دانشگاه تربیت مدرس جستارهای زبانی 2322-3081 8 3 2017 07 23 Constructiono of Emergent Meaning in Blank Verse Poetry on the Basis of the Conceptual Blending Theory آفرینش معانی پیدایشی در شعر سپید برپایۀ نظریۀ هم‌آمیزی مفهومی 43 66 6558 FA مجتبی پردل دانشجوی دکتری زبان‌شناسی دانشگاه اصفهان، اصفهان، ایران حدائق رضایی استادیار زبان‌شناسی دانشگاه اصفهان، اصفهان، ایران عادل رفیعی استادیار زبان‌شناسی دانشگاه اصفهان، اصفهان، ایران Journal Article 1970 01 01 In the present paper, we aim to apply the Conceptual Blending Theory proposed by Fauconnier and Turner (2002) to the analysis of one poem by Garous Abdolmalekian. Our hypothesis rests upon the fact that the same cognitive operations which occur in everyday construction and understanding of language as put forth by Blending theorists, occur also at the construction and interpretation of a literary work by authors and readers alike, operations like setting of input mental spaces, cross-space matching, blending clashing material and creating emergent structure. The poem examined in the paper, "lahzeye sheni" ("the sandy moment") is quite a long poem divided into five stanzas. The method used in the examination is a descriptive- analytic one. To use conceptual means of Blending, each stanza is a blend behind which stands an integration network composed of two input spaces which have projected selective structure onto the blend leading to emergent structure in it. For example, in one stanza, what is presented is an image in which black pieces of paper thrown out of the window turn into crows and fetch on the tree branches. This is a blend created out of two inputs of crows and black pieces of paper which are integrated together through the compression of the vital relation of Change. In general, it can be assumed that the poet, while creating the work, has passed through theses mental stages before he comes up with the present form of the poem; that is, he has formed two mental input spaces, and then merged them together only to bring about a novel concept, some emerge structure, which is the poem itself. The assumption can be extended so as to include the reader on the other side of this act of communication: the reader also, on their encounter with the poem, in order to make sense of it, has to unpack the blend which is presented to him in the poem. The reader, through the mechanisms of disintegration and decompression, try to reconstruct the mental phases the author has gone through while creating the work, and thus to gain an interpretation of it. In conclusion, what this paper reveals is the fact that literary works depend upon the same basic mental operations, here the operation of blending, which are at work in like non-literary works. Moreover, a good reader is who is able to follow the author, in a reverse manner, in his act of creation, and to achieve an active participation in his act of reading. The Blending Theory, by analyzing the cognitive processes a work of art passes through, helps readers reach higher levels of the participation of the sort mentioned. <br> در این مقاله، کوشش می‌شود به چگونگی تولید و درک معانی پیدایشی از سوی نویسنده و خواننده در شعر سپید از منظر بوطیقای شناختی نگریسته شود. نظریه‌ای که چارچوب لازم را برای این کار فراهم می‌آورد، «هم‌آمیزی مفهومی» است که ژیل فوکونیه و مارک ترنر (1998 و 2002) پیش نهاده‌اند. برخلاف رویکردهای فرمالیستی که صورت اثر را در کانون توجه قرار می‌دهند، در نظریه‌های شناختی، معنا و فرایندهای مفهومیِ در پسِ پشتِ صورت آثار در مرکز توجه قرار می‌گیرند؛ فرایندهایی همچون انطباق، نگاشت و فرافکنی. کاربست نظریۀ هم‌آمیزی مفهومی در بررسی تحلیلی و توصیفی شعری از گروس عبدالملکیان نشان می‌دهد نظریۀ مزبور به‌خوبی از عهدۀ توصیف و تبیین شناختیِ چگونگی آفرینش و خوانش آثار شعری برمی‌آید؛ بدین ‌ترتیب که برپایۀ نظریۀ نام‌برده می‌توان هر شعر را آمیزه یا مجموعه‌ای از آمیزه‌های مفهومی به‌شمار آورد که نویسنده آن ساخت و پرداخت کرده است و خواننده نیز جهت درک و تفسیر معنای پیدایشی حاصل از این آمیزه یا آمیزه‌ها ‌باید به بازسازی شبکه ادغامی نهفته در پسِ پشتِ آن‌ها بپردازد.<br> https://lrr.modares.ac.ir/article_6558_d139db6a236200b21cc7f752979132d0.pdf