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The present research investigates the conceptualization of the metaphors of “fear” in the Quran. Conceptual metaphors are an important discourse in cognitive linguistics. In this approach, metaphors are believed to be a cognitive phenomenon which manifests in language. This research aims to identify the initial spheres based on which fear has been conceptualized in the Quran and endeavors to attain the stance of the Quran on this emotion. To this end, a body of 607 verses containing the concept of fear was collected. In the next stage, 18 concepts were identified using cognitive analysis. The two schemas of force and movement as the initial spheres play a major role in the conceptualization of “fear” in the Quran. In conceptualization based on movement, behavioral and physiological actions of people facing external forces indicate their lack of control and defeat by external forces, with a virtual basis in most cases. In return, in conceptualizing fear based on the schema of force, the presence of a range of forces such as pressure, blocking, and redirection in facing external forces express the voluntary reaction of people in overcoming the external forces. Hence, in line with its guiding purposes, the Quran has missioned the prophets, in many cases as a divine command, to ask His audience to confront the non-divine external forces with the force arising from – the fear – of divine majesty.

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This study sheds light on Ben Lovatt's idiosyncratic characterization, cognitive impairment, and peculiar perception of the world through the lens of cognitive and stylistic features such as schema and cognitive theories. It explores Ben's inability to make meaningful sense of the outside world, his failure to activate adequate schemata when necessary, and his foregrounded conceptual metaphor. Exploring Ben's foregrounded linguistic and cognitive patterns reveal that Ben, in many aspects, proves the particular belief in the story that he seems to be on the threshold between humanity and animality or a throwback who belongs to centuries ago. However, despite Ben's human-animal hybridity, the most striking point about the analysis of Ben's mind style is that Ben seems to be beyond the descriptions of other characters and has a particular way of seeing the world, which makes him seem different from others. This difference, eventually, causes his exclusion from the world and his suicide.
 

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Autism is a neurocognitive disorder. Many children with autism do not have a change in language and usually tend to have literal interpretations of phrases, which makes it difficult to understand metaphorical language, which can be seen in both visual and visual metaphors. The aim of this study was to compare auditory and visual metaphorical perception in children with mild autism and normal children. The present study is a cross-sectional and causal-comparative study. The statistical sample of this study includes 30 boys aged 7 to 10 years with mild autism studying in educational centers for exceptional children in Mashhad and 30 normal children matched in terms of age who were selected by convenience sampling method. After initial language assessment, they were assessed by metaphorical perception test and U Mann-Whitney test and SPSS 23 software were used to analyze the data. The results of data analysis showed that in metaphorical perception in general there is a significant difference between autistic and normal children (P <0.001), also, in understanding visual and auditory metaphors, the two groups showed a significant difference (P <0/001). The obtained results indicate that compared to normal children, children with autism have a lower performance in terms of understanding visual and auditory metaphors, and considering this issue can be used in planning and designing educational content and rehabilitation interventions in order to improve educational performance and social benefit of these children.
 

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The present paper aimed to comparatively study the orientational conceptual metaphors in Persian and Spanish. In this work, within the Lakoff and Johnson’s (1980) classification of conceptual metaphors as structural, orientational and ontological metaphors, we have tried to the concentrate on the examination of orientational metahors applied to data collected from Spanish, and to prove the use of these metaphors at the level of metaphorical mapping as well as linguistic representation in Persian. The analysis of 38 samples of orientational conceptual metaphors in the form of 10 names of mapping extracted from the Spanish novel Conversation in the Cathedral by Mario Vargas Llosa, a collection of papers in Spanish about conceptual metaphors, and a series of oral data, made us conclude that the similarities related to conceptual metaphors based on the human understanding of the sense of “space” and “direction” are more than the disparities in these two languages.  

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Study of conceptual metaphor of Light in the Divan-e-Shams In this paper, will be explained functions of light and visual clusters like Sun, candles, lights and etc, in the Ghazal of Molavi based on using cognitive theory of contemporary metaphor. Concept of light in the Divan-e- Shams indicate that visual recognition and knowledge is a concept and it present as a primary metaphorical mapping in deep-structure; Molavi concerned this mapping and secondary mapping "divine world is light", and he has accounted light as God, perfect man, place, food and wine, the guidance and hope. Also he has explained subject of existence and nonexistence. The metaphorical mapping makes appropriate categories for Molavi's abstract analysis and shows intratextual coherence of the sonnets with primary mapping. Key words: light, Molavi, conceptual metaphor, mapping, macro metaphor

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In their contemporary theory of metaphor Lakoff and Johnson do not consider metaphor just linguistic and lexical. Instead they insist on the processes of human thinking which is fundamentally metaphorical by referring to the notion of conceptual metaphors. They divide conceptual metaphors in existential and structural counterparts. Lakoff and Johnson believe that all metaphors as they apply the principle of mapping to model the structures are structural and they are existential as they always create other entities within the realm of the destination. In this sense metaphors of Mir Nowruz divan have been investigated due to the nature of them in terms of territory of origin (in the traditional expression in terms of the nature of the vehicle) which can be divided into the categories of object, material, container etc. The findings of this study show that the poet has applied the directional metaphor to explain his abstract and subjective components. Metaphors which mainly originates from spatial orientations such as up, down, in, out, close, deep, shallow by demonstrating the notions of quantity, quality, joy, sorrow, death, and life. Through this analysis, by referring to the poems of Mir nowrouz, this study also scrutinizes the poetic fragments that are representative of the mentioned features.  

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We examined two assumptions of the "Conceptual Metaphor Theory" (CMT) using corpus-based method. According to the first assumption, linguistic metaphors are merely reflections of conceptual metaphors; so linguistic metaphors have a marginal and secondary role. According to the second assumption, conventional linguistic metaphors are systematic. A 50-milion token sample of Hamshahri collection of Persian texts was selected as the corpus of the study. All of the corpus analyses of calculating the collocations and extracting the concordances were carried out using Ant Conc corpus software. Data analysis failed to find evidence in support of the first assumption provided by CMT, but the second assumption was partially confirmed. The findings suggest that the semantic patterns of linguistic metaphors are more complex than those predicted by CMT, and language use factors play an undeniable role in shaping the semantics of metaphoric expressions.  

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In the present paper we aim, in an analytic and comparative manner, at an investigation of the conceptual metaphor "LOVE IS WAR" as a way of understanding of falling and being in love and speaking of them in Hafez's Divan and Petrarch's Canzoniere within the framework of Lakoff's Conceptual Metaphor Theory. What comes out through this examination reveals that although the two collections turn out to be similar in many ways in terms of metaphorical theme, there are two major differences between them in terms of imagery: to begin with, Hafez employs more warfare terms and expressions than Petrarch does, and secondly, Love in Petrarch's poetry on many occasions reveals itself in the image of Cupid, God of Love in ancient Roman mythology, who with his bow and arrow aims at the lover's heart and captures him. In Hafez poetry, however, there is no such explicit imagery which personalizes the abstract and invisible force of love emotion in the form of a god, but in it we encounter a beloved, or the eyes and eyebrows of which, that, in a figurative manner, shoot arrows at the lover's heart and ensnare him.

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Since metaphors occur in language, it is an appropriate tool to identify ideology with. The choice of different metaphors in a text by language users would reveal its dominant ideology. Contrary to this, different ideologies may produce different metaphors to support their basic beliefs. Taking conceptual metaphor theory and Teun van Dijk’s theory of ideology as the basic definitions in this paper, the functions of metaphor in an ideological system and also the role of metaphor in different social contexts are being studied.

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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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    This study was conducted to analyze conceptual mappings in two Akhavan Sales’s poems, based on cognitive poetic approach according to the theoretical framework of Freeman (2000), Fauconnier (2002) and turner (2002). In the cognitive poetic approach, analysis of literary works is possible by cognitive linguistic methods. Some of these strategies which make possible the analysis of total work’s structure and type of languages units arrangement  are conceptual, relational or system mappings. In the cognitive poetic approach, literary work’s context has fundamental role in making signification and the analysis are based on three component: text, author and reader. In this time, we read two poems of Akhavan Sales based on this theory. The question of this study is how interpretative levels of Akhavan poetry in the framework of cognitive poetic approach explain different aspects of his thought structurally and conceptually speaking? Investigation of two coherent poems of Akhavan Sales showed that which factors cause to viability of poetry and its strength, and how the poetry structure can take part of author’s thought world construction. The results of style investigation of Akhavan with cognitive poetic view showed that the presence of relation between structure and concept, and also concrete conceptual entire in the frame of mental pattern in poetry can be considered as viability factors of his works.  

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Since the second century AD Sufi-es have entered the concept of "love" in his speech,and so they defined a new relationship between themselves and God, Although initially this relationship met with opposition from scholars and speakers, but gradually found its place in Sufi-es discourse Finally, in the beginning of sixth century attempt of Sufi-es in along four these centuries to define and describe of "love", Sufism enter in new stage which saw its glorying in the centuries from 6 to 8th. In this study author wants to analysis of basic and secondary cosmological viewpoints of Sufi-es about love. Author with this goal, by study and analysis of ontological and structural metaphors in conceptual metaphor theory has searched these viewpoints and finally has approved that metaphorizing of Sufies since the beginning show their viewpoints to this concept. These two standpoint aroused of two basic structural metaphor: GOD IS SULTAN and GOD IS BELOVED.

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Cognitive Metaphor theory claims that in conceptualization of different concepts, ordinary and poetic languages are the same in some aspects, though different in other ones. This paper aims to an analysis of creativity of Hafiz in LOVE concept. In Hafiz poetry, LOVE is conceptualized by different, though related, conceptual mechanisms of metaphor, image, personification and metonymy. However, it seems that Hafiz has used more creative mechanisms in the conceptualization of LOVE. To find distinguishing influential factors in LOVE conceptualization, two important questions are raised: what is the difference between common metaphors of LOVE in Persian and those in Hafiz poetry? And among four mechanisms proposed by Kövecses (2010), which one is more influential in artistic creativity and novelty of Hafiz poetry? Close analysis of poems consisting LOVE concept shows that Hafiz language contains the same kind of conceptualization as ordinary languages of Persian and other languages. In other words, LOVE has been conceptualized as FIRE, JOURNEY, RAPTURE, etc. However, its conceptualization is different from that in ordinary language, because the poet has creatively used four poetic mechanisms of extension, elaboration, questioning, and combining which are less frequent in ordinary language. It seems that, as it is predicted by cognitive linguists, what distinguishes literary language from ordinary language is creative use of metaphorical conceptualizations, personification, image metaphors and conceptual metonymies. Besides, among four distinguishing mechanisms, combining and elaboration seems to be the most and questioning is the least effective factor in poetic conceptualization of LOVE. Moreover, Hafiz has used many creative, novel conceptual metaphors of LOVE along with conventional ones.

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Many of our fundamental concepts such as time, quantity, state, change, act, cause, purpose, way of doing, modality, and even concepts of categories understood through metaphoric concepts. To show his theosophical world, mevlana mostly used metaphoric concepts. Feeding is one of the most commonly used concept in Divan e-Shams for showing all the materialistic and spiritual realms and other family words helped the poet to reflect these concepts. Life of Sofia and attention to reduce feeding, esurience, fasting and avoiding businesses and valuing the trust theory caused unconscious adoption of such metaphor for mevlana. Accordingly, the eight categories of beauty, wisdom, mystery, citation, hearing(samaa’), joy, love and light as a feed can be explained. In this paper, using the metaphor of contemporary cognitive theory to explain this metaphor will be discussed. Finally, it is clear that the notion of "Feed mysticism" the fundamental proposition of text feed a metaphorical thinking that he has released over the Divan-e Shams.

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The present research surveys orientational metaphors in Quran in a cognitive approach. Space and orientation in the space are basic cognitive domains employed as source domain for conceptual metaphors. The research aims to explore the target domain concepts formed based on the orientational concepts. Thus the “Noor software” was searched with seven orientation marking keywords. All the verses including these keywords were identified in Quran and 60 instances of metaphorical application of these items were recognized. Some of the most prominent abstract concepts formed through orientational metaphors in Quran are “degree and dignity; bliss; superiority and advantage” among others. Findings of the research show that the special application of orientational metaphors in Quran is a stylistic and semantic feature. 
Keywords: Quran؛ Conceptual metaphor؛ Orientational metaphor؛ Corpus

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The use of different metaphors in text by language speakers reflects their attitude and perception. Ideologies create metaphors to realize their beliefs and teachings. In this way, the role of metaphor in society and in life is undeniable. As a reflection of the thoughts of the speakers of a language, the proverb is part of the local and popular literature that can be considered as one of the best ways to express the common thoughts among them. The name of the animals is one of the widely used words in Persian proverbs and in the poetry of the past and in contemporary poets to represent the material and spiritual instances. By adopting a descriptive –analytical research methodology, this research aims at investigating conceptual metaphors of animals in literary texts based on cognitive linguistics theoretical framework. The data gathered is based on “the great dictionary of Persian proverbs “by Hassan Zolfaghari. The results of the total proverbial corpus of this dictionary concerning the use of animals showed that 184 mappings were observed, among which the conceptual metaphor of "weakness” with 26 proverbs and 15 mappings was the most frequent, followed by the conceptual metaphor, respectively. "Hostility” with 21 proverbs and 8 mappings, "strenghtness" metaphor with 15 proverbs and 6 mappings and finally the metaphor of "ignorance and disbelief" with 12 proverbs and 5 mappings have been frequently used.

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Human being perceives phenomena by perceiving another series of phenomena, especially by using metaphors which enormously facilitate the comprehension of abstract concepts. While metaphors play an important role in generating science, language and even remodeling our way of thinking, there is hardly specific model for metaphors that can be used in scientific branches and particularly in terminologization. Building a model would not only be useful for word formation but also appears fruitful for terminologization in artificial intelligence and machine translation. The question which may be raised here is whether to know if it is possible to design a model which compiles both conceptual and lexical categories so that it represents a combination of platonic & Aristotelian perspectives and definitions longly addressed for metaphor. To answer the above mentioned questions; we have adopted Alexeeva’s metaphorical model which is in continuance with platonic perspectives on the subject and is in alignment with cognitive approaches. The hypothesis may be formulated as if Alexeeva’s model would be sufficient enough in creating new metaphors. Once we have briefly evoked the recent investigations about metaphor and have quickly revised its functional classifications, we analyze its pertinent illustrations in Persian corpus language and present our new model on the basis of cognitive sciences. We would finally see the possibility of terminologization in our new proposed model. The results of this investigation show that Alexeeva’s metaphorical model is not fully-fledged enough to be addressed in terminologization. However by altering and moderating some features of this model, we may redesign the sand hour glass model so that the concepts which are shaped in the 1^st sphere is mapped via assimilation in the 2^nd sphere, according to which a single term , may find two different extensions in their respective spheres. Although the term used in 2^nd sphere is conceptually speaking similar to the 1^st sphere, but the extensions of term in these two spheres are considerably different. As the extension of the term utilized in the 1^st sphere is extended, the 2^nd sphere has used the metaphor in a different sphere or context. Consequently, our proposed model is not merely projected in language, but the terms created inside it are nourished mutually by conceptual lexical realm. Therefore, in contrary to what it is stated by Alexeeva, metaphors are not exclusively lexically labelled, but they are also conceptually marked. We are finally convinced that according to the context that metaphors are utilized in, we could expect different extensions and appreciations of the terms.