دانشگاه اصفهان فنون ادبی 20088027 9 1 2017 04 21 The semiology of metaphor and imagery in Ahmad Reza Ahmadi's Neshani نشانه‌شناسی تخیل و استعاره در داستان «نشانی» احمدرضا احمدی 53 62 21399 10.22108/liar.2017.21399 FA فاطمه کاسی استادیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، کرمان، ایران محمد صادق بصیری دانشیار گروه زبان و ادبیات فارسی دانشگاه شهید باهنر، کرمان، ایران 0000-0002-5566-0220 Journal Article 2014 11 20 Ahmadreza Ahmadi is an Iranian poet and writer of the 1340’s (Solar Calendar, the 1960’s). He started his activities in children’s literature along with poetry. He wrote his first children’s book in 1348 and he has been writing ever since. His works in children’s literature depict a different atmosphere. Reading Ahmadreza Ahmadi’s works foregrounds some signs in readers’ eyes. This article analyses the semiotics of the story “Address”. Semiotics is the study of anything that refers to something else; these signs can take the form of words, pictures, sounds, situations, and objects. In reading Ahmadi’s stories, specially this one, the markedness of imagination is very conspicuous. The studies done on Ahmadi’s work showed that the imagination in his works is a modern and fantastic one, and also because of the simultaneity of imagination, metaphor, and ambiguity, the reader, in the paradigmatic axis, is faced with metaphor in its modern sense, ambiguity, and openness of the text. This article studies the imagination and metaphor that Romantics and Symbolists refer to, and thereupon tries to decipher these signs based on Lakoff’s theories. <br />To this point, first, a summary of the story “Address” is provided, and then I state the theoretical basis of the article. After a definition of semiotics and its features, I talked about the markedness of imagination in Ahmadi’s works, and after stating the difference between thought and imagination (imagination refers to complicated and difficult relationships like a living body, not to the mechanical and one-to-one relationships of things. In thought, a simple thing as likeness is created, and there is no trace of metaphor and sign as in Romanticism or Symbolism) we concluded that imagination in his works is marked. <br />In the discussion about the markedness of imagination in Ahmadi’s works, we considered imagination is his works to be fantastic. Fantastic imagination is the type of imagination that goes beyond the boundaries of imagination, or deforms real dimensions and forms for its needs and directions in a particular way. Fantastic imagination is an infinite, boundless, and normally non-repetitive imagination. <br />In the next discussion the markedness of metaphor is presented. Metaphor can be taken as an aspect of imaginary language. According to linguists, metaphor includes the process of transferring conceptual perception through likeness, in a way that the words in a language are used for a new meaning (afrashi, 20.1390). This understanding of metaphor is naturally opposed to the classic understanding which believes that metaphor is separable from language, and it can be said that the modern view on metaphor is the continuation of the Romantic view which believes that metaphor is inseparable from language. <br />The last discussion is designated to reflect the metaphor of the structure of phenomena in the story “Address”. Lakoff and his students have done a study on the metaphorical perception of the structure of phenomena. Their findings show that different aspects of the structure of phenomena such as concepts like states, transformations, processes, actions, causes, goals, and ways, from a cognitive point of view, are defined through metaphors based on place, motion, and force. Therefore, most abstract concepts- time, states, transformations, causality, action, goal and way- are conceptualized through metaphor. (The same, 166) <br />The story “Address” can be analyzed through the metaphor of phenomenon. The whole story is a metaphor from a point of departure (house) to a point of arrival (pharmacy). It is necessary to say that the motion metaphor is not summarized in the physical motion (going from the house to the pharmacy in order to buy drugs). This motion is also seen in states. The particular obstacle in this story is a vital part of the metaphor of phenomenon. The story does not follow a tragic process, and at the end the pains turn into happiness and hope. این مقاله قصد دارد تا با تحلیل نشانه‌‌ها در داستان «نشانی» احمدرضا احمدی، به واکاوی عناصر تخیل و استعاره بپردازد. احمدی از شاعران و نویسندگان دهة چهل ایران است. او همزمان با شاعری در زمینة ادبیات کودک فعالیت خود را آغاز کرد. اولین کتاب کودک او در سال 1348 نوشته شد و تا امروز هم به نوشتن ادامه می‌دهد. آثار او در زمینة ادبیات کودک از فضایی متفاوت سخن می‌گوید. مطالعة آثار احمدرضا احمدی نشانی‌هایی را در چشم خواننده برجسته می‌سازد و از همین رو، بررسی نشانه‌شناسیک آن را برمی‌انگیزد. نشانه‌شناسی، مطالعة هر چیزی است که بر چیز دیگر اشاره دارد و این نشانه‌ها می‌توانند به شکل کلمات، تصاویر، اصوات، اطوار و اشیا ظاهر شوند. با خواندن آثار احمدی و از جمله این داستان‌، نشان‌داری تخیل، خودنمایی می‌کند. مطالعات انجام‌شده در آثار احمدی نشان داد که تخیل در آثار او، تخیل مدرن و فانتاسیک است و همین طور به دلیل همگامی تخیل و استعاره و ابهام، خواننده در محور جانشینی با استعاره به معنای مدرن و ابهام و گشودگی متن روبه‌روست. این مقاله به تخیل و استعاره‌ای می‌پردازد که رمانتیک‌ها و سمبولیست‌ها بدان اشاره دارند و در پی آن به رمزگشایی این نشانه‌ها بر پایة نظریة لیکاف خواهد پرداخت https://liar.ui.ac.ir/article_21399_72988e2abdff6a08a6a89c94e226f15e.pdf