نوع مقاله : مقاله پژوهشی
نویسندگان
1 أستاذ مساعد، قسم اللغة العربیة وآدابها، کلیة الآداب والعلوم الإنسانیة، جامعة کیلان، کیلان، إیران.
2 أستاذ، قسم اللغة العربیّة وآدابها، کلیة الآداب والعلوم الإنسانیة، جامعة رازی، کرمانشاه، إیران
3 أستاذ مشارک، قسم اللغة العربیّة وآدابها،کلیة الآداب والعلوم الإنسانیة، جامعة کیلان، کیلان، إیران.
4 أستاذة مشارکة، قسم اللغة العربیّة وآدابها، کلیة الآداب والعلوم الإنسانیة، جامعة کیلان، کیلان، إیران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
According to the theory proposed by Lakoff and Johnson, image metaphors emerged as a challenge to traditional rhetoric, which considered metaphor reliant on language rather than on thought and cognitive processes. Image metaphor permeates all facets of daily existence and operates as an invisible mental mechanism in modern poetry, shaping the poet's imagery systems and mirroring their life experiences. Metaphor serves as a crucial method of indirect, creative expression in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, deeply engaging and impacting the audience through various schemas. Adopting a descriptive-analytical approach and drawing on the American school of comparative literature, this research examines the most notable metaphorical image schemas in the works of these two poets. The findings reveal that both poets frequently employ volumetric schemas to illustrate their conceptual imagery, with a particular emphasis on the human body as a vessel for abstract ideas. In Al-Alaq’s poetry, the movement schema is inspired by external environmental motifs, while in Atashi’s works, it often signifies the passage of time. The power schema in Al-Alaq’s poetry highlights the dominance of negative and limiting forces over the poet’s perspectives, whereas in Atashi’s poetry, it depicts the interplay of positive and negative forces and their effects on his personal and social viewpoints.
Introduction:
Today, metaphor extends beyond being merely a poetic device that uses one or more words to convey a superficial understanding of a familiar image. In other words, metaphor is no longer restricted to language; its essence lies in mapping one cognitive domain onto another, incorporating abstract concepts such as time, emotions, movements, and similar ideas. George Lakoff and Mark Johnson explore metaphor from a novel cognitive perspective, distinct from traditional interpretations. They argue that metaphor is a fundamental aspect of human experiences, emotions, and daily life, asserting that a significant portion of our conceptual and cognitive systems relies on metaphorical structures. The mental aspect of metaphor, originating in the mind, reflects an individual’s perspective and stance on objects and issues in their life. This metaphor shapes our cognitive framework, with language serving as a medium for employing metaphor. Consequently, standard techniques and approaches for developing new metaphors involve connecting one cognitive image to another, presented as conceptual metaphor schemas. Various schemas for conceptual metaphors have been identified, including volumetric, path, force, balance, and others. Among these, the first three are most frequently observed in literary texts. The volumetric schema derives from humans’ tangible experiences with space and their application to mental constructs. The path schema suggests that the surrounding world is filled with numerous paths, such as those between home and work or cities, which can be understood through both reality and imagination. Recognizing these paths can be metaphorically conceptualized by progressing through three stages: the origin or starting point, the destination or endpoint, and the points connecting the start and end. The force schema emerges from the culmination of human experiences in creative spaces, demonstrating the interplay between humans and other elements exerting forces, which affects the extent of interaction and movement.
This research aims to answer the following two questions:
What are the most prominent conceptual metaphor schemas commonly found in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, based on Lakoff and Johnson's theory of conceptual metaphor?
How do the shared and differing functions of these schemas contribute to constructing meanings and generating poetic imagery in the works of the two poets?
Method:
The importance and necessity of this research arise from the fact that image schemas serve as dynamic elements in the interpretation of poetic works, illuminating the nature of word usage and generating new meanings. Despite their significance, comparative studies of image schemas have received limited attention in contemporary research. This is particularly true for comparative examinations of such schemas in the poetry of two poets, underscoring the need for this study. The research employs a descriptive-analytical approach, with a comparative framework grounded in the American school of comparative literature. The objective is to compare two distinct literary traditions by analyzing the similarities and differences in themes related to conceptual metaphor approaches, utilizing the theories of Lakoff and Johnson as the analytical lens for the presented data. The selection of these two poets, Ali Ja'far Al-Alaq and Manouchehr Atashi, among others, is based on the prominent presence of various image schemas within cognitive contexts and environments that are closely interconnected. Investigating these schemas can effectively illuminate their shared perspectives on thought and their perceptions of the world around them.
Results and Discussion:
Based on Lakoff and Johnson’s theory of conceptual metaphor and its comparison in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, this research has reached several conclusions summarized as follows:
The conceptual metaphor schemas in their poetry emphasize key approaches in the field, particularly volumetric, path, and force schemas.
Through the volumetric schema, both poets utilize imaginative interpretations of their intended concepts within physical spatial dimensions. By viewing the human body as a vessel for abstract ideas, they generate new meanings in the realm of metaphor. In Al-Alaq’s poetry, this schema is closely associated with the path schema, while in Atashi’s works, it encompasses broader dimensions, linking to both personal and social aspects of his life.
Both poets draw extensively from the dynamic elements of their environment to present volumetric schemas. However, Al-Alaq emphasizes the overlapping of multiple volumetric schemas to achieve visual unity, while Atashi focuses on expanding and deepening a single metaphorical image.
The path schema in Al-Alaq’s poetry is influenced by external environmental themes, showcasing tangible visual movement as he considers abstract phenomena from a mental perspective. In contrast, Atashi’s path schema integrates temporal dynamics and unexpected shifts, illustrated through anthropomorphic representations and human-like behaviors in diverse situations.
Al-Alaq’s path schema illustrates movement from a defined starting point to a specific endpoint, whereas Atashi's approach frequently centers on an ambiguous destination, highlighting the initial point.
In situations characterized by negative restraining forces, Al-Alaq employs the force schema. He begins with a fundamental abstract concept of power and, through various cognitive dimensions, expands its meaning and scope. Conversely, Atashi utilizes the force schema in both personal and social contexts, exploring both negative and positive cognitive aspects. At times, the obstacles represented in the schema can transform into motivations for new beginnings.
Both poets engage with the concept of force during times of crisis, yet their responses differ significantly. Al-Alaq tends to accept the situation as it is, without attempting to change it, whereas Atashi either resists the force or seeks an alternative path to achieve his goals.
Conclusion:
The functional range of these schemas extends beyond literature; however, their role in literary works has a significant impact that cannot be ignored in the realms of meaning creation and creativity. This is particularly evident in contemporary Arabic and Persian poetry, where conceptual metaphors play a crucial role in engaging the reader's mind and evoking emotions. In the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, conceptual metaphor has become a fundamental element in shaping their language and poetic vision. Their poems feature numerous representations of abstract concepts, whose variety and dynamism merit close attention and analysis. Analyzing and tracing these metaphors often uncovers the specific objectives, images, or ideas that both poets aim to comunicate through this cognitive approach.
کلیدواژه‌ها [English]
عنوان مقاله [العربیة]
طرحوارههای تصویری در شعر علی جعفر علّاق و منوچهر آتشی از منظر لیکاف و جانسون
چکیده [العربیة]استعاره تصویری طبق نظریه‌ی لیکاف و جانسون در واکنش به نگاه سنتی بلاغت که استعاره را وابسته به واژگان و نه اندیشه و تکاپوی ذهنی می‌دانست، پدید آمد. استعاره تصویری در تمامی زمینه‌های زندگی روزمره‌ی ما حضور دارد و در شعر معاصر به عنوان یک فرایند ذهنی پنهان است که تشکیل‌‌دهنده‌ی نظام‌های تصویری در ذهن شاعر و انعکاس‌دهنده‌ی تجربه زندگی او می‌باشد. استعاره از برجسته‌ترین تکنیک‌های بیان غیر مستقیم مبتنی بر خیال‌پردازی در شعر علی جعفر علّاق و منوچهر آتشی می‌باشد و با انواع طرحوارههای خود، نقش فعّالی در برانگیختن و تاثیرگذاری در مخاطب دارد. این پژوهش با درپیش‌گرفتن روش توصیفی – تحلیلی و با تکیه بر مکتب ادبیات تطبیقی آمریکا بر آن است تا به مهمترین طرحوارههای استعاره تصویری در شعر این دو شاعر توجه نماید. خلاصه‌ی نتایج این پژوهش نشان‌دهنده‌ی آن است که این دو شاعر معمولا برای نشان‌دادن تصاویر مفهومی خود از فضاهای دارای مقیاس فیزیکی به طرحواره‌ی حجمی روی می‌آورند و به ویژه به بدن انسان به عنوان ظرفی برای مفاهیم انتزاعی خود توجه دارند. طرحواره‌ی حرکتی در شعر علّاق دارای مشخّصه‌ی الهام‌گیری از موضوعات محیط خارج و در شعر آتشی اغلب از گذر زمان بدست می‌آید. طرحواره‌ی قدرتی در شعر علّاق در معرض تسلّط نیروهای منفی و بازدارنده بر نگرش‌های شخصی شاعر قرار دارد و در شعر آتشی با نیروهای منفی و مثبت و تسلّط آنها بر مواضع شخصی و اجتماعی او هویدا می‌گردد.
کلیدواژه‌ها [العربیة]
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