This paper examines the interaction between the visual and the verbal modes, that is, the multimodality of transferring the meaning in Persian visual poetry in terms of COGNITIVE base of different types of integrations which occur in the brain after different sensory channels transferring the visual and verbal data. Although contemporary poetry is multimodal, the visual poetry is considered a type of poetry that has both the verbal and the visual as the dominant, mixed modes that tend to construct the poetic meaning. Different arrangement of words and images, which has a neurological ground, requires different kinds of COGNITIVE processing and will therefore induce different feelings, impressions, and connotations. Consequently, the general meaning of a multimodal text goes beyond that of the combination of the two modes.Drawing on COGNITIVE semiotics, this paper demonstrates how the multimodal poem is conceptualized through embodied experience. Furthermore, it shows how various types of visual/verbal synthetization in a poetry text are differed by a number of distinctive features. Moreover, it is shown how the meaning-making process and the resulting affection become possible in each type of visual poetry. Through modifying Aarhus’s model (2005, 2012), itself based on Fauconnier and Turner’s conceptual blending theory, this research puts forward twelve different types of interaction between the verbal and visual modes, which, in this paper, are mentioned just the three super basic classified categories due to the limitation of the journal’s space. In fact, the three super categories are:It is about the general relations among the two or more modes or media. In this kind of relation, each mode/medium comprises separable and individually coherent texts in different mode/media to improve the meaning space at the end. It is divided into two sub-groups, which are Mode-adjacency and Multimodality.It is a kind of transformations from one medium to another. An inter-medial text could be divided into Duplicating and Iconicity (Image iconicity, Relational diagram iconicity and Structural diagram iconicity). Duplicating could not presents an indissoluble connection of diverse modes as a fusion of different modal processes, while in the second one (Iconicity), the verbal and visual modes are fused together to represent the similarity or adjacency. The Duplicating could also be based on similarity or contiguity as well, that is the whole or a part of the text could be duplicated due to similarity of the verbal mode to visual mode or the contiguity of both together.The third and the last type of relation between verbal and visual modes is mix modal text, which is the combination of modes in a way that the complex signs in different modes would not be coherent or self-sufficient outside of that context. It is divided into four groups which are called in this research Counter-iconicity (Counter iconicity of mis-matching and Paradox-counter iconicity), Mode situational inclusion, Mode-overlapping and complementary relation. COGNITIVEly, these three basic types are processed respectively as following: bottom-up, topdown and integrated processing. Furthermore, these types are based on the structure of human brain and the functions of neurological cells, to study multimodal, especially visual poetry. Since both brain and literature contain similar patterns, it is inferred that each type of verbal-visual interaction that is constructed through a particular COGNITIVE process will necessarily form specific emotions and impressions.

The subject of metaphorical creativity was studied by Lakoff and Turner in their More Than Cool Reason (1989). Lakoff and Turner make two very important claims. One is that poets share with everyday people most of the conceptual metaphors they use in poetry and, second, metaphorical creativity in poetry is the result of four common conceptual devices that poets use in manipulating shared conceptual metaphors: elaboration, extension, questioning, and combining. The main purpose of this paper is to introduce these devices and study their applicability to the COGNITIVE analysis of a particular corpus of poetic metaphors derived from some body-part metaphors used in Sa’di’s Bustan. It appears that Sa’di shares with common people most of the conceptual metaphors he uses in Bustan.Thus, metaphorical creativity can be the result of the aforementioned devices that this poet uses to manipulate shared metaphors. The analysis shows that Sa’di made the most of the composing device and the least of questioning with elaborating and extending occupying a middle position.

COGNITIVE POETICS theory provides a theory about literature, which is based on the language of literary text as well as the order of linguistic segments. Furthermore, this theory is rooted in the COGNITIVE linguistics techniques, such as analogical analysis, in which conceptual mapping in literary texts can operate at three different levels: "attribute mapping", "relational mapping", and "system mapping" (Freeman, 1998). The first level is specified to the perception of similarity between objects, the second level is for studying the relations between objects, and the final level is for recognition of patterns created by object relations, which enables generalization to more abstract structure.In this paper, to study the operation of this theory, a Persian poem, called "A Tale", written by Ahmad Shamloo, is going to be analyzed. This research argues that how COGNITIVE POETICS could produce an appropriate theory for systematic analysis of a literary work and its interpretation? The given response is that every literary theory has to cover seven criteria to be appropriate, so COGNITIVE POETICS cover all of them and provide a powerful device for distinguishing between the linguistic and poetic functions of language. Moreover, the general mapping skills, which make the COGNITIVE ability suitable for producing and interpretation of metaphor, are the basis of this theory, which could clear the insight and limitations of traditional literary critics as well as evaluating a literary style by using COGNITIVE POETICS approach. The main goal of this paper is to show the difference between language and structure of poem and everyday conversation or any other genre. It also tries to show how systemic interpretation of each poem occurs according to system mapping.

COGNITIVE POETICS, as one of the main branches of COGNITIVE sciences, allows the reader to analyze a text with the help of tools and text builder elements. The present study aims at identifying the builder elements of poetry, an excerpt from the poems of Shirko Bikas entitled “Ma’rouf Aghaee, a rhythmic poem and a dead rain" from the collection of “lights above the peak” to study and analyze it by descriptive-analytic method and based on Text Worlds Theory proposed by Paul Werth in 1999. The results were obtained by identifying the different layers of Shirko Bikas poem, which was accompanied by a departure from the world of the original text to the sub-worlds and then a return to the world of the original text. The results showed that the most important feature of his poems is the use of special names, conceptual metaphors and also the use of adverbs as the most important world building elements in the building of the sub-worlds and the text world. The findings showed that the use of mental processes in the building of sub-worlds and the use of relational and material processes in the building of the text world are the most important function advancing propositions. And also, the findings indicated that in the selected excerpt, the reason for the tendency to read these poems is in the high frequency of the want-worlds and the collapse of the layer of the discourse world and the text world.

The study concerned with “ the archaeology of dwelling” as a new theoretical approach with its own problematics and thematics. Dwelling perspective in archaeology is the product of some epistemological lack in the discipline; the lack of research in those kinds of phenomena which could be marked truly as cultural/COGNITIVE; Phenomena unexplainable in ecological, environmental, geographical and anthropological terms. This weakness comes from such a consideration in conventional view of archaeology as a discipline unable to investigate past meanings through material remains. The concept of Dwelling used in the study derives from a philosophical conception of the term according to which, being in the world of human beings is profoundly different from other creatures in that, it dwells within its linguistic, imaginary realities through which a world could be produced for settling and livelihood. In other word, the human being is settled in its world primarily by means of COGNITIVE/cultural meanings which are attached COGNITIVE/ culturally to the surrounded environment. The problematics of the study was to recover a kind of credit for archaeology in that, it can approach factors beyond ecological, geographical or anthropological, without losing its archaeological accurateness; factors such as COGNITIVE, metaphysical, semiotic, and conceptual. The study defined dwelling philosophically, anthropologically and archaeologically to build up three levels of archaeological facts, each of them with its own problematics and thematics. A COGNITIVE Niche Construction approach has been used in the study to justify the results. Niche construction means that every organism has a behavioral/ ecological inheritance which could be considered as an active part of adaptation with a particular environment, supplementary to passive inheritance derived from natural selection. A case of Sarfiroozabad used as an explanation of practical applicability of the new level of archaeological research, which could be called the poetic. The case study showed that, by applying proper means of analysis, the poetic qualities of past peoples are detectable archaeologically, even in archaeological surface surveying projects.

In communication with infants, adults usually use a certain kind of language which in vocal stretches, hesitations and repetitions is different from the usual adults' conversational language. This special kind of language is called "Babytalk". The COGNITIVE investigations on Babytalks has shown some specific poetic characteristics which can prove the existence of literal cognition in human infant as soon as the first weeks of life. This article as the first step, argues the theoretical researches which prove the COGNITIVE potentials of poetic understanding in infants, among them David Mail and Ellen Dissanayake's research (2002). In the next step, the potentiality of COGNITIVE POETICS of Persian lullabies is argued. In this section we are going to show if the aesthetic criteria of Babytalks exist in lullabies as well; and if the lullabies can serve as the reference of the paradigms of infants' COGNITIVE POETICS? The results of our assessment show that Persian lullabies respond positively to the poetic characteristics of Babytalks. Those poetic dynamics which are in common between Babytalks and Persian lullabies including special metric features, simplifying, frequency of frontal phonemes, parallelism and iconicity are surveyed here.

Espacementalisme is a new movement in contemporary poetry in Iran.This movement is inseparable from Royai's name. in fact Royai not only is the founder but also the best representative of this poetry. Concept like mental movement, Espacement, finality, third dimension, invisible, etc. which are based on philosophical and specially Phenomenological thoughts of the poet, belong to a personal POETICS making a linguistic style for creating poetic images and produce a poetic space for cognition of the world. The present article is an attempt to study these concepts by using some examples from this new poetic style. French: L’espacementalisme de Royai, poetique de l’image et poetique de la connaissance Mouvement poetique dans la poesie persane contemporaine, l’espacementalisme reste inseparable du nom de Yadollah Royai qui en est non seulement l’initiateur, mais surtout son meilleur representant. De la formation de l’image a l’apprehension du monde, la demarche du poete est fondee sur une connaissance philosophique et surtout phenomenologique qui fait de sa poesie un mode de connaissance. Des notions comme (mouvement mental), (espacement), (finalite), (troisieme dimension), (invisible), etc. constituent la terminologie d’une poesie qu’on peut considerer comme une poetique de la poesie. L’article present propose une mise a l’examen de ces notions au travers des exemples tires de cette nouvelle poesie.Keywords: Ressemblance, Mouvement, Espacement, Finalite, Invisible, Espacementalisme, Royai, Husserl, Merleau-Ponty

The focus of this study is to analyze the text world of Omar Khayyam's poetry by a novel approach called COGNITIVE POETICS. To examine the author’s/reader's text world, the study has employed Freeman’s model (1998). She believes that conceptual mapping in literary texts can operate at three different levels including “attribute mapping,” “relational mapping,” and “system mapping.” Through reading Khayyam's text world according to the final level mapping, one can identify Khayyam's insight and map out the structure of his poems as well. The purpose of research is to show how COGNITIVE POETICS could make a distinction between everyday language and poetry as well as analyzing a poem. This paper is going to ask: 1) how system mapping as a main characteristic of poetry could help a poem's interpretation using the two other levels; 2) how three COGNITIVE mapping can picture Khayyam's text world; and 3) how it is possible to draw clear-cut limitations for multiple interpretations and distinguish a fake poem from an original one by COGNITIVE poetry methodology. Studying the text world according to this approach can suggest a method for textual analysis which literary theory cannot.