Sohrab Sepehri

Sohrab Sepehri's poetry is a rich source of novel metaphors. As a poet deeply preoccupied with convincing us to see things differently, Sepehri redefines such key concepts as life and death in his poems. To give us a new understanding of these concepts, he creates numerous metaphors. Probing into his metaphors through a Cognitive Poetic approach helps find out how he constructs them. Cognitive Poetics is a new literary discipline which, among other things, tries to find the relationship between literary works and everyday language. This paper aims to disclose the underlying cognitive structure of Sepehri's metaphors of life and death in his "Water's Footsteps." Such an analysis reveals how the poet rejects the common way of comprehending the concepts of life and death to give them new meanings. The authors argue that the poet resorts to a kind of cognitive defamiliarization by refusing to employ the common Conceptual Metaphors for death and life. Instead, he constructs the metaphor of DEATH IS LIFE. Also discussed is wherein the poem the poet comes round to the common conceptual metaphors of death.   Keywords : Sohrab Sepehri, Conceptual Metaphor, cognitive poetics, death, life

Depuis le romantisme, le paysage est devenu un enjeu majeur de la littérature. En fait, il est question d'une image extérieure donnée en entier au regard, et c'est la mission de la littérature de la copier autant que possible s’appuyant sur la réalité et par le moyen de la description. Dans cet article nous nous appuyons sur la poétique du paysage dans les œuvres de deux grands poètes contemporains, le premier, Jules Supervielle (1884-1960), poète très attentif à l’univers qui l’entourait; et le second, Sohrâb Sepehrî (1928-1980) qui est l'un des plus grands poètes iraniens du XXe siècle. À travers des exemples tirés de leurs poèmes et en se référant aux idées de Michel Collot sur le paysage et les représentations du paysage, cet article vise à analyser tout d'abord le paysage et ses enjeux environnementaux et ensuite à dévoiler la finalité recherchée par les poètes concernant l’articulation du paysage dans leur poésie.

Phenomenology is one of the outs tanding theoretical paradigms in contemporary s tudies in architecture and urban planning. However, the phenomenology of place in artworks, especially painting and drawings (visual arts), through architectural modalities could be a subs tantial attempt and a new subject that needs more s tudies. The purpose of current research is to achieve a method based on which the phenomenon of place in the visual arts could interpret and explained more accurately. For this aim, a qualitative and descriptive method is applied. In this s tudy, based on the theories of Martin Heidegger and Edward Ralph on the one hand and the ideas of Chris tian Norberg-Schultz, on the other hand, a framework for the phenomenological s tudy of the place has been proposed in three s tages of description, analysis, and explanation. Besides, the drawings of Sohrab Sepehri, one of the famous contemporary artis ts of Iran, have been s tudied as an example by applying this framework to show the efficiency of the proposed framework and method. The results of this s tudy show that the interpretation of artworks based on these three s tages consis tent with the s tage of phenomenological reduction and cons titution which is common in phenomenology. Sohrab Sepehri's drawings were well in line with the phenomenological concepts of place and its components and variables introduced in this research. The challenges of applying this framework discussed and enhancing its validity by further s tudies in the works of other artis ts, recommended. 

This paper’s aim is to present a comparative study of the poetry of the American James Arlington Wright and the Persian Sohrab Sepehri in order to examine the main ground of convergence in their poetry, which is epiphany or sudden revelation of truth. This revelation is mostly informed by intuitive, as opposed to logical, thinking and a mystical union with nature and natural elements. The poetic art of both Sepehri and Wright precisely consists in reminding the readers of the necessity of redefining and reconstructing the self through an awakening based on spiritual moments. In both Sepehri and Wright, the magic moments are presented through epiphany whose mission is to alert the soul to the absence/presence of what matters, and to the ways of dealing with the problem.

This essay undertakes a comparative study of metaphorical imagination in the poetry of Walt Whitman and Sohrab Sepehri, not to flatten their poetics into a single cognitive frame but to ask how differently embodied minds, inflected by culture, geography, and cosmology, render abstraction sensuous. Refusing the tidy predictability often associated with conceptual metaphor theory, the study reworks its premises through the friction of image schema theory, affective cognition, and the irreducibility of cultural embodiment. Metaphors here are not ornaments or mere vehicles of thought: they are perceptual infrastructures, felt vectors, spiritual gestures. In Whitman, metaphor dilates space and amplifies energy, crafting a porous, vibrating body politic immersed in the democratic weather of the cosmos. In Sepehri, the metaphoric pulse slows, roots downward, dissolves into vegetal time and translucent perception, a mysticism attuned not to ascension but to erosion, to the grain of sand and the drop of water. Each poet’s figurative lexicon stages a different negotiation between self and world, body and spirit, opacity and clarity. Reading across these metaphorical archives, the study advances no universal theory but a comparative poetics of situated cognition, one attentive to how language thinks through the body, feels through the environment, and believes through its figures.