نشریه مطالعات زبان و ادبیات غنایی
پیاپی 45 (زمستان 1401)

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.

This study focuses on feminine style which is noticed by researchers regarding the increasing number of female writers in the contemporary era. The names of Robin Lakoff and Sarah Mills are distinguished among the theorists of this field, due to the presentation of practical models. Lakoff enumerates some features of feminine language emphasizing the linguistic differences between men and women, and Mills considers three levels of vocabulary, sentences and discourse in the linguistic analysis of feminine works. The methodology of the current research is discourse analysis based on the integration of Lakoff and Mills' theories on four levels: 1. lexical 2. syntactic 3. rhetorical 4. Discourse. The purpose of the study is to find the characteristics of feminine style in The Bride written by Faridah Farjam who was the first Iranian female playwriter. The findings of the research indicate that the author used feminine linguistics in vocabulary, syntax, and rhetoric at the discourse level, to challenge male culture and assert women’s rights, and develop their personality and awareness. Also, the influence of the author’s gender on the tone of the text is another component for confirming the theoretical models.

Saqinameh is one of the literary types that many poets have experimented in saying this type throughout the history of Persian literature. Nezami and Hafez are the most famous narrators of Saqinameh, and other Saqinameh speakers have all adopted these two models in writing this type of poetry, as generally those who have recited their Saqinameh as part of their poems have been influenced by Nezami, and those who have written Saqinameh independently or with social issues and dominant Khayami thinking have been influenced by Hafez. Of course, Hafez himself is influenced by Nezami in this poetic style. Hafez had a very Nezami opinion both in the construction and in the content and meanings of Saqinameh and Moghaninameh. In this article, we have compared Saqinameh and Moghaninameh of Hafez with Nezami in a precise way and free from generalizations.One of the important results of this research is that Hafez's effectiveness of Nezami's Saqinameh, contrary to everyone's opinion, and as shown by similes, metaphors and paradoxical concepts related to May and its essentials in all of Hafez's sonnets, is seen more in his sonnets than in his Saqinameh; Another thing is that, contrary to the generalization of some writers, Hafez was influenced by Khaju in past compositions and memory and by Eraqi in regard to the mystical concepts and independence of his Saqinameh, and between Hafez and Nezami's Saqinameh, despite many similarities, there are also differences that this writing style Analytical and descriptive has also dealt with these cases.

The unique content creation and all-embracing imagination of Indian-style poets have created a variety of thematic contexts in their works, and these thematic contexts have been reflected in the mirror of their poems in different ways. That era’s political, social, cultural, and even religious structures, broadened the poets’ horizons and led the personal feelings, and inner emotions of poets with heartwarming thoughts to be reflected in different subjects in poems of this era and a collection of different lyrical literature emerged in their works. On the other hand, single-couplet is a form of stating these subjects. The poets’ books during this era are the most extensive collections in which ethical, spiritual, love-making, religious, teaching, and social issues with novel and new content show off in a short form of single-couplets and generally, the frequency of lyrical literature is more significant in this form compared to different literary forms. This article has addressed the lyrical aspect of Indian-style’s single-couplets and the variety of lyrical contents and has studied variables such as love, mysticism, pomposity, grievance, threnody, humor, patriotism, mystery, etc. in the poems of this era. The present research results show that virtual love, mysticism terminology, pomposity, and patriotism have the most frequency. The present research method is based on description and analysis.

The study of lyrical literature types and their usage in the poems of contemporary poets can help us for understanding novel concepts in poets’ notions and poetries. One of the genres of this category is “complaint”. A great number of themes of the Persian poetries consist of the expression of personal pains and sufferings; human beings can experience sadness and sorrow as well as all other feelings like happiness. Since poets are highly sensitive people, they have been affected the most by this issue and scrutinized it. Although complaints have been used in all the periods of Persian poetry, in contemporary poetry because of political and social issues and the emergence of Nimai modern poetry, poets’ perspectives about them are different. The main purpose of the present study was to examine complaints used in an anthology of poems named “Mah dar mordab” (Moon in Marsh) written by Parviz Khanlari. Although the results of the study indicated that a large portion of the poet’s complaints were personal complaints, there are also cases of other types of complaints in his poems including social sufferings, objection to anti-values, dissatisfaction with life, political repression, and absence of freedom.

There are many poets whose names are not mentioned in the memoirs and over time, the manuscripts of their divans have been known and studied by scholars around the world; Obviously, the manuscripts obtained, and especially the city of riots, are of special importance as the local history of the system, the lexicon left over from the words and expressions, as well as the reliable source of historical, social and cultural information of their time And research about them is necessary and is one of the goals of this research. "Golkoshti" is one of the works of Mir Nejat Esfahani, one of Saeb Tabrizi's students and belongs to the Safavi period. The research method is quantitatively describing and analyzing 270 couplets of the shipwreck manuscript and library research and shooting tools. Extraction and retrieval of special and common words and terms of the Safavid period, retrieval of social customs, introduction of social classes, people's view of wrestling as a popular profession with more than 170 techniques and introduction of the city of Golkosht as the only reliable document that proves in the past, "gymnasium" was used instead of zurkhaneh, all of which are the results of this research.