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Cognitive poetics theory provides a theory about literature, which is based on the language of literary text as well as the order of linguistic segments. Furthermore, this theory is rooted in the cognitive linguistics techniques, such as analogical analysis, in which conceptual mapping in literary texts can operate at three different levels: “attribute mapping,” “relational mapping”, and “system mapping” (Freeman, 1998). The first level is specified to the perception of similarity between objects, the second level is for studying the relations between objects, and the final level is for recognition of patterns created by object relations, which enables generalization to more abstract structure. In this paper, to study the operation of this theory, a Persian poem, called “A Tale”, written by Ahmad Shamloo, is going to be analyzed. This research argues that how cognitive poetics could produce an appropriate theory for systematic analysis of a literary work and its interpretation? The given response is that every literary theory has to cover seven criteria to be appropriate, so cognitive poetics cover all of them and provide a powerful device for distinguishing between the linguistic and poetic functions of language. Moreover, the general mapping skills, which make the cognitive ability suitable for producing and interpretation of metaphor, are the basis of this theory, which could clear the insight and limitations of traditional literary critics as well as evaluating a literary style by using cognitive poetics approach. The main goal of this paper is to show the difference between language and structure of poem and everyday conversation or any other genre. It also tries to show how systemic interpretation of each poem occurs according to system mapping.  

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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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    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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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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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.