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Showing 2 results for Schema
Alireza Arman, Mahyar Alavi Moghaddam, Ali Taslimi, Mahmoud Elyasi,
year 29, Issue 90 (7-2021)
Abstract
In contrast to the traditional rhetorical view of aesthetic metaphor, which is a purely linguistic phenomenon, Linguists such as George Lakoff and Mark Johnson consider metaphor to be perceptual and conceptual in nature. This view of metaphor falls within the framework of cognitive semantics, in which meaning is based on conceptual constructs and, like other cognitive domains, represents subjective categories. The present study uses a descriptive-analytical approach to analyze conceptual metaphors and pictorial schemas in proverbs. Love, life, science, disability, humiliation, worldliness, and modesty are among the mappings of positive and negative concepts in conceptual metaphors in proverbs derived from literary texts. Among these, “water” and “fire” are words that have been used in Persian proverbs and the divans of poets and prose of former and contemporary writers to indicate the material and spiritual realms.The findings of this research indicate that the main mapping in the metaphorical sense of the proverbs based on the word “fire” is destructive, which is repeated with a frequency of 42 times.The main mapping in the conceptual metaphor of proverbs based on the word “water” is in the form of a spatial scheme (displacement) that is repeated 18 times. This highlights the central mapping of the word “water” and its rotation and instability. In general, by borrowing these mappings, poets and writers have created themes that always keep the listener enthusiastic and have contributed to the promotion of proverbs.
Rashin Mobasheri, Hossein Hasanpour Alashti, Fatemeh Jamali,
year 31, Issue 95 (11-2023)
Abstract
Each branch of hermeneutics is like a slice of reality. Integral hermeneutics confronts us with a larger part of reality. Since the image contains more information than the text, in integral hermeneutics, using the capabilities of the image, the elements related to the analysis of the author, the text, and the audience can be integrated together in an interactive space and displayed as an image. In this article, the poem Heartless (Biedel in Persian) by Mehdi Akhavan Sales was analyzed based on the integral hermeneutic approach, which first examines the elements of the text and the author's situation and then using psychological analysis, looks for external examples of text elements in the life and circumstances of the author. The results of this study showed that the depth images were used based on the proof images through the possibility of visualization (visualization of freedom in the pigeon). The depth image means the use of secondary aspects of words and the proof image means the author's attempt to express one’s opinion and to attract the audience. According to imagery structure, the ‘dove’, ‘blood’, ‘tower’, and ‘lost’ are in the focus as the central images and the poetic images are created by employing the secondary meaning of words using description and symbolization. These images have a lyrical tone due to the ‘akhrab makfouf’ present hexameter. Moreover, this poem has a socio-political function and like a critical statement, it portrays a regressing society as a result of the coup. The poem uses cinematic imagery because it has a narrative and rich imagery to take advantage of the secondary meaning of words. In fact, using symbolism and the secondary meaning of words, the poet tries to win the support of the audience regarding his intention, which is taking a stance on a historical, political, and social event.
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