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Connecting the literary text world to reader's world as well as reading all signifying aspect of a fiction's world is not achievable by literary criticism, so it seems there is a necessity to have a theory which could study the text world in terms of both scientifically and literary creativity, that is a theory which produces the possibility of scientific survey of literature. To evaluate text world theory, in this article, it is supposed to analyze all the fictions of “the panthers who have run with me” by Bijan Najdi, an Iranian story writer. The question raised in this paper is, therefore, whether text world theory could identify the elements which structure Najdi's fiction narration? Then how he is distinguished from other authors through the production of his text world and understanding them by readers? To answer the first question, every text includes three levels: discourse world, text world and text sub-world to construct a part of the narration. The answer to the second question, Najdi produces a cohesive discourse world in his book by considering some common elements in all his fictions, so the separated fictions would be connected to each other invisibly. The important point in this paper is that, according to Najdi's text world's reading, every world could embed another world inside and create an underlying fiction by different narrative techniques. To conclude, the most important point in Najdi's works is the production of sub-stories by underlying or sub-text worlds, which are activating underlying stories.

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Cognitive poetics includes a theory of analogical mapping, which shows employing different skills of finding similarities, relationships, and structural systems. Microstructure could be considered as parts or constrains of sentences in a discourse, while macrostructure is a large-scale statement of the content of a text. If some common schemata cover these both structures, this part-whole relation will map the macrostructure of the text through some paratextual and cohesive elements on all texts of the stories in a collection, and will create an untold story, a macrofiction. In fact, this untold story has a main role in the interpretation of the “Conference of the Birds”. The aim of this study is to investigate how the macrostructure influences the structuring of each story of the world text of the “Conference of the Birds” (1177), a well-known Persian poem, by cognitive poetics approach. The author is going to demonstrate how the macrostructure leads to creating a macrofiction, which offers a new reading of the text. Moreover, it examines how macro-fiction and system mapping may interact in a literary text like the “Conference of the Birds” and what is the result of their interaction. This study posits, firstly, how the concepts of variety (multiplicity) and unity (oneness) assume to construct the macro- and micro-structures of the “Conference of the Birds” through the system mapping, and how the text leads to a new structure, called macrofiction. Secondly, how macrofiction could have an effect on the reading of the text. Consequently, the concept and structure of the “Conference of the Birds” are in harmony, so the variety and a large number of the birds who desire to reach phoenix (Simorgh) are represented in the course of different and various stories concerning the same pattern. As a result, studying the text world by this approach could provide a suitable device for analyzing a text and its macro-structures through conceptual mappings as a step forward in the area of literary critic.

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Cognitive poetics answers to the fundamental questions on the cognitive tools of art, language and literature. This is the strong point of this approach over the other approaches, especially literary theory, which has limitations such as inability to understand how different meanings are created and various interpretations of literary texts are possible. This paper explores how to connect the text world to the reader’s world to interpret the text and extend the reader's mental spaces in the understanding of literary texts as the research field. The main aim is the application of a model for the free reading of such interpretation, which is left to the person who relies on the opinion of cognitive poetics. Analysis of the story of Shazde Ehtejab (Golshiri, 1384/2005) is to check the elements in building the story. The questions are: 1) Which of the building elements of the story of Shazde Ehtejab can be identified by the Text World Theory? and 2) How does the identification of these elements help to interpret different text worlds? The answers to these questions (three layers of the text -“text world”, “discourse world” and “sub world”) are identified based on the Text World Theory, which is involved in building of the story. Then the link between the micro-text worlds in the form of included text world that has emerged in the mind of the Shazde and formed the original text world of the story, would be shown. The contrast between the characters and the mental spaces that are occurred through their thoughts, and form the smaller text worlds within the Shazde’s original text world, would be effective in systematic interpretation of the text.

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In the field of cognitive linguistics and cognitive poetics, researchers have emphasized metaphor’s important role in conceptualizing world experiences. In this respect, body parts have always been considered as a source domain in structuring various concepts in most languages and they’ve been exploiting the cultural models of each language in this deed. So, in order to investigate the interaction between metaphor, body, and culture in Persian, the present study tries to analyze some body-part metaphors including del (heart-stomach), jegar (liver) and chechm (eye). The data was collected from Sa'di’s Bustan which is the demonstrative of Persian culture and has a great deal of body-parts metaphors. The analysis of the metaphorical expressions was carried out within a theoretical framework based on insights from cognitive linguistics and poetics. The data analyzed shows that Iranian cultural models, derived from Iranian traditional medicine and Persian spiritual belief systems such as the Sufi worldview and Islamic religion are some factors that affect the structure of cross-domain conceptual mappings.

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This paper examines the interaction between the visual and the verbal modes, that is, the multimodality of transferring the meaning in Persian visual poetry in terms of cognitive base of different types of integrations which occur in the brain after different sensory channels transferring the visual and verbal data. Although contemporary poetry is multimodal, the visual poetry is considered a type of poetry that has both the verbal and the visual as the dominant, mixed modes that tend to construct the poetic meaning. Different arrangement of words and images, which has a neurological ground, requires different kinds of cognitive processing and will therefore induce different feelings, impressions, and connotations. Consequently, the general meaning of a multimodal text goes beyond that of the combination of the two modes.
Drawing on cognitive semiotics, this paper demonstrates how the multimodal poem is conceptualized through embodied experience. Furthermore, it shows how various types of visual/verbal synthetization in a poetry text are differed by a number of distinctive features. Moreover, it is shown how the meaning-making process and the resulting affection become possible in each type of visual poetry. Through modifying Aarhus’s model (2005, 2012), itself based on Fauconnier and Turner’s conceptual blending theory, this research puts forward twelve different types of interaction between the verbal and visual modes, which, in this paper, are mentioned just the three super basic classified categories due to the limitation of the journal’s space. In fact, the three super categories are:
It is about the general relations among the two or more modes or media. In this kind of relation, each mode/medium comprises separable and individually coherent texts in different mode/media to improve the meaning space at the end.  It is divided into two sub-groups, which are Mode-adjacency and Multimodality.
It is a kind of transformations from one medium to another. An inter-medial text could be divided into Duplicating and Iconicity (Image iconicity, Relational diagram iconicity and Structural diagram iconicity). Duplicating could not presents an indissoluble connection of diverse modes as a fusion of different modal processes, while in the second one (Iconicity), the verbal and visual modes are fused together to represent the similarity or adjacency. The Duplicating could also be based on similarity or contiguity as well, that is the whole or a part of the text could be duplicated due to similarity of the verbal mode to visual mode or the contiguity of both together.
The third and the last type of relation between verbal and visual modes is mix-modal text, which is the combination of modes in a way that the complex signs in different modes would not be coherent or self-sufficient outside of that context. It is divided into four groups which are called in this research Counter-iconicity (Counter iconicity of mis-matching and Paradox-counter iconicity), Mode-situational inclusion, Mode-overlapping and complementary relation. Cognitively, these three basic types are processed respectively as following: bottom-up, top-down and integrated processing. Furthermore, these types are based on the structure of human brain and the functions of neurological cells, to study multimodal, especially visual poetry. Since both brain and literature contain similar patterns, it is inferred that each type of verbal-visual interaction that is constructed through a particular cognitive process will necessarily form specific emotions and impressions.
 
 

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According to the opinion of Aristotle, mythos or tragic plot has some aspects analyzed and compared with utilizing documents on an analytical-descriptive method based on the elements through the tale of Jamshid and the play of Oedipus Tyrannus. The most important results including: the three aspects of the mythos of tale – transformation and recognition and catastrophe – are in descriptive category shaped with the morality of protagonist and in the case of the play it should be shown in two types of mixed – on transformation and recognition – and grievous – on catastrophe –. The complexity of mythos that is established of solidarity and its relation to transformation and recognition, indicates the tale in a simple mythos – because of rupture of actions and absence of recognition – and the play in compound one – on solidarity with continuity of dependent actions and transformation and recognition –. The tale is not regarded in a complete mythos; because of its affiliation to the out; but the play conversely is embedded in complete one. Referring the tale to an epic, which is narrated, prohibits to show it as the play which based on visual actions. Both of two works have the surprising conditions of mythos; hence everything has two sides of reasonability and unpredictability. The end of both composed in the way dedicated from their own. The referential myths are about the upper class human being and it is obviously shown the next imitative ones were patterned on them.

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The term mazmoun [theme] is one of the main keywords in the Indian Style [Sabk-e Hendi] of Persian poetry. This word, also used as a literary term since the fifteenth century in Persian poetry, is not synonymous with meaning, content, concept, intent, context, and diction in the literary terminology of Persian poetry. In the following paper, I try to examine the nature of “theme” as the Indian Style’s main literary element, its mechanisms, and how Persian poets and tazkirah writers of the fifteenth century employed the term. To this aim, the frequency of the early usages of this literary term from the late-fifteenth century to the early-seventeenth century has been considered. I have identified eight different characteristics of the term “theme” based on the Indian-Style poetry and the critical writings on this school at the time. Furthermore, I have differentiated three processes of constructing the “theme” based on three frequent verbs: to find, to reach, and to close. I will further point out the rising complexity of the structure of “theme” from Saib Tabrizi to Nasir Ali Sirhindi in the late-seventeenth century

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.The title of each book is the first instrument for acquainting the reader with the content and author of the book .It is clear that there's a mutual relation between historical , social and political events of each era with literary events and it affects directly on poets' mind and language .In this study ,we present lots of contemporary poem books , and describe the important literary, historical ,social and political events of each era ,and find a relation between the poem book titles and dominant events regardless of the book content and show this mutual effect in the structure ,content and rhetoric .In general , in terms of structure , titles change from one word and noun group into several sentence and even alphabet letters .In terms of rhetoric , the literal and apathetic titles of the book change into creative ,poetic and empathetic titles .As a result , amphibology and abstraction are created .In terms of content ,the extremist patriotic and static titles change into social ,religious ,political and revolutionist idealism .Finally , lots of meaningless words are created .

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The current study investigates the similarities and differences of conceptualization of SADNESS in representative corpuses of ordinary (non-poetic) and poetic language. Analysing two separate corpuses (Persian Language Data Base and Farsi Language Corpus), the writers managed to identify and extract the relevant conceptual metaphors of SADNESS in both ordinary language and contemporary poetics respectively. Then according to Conceptual Metaphor Theory of Lakoff and Johnson (1989), the most frequent generic and specific mappings of SADNESS in both ordinary and poetic language were determined. The study showed that almost all the generic metaphors of SADNESS occur in both types discourse, though some of them occur significantly in either the one or the other type. An analysis of the two sets of metaphors revealed several important differences between poetic and non-poetic conceptualization of SADNESS, including the higher degree of agentivity, positive conceptualization of SADNESS and unconventionality in poetic language compared to non-poetic genre. The finding that almost all the identified metaphors are found in poetic and non-poetic language supports Lakoff and Turner’s claim (1989) that there is nothing essentially different about poetic metaphors.
 
 

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Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literay critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. In this study the authors seek to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, the authors  analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the liryc poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, the authors have presented solutions using the theory of text worlds.

1. Introduction
Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literary critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. Our purpose in this study is to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, we analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the lyric poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, we have presented solutions using the theory of text worlds.
The article can be elaborated in more detail: Text world theory is one of the tools of cognitive poetics that provides the reader with the ability to carefully examine the components of a text. This theory has a coherent method for modern literary analysis because it explores internal elements and then analyzes the evolution of text discourses. The present research has demonstrated in practice that this theory is a tool for accessing discourse and the constituent elements of Persian poetic texts. An important point that the interpreter must consider in analyzing the text world of classical poetry is to pay attention to the elements of discourse and not to examine grammatical sentences.
In the analysis of poetry, this theory, more than anything else, deals with the context of the text and the explanation of the textual elements of the poem, and does not have the special ability to examine the rhetorical elements of the text. At the same time, in the course of our research, we have shown that despite the limitations of this theory in dealing with the rhetorical elements of the text, the rhetorical simile can be explored in sub-worlds of text. The inherent limitations of classical Persian poetry, such as the lack of narration and the lack of vertical focus in many poems, as well as the necessity of weight and the existence of rhyme and line, cause this theory to generally face limitations in dealing with classical poetry. With the application of several guidelines, this theory can be applied to classical Persian poetry. This theory is well-suited to criticism in modern poetry because of its greater narrative and lack of limitations on classical poetry

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Ghodrat Ghasemipur, PH.D.
Abstract
 
This article has studied and assessed the structural poetics of poetry via adoption of a trans-critical approach. This article initially enumerates the structural narrative scope and its enriched and multiple outcomes, which have occurred due to the success of structural poetics in analysis and study of the grammar of narration. In the second part, the article analyzes the poem and concludes that these analyses are based on a formalist approach or have modified the achievements of present day critics. Hence, the structural poetics has not outpaced structural narrative studies.
 

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This paper discusses the prominent position of Arnold's cultural adaptation of the compelling story of Rustam & Sohrab in Shahnameh in the Victorian literary poly-system in England.  According to the poly-system theory as proposed by Even-Zohar, the translated literature can typically have primary /central and/or peripheral/marginal positions in the target culture, depending on whether the target culture is young, weak, or in crisis.  Meantime, the faithful translation of Shahnameh seems to occupy the peripheral position in English translation, but Arnold’s adaptation has typically exceeded  the adaptive effect and obtained the proper position in the literary poly-system of the Victorian.  This paper aims to peruse how Arnold's cultural adaptation of Shahnameh’s passionate story has marked a primary position in the English literary poly- system of the Victorian era. To this aim, Firstly, Arnold's position as an interpreter/adaptor is sketched out. Then, having compared Arnold’s adaptation with the primary sources to which Arnold has typically had access to become familiar with the Persian native story, mention is reasonably made of the marked differences between the two Persian and English literary poetics under the umbrella of poly-system theory as proposed by Even-Zohar. Due to the innovative way (s) Arnold has uniquely adapted, recreated, and re-written the native story with specific regard to the peculiar features of the literary tradition of the Western poetics, it seems that the local story of Shahnameh has  found the prime position in the Western literary poetics of the Victorian.

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Theory of mental spaces is a theory derived from the theory of possible worlds. This theory and its derived theory, conceptual blending, are useful tools for text analysis in the field of cognitive poetics. The purpose of this study is to investigate how these theories encounter Persian poetry. To examine the application of these theories in the analysis of Persian poetry, we first discuss their philosophical aspects and theoretical foundations, and then test how they work in a lyric by Saadi. The results of the present study show that the theory of mental spaces, despite its generally appropriate function, in some positions such as allegorical structures, does not have the necessary efficiency in semantic analysis of poetry and in such circumstances, the theory derived from that, theory of conceptual blending, can cover the functional vacuum. We have also shown that the theory of mental spaces is a tool that explains and analyzes the linguistic nature of ambiguity, as one of the most important elements of rhetoric in poetry.
 

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Time in the metaphysical sense is an infinite cognitive system that calls man to dynamic thought and does not limit it in time framework and focusing on though takes on a dimension beyond reality.
Existence too does not know the limitation of time and depends on the mind without reality. The poetic presence creates meanings in various perspectives. There are thinkers in Iran and the Arab world who have discussed time and existence in poetry from a philosophical perspective. Dariush Shayegan, a contemporary Iranian writer, translator and thinker, wrote the book entitled Five Realms of Being to show how the Iranians and the five great poets, namely: Ferdousi, Rumi, Khayyam, Hafiz, and Saadi are connected. Arabic Poetics of Adunis is a literary and critical study in the field of poetry, contemporary Arabic literature and culture. With his cryptic and philosophical writings, invites the audience to think. The book that was originally university lectures consists of four studies: poetics and pre-Islamic narratives, poetics and the Qur’anic space, poetic and thought and, poetic and modernity. This article employs a comparison between the two books taking into account their philosophical views, both existentially and chronologically, as they are philosophers of vision, regardless of being authors.