کارکرد استعاره های مفهومی در شعر جعفر ابراهیمی
آرشیو
چکیده
استعاره های مفهومی (Conceptual metaphors) که شامل استعاره های جهتی و فضایی، هستی شناختی و ساختاری است، از زمره بحث های نو در زبان شناسی شناختی محسوب می شود. نظریه استعاره مفهومی، درک یک حوزه معنایی برحسب حوزه دیگر است که بر اساس تناظر (نگاشت) بین دو مجموعه مبدأ و مقصد انجام می شود. در این جستار، به روش توصیفی- تحلیلی، استعاره های مفهومی برای شناخت نگاشت بین قلمرو مبدأ و مقصد در شعر جعفر ابراهیمی بررسی شده است. نتایج پژوهش نشان می دهد: در تبدیل زبان در ادبیات کودکان از معانی واقعی به معانی مجازی و صورت های مختلفی که اقسام مجاز نامیده می شوند، استعاره های مفهومی، بسیار مورد توجه آفرینندگان آثار ادبی قرار گرفته است. این پژوهش در پی نشان دادن انواع استعاره های مفهومی در شعر جعفر ابراهیمی است؛ یعنی حوزه های مبدأ مورد توجه شاعر برای ملموس و محسوس سازی مفاهیم انتزاعی و ذهنی چیست؟ دیگر آنکه او از استعاره های مفهومی تا چه حد بهره برده و اهمیت این استعاره ها در شعر او چقدر است؟ یافته های پژوهش حاکی است که ابراهیمی به خوبی دریافته است که نوجوانان می توانند استعاره هایی مانند «زندگی، سفر است» را درک کنند و این استعاره ها در نشان دادن شیوه زندگی و هویت بخشی به آنان بسیار آموزنده است. مهم ترین حوزه مبدأ در شعر جعفر ابراهیمی، طبیعت و وابسته های آن است. شاعر با این حوزه مبدأ به عینی سازی مفاهیمی چون پاکی و صمیمیت پرداخته است. بخش وسیعی از استعاره های مفهومی در اشعارش برپایه حوزه مبدأ رنگ هاست، وی بر طبق استعاره «مفاهیم، رنگ هستند» به مفهوم پردازی مفاهیمی چون «شادی، سرخ است» و «امید، سفید است» دست زده است.The Function of Conceptual Metaphors in Jafar Ebrahimi's Poetry
IntroductionConceptual metaphors, which include directional and spatial, ontological, and structural metaphors, are considered to be among the new topics in cognitive linguistics. Conceptual metaphor theory is the understanding of one semantic domain in terms of another domain, which is based on the correspondence (mapping) between two sets of origin and destination. The recognition of conceptual domains of the mind has a metaphorical basis, and the conceptual system is the product of metaphorical conceptualization. This conceptual system plays a major role in explaining the everyday realities of life, and since this system has a metaphorical structure, our way of thinking, accumulation of experience, and action also have a metaphorical foundation (Afrashi, 2017: 66). With the prevalence of studies and research on conceptual metaphor and due to its interdisciplinary nature, it is necessary to be familiar with and understand this concept and the various aspects of its study in childrens and adolescents' literature. This research seeks to show the types of conceptual metaphors in Jafar Ebrahimis poetry; That is, what are the areas of origin that the poet focuses on to make abstract and mental concepts tangible and tangible? To what extent has he used conceptual metaphors and what is the importance of these metaphors in his poetry? Research MethodologyIn this article, conceptual metaphors have been examined using a descriptive-analytical method to understand the mapping between the realm of origin and destination in Jafar Ebrahimis poetry. DiscussThe discussion of conceptual or perceptual metaphor owes most of its origin to the ideas of George Lakoff and Mark Johnson. Conceptual metaphor, which is considered the fruit of conceptual and cognitive approaches, is a new look at how mental processes emerge and transform them into linguistic elements, which in the current group is the result of Lakoff and Johnson's thinking and was first mentioned in 1980 in the book "Metaphors We Live With" (cf. Lakoff and Johnson, 2018: 7). A large part of the conceptual metaphors in Ebrahimi's poems are based on the field of origin of colors; from a psychological point of view, each color has a specific physiological function in the child's mind. Blue symbolizes transparency, yellow symbolizes the proximity of death, green symbolizes life-giving, red symbolizes life, white symbolizes life-giving, black symbolizes sadness and grief (Foroughi-Rad, 2016: 72-70).- The weather is telling / Spring has come / How green and beautiful it has become / The leaves of the plane tree (Ebrahimi, 1996: Flowers of Laughter). Green is a symbol of blessing and life. Of course, in the literature of revolution and sacred defense, green is a symbol of stability and steadfastness in belief. For example, in my drawing book, it colors freedom in indigo and anger in purple.- It is blue, a leaf from my notebook/ It is like the heart of the Imam/ A bright sky/ ... It is black, a leaf from my notebook/ A color of oppression/ Like the heart of the enemy/ The color of freedom and anger/ The color of indigo and purple. / The notebook of my homeland/ It is beautiful, full of patterns (Ebrahimi, 1997: 32). ConclusionThe results of the research show that in transforming language in childrens literature from real meanings to figurative meanings and various forms called permissible types, conceptual metaphors have received much attention from the creators of literary works. The findings show that Ebrahimi has used various forms of conceptual metaphors in his poems; however, his use of structural metaphors is greater than others. What is evident in the domains of origin in Ebrahimis poems is his special attention to the domain of origin of nature, the village, and its requirements. Village and nature, in the opinion of this poet, are the most metaphorical mappings, such as the sensitization of abstract matters such as love, purity, and freedom. After this, in the domain of origin, colors play a significant role in the conceptual metaphors found in Ebrahimis poems. Colors in Ebrahimis poetry better illustrate concepts that are perceived in terms of volume. He has tried to clarify the process of recognizing and receiving abstract concepts with the help of colors and the sense of sight, more than any other sense.
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