فصلنامه پژوهش های ادبی - قرآنی
سال چهارم شماره 3 (پیاپی 15، پاییز 1395)

Animportant conceptual construct in cognitive semantics is image schemas. Any metaphor is the result of one conceptual schema or a large metaphorical mapping. Image schemas form in human’s mind through interactions with the world around him. There are different schemas that influence our metaphorical understanding of the world¡ and structure many abstract concepts metaphorically. Worldly and otherworldly life is one of the concepts detailed in the Holy Qur''an. The present analytical-descriptive study¡ sought to answer the question that how the image schema about worldly and otherworldly life in the Qur''anic language have formed. The results show that transformational¡ spatial¡ force¡ upper and lower positions¡ linear¡ near and far¡ and front and rear position schemas are used in the field of worldly and otherworldly life.

Greimas's narrative model tries to identify the stages of production and reception of meaning, and in so doing the narrative deep structure is analyzed in the form of action and chains, and various propositions. Since investigating and identifying the mechanisms of meaning production in the narration of Quranic stories seems necessary, in the present descriptive-analytical study, we analyzed the narrative structure of the story of Prophet Sulaiman based on Greimas's narrative model. In an attempt to answer these questions that whether Greimas's model conforms to the story of Sulaiman (AS) and the Queen of Saba or not, and if Greimas's model of action and chains and narrative propositions is efficient in analyzing a case from the Quranic stories, the hypothesis was that Greimas's theory is efficient in analyzing Quranic stories and his model of action and chains, and narrative propositions conform with the aforementioned story. This study did not aim at evaluating Quranic storie's values with respect to their conformity with Greimas's model but sought to describe this system in this story's surface and deep structures so that another valuable dimension of Quranic stories might be explicated and proved. The results showed that Greimas's narrative discourse system conforms to the aforementioned Quranic story.

The story of Yusuf (AS) and his life events have been mentioned in Arabic and Persian literatures, and it can be considered as a symbol, a myth and a motif. Mahmud Darvish and Qeyasr Aminpour, with regard to the prevailing social conditions of their time, employed elements of this story to express their thoughts and intentions. They pointed to Yususf's homesickness, homelessness, goodness and handsomeness, enunciating emancipation. Beyond this symbol, Qeysar states the expectation of the reappearance of the Twelfth Imam and the mastery of both poets in recreating this story's elements is exemplary. The present analytical-descriptive article dealt with the views of these two poets regarding the story of Yusuf (AS) and recreating it. Among this story's elements, homesickness and homelessness, fratricide, the political and social concept of Yusuf (AS), the well (where Yusuf's brothers threw him inside), the concept of expectation, Yusuf's (AS) virtues, and his shirt were discussed.

Different interpretations have been proposed about the inimitability of the Quran, both in terms of form and content. One of the most significant aspects of the musical order of the Holy Quran is its prosody or rhythmicity which, besides semantic and content attractiveness of the Quran, increases its beauty and amplifies its charm. What was examined in detail for the first time in this paper are prosodic chunks of the Quran, whose meters match ʿarūżi meters and which occur in many Quranic ayahs. To this end, those expressions in the first four juz’ of the Quran, which are rhythmic without any modification were extracted and classified according to their prosodic foot types. The findings clearly show that such expressions are found abundantly in the Quran, with a variety of meters belonging to both Arabic and Persian prosody. Based on the results, the number of such expressions and only inclusive of the iterative-foot chunks in the first four juz' is 120. Thus, the total number of such chunks in the whole Quran can be estimated to be exceeding thousands of expressions. The affluence of such expressions throughout the Quran implies that despite some authors who regard it as not to be intentional on the part of the Interlocutor, this phenomenon is not accidental, but can exhibit the pan-chronic and cross-linguistic nature of the inimitability of Quran.

The linguistic structure of the Holy Quran is a musical structure that transfers messages of religious content in the best and most attractive ways. The structure of all its musical elements fit together and is consistent with the content and religious purposes intended by ayahs and contributes to suggesting more and more meanings and concepts from the Quranic ayahs. One of the sciences that can open a new path to the study of the Holy Quran and help to understand it better, is discourse sign-semantics. Sign-semantics as one of the methods of modern literary criticism, is the result of the combination of structuralist semiotics and the system of narrative discourse that link the production of meaning with sensory-perceptual conditions. In this approach,signs together with meanings turn into fluid, dynamic, plural and multi-dimensional forms. The present descriptive-analytical article attempted to study the formation of the process of tensive discourse in a number of ayahs of Juzʼ 30 of the Holy Quran and the resultant music and their effects on meanings. The results showed that in some ayahs Allah directly enters the discourse analysis space thus producing an emotional stress. In this case, ayahs are expressed more quickly, but sometimes Allah leaves this space for the discoursal space, hence creating a cognitive area and therefore ayahs are expressed slowly. The model of sign-semantics then can be used as an efficient method in the analysis of the literary text of the Quran, serve as a new approach to studying ayah's music and underlie new readings of this divine text.

Within the theory of intertextuality, we can notice the existence of some poetic texts in the Umayyad period that paid unparalleled attention to religious texts especially the Holy Quran. Among such texts is Naghayez Jarir va al-Akhtal that was compiled by Abu Tammam in his book under the title of Naghayez Jarir va al-Akhtal. The present descriptive-analytical study aimed at analyzing different types of intertextuality relationships in more than 840 couplets in the form of 20 odes (inclusive of all poems in Naghayez). The results indicated that the Quranic intertextuality relationships in Naghayez Jarir va al-Akhtal have consciously occurred in the form of ijtirar, imtisas and havar (conversation) and the influence of the Quran on the two poets was mostly confined to Quranic terms and expressions, while Jarir leads al-Akhtal.

Phonosemantics in linguistics is an idea wherein it is proved that the best letters and words are those that covey their meanings as soon as they are heard. That is, in such words and letters, the phonetic load is very close to the features of the intended meaning. In the present study, the researchers tried to analyze the relationship between the words used in the Holy Quran with phonosemantics. Type text or a website address or translate a document.
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Accordingly, using descriptive-analytical method, this article analyzed linguist's comments regarding the indication of meaning in verbal expressions, the consistency of sound-phones with meanings, the relationship between letters with concepts and meanings, the relationship between accents and vowels with meanings, pictosemantics and phone assimilation. The results, based on the analysis of numerous evidence from the Holy Quran substantiated that phonosemantics is a main and artistic tool for meaning transfer in the Holy Quran.