استعاره مفهومی

This article has been written with the aim of how Rumi expresses in the face of Quranic verses and narrations and the quality of using rhetorical tricks in explaining mental concepts and mystical terms. The authors first read Rumi's Masnavi by examining verses from six books in a random manner and analyzed interpretive metaphors based on the theory of cognitive semantics, after stating the theory of semantic semantics and conceptual metaphor according to this theory, among the forms of conceptual metaphor, ontological metaphor was examined and the evidences of interpretive metaphors have been analyzed in three branches of metaphor by interpreting Quranic verses and hadiths, by interpreting mystical allegories and terms, and finally metaphor by interpreting Masnavi anecdotes. In this study, library method and content analysis were the most effective in interpreting mystical terms and allegories. This indicates that Rumi has described his mystical concepts and mystical experiences after their interpretation in order to objectify them, in the name of objective writings to convince the audience and express mystical emotions. In this process, in some interpretations, he has sometimes described one mental thing with another mental thing or an objective phenomenon with another objective thing.

The purpose of this article is to analyze the semantic network of the past tense in the Qur'an. The use of this tense in the Qur'an is sometimes related to concepts that are based on intellectual, narrative, and customary evidence, so it is necessary to conduct this research. For this purpose, by relying on the theories of the field of cognitive semantics in the field of schema, metaphor and conceptual permission, and with the descriptive-analytical method, this quality of use is explained. The findings show that the past tense in the Qur'an sometimes conveys transtemporal concepts by changing the paradigmatic schema and removing the element of time, and metaphorically, it enters new conceptual fields. And it encodes concepts such as certainty, impossibility of realization, probability and distance from reality. Also, by highlighting the hidden components in the exemplar schema, it conveys concepts such as priority, speed, etc. in a virtual form. As a result, the past tense in the Qur'an can be considered a multi-meaning category. He knew that under the influence of context, he conceptualizes a network of meanings.

IntroductionConceptual metaphors, which include directional and spatial, ontological, and structural metaphors, are considered to be among the new topics in cognitive linguistics. Conceptual metaphor theory is the understanding of one semantic domain in terms of another domain, which is based on the correspondence (mapping) between two sets of origin and destination. The recognition of conceptual domains of the mind has a metaphorical basis, and the conceptual system is the product of metaphorical conceptualization. This conceptual system plays a major role in explaining the everyday realities of life, and since this system has a metaphorical structure, our way of thinking, accumulation of experience, and action also have a metaphorical foundation (Afrashi, 2017: 66). With the prevalence of studies and research on conceptual metaphor and due to its interdisciplinary nature, it is necessary to be familiar with and understand this concept and the various aspects of its study in childrens and adolescents' literature. This research seeks to show the types of conceptual metaphors in Jafar Ebrahimis poetry; That is, what are the areas of origin that the poet focuses on to make abstract and mental concepts tangible and tangible? To what extent has he used conceptual metaphors and what is the importance of these metaphors in his poetry?  Research MethodologyIn this article, conceptual metaphors have been examined using a descriptive-analytical method to understand the mapping between the realm of origin and destination in Jafar Ebrahimis poetry.  DiscussThe discussion of conceptual or perceptual metaphor owes most of its origin to the ideas of George Lakoff and Mark Johnson. Conceptual metaphor, which is considered the fruit of conceptual and cognitive approaches, is a new look at how mental processes emerge and transform them into linguistic elements, which in the current group is the result of Lakoff and Johnson's thinking and was first mentioned in 1980 in the book "Metaphors We Live With" (cf. Lakoff and Johnson, 2018: 7). A large part of the conceptual metaphors in Ebrahimi's poems are based on the field of origin of colors; from a psychological point of view, each color has a specific physiological function in the child's mind. Blue symbolizes transparency, yellow symbolizes the proximity of death, green symbolizes life-giving, red symbolizes life, white symbolizes life-giving, black symbolizes sadness and grief (Foroughi-Rad, 2016: 72-70).- The weather is telling / Spring has come / How green and beautiful it has become / The leaves of the plane tree (Ebrahimi, 1996: Flowers of Laughter). Green is a symbol of blessing and life. Of course, in the literature of revolution and sacred defense, green is a symbol of stability and steadfastness in belief. For example, in my drawing book, it colors freedom in indigo and anger in purple.- It is blue, a leaf from my notebook/ It is like the heart of the Imam/ A bright sky/ ... It is black, a leaf from my notebook/ A color of oppression/ Like the heart of the enemy/ The color of freedom and anger/ The color of indigo and purple. / The notebook of my homeland/ It is beautiful, full of patterns (Ebrahimi, 1997: 32).  ConclusionThe results of the research show that in transforming language in childrens literature from real meanings to figurative meanings and various forms called permissible types, conceptual metaphors have received much attention from the creators of literary works. The findings show that Ebrahimi has used various forms of conceptual metaphors in his poems; however, his use of structural metaphors is greater than others. What is evident in the domains of origin in Ebrahimis poems is his special attention to the domain of origin of nature, the village, and its requirements. Village and nature, in the opinion of this poet, are the most metaphorical mappings, such as the sensitization of abstract matters such as love, purity, and freedom. After this, in the domain of origin, colors play a significant role in the conceptual metaphors found in Ebrahimis poems. Colors in Ebrahimis poetry better illustrate concepts that are perceived in terms of volume. He has tried to clarify the process of recognizing and receiving abstract concepts with the help of colors and the sense of sight, more than any other sense.

The present study attempts to probe into the reflection of aging in Azerbaijani Turkish poetry using Lakoff & Johnson’s Conceptual Metaphor Theory (CMT). The corpus of the study contains Azerbaijani Turkish poems of Shahriar (1906-1988) as well as seven other poets. A total of 50 Turkish verses on old age were recruited for this study. As an initial step, conceptual metaphors were extracted from the corpus. Then, conceptual mappings involved in each metaphor were provided. Finally, source domains in old age metaphors were obtained. The results of the paper reveal that old age is expressed through nine salient metaphors in Azerbaijani Turkish poetry. Moreover, some metaphors are shared between cultures, especially metaphors related to deterioration which are based on bodily experiences, while other metaphors are more based on the Azerbaijani culture of the poets and highly influenced by customs, traditions, religion, and economy. Also, physical deterioration rather than mental deterioration is an ideal source domain, since it is clearly delineated and people believe that they know it well.

The Noble Qur'an, in its effort to clarify concepts and create mental imagery for maximum influence on human thought and behavior, pays close attention to human cognitive processes, including metaphorical thinking. To explain abstract or non-experienced phenomena, the Qur'an frequently uses concrete and perceptible conceptual metaphors, manifesting them through linguistic expressions. This study aims to explore the conceptual metaphor of "weight" and its related vocabulary as one of the sensory source domains and to identify its corresponding target conceptual domains and mappings in the Qur'an. The research employs a descriptive-analytical method, utilizing both deductive and inductive reasoning. According to the study’s findings, the lexical roots of the Arabic terms “thaqal”, "khiffa", "wazn", and "wizr" are linguistic manifestations of the conceptual metaphor of "weight" in the Qur'an. These terms clarify and elucidate conceptual domains such as action, punishment, human inclinations, thought, speech, responsibility, and events, all of which are metaphorically described as having weight. Among the source domains, the term “thaqal” is the most frequent, while "khiffa" appears the least. As for the target conceptual domains, the most frequent is the domain of "action", where sub-concepts include any action that carries weight, whether good or bad. Thus, righteous deeds are described as heavy, while unrighteous deeds are described as light, with accountable beings gaining metaphorical weight based on their good or bad deeds. The least frequent target conceptual domains are related to the domain of "speech".

Analyzing the Elements of Rumi's Mystical Language in Majalese-Saba'

Abstract
Although Majalese-Saba' shines less in the bright light of Masnavi and Shams's lyrics, but it is one of Rumi’s works in inspiration his mystical thought to the audience. In this compact book, through his pleasant and beautiful prayers, Rumi shows an example of the spiritual and mystical relationship between man and God, and then using rhetorical tools, he reveals his esoteric thought. In expressing these ideas, simile, conceptual metaphor, narration, binary oppositions, paradox and interpretation have more effective role in constructing his mystical language. The information of this article has been collected by library method and analyzed using qualitative-descriptive method. The result of the research shows that mystical language is not an independent language and against other languages, but it is a special application of a common language that is personalized by the signs of the mystical system.
Keywords: Rumi, mystical language, emotional language, conceptual metaphor

The prominent aim of the current research is to investigate the dominant social theme-centered cognitive metaphors which are used in "Ayenehaye Dardar" by Houshang Golshiri and "Al- Less Wal-Kelab" by Najib Mahfouz, who are two realist authors who have reflected social conditions in their works. The theoretical foundation of the addressed study is the theory of conceptual metaphor in cognitive semantics, which has elevated metaphor from a merely aesthetic means to an approach for cognition and contemplating. This study, adopting qualitative and quantitative analysis method with a comparative eastern European school, strives to answer this question that how and how frequent common social themes used by Houshang Golshiri and Najib Mahfouz in their two novels are conceptualized. The findings of the study imply that dealing with social matters, especially love, women, humanism, tendency to the past, social environment of the two authors, and subjectivism are among similarities between the two authors which are conceptualized in the form of conceptual metaphor. In these two novels, the ontological and structural metaphors have a high frequency, but the directional one is fewer seen.

Prior to the emergence of linguistics, metaphor was only considered a feature of literary language, especially poetry; however, cognitive studies on metaphor have expanded this traditional view. In this study, which was conducted using analytical and descriptive linguistic methods and analyzing verses from the Divan of Attar, after introducing a cognitive approach to metaphor, some conceptual metaphors related to the domain of "sea and its derivatives", as one of the most common poetic images in Attar's Divan, have been examined based on the theory of conceptual metaphor according to Ghassimzadeh's classification, in the form of structural metaphors, ontological metaphors, orientational metaphors, container metaphors, and personification. The main question of this research is how the type and manner of using sea-related metaphors in Attar's Divan are according to the theory of conceptual metaphor and what is Attar's purpose in using these metaphors? Most of Attar's main metaphors include three mappings: "human is a drop", "heart is a sea", and "love is a sea". The process of understanding Attar's thought revolves around conceptualizing "human", "heart", and "love". The abundance of destination domains is due to the fact that from the perspective of mystics including Attar, all states enter into the "loving heart". The choice of sea as source domains also reflects Attar's mystical view on the sea. Attar's mystical inclinations have been very influential in motivating his metaphors; therefore, the aesthetic aspect of these metaphors is very subtle.

As a cognitive process, metaphor objectifies mental concepts in such a tangible form that the study of human mental structure would be possible. The goal of this research is to study the conceptual domain of “hunting” and its negative representation in love “dating and marriage” based on the conceptual metaphor theory and cultural linguistics (Palmer, 1996; Sharifian, 2013). With a reference to the Persian corpus and Persian proverbs we studied the metaphor “marriage is hunting” and its negative representation. Three micro metaphors obtained were “marriage is hunting,” “marriage is theft,” and “marriage is captivity,” which through linguistic metaphoric expressions such as hunting, snapping, enthralling, grabbing, snatching, ensnaring, catching, trapping, capturing, enslaving, and harnessing all bearing a negative emotional connation both in the case of man or the woman. The research findings showed that we witness a negative metaphorical representation of hunting in “marriage”. Sometimes a woman is a valuable catch and the prey for a male hunter but she sometimes takes the role of a hunter and the man is the prey. The results showed that factors such as gender, commitment to cohabitation and the suitability of couples in terms of appearance, economy, age, celibacy and ethical orientation affect metaphorical representations.

Saadi Yusuf and Ahmed Shamlou are among the greatest poets of the present century who have presented intangible concepts such as love in a tangible form to the audience of their poetry by using conceptual metaphor. The cognitive study of conceptual metaphor in the poems of these two poets is not the only way to understand abstract concepts such as love in a material conceptual framework called "lost object"; It is also a way to understand the abstract concept of love more deeply. The reflection of the intangible image of love in the tangible mirror of the "lost object" helps the audience to understand this complex and intangible concept in a simpler and more tangible way. This research investigates the creative organization of the concept of love as the destination realm in the empirical form of "lost object" as the origin realm with an inductive and descriptive-analytical method and with the comparative approach of the American school. In addition, it also deals with the mapping of this name mapping quantitatively and in the form of a diagram. The results of the present research are that by identifying the systematic correspondences between the intangible concept of love and the tangible concept of "lost object", in addition to proving the textual coherence and showing the structural link, the missing aspect of this basic and life-creating concept is highlighted in the social dimension and the dangers of a world without love are reminded. learned and bring it back into life.

Metaphor, being addressed either as a decorative element or as a cognitive process, has attracted the researchers' attention for a long time. According to the findings of cognitive linguistics, humans create and store fundamental conceptual constructions called image schemas in their minds so that when thinking about abstract matters by transferring these concrete constructions to language facilitate and complete the perception process. Saadi Yousef and Ahmad Shamlou have conceptualized many abstract concepts in their poems with the assistance provided by schemata. This research, descriptive-analytical method, while examining and analyzing the schemata in two selected poems of these two poets, to explain the way of thinking and, also, the foundations of their understanding of the world around them. As being indicated through the results, abstract concepts such as death, life, change, and immortality have been embodied in the form of these images and the three schemes of volume, movement, and force have been able to communicate in an organized, organic, and coherent manner with each other and in line with a certain goal. This may lead to the production of meaning and finally put the abstract concept of immortality and impact in the form of a visual tableau before the audience.

Conceptual metaphor is defined as the understanding of one conceptual domain in terms of another. This phenomenon is not purely lexical but is examined through the mapping of one domain onto another. In discourse, new metaphors can emerge from conventional mappings, stabilizing both the source and target domains. Functional linguistics views text as a semantic and pragmatic unit, introducing tools to measure formal coherence. They also see coherence as a process in which topics and events are logically and culturally connected within discourse. On the other hand, cognitive linguistics defines semantic coherence as “related to the compatibility of [textual] semantic relations”. This research addresses two key questions: 1) To what extent does cognitive metaphor impact the semantic coherence of a specialized text? 2) What is the relationship between semantic and formal coherence according to cognitive and functional linguistic analyses? Various discourse analysis methods were employed in this study. A corpus of 640 instances of conceptual metaphors from Art History textbooks was collected and analyzed using coherence tools. The research shows that the semantic coherence resulting from conceptual metaphors is reflected in the structure of the text. Furthermore, it explores the relationship between semantic and formal coherence from both cognitive and functional perspectives.

The pervasive presence of metaphorical conceptualizations in human everyday life has long been a subject of interest for cognitive linguistics researchers. This study investigates the use of the source domain “up/down” in a multimodal medium like cinema, drawing upon Lakoff and Johnson's (1980a, 2003) conceptual metaphor theory, Forceville's (2006, 2008, and 2016) theory of pictorial and multimodal metaphors, and Kövecses's (2020) views on visual metaphors. The goal is to explore the application of orientational metaphors with this source domain not only in verbal but also in visual forms. To achieve this, the Persian-language feature films, “Dancing in the Dust” and “Fireworks Wednesday,” were analyzed. The findings reveal that the filmmaker employs visual representations of up/down concepts as a metaphorical source domain to convey abstract concepts through conceptual metaphors. In both films, these metaphors are often employed solely in the visual mode to ensure the audience's unconscious understanding of the characters' abstract situations. The widespread presence of conceptual metaphors related to this source domain in Persian-language films indicates their inherent familiarity and primacy in the minds of Iranian viewers, allowing directors to frequently use them for character development and plot progression, and effectively convey their intended messages which the audience likely grasps subconsciously.

The purpose of this study is to investigate the conceptual metaphors of anger in Dashti dialect. The theoretical foundations of this study are based on the approach proposed by Lakoff and Johnson (1980) about the conceptual structure of metaphors and Kovecse's (2005) regarding the role of cultural patterns in metaphorical conceptualization. This study uses the method suggested by Stefanovich (2006) under the title of metaphorical pattern analysis. For this purpose, language expressions that convey the concept of anger were provided and analyzed through interviews with 45 speakers (40 years old and older) of Dashti region and also by observing the linguistic behaviors of the speakers of this region. The data of this study, in addition to showing common and universal source domains, clearly reveal the influence of factors that arise from the climatic and cultural experiences of the speakers of this region.

Lakoff and Johnson's research in the field of metaphor proved that the uses of metaphor are not limited to the field of literary studies and are rooted in human thought that one of the manifestations of it is language. Conceptual metaphor is a term in cognitive linguistics that explains most of the metaphors around us along with the origin-destination pattern. In Masnavi, Rumi has used the conceptual metaphor of light as a linguistic tool to expand cognitive meanings and concepts. This research answers the question through a descriptive-analytical method How does the contemporary theory of cognitive linguistics match the conceptual metaphor of light in Masnavi? Finally, we concluded that the conceptual metaphor of light refers to the absolute essence of Hazrat Haqq, the mirror of guidance, the guide of the religion, the sun of truth, and the expression of Ana al-Haqq (I am the Truth) of selected saints. Due to the large volume of Masnavi's hundred verses, a statistical sample was selected from the second book, in which the word "light" is used 122 times.

Cognitive semantics shows us the mind's mechanism for creating meaning. Two important tools in this field of study are metaphors and metonymy. In this article, metaphors and metonymies that help us understand the concept of a new phenomenon, COVID-19 disease, have been studied and investigated. The social, economic, cultural and political effects of this phenomenon have formed metaphors and metonymies that can be the subject of serious linguistic studies. In this article, using a large body of linguistic data, a comprehensive analysis has been done in the framework of cognitive semantics. 4077 conceptual metaphors and 3852 conceptual metonymies have been extracted from the corpus, and after the investigations, it was found that in 60% of the metaphors, the concept of “disease” is understandable for Persian speakers with the help of the concept of “human”. As well, the conceptual metonymies present the unique frame of meaning for "COVID_19" that differs from other disease.

"Possession" is individuals' relationship with objects, indicating humans' control and dominion over them. God, in the language of the Quran, has utilized this tangible and concrete relationship to describe abstract concepts. This study aims to investigate the conceptual domain of ownership as an empirical domain through descriptive-analytic methods of CMT. It employs a cognitive-semantic approach and utilizes theoretical tools of CMT to examine how Quranic abstract concepts are metaphorically conceptualized within this knowledge domain. Research findings demonstrate that the metaphorical system constructs a framework for conceptualizing various conceptual target domains in the language of the Quran, such as wisdom, happiness, divinintyو divine rewards, divine punishment, poverty,among others. These abstract concepts are that have been metaphorically conceptualized as objects and places within the domain of "possession." This metaphorical process is based on mappings such as "STATES/ATTRIBUTES ARE OBJECTS UNDER POSSESSION," "EMOTIONS ARE FORCES", represented in metaphorical expressions found in the verses.

 From the perspective of cognitive linguistics and the conceptual metaphor theory that Likoff and Johnson proposed for the first time, metaphor is not just a linguistic matter but a cognitive process and one of the foundations of human thinking. According to them, metaphor is current in human language, thought and thought, and unlike traditional rhetoric, it is not only limited to literary and artistic language. The main purpose of this research is to review metaphor recognition and understanding from Likoff and Johnson"s point of view, based on the analysis and analysis of the structural component of metaphor, i.e. simile and similitude, based on contemporary poetry.

 This paper is written with a descriptive-analytical method, based on library research and text analysis.

 The results of the research show that despite the theory of Lakoff and Johnson which describes metaphor based on correspondence, it can be said that metaphor is based on similarity and correspondences strengthen similarities in their bases.

 The theory of conceptual metaphor can indeed explain and analyze metaphors in mental and conceptual levels. However, in the literary and artistic levels, it cannot consider the aesthetics of simile structure made by points of resemblance. In this paper, based on evidence and examples from contemporary Farsi poetry, we have proposed the idea that metaphor is an outcome of similarity and bidirectional correspondence.