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Blind Owl is one of the most famous stories of contemporary Persian literature and criticism so far as it has many potential meanings .Despite various disagreements and numerous commentators and critics of The Blind Owl, it can say that all of them agree with this belive that two part of Blind Owl are repeated each other. Moreover, it is said about the vast majority of these explanations with use of psychological critics paid to analysis of this text. While the authors have tried with regard to the above two point whit analysis of conceptual metaphors that used in two parts Through "conceptual metaphor theory" beyond of psychological reasoning of that critics this text have had To discover similarities and differences between the two parts, finally to achive a newer and different view from those mentioned so far and Prove that despite the many similarities in the two-part application, Hedayat has been followed different insights in each part.

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Sadeq Hedayat is a deconstructionist artist-thinker who had created his own style in his writing. One can venture to say that his The Blind Owl has been criticized more than any other Iranian literary work in more than half a century ago and still critics reveal some fresh aspects of this masterpiece. Critics have analyzed surrealistic, symbolic, existentialist, nationalistic, expressionistic and metaphysical dimensions of this work. From the lens of comparative literature, a lot has been written on the influences of Schopenhauer, Sartre, Maupassant, Nerval and Kafka among others on Hedayat both structurally and thematically. In this research, the undeniable influences of Virginia Woolf’s The Waves on The Blind Owl and their undiscovered similarities are scrutinized. Furthermore, inter-textual aspects of the two mentioned masterpieces are analyzed thematically and in this respect one of the major themes of The Waves, that is, narrative exhaustion, is analyzed and its resonance in The Blind Owl is traced. Through textual comparison, it is shown that how some of The Blind Owl’s sentences have dazzling similarities with some key phrases and sentences of The Waves.

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Functional linguistics is regarded as one of the dominant approaches in contemporary linguistics that focuses on the functions of language. The greatest theoretician of functional linguistics Michael Halliday, in cooperation with Roqaye Hassan, have investigated the unity and coherence of text and have categorized its elements in Cohesion in English. The theory of the unity and coherence of text, which is based on the relations of sense and text, is considered as a branch of discourse analysis that investigates text. Coherence has an important and significant role in the structure of a text. The author reflects his real and surreal world in the text. Though time coherence is subverted in this reflection, he conveys meaning and creates text through language and maintaining lexical and syntactic relations.
Surrealist writers attempt to create imaginary and unreal milieus by means of free imagination and the unconscious to reach at a world beyond reality and away from preoccupations of contemporary culture. Since the surreal text is a reflection of surreal world free from limitations of language (automatism), it is assumed that such texts possess no unity and coherence and semantic relations in them is chaotic. Accordingly, this study investigates lexical cohesion of Blind Owl, in a descriptive-analytic method, based on Halliday and Hassan’s theory. The present research seeks answers to the following questions: Does the overflow of lexicons, originating from automatic writing out of the hallucinations of surrealist writer, create an incoherent text or not? Does the surrealist text take distance from language standards and their lexicons and their sentences have no unity and coherence as surrealists do in their real life? At last, it is argued whether Halliday’s linguistic theory can be useful in the analysis of surrealist texts in order to understand writer’s mentality and spirit.

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By adopting the insights of phenomenological approach since late 80^th century we easily observe the passage from classic narrative scheme to the semiotics with sensible and existential landscape. This approach is called semiotics with ontological foundations in which the reading and interpretation is no more related to the simple coding of a text, but it involves in movement towards the live experience of signification process in the world. In the discourse of Blind Owl by Sadegh Hedayat , we encounter with this manner of presence and interaction of subject with the world; that is to say , the perception of character from the world , himself and other (alterity) depends on sensible and dynamic presence of subject with his constant interaction with phenomena.  Therefore, the aim of this study is to analyze by referring to Landowski and Greimas’s theories and ideas, the presence of the subject and his relationship with himself and others. Then, we study how the interaction with the "other" creates new systems such as the transcendental or ecstasy discourses and how the being of subject is determined in interaction with others.
 

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Influenced by the avant-gardism of his time, especially Expressionism and Surrealism, Hedayat in the Blind Owl chooses the horror genre, internal monologue, and a poetic structure to represent the psychology of the narrator. In this genre, the sense of fear and impending violence is often conveyed through the atmosphere of the story. The dominant ambience of the story is enhanced through not only direct description but also, and especially, the rhetorical figures such as simile and metaphor. In this article, I discuss what role these rhetorical techniques play in creating a suspenseful atmosphere of terror and emptiness the Blind Owl. This paper employs a formalist approach.

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Characters play a pivotal role in the events displayed by an anecdote. Personas are in fact the main pillars of the story and developments revolve round characters’ behavior, remarks, and thoughts. In critical study of any anecdote, the main element of the story is assessed and analyzed which is the characters. Hence, the story is synonymous to the acts and thoughts of characters, which are developed and displayed within the framework of the story’s plot. In contemporary Iranian stories; multilateral characters have been created by Sadeq Hedayat in his literary works, namely Three Drops of Blood and The Blind Owl, while this approach has been copied by other authors. In the majority of works which have been under the influence of Hedayat’s book Blind Owl, multilateral personalities are evident.
This study has analyzed personalities in the books Blind Owl and Three Drops of Blood, penned by Sadeq Hedayat, in addition to Prince Ihtejab penned by Hushang Golshiri, and ‘Hereafter’ written by Bahram Sadeqi

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The presence of the images in different layers of The Blind Owl of Sadeq Hedayat is one of the characteristics of this novel that makes its nonverbal analysis possible. The images with their specific characteristics are at the service of development of the story and its multi-layered signification. Analysis of these images to achieve the hidden meaning behind them, requires a scientific method to explain the connotation of the images. It seems that the visual semiotics is a practical method to decode the images of The Blind Owl. Using the visual semiotics, we analyze the images of this novel, relying on the relationship between signifier and signified and utilizing the mechanisms which consider the images like a discourse. Considering the image as a discourse is an important innovation in this research.
The Blind Owl narrates the story of an unnamed painter, the narrator, who sees the nightmares originating from a terrible crime. The narrator recounts, on the night of the crime, the story of what happened to him, and tries to recall everything and to write them. What distinguishes The Blind Owl from other literary works, is the coincidence of the narration and the images. Sometimes, the author draws and sometimes, he describes some paintings in the text. In fact, The Blind Owl is a combination of written and visual discourses, but the visual indications are more meaningful than the written indications. In this research, the main issue is to examine how the visual discourse is created in The Blind Owl, and then we consider how the image is promoted to the position of a discourse. Considering the image as a discourse is to find the answer to this fundamental question: how verbal discourse interacts with visual discourse in this work? Assuming that the visual discourse is at the service of the written discourse, the goal of this study is to analyze the metalinguistic aspects and then connoted and secret meaning of the images. In order to achieve this goal, our analysis is based on a semiotic/semantic approach. According to the linguistic theory of Roman Jakobson, the image have three levels of meaning: the apparent meaning, the implicit meaning and the codes, all three levels analyzed in detail in this study.
The results of semiotic/semantic analysis indicate that the images turns into a dominant discourse in The Blind Owl. The visual discourse in this novel work as a mirror that represent the narrator mental chaos. The visual and verbal discourse in collusion with each other, reflects the root of the tragedy in the narrator’s life. In addition to the implicit meaning of the two discourses in question, in deeper layers, the codes are also considerable to find the secret meaning to this novel. These codes that appear in two visual and verbal discourses, reflect the relationship between the personal world of the narrator and the world of myth.
 

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The purpose of the present study is to investigate the sub-worlds in Werth's Text Worlds Theory (1999) based on Cognitive Poetics Approach. Upon analysis, the authors showed that up to what extent the writer of Blind owl has used the sub-worlds including deictic, attitudinal, and epistemic. The methodological nature of this qualitative research is descriptive-analytic. It should be noted that all the clauses have been examined. But due to the limitation of the paper volume, in only 20 clauses of this story, the three sub-worlds have been analyzed as one of the semantic layers in Werth's Text Worlds Theory. The authors sought to illustrate the representation of the three sub-worlds in Blind owl and the way the writer has used these three layers in the story. The findings indicated that the epistemic sub-world has been used significantly more than other two sub-worlds, i.e. deictic and attitudinal. Also, the results showed that most of the clauses are narrative and discursive, and the epistemic sub-world has been reflected widely in this story.
Extended Abstract
The Aim of Research: The purpose of the present study is to investigate the sub-worlds in Werth's Text Worlds Theory (1999) based on Cognitive Poetics Approach. With this investigation, the authors showed that up to what extent the writer of Blind owl has used the sub-worlds including deictic, attitudinal, and epistemic. The present study seeks to show that any text based on Text Worlds Theory in the cognitive poetics approach can be examined in the form of three layers of text world, discourse world and sub-worlds which the authors have tried to explore the three layers of the semantic layer of sub-worlds including, deictic, attitudinal, and epistemic in the story of Blind owl. In this regard, we try to use the theory of cognitive poetics to achieve a correct reading of these texts that is far from any personal interpretations. It is worth noting that showing different semantic layers and understanding them correctly is possible only by applying this theory.
Methodology: The methodological nature of this qualitative research has been descriptive-analytical. The authors collected data by reading and analyzing the text of the story of “Blind Owl” by Sadegh Hedayat. In reviewing the clauses of this story, due to the limited volume of the article, the authors considered 20 clauses of the story from the perspective of the three layers of the sub-worlds as one of the semantic layers in the theory of text worlds in the cognitive approach from the perspective of Werth (1999).
Theoretical Framework: The theoretical framework of this research is informed by the approach of cognitive poetics in linguistics and Werth’s Text World Theory (1999). What makes this theory unique is its comprehensive application of cognitive principles in analysis. Text worlds Theory is a discourse framework, in the sense that its attention is not only focused on a particular text, but also on the contextual context and its surroundings that influence its production and acceptance. The purpose of this theory is to provide a framework for studying discourse in which situational, social, historical and psychological factors are involved and play an important role in language cognition (Gavins, 2007). Werth’s book was published after his death by Short in 1999 titled Text Worlds: Representation of Conceptual Space in Discourse, that includes Werth's full account of this theory. According to Johnson (1987), the cognitive approach shows that language is a product that is not produced from a separate structural system in the mind, but from cognitive processes that enable the human mind to make perceptions of experiences which linguists call them embodied cognition (Freeman, 2000, p. 281). Also, Stockwel (2002) states a broader concept of cognitive poetics and introduces all approaches that provide a framework for describing literary texts based on the tools of cognitive science, with the label of cognitive poetics. Text worlds are mental structures that form conceptual representations of certain aspects of reality. Werth's model is based on the distinction between two prominent functions of language: the informative function and modal function. Werth considers the informative function as what is often called the propositional meaning.
Conclusion: In this study, we have examined and evaluated the story of Blind Owl, by Sadegh Hedayat, based on the theory of ​​Text Worlds in the cognitive poetics approach, and it has been determined how the writer of the story has acted in order to understand the reader. It is worth noting that the three sub-worlds of deictic, attitudinal and epistemic, represent an important part of the construction and formation of the worlds of the story text. In order to fully understand the text, one must describe and analyze a part of it in order to determine the idea of ​​the text through the text itself, and not through utterances that are formed outside the text. The theory of ​​text worlds based on the approach of cognitive poetics opens a new path in literary criticism, the discovery of how the mind works, the relationships between time, and anything else that helps to build the reader's mental representation. Hence, this approach is a bridge between literary studies and the field of cognitive linguistics. To answer the first question, it should be said that Sadegh Hedayat has used more narrative and discursive text in this story. Regarding the second question, it must be acknowledged that although the three sub-worlds of deictic, attitudinal and epistemic are observed in the Blind Owl, but the sub-world of epistemic plays a decisive role through conditional sentences, frequency adverbs, cognitive metaphors and repetition. The findings indicated that three sub-worlds including 29.63% deictic, 33.33% attitudinal and 37.04% epistemic, have been used in the story of Blind Owl. The results also showed that the epistemic sub-world has the highest usage and the deictic sub-world has the lowest usage in this story.