نشریه مطالعات نقد زبانی و ادبی
پیاپی 27 (زمستان 1402)

The traditional and new views on metaphor are different. From the classical point of view, metaphor is a rhetoric that occurs in the word; but new theorists such as Lakoff and Johnson believe that metaphorical concepts exist in all human life and the world around him. In the conceptual metaphor, a mental concept is understood by a more concrete or objective mental concept in the form of a mapping. In this research, the conceptual metaphors of love in Khosrow and Shirin, Logiq al-Tayr and Shahnameh were examined and compared. By examining the concepts of love based on the theory of conceptual metaphor, 30 maps with the destination of love, in the form of 1958 cases, were categorized and analyzed. These mappings were classified into two groups: the first group includes common mappings, such as LOVE IS SADNESS, IS JOY, IS HUNTING and IS GROWTH. Among the three types that expressed a common point of view, and the second group represented the different mappings like LOVE IS LIGHT, WAR, FIRE and WINE. There were also other maps; Such as: LOVE IS WONDER, were only specific to the mystical text of al-Tayir, which expresses a kind of true and mystical love. The investigated maps were mostly ABSTRACT to CONCRETE, and in some cases abstract forms with more concrete matters were used to express concepts related to love.

is paper investigates the aesthetics in Qeysar Aminpour's Resistance Poems. The library method has been done. The main concern is the poems related to the holy-defense war. The poem is a great art and each work is inherently beautiful, so it can be studied on the basis of aesthetic perspective. In poetry, emotion and feeling can linguistically be represented and influentially inspired through coordinated music. So the beauty of language like music and imagination in surface structure; the beauty of content in deep structure are the basic buildingblock of the beauty of poetry. All the aesthetic principles with various examples can obviously be shown in Qeysar 's works. The analysis of his poems showed that he has used many innovative and rhetorical tricks in creating artistic poems. 

The word pareidolia is composed of two Greek words "para" (next to or accompanying) and "idolon" (image) and generally refers to the side meaning and concept of a shape. Pareidolia or simulation is a psychological phenomenon in which a person recognizes the signs or sounds he perceives meaningfully. Such perceptions are as follows: to see a face in a cloud, moon or objects, hear unknown messages when a tape or recording is played. This psychological phenomenon has also emerged in literature and art. This research, which was prepared using descriptive and analytical methods and using library sources, aims to introduce the tendency of this psychological concept in contemporary literature, especially neoclassical literature. The results of the research show that in Qalandaran literature, there are two positions, the floating character of ME and YOU, which make the texture of a work. In this type of literature, the poet is multiple and manifested in everyone, and his audience also becomes a floating and multiple personality in everyone. This type of writing, which represents the foundation of New Qalandari's poetry, transforms the work into a creative Function centered on an intense emotion, which displays the combined impact and effectiveness of everything from one thing in the fluid structure of the subject's emotional situation. The random presence of an acquaintance in the most unrelated phenomena is a clear example of the manifestation of this literary genre.

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.

Postmodern metapoetry is the result of dialogue with postmodern macro-narrative and faraeasti farapoetry resulting from Iran's civilization and its culturalintellectual characteristics.
These two attitude-writing systems are derived from the theories of Arash Azarpik in the of the seventies poetry decade. In the modernist world, reason, or the objective meaning-giving matter, thinks that meaning is made by the human world and the result of conventions, while according to Azarpik, Logos is the meaningful source of the objectivity of existence, independent of individuals and the world, and meaning is not contractual or arbitrary. Therefore, in following the intellect that follows the subject and the mind, in works and texts such as postmodern metapoetry, the reader is faced with the subject of schizophrenia, the collapse of meaning, the failure of the narrative, all kinds of language games, ungrammaticality, syntax, etc In fara-poetry, the world is not "I" or the subject alone, and outside of "I", the meaningful thing of objectivity independent of people and the world gives meaning to "I" or the subject and the world. Therefore, there is a coherent narrative of dialogue-monologue-centered, wordcharacter, heterosubjectivity and presence in Faraist's farapoetry. This article tries to analyze stylistically two systems of postmodern metapoetry and Fraistian farapoetry, and while introducing them, it will express the features and commonalities.

In the process of the historical evolution of the Persian language in different periods, the semantic change of some words and sentences has occurred; the phonological changes are considered as the most important ones. This article attempts to show the type of word and meaning images in Qabus Nameh, which is one of the books written in the fifth century. Due to the time proximity of Qabus- Nameh to Middle Pahlavi Persian, it has preserved a large extent the phonetic characteristics of the Pahlavi language and many words have entered this book without any changes. The method is descriptive using library sources. The phonetic changes in this work have been shown in the form of decrease, increase, conversion, integration and reverse, and the most frequent process was conversion. In the semantic transformation, the words have had several transformational contexts , either they have been abandoned or got a new meaning in addition to the previous ones. In the semantic evolution of sentences, they are often used in their unreal and contextual meaning and become ironic sentences.