استعاره مفهومی عشق در غزلیات خاقانی مقالة

در مطالعاتِ زبان‌شناختی معاصر، کارکردِ استعاره ادراک و شناخت مفاهیم است. استعارة مفهومی عبارت ‌است از درک مفاهیم انتزاعی بر اساس تجربة موجود از مفاهیم عینی. پژوهش حاضر به شیوة توصیفی-تحلیلی و در چهارچوب نظریة استعارة مفهومی لیکاف و جانسون به بررسی چگونگی و چرایی ادراک مفهومِ عشق در اندیشة خاقانی با تمرکز بر بخش غزلیات از دیوان وی می‌پردازد. طبق بررسی‌ها استعاره‌های هستی‌شناختی عشق در غزلیات خاقانی از بیشترین فراوانی برخوردار هستند و نمونه‌ای از استعارة جهتی در متن یاد شده وجود ندارد. یافته‌های پژوهش حاضر نشان می‌دهد، طرح استعاره‌های هستی‌شناختی عموماً در پیوند با استعاره‌های ساختاری و ناظر بر جنبة دشواری‌آفرین عشق است. به طور کلّی تجربة عشق در نگاه خاقانی امری دشوار اما ارزشمند است. چنان ‌که بیشتر استعارهای متن با تأکید بر ماهیتِ نابودگر و دشواری‌آفرین عشق و تمرکز بر جنبة ارزشمند و مقتدر آن شکل گرفته‌اند. نگارندگان معتقدند شرایط زندگی شخصی و اجتماعی شاعر، روحیات، تمنّیات و تجربیات وی زمینة خلق و پرداخت استعاره‌های متن را فراهم آورده‌اند.

In contemporary linguistic studies, the function of metaphor is perception of concepts. Conceptual metaphor is the understanding of abstract concepts based on existing experience of sensible concepts. In this research, the concept of love in Khaqani's sonnets, based on the conceptual metaphor theory by Lakoff and Johnson, has been investigated. This paper aims to investigate how and why conceptual metaphors are made. According to this study, the ontological metaphors of love are the most abundant, and there is no example of an orientational metaphor in Khaqani's sonnets. The design of ontological metaphors is generally linked with structural metaphors and refers to the difficulty of love. In Khaghani's view concept of love is a hard experience but also valuable. So most metaphors of love in Khaqani's sonnets are about it's destructive and hard nature, And emphasize its valuable and powerful aspect. The authors believe that the poet's personal and social living conditions, moods, wishes, and experiences have provided the basis for creating the metaphors in his sonnets.Extended abstract Introduction In classical literary studies, metaphor is a purely linguistic matter with an aesthetic function. But contemporary studies show that the nature of thought is also metaphorical and, in this view function of metaphor is cognition. (Lakoff,2006:192) The conceptual system that shapes human thought and action has a metaphorical nature (Lakoff, 1980:454). The human mind understands abstract concepts based on the experience of sensible concepts. Metaphoric perception means that the human mind understands abstract concepts based on the experience of sensible concepts. Conceptual metaphor is the perception of abstract concepts (destination domain) based on existing knowledge and experiences of sensible concepts (origin domain). It is obtained from the correspondence relationship between the origin and destination territories. The correspondence relationship between origin and destination territories is called mapping.(lakoff & Johnson,1399: 327-329) In the cognitive view, man can understand the most indefinable abstract concepts like time, ethics, emotions, feelings ... by metaphor. Conceptual metaphors usually come from a person's experience and cultural data of his society.(fotoohi, 1398: 328-329) Conceptual metaphors divide into three categories: orientational, ontological, and structural metaphors. Research MethodThis research used descriptive-analytical methods, and The area of study is Khaqani's poem(especially his sonnets) edited by Ziaeddin Sajadi and the works about it, based on cognitive studies and conceptual metaphor theory. Discussion In this research, metaphorical mappings were extracted from Khaqani's sonnets section and categorized according to the origin domains. We realized that due to the dynamics and complexity of the poet's mind, there is no example of an orientational metaphor in his sonnets. Ontological mappings are in three categories: “Love is existence”, “Love is alive” and “Love is container”.A: “Love is alive”: When imagining love as a living form, the poet generally took help from human beings and their characteristics. This proves the value of love in the poet's imagination. (Sparham and Tasdighi, 2018: 102) The choice of powerful human characters such as the king, the warrior, the hero, and the plunderer is rooted in the kind of Khaqani's relationship with the kings of Sharvan.(his social life)B: “Love is existence”: In understanding love in the shape of beings(existences), he has used destructive or uplifting or valuable existence, as the origin domain. some things like Fire, storm, lightning, wind, crown, coin... But usually, the focus is on destructive beings.C: “Love is container”: In the understanding of love as a container, "love is a road" and its related clusters like "love is a caravan " are the most frequent forms of metaphors, emphasizing the progressive nature of love. it is becase of his great interest in traveling and his experiences of trips.(Kandli harischi, 1995: 402)In structural metaphors, some concepts such as calamity, sadness, and difficulty... are used as the origin domain. The roots of this choice are in Khaqani's experience of love. He suffered a lot in his first love and marriage. He was deeply hurt after the death of his wife.(Kandli harischi, 1995: 194-201) He experienced the sadness and pain in his lovely life and has used it for the conceptualization of love. ConclusionIn this research, the concept of love in Khaqani's sonnets has been investigated and analyzed based on the conceptual metaphor theory of Lakoff and Johnson. According to this study, there is no example of orientational metaphor in Khaqani's sonnets, but the frequency of structural metaphor is 20%, and ontological metaphor is 80%. Ontological metaphors in Khaqani's sonnets are 35% ontological metaphors, 46% animistic metaphors, and 19% container metaphors. In 35% of the ontological metaphor is used objects or phenomena, in 46% of the cases, a living being, and in 19% of the cases, the container (place) as the origin territory. Ontological metaphors emphasize usually the authority and value of love, by using humans and destructive beings as the destination domain. Structural metaphors also pay attention to the hard nature of love and the aspect of authority and destruction of love, so they are related to ontological metaphors. In general, in Khaqani's view, the concept of love has a dynamic and valuable nature, but it is powerful and difficult. 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