A Semantic Reading of Conceptual Metaphors in the Poems of Khalil Matran and Golchin Gilani

Document Type : Research Paper

Authors

1 Arabic Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran.

2 Professor, Department of Arabic Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran

3 Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran

Abstract

Based on the patterns taken form cognitive science and semantic approaches, conceptual metaphors entered the field of literature. Conceptual metaphors were the one that George Lekoff and Mark Johnson first claimed to design. There are images that determine the characteristics of the source territory and are written on the destination territory. Also, the sensory experiences that are the result of our interaction with our surroundings. This research is to examine the conceptual metaphors (directional, structural and ontological) in the poems of Khalil Matran and Golchin Gilani so as to examine the extent to which two poets have utilized this pattern. Furthermore, the orientation and direction of the two poets in using these images is to be examined as well. After examining the poems of these two poets separately, it was found that both poets have used these metaphors in their poems in an entirely balanced way, and they, by using the images from the conceptual metaphors, have equipped their poems with dynamism, continuity, and more speed in publication. A distinction to be addressed is that Khalil Matran has used these concepts to portray in all positions and directions (love, politics, homeland, ignorance, oppression, etc. However, Gilani's anthology, except in few cases, has benefited from this conceptual metaphor in portraying nature and conveying his feelings.

Keywords

Main Subjects

Article Title [العربیة]

قراءة دلالیة للاستعارات المفاهیمیة فی أشعار خلیل مطران وجولشین جیلانی

Abstract [العربیة]

على أساس أنماط العلوم المعرفیة وفی المناهج الدلالیة، دخلت الاستعارات المفاهیمیة فی مجال الأدب. الاستعارات المفاهیمیة هی تلک التی ادعى جورج لیکوف ومارک جونسون تصمیمها لأول مرة. الصور التی تحدد خصائص منطقة المصدر وتتم کتابتها فی منطقة الوجهة. التجارب الحسیة التی هی نتیجة تفاعلنا مع محیطنا. یبحث هذا البحث فی الاستعارات المفاهیمیة (الاتجاهیة والبنیویة والأنطولوجیة) فی قصائد خلیل مطران وجولشین جیلانی، بهدف دراسة مدى استخدام الشاعرین لهذا النمط، وتوجیه الشاعرین واتجاههما فی استخدام هذه الصور. لتعرف بعد فحص قصائد هذین الشاعرین بشکل منفصل، تبین أن کلا الشاعرین قد استخدما هذه الاستعارات فی قصائدهما بطریقة متوازنة تمامًا، وباستخدام الصور من الاستعارات المفاهیمیة، تتمتع قصائدهما بالدینامیکیة والاستمراریة والسرعة والتسارع. قد غفر مع الاختلاف الذی استخدمه خلیل مطران هذه المفاهیم لتصویرها فی جمیع المواقف والاتجاهات (الحب، السیاسة، الوطن، الجهل، القهر، إلخ). لکن مجولشین جیلانی، باستثناء حالات قلیلة، استفادت من هذه الاستعارة المفاهیمیة فی تصویر الطبیعة ونقل مشاعره.

Keywords [العربیة]

  • العلوم المعرفیة
  • الاستعارة المفاهیمیة
  • الأدب العربی
  • الأدب الفارسی
  • خلیل مطران
  • جولشین جیلانی

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