Typicality, Salience, and Asymmetry in Metaphoric Expression: A Case of Persian Poetry

2012 ◽  
Author(s):  
Habibollah Ghassemzadeh
Keyword(s):  
Persian Poetry ◽  
Metaphoric Expression

Metaphor and Intertextuality: A Cognitive Approach to Intertextual Meaning-Making in Metafictional Fantasy Novels

2012 ◽  
Vol 5 (1) ◽  
pp. 81-96 ◽  
Author(s):  
Mary-Anne Shonoda
Keyword(s):  
Cognitive Processes ◽  
Meaning Making ◽  
Explanatory Power ◽  
Cognitive Poetics ◽  
Cognitive Approach ◽  
Mapping Model ◽  
Fantasy Novels ◽  
Narrative Functions ◽  
The Cross ◽  
Metaphoric Expression

Scholars in children's literature have frequently commented on the humorous and ideological functions of intertextuality. There has however, been little discussion of the cognitive processes at work in intertextual interpretation and how they provide readers with more interpretive freedom in the meaning-making process. Drawing on research from the field of metaphor studies and the interdisciplinary area of cognitive poetics, this article suggests that the interpretation of foregrounded intertextuality is analogous to the interpretation of metaphoric expression. Current models of metaphor interpretation are discussed before I outline my own intertextuality-based variant. The cross-mapping model developed is then applied to literary intertexts in Inkheart and cultural intertexts in Starcross in order to show how the model might work with intertexts of varying degrees of specificity and that serve different narrative functions. The explanatory power of the cross-mapping model is not limited to cases where elements in the primary storyworld can be directly matched with those in the intertext, but extends to instances that involve a recasting of the intertext and thus retelling as in Princess Bride.

Allegorical Gardens in the Persian Poetic Tradition: Nezami, Rumi, Hafez

1985 ◽  
Vol 17 (2) ◽  
pp. 229-260 ◽  
Author(s):  
Julie Scott Meisami
Keyword(s):  
Striking Feature ◽  
Poetic Tradition ◽  
Persian Poetry ◽  
Nature Imagery

A striking feature of medieval Persian poetry is the abundance of nature imagery that permeates every poetic genre, and especially imagery relating to gardens. The royal gardens and parks evoked in the descriptive exordia of the qasīda, the luxuriant gardens of romance that provide settings for tales of love, the spiritual gardens of mystical writings, the flowery haunts of rose and nightingale in the courtly ghazal—all provide eloquent testimony to the importance of the garden in Persian culture.

Reorientations/Arabic and Persian Poetry

1996 ◽  
pp. 164
Author(s):  
Aboubakr Chraibi ◽  
Suzanne Pinckney Stetkevych
Keyword(s):  
Persian Poetry

ՀԱՖԵԶԻ ԲԱՆԱՍՏԵՂԾԱԿԱՆ ԱՇԽԱՐՀԻ ԱՐՏԱՑՈԼՈՒՄՆ ԱՅԴԻՆ ԱՂԴԱՇԼՈՒԻ ՆԿԱՐՆԵՐՈՒՄ

2021 ◽  
pp. 216-225
Author(s):  
Zahra Мaleqi (IRI, Shiraz)
Keyword(s):  
Visual Arts ◽  
Persian Poetry ◽  
Contemporary Artists

Classical Persian poetry, when embodied in the oeuvre of the contemporary artists of Iran, was becoming for some a major source of artistic inspiration. The article analyzes the inner creative bond between classical Persian poets and present-day artists, exemplified by Hafez and the modern Iranian painter Aydin Aghdashloo, whose all canvases stem from poetry, and the best of them are considered among the most valued achievements of visual arts. Hafez’s verses were conducive to introducing surrealist style to Iranian portrait and miniature by the painter Aydin Aghdashloo, who has created thereby a new style of "crumpled miniature".

scholarly journals Metaphor in Azerbaijani and Russian Media Discourse

2015 ◽  
Vol 5 (6) ◽  
pp. 141
Author(s):  
Ulviyya H. Taghiyeva
Keyword(s):  
Media Discourse ◽  
Expressive Function ◽  
Russian Media ◽  
Metaphoric Expression

<p>The paper aims to study the role of metaphors in the construction of Azerbaijani and Russian media discourse. It speaks of the fact that metaphor plays a central role in the structure of discourse. Being the unit of the second nomination, metaphor carries out greater expressive function. Metaphoric expression is always directed to attain the maximal communicative effectivity. This situation makes the metaphor an organizing centre of discourse of any type.</p>

scholarly journals The first ghazal of the Divan of Ghalib

2021 ◽  
Vol 4 (5) ◽  
pp. 1323-1351
Author(s):  
Natalia I. Prigarina ◽  
Ludmila A. Vasilyeva
Keyword(s):  
Dimensional Analysis ◽  
Poetic Form ◽  
Persian Poetry ◽  
Great Poet ◽  
History Of ◽  
The Creation

The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps in many ways to understand the creative credo typical for all of Ghalib's poetry, as well as the difficult path the poet had taken, while continuously improving his art of “hunting” for a poetic word. The ghazal is discussed in the context of Ghalib’s other Urdu and Persian poetry, as well as of Sufism that prevailed in India of Ghalib’s time.

scholarly journals Persian Poetry and Wine in its Place

2017 ◽  
Vol 6 (7) ◽  
pp. 35
Author(s):  
Ali Mamkhezri ◽  
Kamran Pashaee-Fakhri ◽  
Parvaneh Aadelzadeh
Keyword(s):  
Persian Literature ◽  
Persian Poetry

In the Persian literature “wine” is divided in to three sub-categories:  mystic, true and literary. The true wine is used in texts, where the intention is to show the pleasures of life, whereas in some philosophical and mystic texts such as the story of Zartosht and Goshtasb, drinking wine and Haoma juice. results in achieving knowledge and cognition and being prepared for making important decisions .Sometimes it was only used ritually and not drunk and this made them to discover the unseen and unknown secrets. Therefore, on can classify the true wine- which is also called natural win - in to two groups: natural festive and natural Hikmah/philosophical wines. Basically, they differ in their usages. The first one drunk for joy and pleasure and the second one to reach knowledge and cognition.

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