فصلنامه لسان مبین (پژوهش ادب عرب)
پیاپی 52 (تابستان 1402)

This article aims to analyze the path schemas created by the two prepositions of “من” /ˈmin/  and إلی“” /ˈilaa/ in the Holy Qur'an from the perspective of cognitive linguistics, relying on the model of Lakoff and Johnson. This article tries to examine the path schemas (two prepositions of “من” and “إلی”) in the Holy Quran from the perspective of cognitive linguistics, and the scope of the research includes all cases in which the two prepositions “من” and “إلی” are mentioned together in the Qur'an.
The research data are taken from the Holy Quran. From this point of view, all the situations in which the use of “من” and “إلی” are mentioned in the Holy Qur'an in terms of combination have been selected and, relying on the descriptive and analytical approach, haven analyzed in terms of conceptual metaphor and abstract meanings in them.
Cognitive linguistics is an approach to natural language analysis that considers language as a tool for arranging, processing, and transmitting information (Muzaffari and colleagues, 2020: 43). When users of a language establish a linguistic connection, they process the information they have especially, give them special order and then pass it on to others in the form of linguistic expressions. (Dahman, 2015: 19-20) Cognitive linguistics is an approach to language study that studies the relationship between human language, mind, and social and physical experiences (Muzaffari and colleagues, 2020: 46).
The path scheme is one of the most important conceptual schemas devised by the European theorist Mark Johnson (1947) (Faydi et al., 2022: 111). Movement is one of the most important and unique human experiences that provide him with many of his life needs. Everything effective in a person's life also affects language (Battini, 1990: 58). In addition to the movements that are done in an objective and realistic way, some movements are not tangible and physical but are done abstractly and conceptually. There is a concrete example of this: the path we must take to obtain our academic degree. This path requires abstract and intangible movement.
The results of the research indicate that the semantic spaces of the letters “من” and “إلی” have broken the framework of lexical meanings and were presented at a higher level than them. Therefore, the semantic network of the two mentioned letters, apart from the basic meaning of “beginning” and “end”, includes other members of meanings such as transport and journey of abstract matters such as disbelief, faith, soul and… etc. With their central meaning, these two letters entered new conceptual fields through metaphors and movement schemes and created a network of different mental meanings that were affected by the change in the factor and the context of the text. In this regard, the movement scheme consisting of two prepositions of “من” and “إلی” in the Holy Quran is a part of the big scheme of “life as a journey,” which is through conveying the movement of abstract things such as “darkness”, “light”, “misguidance”, “guidance”, “return” are expressed and show the purpose of human life and the necessity of walking towards the end (meeting with the Lord of the worlds) with some systematic verbs such as “to go out”, and “to devise”. Moreover, “climbing”, “moving”, and “secret exit”.

Poetic language is the way common and everyday language is used in literary works such as poem, play and other forms of discourses. The characteristic of using this language is the focus on how to express words instead of what to express.The poetic language is a new framework of standard language which deals with art, philosophic and esthetic aspects of language besides its communicative form. Although language of the old plays was in verse, the changes in people’s life and other literary works result in poetic language to become closer to people’s language alongside these changes. The poet’s language follows different rules from that of standard language because it is laconic, i.e., it expresses the most amount of concept with the least words. This language seeks to be a criterion for beauty of art. This is realized through using various techniques and methods such as rhyme, music, poetic images, repetition or grammatical forms of unusual sentences in everyday language. Salah Abdel-Sabour is among the poets who believed in using poetic language for drama conversations. Based on his opinion, poem is the only rightful element of the drama. He used poetic words and inserted them in drama language.The present study seeks to review and analyze the language of Salah Abdel-Sabour poem in his last verse play, “After the King Dies”. It is an important study due to the fact that it shows the poetic language in the play of one of the most prominent contemporary Arab poets based on a descriptive-analytical approach. According to critics’ consensus, his plays are successful example of integrating “poem” and “drama”. Moreover, due to the unique and remarkable characteristics of the plays by this poet, it is necessary to study them from the perspective of language of the poem.This play is about life of a tyrant king and his companions consist of a minister, a judge, a historian, an executioner, a poet, Bohlul and a queen who desires the king’s death and after his death, she escapes with the poet to have a child. The play has three endings and the readers are asked to choose the ending they want.Of the most important findings of this study is: in this play, Abdel-Sabour focused on freedom of thought, expression and humanitarian images and employed symbolic and traditional poetic images drawn from national and universal heritage in the service of social and cultural hopes. The musical image of the play is manifested through the internal rhythm resulting from expressive, subconscious, chromatic and musical repetitions and frequency of five grammatical components (interrogation, imperative, Qualificative, exclamation and Conjunctive of order). In this play, he has distanced from his old eloquence and portrayed various forms of image and imagination. He has merged lyrical language with dramatic language in such a way that makes its comprehension easy for the reader. By deviating from his previous poetic plays, using Tafilih poetic style in his plays and emphasizing simplicity, narration and anecdote, Abdel-Sabour has defamiliarized. Irony is a dominant element in the situations and scenes of the play from beginning to end. The inspirational sources of Abdel-Sabour’s poetic images in this play include: various symbols he has used for model and masked characters to express his nation’s thoughts, emotions and hopes. This is due to the fact that he considers poem as a tool to change society and all these poetic images including symbols and characters drawn from national and universal tradition work for cultural and social hopes which indicates the reality of Arab world, or rather all humanity, and proves that tradition is not separate from contemporary. In some scenes of the play “After the King Dies”, there can be seen its relation to Quran and in some scenes, the playwriting style of Aristotle, Lorca, Shakespeare, Brecht and Elliot is observed.

Writing in the manner of "stream of consciousness" refers to a narrative technique in which the thoughts and emotions of a narrator or character are written so that the audience can follow the course of continuous changes in that character's mental state. The audience can hear the characters' inner thoughts when they are written in "stream of consciousness" form. In this technique, language is frequently employed in unconventional ways to re-create the intricate path of a character's various thoughts. Dreaming is another technique of this type of narrative that, as an emotional potential, reveals essential aspects of the mental and psychological life of the characters and aids in reconstructing a character's various thoughts. A critical language stimulus that aids the dreaming process (unconscious) in this type of novel, the use of language stimuli is a way to demonstrate the fluidity of human thought. It plays a pivotal role in advancing the narrative and enhancing the meaning and comprehension of the text. This descriptive-analytical essay seeks to enter the world of narration in the Iraqi author Sinan Antoon's Wahdaha Shajarat al-Rumman (The Pomegranate Alone) by analyzing the role of linguistic stimuli in reconstructing different thoughts of personality and introducing them to the readership. Therefore, the concealed unconscious angles of the novel's characters are disclosed through the use of linguistic stimuli in the narrator's dreams. The dreams indicate the psychological emptiness of the personality or the feeling of anxiety and fear toward his wounded homeland to understand the process of creating meaning in the novel with a symbolic analysis.Sinan Antoon's novel Wahdaha Shajarat al-Rumman (The Pomegranate Alone) is founded on stream-of-consciousness narration. Imagination and imagining are two of the mechanisms employed in this work. The authors also attempt to introduce the audience to the nuances of this technique and the author's talent in employing it by illuminating comparative examples taken from the novel, which is based on the dream and imagination of the protagonist's mind.This descriptive-analytical investigation is based on Sinan Antoon's The Pomegranate Alone (Wahdaha Shajarat al-Rumman). From the very first chapter, it is clear that this novel devotes special attention to mental fantasies. Furthermore, 14 of the novel's 54 chapters contain references to fantasizing. Through statistical and analytic analysis of comparative examples of imagination in this novel and the use of linguistic stimuli from the narrator's dreams as comparative examples, this study intends to disclose the concealed unconscious angles of the novel's characters.According to the reviewed comparative examples, dreaming in Wahdaha Shajarat al-Rumman (The Pomegranate Alone) manifests on two levels: directly (dreaming during slumber) and indirectly (dreaming during wakefulness). A visionary is a narrator who is inspirational on both levels. Based on a stream-of-consciousness style, this dreaming has effectively shaped the narrative texture of the novel. The mental experiences of fictional characters, which are concealed in the subliminal strata of their minds, are revealed in the narration by the narrator. This dreaming resembles a mental drama with a strong presence in the novel's structure and a pivotal role in formulating the novel's theme, which is the narrator's sense of nostalgia.The results of this study indicate two levels of dream manifestation: dreams in the state of sleep and dreams in the state of waking up to the verge of nightmares, all of which are associated with the agonizing social and political phenomena resulting from occupation and sectarian tensions. The passages where the narrator employs the dreaming technique also serve the novel's narrative. This technique is utilized to visualize repressed desires and as a psychological retreat and objective correlation between the hero's life and tragic catastrophes. Finally, the author used a variety of language stimuli, including language fragmentation and lexical nostalgia.Keywords: Current novel, dream technique, language stimulation,  Sinan Anton,  Alone pomegranate tree.ReferencesThe Holy Quran.Abdul Rahman, Abdul Hadi. (2008) Dirasat fi Alrumuz Wallughat Walostora The coding game (Studies in Symbols, Language and Myth). 1st edition.Bayrūt:  alaintishar alearabi.Abdullah, Yahya. (2005). Aliaghtirabi Dirasa Tahlilya leShakhsiyat (AlienationAn Analytical Study of the Fictional Characters of Taher Ben Jelloun,) . 1st edition. Bayrūt Al-muasasat Al-earabiat lildirasat Wa lnashri.Al-Ghadami, Abdullah.(1985) Al-khatiyat wa Al- tafkir Min Al-binyawiat 'iilaa AL-tashrihia Qira'at Nuqdiyat Le Namudhaj Al-Insan Al-mueasiri (Sin and Thinking from Structuralism to Anatomical "A Critical Reading of the Model of Contemporary Man") 1st Edition. Jidat: Al-naadi Al'adabii Al-thaqafiiAl-Ghamdi Hanan Abdullah Suhaim.(2011) Aliat Taškīl Al hulm Fi Al riwaya Al- nisayyah Al saudiya: Al-tahfiz Nmwdhjaan Ttbyqyaan (Mechanisms of Dream Formation in Saudi Modern Female Novel 1991-2003 Stimulus : An Applied Model)A Memorandum Submitted for obtaining a Ph.D. in Literature and Arabic Language, Supervised by Murad Abdul Rahman Mabrouk, King Abdulaziz University.Al-Mahamdin, Adnan Muhammad Ali. (2006). ). Tayyār Al-wa‘y fī Al-riwāyah Abd al-Rahman Munif (The Stream of Consciousness in the Novels of Abd al-Rahman Munif,) a Memorandum Submitted to Complete the PhD degree in the Department of Arabic Language and Literature, supervised by Muhammad Shawabkeh, Mutah University.Alzaahi, frid. (2003). Alns Wa Ljasad Wa Ltaawili,( Text - Body - And Interpretation) Al-maghribi: 'Afriqia Al -sharqa.Anṭūn, Sinān .(1982).Waḥdahā Shajarat Al-rummān, Riwāya (The Pomegranate Alone)). al-3rd Edition. Bayrūt : Manshūrāt al-Jamal.. Eikhenbaum Boris(1982). Nzryt Al-manhaj Al-shaklii (Theory of the "Formal Method". 1st Edition. Muasasat Al-'abhath Al-earabiaFreud Sigmund. (1980). Alhulm Wa Ta'awylahu (The Dream and its Interpretation), Translated by Georges Tarabichi 3rd edition, Beirut: Dar Al-Tali'ah.(2003). Tafsir Al-'ahlami( Interpretation of Dreams), Presented by: Mustafa Satwan, 1st Edition, Beirut: Dar Al-Farabi.Halifi, Shuayb. ( 2006). Al Riḥla fi Al-adab Al-earabii". (The Travel in Arabic Literature), 1st Edition, Al-qahirat: Dar Ruyat Lilnashr Wa Ltawzie.Humphrey, Robert. (2000). Tayyār Al-wa‘y fī Al-riwāyah ( The Stream of Consciousness in the Novel), Translated by Mahmoud Al-Rubaie, Cairo: Dar Gharib.Kassouri, Idris. (2008). Aslwbyt Al-riwāyat (The Stylistics of The Novel), 1st Edition, Irbid: Ealim Al-kutub Al-haditha.Lonsey, As-Salih. (2012). Tayyār Al-wa‘y fī Al-riwāyat Al-tafakuk by Rachid Boujdara (The Stream of Consciousness in the Disintegration Novel by Rachid Boujdara,) a Memorandum Submitted for Obtaining a Master's Degree in Algerian Literature,Supervised by: Cherif Bourouia, Hadj Lakhdar University of Batna.Mabrouk, Murad Abdel-Rahman (1989). Al-Zawahir Alfnnyt fi Al-qisat Al-Qasirat Al-mueasirat fi Misr (Artistic Phenomena in the Contemporary Short Story in Egypt) 1967-1984, Cairo: al-hayat al-eammt lilkitabi.__________(2002). Aliat Al-manhaj Al-shaklii fi Naqd al- riwāyat Al-earabiat Al Mueasi (Mechanisms of the Formal Approach in Criticizing the Contemporary Arabic Nove)l, 1st Edition, Alexandria: Dar Al-wafa'i.Matar, Wajih Abdel-Fattah Ahmed. (2016). Tayyār al-wa‘y fī Riwāyah Li Sophia’s Novel by the Saudi Novelist Muhammad Alwan (The Stream of Consciousness in Sophia’s Novel by the Saudi Novelist Muhammad Alwan,) Yearbook of the College of Arabic Language, Al-Azhar University, Vol. 1, No. 20, pp. 788-731.Qasim, Siza. (1982). Al-mufaraqat fi Al-qasi Al-earabii Al-mueasiri (The Paradox in Contemporary Arab Fiction,)Fosoul Magazine, No. 3, Vol. 2, pp. 143-151.Qusanṭīnī, Najwá al-Rayyāḥī (1995) Al-hulm Wa Al-hazimat fi Riwāyat Abd al-Rahman Munif (Dream and Defeat in the Novels of Abd al-Rahman Munif), Publications of the College of Humanities and Social Sciences.Schacht, Richard. (1980). Aliaghtirabi (Alienation), Translated by Kamil Yusuf  Hüseyin,  Bayrūt Al-muasasat Al-earabiat Lildirasat Wa lnashri.Shousha Farouk. (2007) Muejam Mustalahat Al'adab (Dictionary of Literature Terms ) Al-mujalad Al-'awal. Al Qahirah: Majma' al-Lughah al-'Arabiyah.Tomashevsky, Boris. (1982). Nzryt Al-manhaj Al-shaklii (The Theory of the Formal Method), 1st edition, 1st edition .Muasasat Al-'abhath Al-earabia.Zaytuni, litayfi. (2002). Muejam Mustalahat Naqd Al-Riwāyati,( A glossary of Novel Criticism Terms) Lubnanu: Dar Al-nahar Lilnashr Wa ltuwzaye.https://ar.thpanorama.comRefrences: Freud, S. (1963). Jokes and Their Relation to the Unconscious; NewYork City: Publice W. Norton & Company.

Categorization is one of the most efficient abilities of the human mind and one of the most important topics in linguistics, which plays a great role in understanding phenomena. The importance of categorization is that placing similar phenomena in general groups helps to recognize its examples more easily. The concept of categorization has changed in the shade of cognitive linguistics and has been introduced as a cognitive-mental organization. The theory of conceptual metaphor is one of the influential topics in cognitive categorization and is based on elements such as perception, imagination, experience and culture. In this theory, metaphor is not only a stylistic feature of language and belongs to literary language, but it is a cognitive process that has roots in mind and thinking and plays an effective role in the semantic expansion and lexical conceptualization.
In the Arabic language, one can find many compound words that at least one of its elements has multiple meanings, including the word "Bent" which has experienced semantic changes in the process of combining with other nouns. Accordingly, in the present research, the attempt is made to investigate the polysemous phenomenon of the word "Bent" from the perspective of cognitive linguistics and to explain the various meanings of this word and how these meanings relate to the meaning of the archetype.
In this research, the semantic changes and the method of conceptualization of the word "Bent" in the first part of 131 Arabic compound nouns were investigated. The research data was collected from Arabic sources such as dictionaries and poetry divans of the "Al maktaba shamela" software and Majma' al-Amthal. The semantic expansion of the word "Bent" was investigated based on the descriptive-analytical method and using the concepts of conceptual metaphor.
There are approximately 25 meanings for the word "Bent" in Arabic dictionaries. The archetype of this word is "female child," which is expressed in compound words such as "bint al-labun (بنت اللبون)," which refers to the female camel. In addition to the archetype, it is possible to consider about 8 marginal meanings for this word. After the central meaning, the meaning of "born, result," which is created by the semantic expansion of the archetypal word, has a high frequency, such as "Banat Shadagham (بنات شدقم)" and "Banat Sahab (بنات سحاب)," which refers to "male camel" and "hail" respectively. Other marginal meanings of "Bent" which are related to the archetypal meaning are:- General mention and special intention, such as: "Bent Al-Halal (بنت الحلال)," which means righteous wife;
- Being contained, such as "Banat al-Fala (بنات الفلا)": male camel;
- A part of the whole, such as: "Bent al-Samaa (بنت السماء)": the sun;
- Similarity, such as: "Banat al-Rih (بنات الریح)": horse;
- Ownership and appropriation, such as: "Bent Shahm (بنت شحم)": female camel and "Banat Al-Bahr" (بنات البحر): sea clouds;
- Associated tools and devices, such as "Banat al-Ghali (بنات الغلی)": pot;
- Concomitance and companionship, such as: "Banat al-Sir (بنات السیر)": male camel;
Metaphor in cognitive semantics is a thinking tool and a language requirement that plays an effective role in the semantic expansion and lexical conceptualization. A lexical unit in the light of metaphorical conceptualizations forms a complex network of related concepts. In the present study, after the semantic analysis of the word "Bent" in the first part of 131 Arabic compound nouns, it was concluded that this word is used in various other concepts besides its main meaning.  One of the most important metaphorical meanings of this word, which is closely related to the original meaning, is the concept of born, result; this concept has a high frequency, and after it, the relation of being contained ranks second. Other concepts such as general mention and special intention, being contained, similarity, a part of the whole, ownership and appropriation, associated tools and devices, concomitance and companionship have also appeared in the semantic network of the word "Bent."

The significance of carrying out an investigation into language, its relation with the culture, and how speakers understands it has attracted the attention of linguists and experts in other fields of humanities. Cultural linguistics is a sub-branch of humanities dealing with the relation between culture and language. It drives from the cognitive linguistics, and, indeed, represents the achievement of ethnic semantics studies, Ben's school of semantics, and anthropology. Cultural linguistics discuss the cognitive and cultural basis of coded linguistic concepts (Sharifian, 2014). Terms expressing the human body, namely eyes, head, ear, and such like, may refer to cultural bases and contain such notions like knowledge, understanding, and feelings. On the other hand, there is a semantics link between physiological concepts of the human body and sociological notions. The body and its linguistic configuration is among the most pivotal mechanisms. Name of an organ not only represents physico-biological facts but also processes external facts in the form of language; therefore, it is regarded as human's coding factors (Zahedi et al., 2011). Analyzing words of a language allows a linguist to study collective experiences as well as the cultural and cognitive basis of its speakers.In this research, authors used the term "anf" (literally means nose) and its synonyms in Arabic to investigate its cultural and cognitive basis through cultural linguistics. Here are the research purposes Studying the relation between the term "anf" as well as the culture and cognitive experience of Arab speakersRepresenting an image relevant to the cultural and cognitive basis of the term "anf" for speakers and learners of other languagesStudying the relation between physiologic concepts of the term "anf" in Arabic and its sociological conceptsStudying the semantic changes of the term "anf" in ArabicThis analytical and descriptive study aimed to review cognitive experiences of some Arab speakers as well as the cultural basis of the term "anf" and its synonyms. Having a cultural and cognitive look at Arabic, the research examined semantic changes of this term according to Wang Lee Theory in order to extract its cultural and cognitive basis in Arabic.This research proposes three semantic forms of the term "anf" based on physiological concepts and according to Wang Lee's cuctus theory. The forms all contain big and small chains indicating semantic changes of the term "anf" throughout the Arab history. Therefore, we claim that its semantic changes include chains formed based on a) the physiological concept of breathing through the nose, b) place of the nose on the face and c) the concept of smelling.    Figure 1. Chains representing semantic changes of the term "anf" and its synonyms in Arabic in the form of a cactus based on the physiology of breathing through the nose   Figure 2. Chains representing semantic changes of the term "anf" and its synonyms in Arabic in the form of a cactus based on the place of the nose on the face Figure 3. Chains representing semantic changes of the term "anf" and its synonyms in Arabic in the form of a cactus based on the physiology of smellingThe general belief in the presence of spirit in the nose from which life is formed seems to be the basis of the collective cognition of the term "anf" and its synonyms in Arabic. For the Arab, the face and the nose are two most valuable parts of the human body. That's why nobelmen are called "the face of people" and "noses of people" in Arabic. Keywords: Cultural linguistics; Anf; Cultural and cognitive basis; Wang theory References Sharifian, Farzad (2014). An introduction to the cultural linguistics. Translated by Leila Ardebili. 1st Tehran: Nevise FarsiZahedi, Keyvan; Zahab Nazouri, Samira (2011). The name of organs on the head in Persian and English proverbs: a cognitive analysis of corpus-cultural basis. The journal of novelties in cognitive sciences. 13 (6), p.1-18.

Abdul Qadir al-Jurjani considers the literary I’jaz (inimitability) of the Holy Quran to be in its miraculous order, and names it the Theory of Al-Nadzm (order) which has been long the focus of literary scholars. Theory of Al-Nadzm means that all the words in the Holy Quran are in an orderly structure in terms of meaning and vocabulary as no word can be replaced by another word, and they hold unique secrets regarding the Mu’arrifah (definite) and Nakarah (indefinite) being, or primacy and recency. The word correlations create short and long sentences and these sentences themselves are totally cohesive, semantically and morphologically. The grammatical principles are fully observed in these sentences and the pillars of rhetoric are comprehensively used. And all these verbal and spiritual beauties serve the style of the verses. The authors have investigated a part of Surah Al-Yusuf in the present study because it is a Meccan Surah and the rhetoric in these surahs is stronger and firmer. In the era of Meccan Surat, the Holy Quran challenged Arab literary scholars to bring a single verse like the Quranic verses. Of course, it should be noted that all Quranic surahs are rhetorically firm. After evaluating Abdul Qahir al-Jurjani’s books, and the books by other researchers, we did not find any research that has conducted a word-for-word or sentence-for-sentence analysis from the perspective of the Theory of al-Nadzm. Thus, it has remained merely as a theory without finding a precise practical comparison with the verses of the Holy Quran, an adaptation that is suitable and worthy of the Holy Quran or close to it. Therefore, with the mercy of the Almighty God, we have aimed to reveal a miracle of numerous miracles of the Holy Quran through a comparison in the framework of evaluation of the words’ relations in terms of the meaning and morphology, and the sentences’ morphological and semantic cohesion as well as their relationship with the style of four specified verses of Surah Al-Yusuf. The main objective of the practical comparison of the verses and implementation of the Theory of Al-Nadzm in the present article is to discover the latent literary secrets in the Holy Quran in terms of the words, and express its beautiful images semantically, as well as the revelation of its morphological and semantic beauties with the style of the Holy Verses. It is a descriptive-analytical study. The findings show that since the researched verses are about Yusuf’s conversation with two prisoner friends and inviting them to monotheism, the selected words are morphologically very gentle and soft so that they can attract the two of them. Also, concerning the style of the expression of monotheism, the Nakarah words have been used in plenty to cover all the manifestations of polytheism. The sentences are also expressed with various styles of verbal emphasis and the inviting style has been used repeatedly to gain the trust and affection of the invitees. Also, the verbal and spiritual I’jaz is among the main pillars of these verses for which the invitation style is a requirement. Concerning the spiritual order, the words and sentences are in a deep semantic relationship in a way that the causality is fully observed in the sentences to satisfy the audience. And all these beauties of verbal and spiritual order with complete correlation are an honest interpretation of the general style of the verses. Keywords: Abdul Qahir al-Jurjani, Theory of Nadzm, Surah al-Yusuf, linguistic and rhetoric beauties.