler training program in the form of 6 separate classes to learn and improve their subtitling skills. The quasi-experimental research based on a pre-test post-test model was used to collect data on the students’ attitude about teamwork skills before the training and after they have attended the course and have completed three real market-based subtitling projects in teams. The reliability and validity of the self-designed questionnaire to study the translation students’ attitudes towards teamwork skills were statistically established using confirmatory factor analysis and scale reliability analysis. The results of the study are discussed in relation to the related literature.

Jarr, as a preposition, is significant among the other particles since it functions as a connector between the verb and noun in a given sentence; thus, the mere connection between the verb and the noun as well as its type depend on the precise definition of Jarr. Early grammarians took Jarr as a connector between the verb and the noun, but the recent ones, routinely, define it as words that modify the noun following it. This difference in definition has brought many debates regarding the number of Jarrs and their semantic analysis. This study aims to investigate different definitions of Jarr suggested by grammarians through a descriptive-analytic method to answer the following questions:1. What are the labels and etymology of each Jarr? 2. Which definition matches more with the function of Jarr in Arabic? 3. What is the categorization of Jarr based on the agreed-upon definition? 4. How many Jarrs are there in Arabic and how many of those are used in the Quran? The study aims to find a precise definition of Jarr to be matched with its functions in Arabic, particularly Quran, so that it could be taken as a scientific criterion to evaluate grammarians' ideas on definition, number, categorization, and function of Jarr. The findings of the study suggest that:1. The comprehensive definition of Jarr which is structurally and semantically matched with the general Arabic texts, particularly Quran and the Imams' narratives, is the one suggested by the early grammarians. Therefore, Jarr means to connect, convey, or make transition in the meaning of the verb and some words (e.g. derivatives, nouns derived from verbs, and noun clauses) to nouns, and nous to verbs. Based on this definition, Jarr, addition, and connection (Ibn Ghayim's expressions) have overlap, and Khafdh functions as the e'raab for these prepositions. 2. Based on the definition, Jarr should have at least two features. Firstly, it should connect the verb prior and the noun after it. Secondly, following the noun after it, it modifies the verb coming before. In other words, it belongs to the verb coming before. So, each preposition which does not have these two features cannot be taken as Jarr. Moreover, as the prepositions are not independent, and Jarr and Majroor belong to the verb coming prior, it is imperative to analyze the modifier and modified altogether to understand the meaning of Jarr and Majroor, meaning that the mere analysis of the preposition is not enough. 3. Khafdh is a noun to "Matta, Ki, La'al, Shaz". The use of Lola for the target pronoun and the connected Majroor makes the clause influent and reduced. So, even if it is a preposition, it cannot be included in the Jarr prepositions. "Hasha, Ada, Khala, Rab, Manz, and Maz" are nouns, too. 4. The Jarr prepositions, therefore, are "b, t, l, w, an, fi, men, ela, hatta, ala'a" all found in the Quran. 5. As Jarr prepositions need to be belonged and they function as means of transition for verbs, assuming them to be redundant is paradoxical and meaningless

This study aims to examine the elements of stylistics in three stories. They include three poetical narratives by ʿAṭṭār in mystical genre pivoting around the character of Ḥallāj. The main research question of are: a) According to which stylistic mechanisms of narrative are the narrative-stylistic elements explained? And b) How are these elements reflected in the narrative discourse? This study hypothesis check the components of Simpson's narrative discourse to determine the stylistic features. Therefore, analysis of the texture of these narratives showed that in total, material processes with 16 applications had more performance than verbal process with 3 cases, mental process with 13 cases and behavioral process with 1 case. The research uses library method for collecting data and is analytical in nature, employing the methodology proposed by Simpson in his Stylistics approach. The results indicate the extent of characters’ collaboration by analysing the processes. In terms of point of view on the temporal plane, there is no specific time since all three narratives revolve around Ḥallāj. The descriptive pause is another example of this point of view and narrative time in the stories is longer than story-time. In the second story, however, the narrative is denser and more concise. An example of a point of view on the temporal plane can be seen in the three discourses of narration using "the use of past verbs", "descriptive pause" and "narrative time" in two narratives, and the narrative of “ tashte khakestar va amadane ashegh" is rejected. Naturally, from the spatial point of view, referring to space is not pertinent because it the prestige of Ḥallāj which is the focus of the author. All three narrative discourses confirm Hallaj's high position on psychological plane . The point of view is the third person in all three stories. In the first and third stories, the third person perspective is reflective, and in the second story, the third person perspective is prominent. Modality has some features in narratives of Ḥallāj: since the narrator narrates Ḥallāj’s emotions and the Lover’s character by direct speech, it has a positive shading. This may be explained using Fowler-Uspensky model. In terms of idiolect, the words uttered as the Lover’s reaction to see the Beloved’s (i.e. Ḥallāj’s) ash and finding a trace of the latter are in line with the mystical context of the story. All three stories of Ḥallāj can be discussed in view of Labov’s ‘textual structure’. Therefore, in future research, it is possible to examine the textual structure of the elements of this model in the narrative context by examining the structure of the text in other anecdotes of mystical poetry and consider the anecdotes related to elders. The results of this study showed that in almost these three stories, the result , the solution and the terminal phase are the same, and the reason is Attar's advice, which replaces any kind of analysis. With regard to intertextuality, two stories ‘Ḥallāj in the gallows’ (Ḥallāj bar sar-i dār) and ‘Ḥallāj decapitated in sleep’ (Ḥallāj bā sar-i burida) are referred to in other texts. The results of this study clearly show that the study of narrative stylistics and the application of its components have mechanisms that are suitable for analyzing different levels of narrative discourse context. In addition, this study provided an understanding of the style of Hallaj's narratives that had not been previously explored.

Routine verbal communication almost never occurs in quiet. Speech perception disorder in noise is one of the most common complaints of people of all ages. In our living environment, there are different types of background noise that have different masking effects. In general, verbal noises have more signal target masking. Babble noise as an interfering factor can lead to speech perception disorders. Speech phonemes are alienated into consonants and vowels across languages. These phonemes are different in terms of production and perceptual mechanism. Persian has 6 vowels /i/, /e/, /a/, /â/, /o/, and /u/. Vowels are the nucleus of the syllables and words, vowel errors can lead to disorders in speech perception process. Now the question arises as to whether the ability of vowel recognition in the presence of babble noise is influenced by age, signal to noise ratio, gender, and educational level? Also, if the above factors affect the recognition of the Persian vowel, which vowels are more vulnerable to these effects?Therefore, due to the absence of similar studies on the effect of the aforementioned factors on the recognition of Persian vowels, the present study examined the effect of age, signal to noise ratio, sex, and educational level on the recognition of Persian vowel in the fourth and fifth decades of life. This observational and cross sectional study was performed on 60 adults with normal hearing in the age range of 30-49 years with mean and standard deviation (SD) of 38.88±6.23 years old (thirty people aged 30 to 39 years old with average age and standard deviation (SD) of 33.40±2.35 years and thirty aged 40 to 49 years with average age and standard deviation (SD) of 44.73±2.33 years) from available samples. After the auditory and speech evaluation, the recognition of Persian vowels were examined in consonant-vowel-consonant syllable in the presence of babble noise in signal-to-noise ratios of 0, -5 and -10, along with  the randomized presentation of stimuli to the right ear. The purpose of the random presentation of syllables in the present study was to avoid memorizing words.Comparison the recognition score of six Persian vowels showed significant differences in three signal-to-noise ratios (p = 0.001). Also, comparison the vowels recognition scores were significant in two age ranges of 30-39 and 40-49 years old in three signal-to-noise ratios (p = 0.001). However, not found significant differences between the sexes (P= 0.991) and different educational levels (P= 0.282). Also, in three signal to noise ratios of 0, -5 and -10, the recognition scores of the front vowels were better than the back vowels. In signal-to-noise ratios of 0 and -5, the highest mean of recognition score was associated with / a / vowel and in the signal-to-noise ratio of -10 with / i / was present. Also, there was the lowest mean of recognition score in signal-to-noise ratios 0, -5 and -10 with / u / vowel. The present study showed that the average recognition of Persian vowels is affected by age, signal-to-noise ratio, and type of vowel. As the age increases and the signal-to-noise ratio decreases, the average recognition score of the vowels decreases significantly in the presence of babble noise

In this Paper, the authors aim at understanding either the inmportance of the origin (the original features) of the brand logo or its audience's experience acts to be more effective. The purpose of the present study is the semiotic review of the 14 best-brand logos of automobile luxury goods through analysis of data and questionnaire which the authors can reach the rules governing on the brand logo with a focus on the two terms of the origin of the luxury brand's logo and its audience experience, and based on the indicators defined for each, within the framework of Barthes's visual semiotics and Van Leeuwen's social semiotics. The findings reveal that what is important to attract the attention of the customers of luxury automobiles in Iran is the audience's experience of the logo, which has tangibly got a head of the role of the origins and the identity of the goods. Accordingly, the difference in the perceived meanings of every brand logo by the audience indicates that the meanings received from every logo are not uniform and it is based on culture, so that individuals, based on their individual experience and their socio-cultural insights, understand the different implied meanings from a similar logo; it means the meanings received from every logo are not universal and regardless of audiences culture. This affects the success of the goods and maybe leads to different results in business.

Advertisement is a thinkable subject to various fields of study such as anthropology, sociology, linguistics and criticism. In the visual advertising texts, at least two systems work together, the language system and visual one, to form the layers of text. The purpose of this research is to increase the knowledge of people and change their attitudes to communications and advertisements and finally to change the style of social life of them through the change in the content of text and image in the advertisement of billboards in Tehran. In addition, this research attempts to present the linguistic and non-linguistic factors in the advertisement and to use the theoretical achievements of discourse and pragmatic factors for making advertisement that is more useful for commercial institutes. It is worth mentioning here that the authors fulfill this research by collecting data through field research, interviews and questionnaires, and the authors used descriptive-analytic method to analyze the results. In addition, a body of two hundred participants, including one hundred for each sex, who responded to qualitative questionnaire, implemented this research. Moreover, the authors attempt to indicate that billboards in Tehran aim to affect and change the addresses' attitude in the direction of persuasion of them to buy the commercial products. This goal is achieved by using linguistic factors such as: text, the structure of text in terms of different types of its' chosen sentences, pragmatic factors like language roles and presuppositions, semiotic factors like linguistic signs, advertising signs and linguistic conventions.

In the story of the Edrissis' House, social perceptions and habits, apart from being able to form a historical study, depict social causes and reflect the author's mentality and social situation. The main points of the story are wandering characters who are immersed in the foggy and bitter memories of their past as if reviewing these memories is sweet or very annoying and painful for them. Mrs. Edrisi, the owner of the ancestral home (Edrissis' House), is still stunned by the fantasy of her youth and her love for the fire brigade. In this story, spatial, temporal, and narrative themes are the tools to describe realistic and critical structures. After the Bolshevik and workers' revolutions, Mrs. Edrisi, a member of the aristocracy, has witnessed profound changes in the urban situation amid popular discontent. The narration in this story is an excuse to describe and explain the linguistic structures and meanings that lie on the one hand and social realities and political conflicts on the other. In the context of Edrissis' House, "meaning" plays out the form and content of the narrative, to remove the potential of Alizadeh's language from the linear barrier and to define the subject in the heart of a dynamic and out-of-structure process. Therefore, to clarify the game of narration from the perspective of semiotics in this story, the position of the sign and its structure must be identified to some extent. For poststructuralists, language systems, events, and events are formed over time. Kristeva, a Bulgarian psychoanalyst, linguist, and poststructuralist philosopher, reviewed her linguistic structures by writing her first book, and investigated the Semantic features , emphasizing literary and poetic texts in historical and social contexts. She showed the dynamics of sing by which processes change themselves. Chora is a symbol of Kristeva's energy, dynamism, and vibrancy, her inner drive, and signifier of language. Thus, the identification of linguistic cues for Kristeva is "the study of the mechanisms of production, transmission, and reception of meaning". In this article, we will try to answer questions about the analysis of symbolic structures and sign language in the novel of the Edrissis' House and pave the way to research in similar contexts. Although we see the presence of both realms in the story, it is a symbolic realm that deeply affects "meaning" in Alizadeh's view. As mentioned above , the destruction of the linear course of the narrative in the story, affects the linguistic structure of Alizadeh and shows the linguistic reality before the author's consciousness.The novel Edrissis' House, always depicts a few unfinished and wandering stories, the realistic appearance of which contains analytical and obscure signs of the past. This is the realm of signs that leads the nests and the amalgam to the language. In other words, this emotional and fragmented dimension of language is fluctuating, it requires identity and signification for itself, and it puts the subject's consciousness in suspense, so that the meaning is not of the material and conscious type, but based on the inner motivation and drive of production. Thus, the unveiling of emotional and emotional structures and the penetration into the inner layers of motivational language, a reflection of the field. It is a language that has been suppressed and needs to return. Alizadeh prioritizes the nature of language and re-represents its nature to provide the reader with the conditions for understanding and recognizing it. In fact, Alizadeh shares her experiences in the context of narrative and social contexts - which also include language itself. Retrieves - gives meaning and, by searching for intra-cultural links, shows semio-semantic functions for textual structures. Thus, in semiotic analysis of Alizadeh's text, the signifiers lose their order and become dynamic and irregular to evoke the return of the blind or the "command of oppression." Hence, the suppression of female mental beauty shows the focus and symbolic structure of Alizadeh's language. This process itself becomes the originator of language. A language keeps emotions stored and registered in the subconscious layers of meaning. A language in which the interaction with the environment takes the form of unconscious reactions. In the story of the Edrissis' House, Alizadeh, amid its sharp and biting realism, is deeply influenced by the field of symbolism, because the symbols transform its subjects. The emotional burden of the narrative language becomes more and more imposed on readers.The novel of Edrissis' House is the story of the Tsarist Russian Bolshevik Revolution, which illustrates these two linguistic areas well. And the position of Alizadeh's heroes is manifested not only in language but also in physical motivations. In this story, the environmental space of the Edrissis' House represents the symbolic space of language, which dominates the ample space and profoundly influences the process of signification. In fact, according to Alizadeh, language as a social act necessarily has these two tendencies of symbolism and semiotics because these two linguistic domains produce meaning.  Therefore, according to Alizadeh, this matter and the feminine (symbolic) domain is the reproductive text that forms the masculine (symbolic and lawful) matter of the apparent text and precedes the cultural, social and historical rules. The subject of Alizadeh, inspired by her feelings and energy in the heart of nature and the unconscious, creates a system of signification and discourse. Overall, the linguistic signs in this story are unstable, repressed, spontaneous, and emotional. This rupture reproduces the symbolism of "meaning" and, according to Kristeva, is revolutionary in the realm of signification and semantics. Hence, language and subjectivity are intertwined for Alizadeh’s point of view. For this reason, the realm of symbolism is the style and representation of unwanted signification.

Compound verbs in Persian are verb constructions formed by more than one simple lexeme. For example, negah kardan (literally “watch do”) is a compound verb made of a nonverbal element negah (watch) and a light verb kard-an (to do). Syntactically, they are heads which can split during sentence derivation. The light verb kard-an, merged with a nonverbal element, comprises a compound verb and it cannot determine argument and transitivity of a verb alone. If such compound verbs are lexical words, then they should not split in the sentence structure by syntactic operations. On the other hand, if they are syntactic constructions then forming a new lexeme after syntax floats some theoretical conditions. The purpose of this paper is to describe the derivational steps of one type of compound verbs and explain how it is separable in syntax. Some of the data are selected from Sokhan Dictionary and some other (used in the sentence structure) from the online version of the Persian Linguistic Database (PLDB). The results indicated that Persian compound verbs are morphological phases the edge of which is visible and accessible to syntactic operations. First, the roots negah and kard enter merging, and after merging of a phase head involving [Tense] feature (usually, a light verb category), the root kard adjoins it to obtain the [Tense] feature. Finally, if root negah remains at the phase domain (under the phase head) it should transfer to the interface levels and become inaccessible to the moved kard at the phase edge. Therefore, negah should move to the phase edge; otherwise; kard and negah should be interpreted in two different phases and could not join to form a compound verb. That is, negah is also absorbed to Spec-phase by the [EPP] feature of the phase head. Now, both of them are regarded as a compound verb and the nonverbal element at the phase edge is accessible to the syntactic operations. Hence, it can split in syntax (for more details, see Heidarizadi, et al, 2017). Finally, following Johnson (2003) a syntactic operation called "renumeration" is introduced which targets the nonverbal element at the morphological phase edge and splits it, hence leads to its separability in syntax as the derivation proceeds.

In cognitive linguistics, the study of linguistic meaning is not the aim by itself. Instead in this field of linguistics, the focus is on understanding the nature of conceptual system of human's mind.  Noting that image schema due to its importance in understanding of abstract concepts are an important category in linguistic studies. This paper studies the embodied patterns of image schemas in the absolute congenital blind compared with their counterparts based on Johnson's embodied cognition theory (1987) in cognitive semantics.

The methodology of this quantitative research is comparative between two groups of blind and non-blinds.  Thus, 48 male and female blinds and non-blinds with diploma and graduate education aged 18- 28 years, due to the study of such variables as gender, education and age, were evaluated, and they were asked to describe 30 selected words based on Ricci Bitty and Poggi's  procedures (1991), then their image schemas were investigated.
Results and

The results showed that the blinds, due to lack of vision, use more lexical descriptions and more image schema than their counterparts, in a way, graduate female blinds were reported as the most frequent users of image schema. The statistics also prove that the path and cycle schema, among different types of schema proposed by Johnson (1987), have the most and the least amount of usage in both groups respectively. Also, the study showed that age, gender, education variables as influential factors had no effect on understanding blind people and their counterparts from the image schema.

The purpose of the study was to investigate the role of practicing reflective assessment (RA) strategies in language classroom and to examine EFL learners’ perceptions regarding RA. In order to do so, the following research questions and hypotheses were answered: Research questions: 1.Does applying RA strategies impact EFL learners’ achievements in General English (GE) classes? 2.Is there any statistically significant difference in post-test scores of EFL learners who practiced RA strategies and who did not? 3.Is there any statistically significant difference in retention-test scores of EFL learners who practiced RA strategies and who did not? 4.What are EFL learners’ perceptions regarding the application of RA strategies in language classroom?