بررسی شناختی شیوه مفهوم سازی زشتی و زیبایی در گلستان سعدی با بهره مندی از نظریه موضع (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تجربه زیبایی، پدیده ای پیچیده و مربوط به ادراک حسی است که تحت تأثیر مؤلفه های ارتباطی، فرهنگی اجتماعی و کنشی زبان مفهوم سازی شده، در قالب عبارت های زبانی ساختاری می شود. تحقیق حاضر به شیوه تحلیلِ مضمون و با هدف بررسی چگونگی مفهوم سازی زیبایی و زشتی در گلستان سعدی در چهارچوب معناشناسی شناختی و با بهره مندی از نظریه موضع دو بوآ (Du Bois, 2007) شده است. داده ها با مطالعه گلستان سعدی و یادداشت برداری از عبارت های بیان کننده زیبایی و زشتی جمع آوری و بر مبنای مؤلفه های ذهنیت و بیناذهنیت، استعاره و تصویرسازی، عناصر فرهنگی اجتماعی و ادراک حسی تحلیل شده است. نتایج نشان می دهد که بسیاری از عبارت های بیان کننده زیبایی (مه پاره، عابد فریب، ملائک صورت) و زشتی (کریه منظر، صَخرُ الجّن، غُراب) در گلستان برگرفته از بازتولید گفتمان مذهبی، ادبی و اجتماعی فرهنگی عصر سعدی بوده است. سعدی با به کارگیری این عبارت ها، ضمن بیان ارزیابی عینی و ذهنی خود، به جبهه گیری و بیان موضع نیز پرداخته است. به علاوه، توصیف زیبایی و زشتی از جنبه شناختی، عاطفی و ارزشی ازطریق فرایند بیناذهنیت محقق شده است. در ضمن، بخش عمده ای از مفهوم سازی زیبایی و زشتی از مجرای حس بینایی (سبز، زرد و سیاه)، بویایی (مردار به آفتاب مرداد)، چشایی (شیرین، ترش روی و تلخ)، شنیداری (حلق طیب الادا) و با بهره مندی از استعاره و مجاز مفهومی، فضای آمیخته، اغراق و طنز بیان شده است.An Inquiry into the Conceptualization of Beauty and Ugliness in Golestan Saadi Based on the Stance Theory: A Cognitive-Semantic Approach
The experience of beauty is a complex perceptual phenomenon that relies on interactional, socio-cultural, and performative aspects of language structured through linguistic expressions. This study employed thematic analysis to explore how beauty and ugliness were conceptualized in Saadi's Golestan within the framework of Cognitive Semantics, utilizing Du Bois' (2007) theory of stance. Data were collected by analyzing Golestan and identifying relevant expressions and then assessed through 4 strategies: subjectivity and intersubjectivity, conceptual metaphor and imagery, socio-cultural factors, and sensory perception. The findings revealed that many expressions representing beauty (e.g., Mahpareh, Abed Farib, Malaek Soorat) and ugliness (e.g., Karih Manzar, Sakhr al-Jen, Qorab) reflected the dialogic syntax and the religious, literary, and socio-cultural discourses of Saadi's time. Additionally, Saadi employed beauty and ugliness expressions for stance-taking, allowing him to position and evaluate the world both objectively and subjectively. Furthermore, beauty was described through cognitive, emotional, and evaluative expressions rooted in the poet's experiential and emotional content (intersubjectivity). Finally, a significant proportion of beauty and ugliness expressions were perceived through various sensory modalities, including vision (e.g., Sabz, Zard, Siah), olfaction (e.g., Mordar be Aftab-e Mordad), gustatory (e.g., Shirin, Torshrooy, Talkh), and auditory (e.g., Halghon Tayeb al-Ada). These perceptions were facilitated by cognitive mechanisms, such as conceptual metaphor, metonymy, blended space, hyperbole, and humor.
Keywords: Cognitive Semantics, Stance Theory, Conceptualization, Beauty and Ugliness, Golestan Saadi.
Introduction
Beauty has long been a central theme in literature, poetry, criticism, music, and scholarly inquiry, reflecting humanity's innate curiosity and desire to understand, contemplate, and create aesthetic experiences (Minaya Gomez, 2021). While some researchers consider aesthetic criteria to be universal (Cunningham et al., 1995; Dutton, 2008), others emphasize the influence of linguistic and cultural factors on the conceptualization of beauty and ugliness (Majid & Levinson, 2011; Strauss, 2005). From a cognitive perspective, appreciation of beauty arises from a dynamic interplay between cognition, embodiment, and socio-cultural components (Lakoff & Johnson, 1980). Despite its significance in literature, the role of language in conceptualizing beauty has not been thoroughly explored (Minaya Gomez, 2021). This research aimed to examine the interplay between language and beauty, highlighting its cognitive and linguistic dimensions. Following Minaya Gomez (2019), this article analyzed the concept of beauty in Saadi's Golestan through the lenses of perception, cognition, and emotion. In addition to investigating cognitive concepts within the social interactions of language, this paper sought to uncover how speakers negotiated meanings during the evaluation of objects and the process of stance-taking. To achieve these objectives, we utilized Du Bois' stance theory. According to Du Bois (2007), during stance-taking, speakers evaluate objects, position themselves in relation to others, and ultimately align with listeners. In this process, several cognitive mechanisms, such as intersubjectivity, subjectivity, and embodiment, were employed to conceptualize beauty and ugliness in Saadi's Golestan.
This study aimed to answer the following questions:
How do intersubjectivity and embodiment influence the conceptualization of beauty and ugliness in Golestan?
What literary and cognitive devices are used to conceptualize beauty and ugliness in Golestan?
What roles do linguistic and socio-cultural components play in the conceptualization of beauty and ugliness in Golestan?
Which perceptual senses are used, and in what ways, to conceptualize beauty and ugliness in Golestan?
Materials & Methods
This study utilized a thematic analysis method, a qualitative approach focused on identifying, analyzing, and interpreting patterns in textual data (Neuendorf, 2019, p. 212). Consequently, reporting the frequency of each theme was not a primary objective of this research. Data were collected through an analysis of Golestan, specifically by extracting words, phrases, and poems that conveyed concepts of beauty and ugliness. The selection of data was based on the presence of terms signifying beauty and ugliness in 6 narratives from the first, second, and fifth chapters.
Research Findings
The findings of this study revealed that expressions of beauty and ugliness in Saadi's Golestan were deeply intertwined with the socio-cultural and linguistic context of Saadi's time. Key insights included:
Expressions of Beauty and Ugliness: The analysis identified numerous expressions representing beauty (e.g., Mahpareh, Abed Farib, Malaek Soorat) and ugliness (e.g., Karih Manzar, Sakhr al-Jen, Qorab). These expressions exhibited a dialogic syntax and reflected the religious and literary discourses prevalent during Saadi's era.
Stance-Taking: Saadi employed beauty-ugliness expressions to articulate both objective and subjective evaluations of the world, effectively using these linguistic tools for stance-taking.
Cognitive and Emotional Framework: The descriptions of beauty incorporated cognitive, emotional, and evaluative dimensions, emphasizing the intersubjective experiences of the poet.
Sensory Modalities: A significant proportion of beauty and ugliness expressions were perceived through various sensory modalities—visual (e.g., Sabz, Zard, Siah), olfactory (e.g., Mordar be Aftab-e Mordad), gustatory (e.g., Shirin, Torshrooy, Talkh), and auditory (e.g., Halghon Tayeb al-Ada). This sensory engagement was facilitated through cognitive mechanisms, such as conceptual metaphor, metonymy, blended space, hyperbole, and humor.
Overall, the study underscored the complexity of linguistic expressions in shaping the conceptualization of beauty and ugliness, highlighting the interplay between language, cognition, and socio-cultural factors.
Discussion of Results & Conclusion
In this study, we applied Du Bois' (2007) theory of stance to analyze a literary work. The results indicated that Saadi employed intersubjectivity and embodiment to convey the worldview and societal perspectives of his era. By referencing religious discourse, Saadi used expressions, such as Malaek Sorat (angel-faced) and Halgh-e Davoodi (David's throat) to conceptualize beauty in terms of a lovely face and a pleasing voice. In this context, he utilized dialogic syntax to position himself and express his emotional stance, whether of love or hatred.
In Golestan, Saadi employed various cognitive mechanisms to conceptualize beauty and ugliness, including cognitive metaphor and metonymy, blended space, simile, hyperbole, imagery, and humor.
Regarding sensory perception in the conceptualization of beauty and ugliness, it is noteworthy that most expressions were derived from the visual domain. However, there were also expressions related to gustatory, olfactory, tactile, and auditory experiences.
This study built on previous research in the socio-cognitive domain, emphasizing language use as a social act and viewing linguistic expressions as tools for the cognitive, evaluative, and affective description of the surrounding world. The findings highlighted concepts, such as intersubjectivity and stance-taking, underscoring the social and communicative aspects of language. Consequently, this study contrasted sharply with traditional approaches that regarded metaphor merely as a literary device and early cognitive approaches that considered metaphor solely as a mental mapping between source and target domains.
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