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Showing 2 results for Asadollahi
Khodabakhsh Asadollahi, Mansour Alizadeh Beygdiloo, Ibrahim Ranjbar,
Volume 27, Issue 86 (7-2019)
Abstract
Sufi and mystic poets employ linguistic evidence, especially expressions regarding animals, to represent mystic concepts. In this study, to explore and clarify the meanings Mulana intended to convey as the field of destination, we will examine the linguistic expression “the Lion” as the field of origination in ghazals of Divan Kabir by using the conceptual theories of metaphor introduced by George Lakoff and Mark Johnsen. Studies have shown that Mulana, by utilizing linguistic economy and provoking multiple mental images with the use of a single expression (lion), has successfully exhibited a vital and variegated spectrum of his mystic thoughts. According to the frequency explored in this article, the expression ‘lion’ in the mystic conceptual system of Mulana enjoys a positive meaning; heart and love are more significant in comparison to reason; the crucial concept of “complete man” against human ego and “beloved” are used to represent the absolute superiority of God through visual representation of “the lion”. All in all, employing the expression of the lion to point to sublime meanings and concepts central to mysticism is an indication of Mulana’s idealistic spirit, his sanguinity and sublimated nature. In this piece of research, which is carried out through a descriptive-analytical method, after an introductory note on conceptual metaphor, origination of animal metaphors, and Mulana’s metaphoric language, the writers provide different verses as an example of different kinds of destination fields. Determining the conceptual framework, field of origination or emotive field, application of various meanings’ general and local inscription in each category would be the next step. Finally, the frequency of the fields of destination and their conceptual generalizations will be presented in a table and the data will be explicated.
Leila Azarnivar, Khodabakhsh Asadollahi,
Volume 33, Issue 98 (5-2025)
Abstract
One of the fundamental emotions is sadness, which, due to the intensity of its impact on human behavior and psyche, can sometimes cause serious problems. Sadness is significant not only in the field of psychology but also in linguistics, to the extent that Lakoff and Johnson have employed it as a target domain in their theory of conceptual metaphor. Nezami’s poetry reflects human emotions and feelings, expressed in a complex and sometimes ambiguous metaphorical language, and decoding and understanding it can influence the thoughts and daily interactions of the audience. This is because, according to Lakoff and Johnson, a major part of our verbal communication is constituted by such metaphors. In the present study, using a descriptive-analytical method based on a cognitive approach, the conceptualization of the emotion of sadness in Nezami’s Panj Ganj (also called Khamsa or the Five Treasures) has been examined from the perspective of conceptual metaphor to clarify the strategies Nezami employed to depict this abstract concept. The findings indicated that the emotion of sadness imparts a particular character to Nezami’s poems as its frequency is high in some of his works, such as Khosrow and Shirin and Layla and Majnun. For conceptualizing sadness, especially that associated with losing something valuable, such as love or death of loved ones, he draws upon various source domains, including humans, plants, animals, natural disasters, and others.
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