دراسة الاستعارة المفهومية في قصيدة المواكب لجبران خليل جبران علي ضوء آراء لايكوف وجونسون (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
الاستعاره، وفق الأبحاث اللغویه الکلاسیکیه، تعنی تعبیرا لغویا قائما علی المجاز، یتم فیه استعمال اللفظ فی غیر ما وضع له مع علاقه مشابهه، تربط بین اللفظ المطوی ذکرُه واللفظ الملفوظ. وهناک ضرب آخر من جنس الاستعاره، ظهر حدیثا، یتبناه کلّ من العالمینِ اللغویینِ، لایکوف وجونسون. وحسب رؤیه هذین المنظرین، فإنها تَصوّر لمفهوم ما عبر مفهوم من میدان آخر، کأن نُدرک مفهوما معنویا عن طریق مفهوم حسی. وتنقسم الاستعاره الأخیره إلی ثلاثه أصناف: الاستعاره البنیویه، والفضائیه (الفیزیئیه أو الاتجاهیه)، والأنطولوجیه (الوجودیه). تهدف هذه الدراسه، عبر المنهج الوصفی التحلیلی، وبالاعتماد علی آراء جونسون ولایکوف، إلى دراسه أنواع الاستعاره المفهومیه فی قصیده المواکب للشاعر اللبنانی، جبران خلیل جبران. وتوصلت إلی أن الشاعر وظف الاستعاره المفهومیه بأنواعها الثلاثه: البنیویه، والأنطولوجیه، والفضائیه. فأما الاستعاره البنیویه، فبرهنت علی أن جبران ینظر إلی الحیاه علی أنها زائله وعابره، وعلی إثر هذا یدعو الناس إلی الانتفاع باللحظات الراهنه، کما یؤمن بأن البساطه فی الحیاه ألیق بها من التعقید. فالإنسان فی هذه الحیاه مسلوب الإراده، تقهره الظروف. وأما الاستعاره الفضائیه، فتظهر أن الحبّ، حسب وجهه نظر جبران، لیس له موضع غیر الروح، وأنّ ما یتعلق بالجسد، ویعتبرونه حبا، فما هو إلا نزوه. کما أنّ الاستعاره الأنطولوجیه تکشف أن الشاعر یعتبر أن الأشیاء الهادئه لیست معدومه العزم، وإنما یبرز هذا الجانب منها فی الوقت المناسب.Studying the Conceptual Metaphor in the Poem “Processions” by Gibran Khalil Gibran in Light of the Views of Lakoff and Johnson
Language is considered the bridge that connects human beings to communicate and understand each other. It consists of different linguistic units that join together. Among the units and tools that produce the intended speech are metaphors. They can be divided into two categories. The first is the classical metaphor which is an analogy of a thing with another thing, so you pretend to express the simile and show it. For instance, you use the word “sea” in a wrong/divergent way, by stripping it of its true meaning and giving it the meaning of a generous man, meaning that I saw a man who resembled the sea in giving. Metaphor in this sense is a purely linguistic issue. The second type of metaphor (i.e. conceptual metaphors), was proposed by two European theorists, Lakoff and Johnson (2008) in the book Metaphors We Live By. It is a type of metaphor used abundantly in our daily life and culture. It reflects the way we perceive things in different fields. By employing this method, we express the external world and concepts. Here, inferences are no longer regarded as merely literary artifacts intended only to embellish and beautify speech, as they were in the past.
A large part of our perceptions and unconscious thinking about non-material phenomena is governed by conceptual metaphors, which we do not usually control. Conceptual metaphors are divided into three categories. The first is the structural metaphor, which is the one in which a concept is transferred from one aspect to another aspect. For example, we say “Life is a river”. We find that the speaker, in order to explain the passage of life and its permanent change, transfers it from one aspect to another aspect. The second category, physical (spatial) metaphor, is the metaphor through which we imagine concepts that have a direction and a space. For example, we say: “His morals are high,” so we made morals have a direction of height because we imagine that “high” represents sublimity and sophistication in our thought. The third category, ontological metaphor, is the metaphor by which we try to understand the moral matter by conceptualizing it in a material form.
This study, using the descriptive-analytical method and based on the opinions of Lakoff and Johnson (2008), aims to study the types of conceptual metaphors in the poem “Processions” by the Lebanese poet Gibran Khalil Gibran. After discussing the title through the questions raised at the beginning of the study, the research results showed that the poet employed all types of conceptual metaphors: spatial, structural, and ontological. Through analyzing these types, many mental hints are revealed. The structural metaphor shows that Gibran views life as fleeting, and as a result of this, he calls on people to benefit from the present moments. The poet also believes that simplicity in life is better than complexity and show off. Gibran believes that man is robbed of his will in his life and is oppressed by circumstances. Some of his structural metaphors show that, to him, life is so short that he sees it as a mere idleness that soon passes and ends. He explains that kindness in this life is a trick that some people use to achieve their own goals. As for the space metaphor, to Gibran, love has no place other than the soul, and what is attached to the body and which people call love is nothing but a whim and lust dictated to man by evil.
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