Language Studies

Abstract In some Manichaean hymns, the Father of Greatness, Mihr Yazd and Narisaf Yazd are praised with an epic style and a literary approach that relies more on epithets. Among them, the hymns to Third Messenger (Narisaf Yazd) in the Parthian texts, described as Miϑra, and some of the epithets attributed to him are Miϑra’s that we can see them in Mihr Yašt and Pahlavi sources. Among the hymns to Narisaf Yazd, in the manuscripts in Turfan collection that are kept in the Museum of Berlin, there are two hymns with the M 67 and M 77 signatures that they have references to the Sassanid Zoroastrian community and the Parthian community more than the others. This research primarily focuses on the role of Miϑra and Nariyosang in shaping the character of Narisaf Yazd, and then the literary influences of Avesta, Mihr Yašt and Pahlavi sources on these two Parthian hymns are studied.

Abstract Linguistic typology focuses on both language universals and linguistic variations. Implicational universals in typology have semantic, pragmatic, discourse, processing and cognitive explanations. Typology has various uses in linguistics. Studying the structure of different languages, including ancient languages, can help completing the classification of languages. This article provides an overview of typological study about Avestan language. The purpose of this study was to determine the word order of Avestan language of Vandidad, based on Dryer's 24 typological components. This article focuses on the 15 percent of Geldner’s Vendidād Avesta based on Bartholomae transcription method. Research data are collected through three fargards of Vendidād Avesta, the second, third and sixth. The findings indicate that Avestan language of Vandidad,  has 13 components of strong verb- final languages type and 15 components of strong verb-initial languages type comparing to genera containing languages of Europe and Asia, except for southeast Asia , and this language has also 13 components of strong verb-final languages type and 16 components of strong verb-initial languages type comparing to genera containing world languages.There is a tendency for Avestan language of Vandidad, to be one of languages of verb- initial type.

Abstract Reliefs and rock inscriptions It can be said that they express the clearest and most direct narrations from history. The creators of these works paid special attention to the events of their time and they understood correctly that the hard chest of stone and rocks is the most resistant canvas for recording thoughts. The truth of this diagnosis has become clear to us today because many of these works have been able to survive various natural disasters, wars, human destruction, etc. and be left to us today as part of the ancient heritage of our country. The present article contains a new reproduction of the Urartian stone inscription of Seqindel located in the central part of Warzgan city, East Azerbaijan province, which is inscribed on the body of a stone slab dating back to 2750 BC, and cuneiform patterns are carved on it and He has been injured due to various factors. , field investigations as well as the use of new documentation methods including laser scanning, photogrammetry, and digital design of the text of the inscription have been carried out in order to be able to understand the process of changes of this inscription during Time checked.

Abstract Metonymy is one the most important literary devices in literature, and it has been widely studied with metaphor in literary studies and linguistics. Typically, metonymy has been regarded as a figurative meaning of a word versus its lexical meaning. However, it could be found that metonymy exists in every language for daily communication, and its usage is not limited to the literature. So, it plays an important role in any language which is mostly formed out of a reduction on syntagmatic paradigm. The widespread usage of metonymy enriches a language, and it adds to its coherence. In this paper, with a brief review of literature on metonymy studies, and the different issues for its definition, a new definition of genuine metonymy is suggested with a new term of prototype metonymy which has a kind of influence on the audience whether in literary usage or everyday language. Based on the hypothesis of this paper each reduction on the syntagmatic axis is not a metonymy unless it influences the audience in some way, and if it motivates a kind of affective response. Indeed the prototype metonym will be suggested as genuine, and a cline will be claimed to conclude the discussion.

Abstract This article is a case study that aimed at investigating the role of pictorial metaphors in conveying the message of citizenship cartoons. For this purpose, four cartoons related to the contrast between book and cyberspace published in Persian-language websites were selected by purposive sampling method. These cartoons then were analyzed in the framework of conceptual metaphor theory (Lakoff & Johnson, 1980, 1999; Lakoff, 1993) and multimodal metaphor theory (Forceville, 1996, 2008, 2009). the main question of the research is: what pictorial metaphors have been used to express the contrast between books and cyberspace in citizenship cartoons, and what are the source domains in these metaphors? The results showed that pictorial metaphors based on the concepts of train, sea and physical conflict between humans have been used to express the contrast between books and cyberspace. Moreover, the source or target domains of these metaphors involved conceptual metonymy. Thus, metaphor and metonymy interact to create the cartoonist's intended meaning and convey it to their audience based on a kind of analogical reasoning. The results also showed that the pictorial metaphors used in these cartoons were either hybrid or contextual.

Abstract This research examines derivational and inflectional processes in Pashto within the framework of “Lexical Morphology and Phonology” (Kiparsky, 1982). In this article, 131 Pashto affixes, comprising 40 inflectional and 91 derivational affixes, were categorized into two neutral and non-neutral categories based on their interaction with the base they are attached to. The findings of this study reveal that a majority of Pashto affixes, whether auto-stressed or connected to the base, result in alterations to the base. Furthermore, the research demonstrates the efficacy of Kiparsky's (1982) approach, originally devised to analyze the structure of English affixes, in analyzing neutral and non-neutral affixes in the Pashto language. According to the study, most of the Pashto affixes are non-neutrals, which are located in the first layer. It is worth mentioning that the number of neutral affixes is less than the non-neutral ones, although they are widely used in the language. Moreover, as the Lexical Morphology Hypotheses assumes, neutral and non-neutral affixes are organized based on the Level Ordering Hypothesis.

Abstract Middle Persian language was written with different scripts, one of which was ‘Bookish Pahlavi’. Its origin goes back to Aramaic alphabet and it is a phonemic script typologically. Although the number of the phonemes of Middle Persian is about 30, the number of the symbols for writing it is not more than 14. Shortage in number of symbols and the existence of phenomena like historical spelling and ideograms introduced bookish Pahlavi a relatively hard-reading script. This article tries to review the graphitic and graphology difficulties with library data in an analytic-descriptive method, and suggests some techniques for its easier learning. The results show that even without referring Middle Persian texts, it is possible to overcome the difficulties of graphitic system of bookish Pahlavi in three to four educational sessions. But part of the graphology system which relate to the kind of symbols and identifying their phonemic values, needs some more educational sessions. Besides, the part of the graphology system which relate to historical and pseudo historical spelling, learned words and ideograms needs continual studies, and it cannot be attained during some educational sessions and for mastering it, referring to all the Middle Persian texts is necessary.

Abstract  
Gāhān is the oldest Iranian poem in the Avestan language. In this research, the external, sidelong and internal music of Gāhān are investigated. The data collection method is library-documentary and analytical research method. The study of ancient literary texts based on new literary criticism leads to a better understanding of them as the origin of Persian literature. The  external music surveys the metre. Gāhān has syllabic order. in sidelong music rhyme is explored, Gāhān has internal rythme. in internal music the repetition stylistics are so importante which are divided into visible and invisible. The  invisible repetitions used in Gāhān are redundant puns, subsequent pun, derivation and pseudo-derivation. Also single-place alliteration and multi-place alliteration are used in Gāhān. Gāhān’s Visible repetitions are repetition of words during a verse, regular repetition of one or more words at the beginning of verses, repetition of stanzas during a poetic form, repetition of one or more words sporadically in The length of a few verses, the regular repetition of one or more words at the beginning of the verses, and red Al-ajoz ala Al-sadr (Anadiplosis). endings  and declension, matching adjectives and pronouns with noun, prefixes and suffixes, repeating conjunctions, prepositions and adverbs also create music.
Keywords: old Iranian poetries, Gāhān, poem’s music, external music, internal music, repetition.
Introduction: poetry and music have a unbreakable connection. The set of factors that take words out of their normal and simple form and give them an artistic effect is called poetry music such as types of metre, rhymes, radif, sound harmonies such as types of puns and … Poetry music includes four categories: 1- External music, 2- Sidelong music, 3- Internal music, and 4- Spiritual music. The  external music surveys the metre. in sidelong music rhyme is explored and in internal music the repetition stylistics are so importante. In this research, some external, Sidelong, and internal music components of Gāhān, are investigated, and the investigation of the spiritual music of the hymn is not possible due to the length of the article, and it can be the subject of a separate article. The aim of the research is to examine Gāhān as a collection of ancient poems based on musical features and literary techniques found in New Persian poems. Also, investigating the age of the use of these Stylistic Devices and how and their frequency in Gāhān as the oldest Iranian poetry, is another goal of this research.
Materials & methods: The data collection method is library-documentary and analytical research method.
Discussion and results Gāhān is the oldest Iranian poem that remains in the Avestan language, and its composer is Ashu Zoroaster, whose approximate life time dates back to 1000 BC. Gāhān has 17 hāts, which are located between yasnas and includes five Gāhs. Gāhān has syllabic order and  internal rhyhme. Rhyme in Avestan hymns is in the form of incomplete puns and a kind of sound balance and harmony. In internal music the repetition stylistics are so importante which are divided into visible and invisible. The  invisible repetitions used in Gāhān are redundant puns, subsequent pun, derivation and pseudo-derivation. Also single-place alliteration and multi-place alliteration are used in Gāhān. All kinds of puns have been used 82 times in Gāhān, and the highest frequency is related to derivational puns and the lowest frequency is related to pseudo-derivative puns. The highest frequency of the use of puns among the times is related to Ahunavaitī gāθā and the lowest is related to Vohu xšaϴrā gāϴā. All kinds of Alliteration (except Hampaghazi), which is considered as a stylistic and linguistic feature of Gāhān are sometimes found with high frequency. Gāhān’s Visible repetitions are repetition of words during a verse, regular repetition of one or more words at the beginning of verses, repetition of stanzas during a poetic form, repetition of one or more words sporadically in The length of a few verses, the regular repetition of one or more words at the beginning of the verses, and red Al-ajoz ala Al-sadr (Anadiplosis). Types of visible repetitions are used 69 times in Gāhān. In the meantime, the most usage is related to the repetition of the word during one verse and the least usage is related to the Anadiplosis. The highest frequency of visible repetitions in  Gāhān is related to Ahunavaitī gāθā and the lowest frequency is related to spəntā mainyū gāϴā. In Gāhān, Ahunavaitī gāθā had the highest frequency of using stylistic devices, and spəntā mainyū gāϴā and Vohu xšaϴrā gāϴā had the lowest frequency. endings  and declension, matching adjectives and pronouns with noun, prefixes and suffixes, repeating conjunctions, prepositions and adverbs also create music. It can be said that one of the reasons for phonetic harmony at the end of some Avestan words is the special grammatical rules of this language. One of the features of Avesta language is the use of nouns and adjectives in eight institutional forms, nominative, accusative, instrumental, dative, ablative, genitive, locative, and vocative.

Abstract Abstract Except in few cases,  The Pazand explanation and interpretation of Avesta texts is not very mass, and it has no high place in the existing corpus of Pazand texts. The connection between Pazand and Avesta mostly goes back to the Khorda-Avesta.The Khorda-Avesta is a text that has been prepared for the public. This folk characteristic of texts  has caused various forms and narratives to emerge according to the needs of users throughout the ages. Prayers and liturgies have been added or reduced in each manuscript. Additional or peripheral texts can be seen in Pahlavi, Pazand, Persian and even Gujarati and show the wide Diaspora of Khorda-Avesta users. This article It aims to identify and introduce the outlines of Pazand texts in Khorda-Avesta manuscripts. Keywords: "Pazand, Khorda-Avesta, Avesta Manuscipts" Introduction Pazand by means changing Pahlavi script to Avesta script, is called the Pahlavi or Middle Persian texts in Avesta script . Apart from the apparent commonality, the important question is what is the connection between Pazand and Avesta texts? "Avesta" is the sacred text and the basic text of the Zoroastrian religion, and linguistically it belongs to the ancient period of the Iranian languages, while the Pahlavi and Pazand texts are known as the heritage of the middle period of the Iranian family. Therefore, linguistically, the two periods are separate from each other but along each other. The link between the religious texts of the middle period and the Avesta shows itself in the topic of interpretation and explanation of the sacred word of the Avesta, i.e. Zand. Also, we see the most pazands in the Khorda-Avesta, which is a more general text and  prayer. Below, according to the existing Manuscripts., the topic and volume of pazands in the Avesta, especially the Khorda-Avesta, will be discussed. Materials & methods Examining the existing manuscripts and numerous lithographic works of Khorda-Avesta shows their diversity, and rarely two identical manuscripts about this part of Avesta can be found. In the Zoroastrian tradition, both in Iran and India, we encounter two types of Avesta: A. What appeared before the edditios of linguists and researchers of the 19th century, which includes Iranian and Indian lithographic manuscripts and texts with Pahlavi, Pazand, Persian, Sanskrit and Gujarati translations, commentaries and additions. B. The modified texts, which are often based on the texts published by Iranologists from Anquetil-Duperron to Geldner in the late 19th century, are the result of modern academic schools and schools, and they are without margins and additions. In group "A" we are faced with a large volume of diverse material from the Zoroastrian tradition, especially that which was popular among the people. Pazand's contribution to the Khorda-Avesta and its numerous manuscripts goes back to these additions listed in group "A". Now, the question is, what volume of traditional texts of Khorda-Avesta constitutes pazand? To answer this question, by examining the texts of group A, manuscripts and lithographic works, pazands related to the Khorda-Avesta have been identified and studied. Discussion &Result In all the remaining texts of the Avesta, especially the Khorda-Avesta, we are faced with Nirangs and instructions on how to perform the ritual and read the text, Bajs and prefaces(dibacheh-ha), as well as prayers at the end of each text, and it seems that, except in limited cases, There is no a pazand for the Avesta texts. However, several Indian manuscripts have been mentioned under the title of Avesta and Pazand, which is the reason for the existence of Pazand and subsequent additions to the Indian tradition of Avesta.In the old and new Indian Avesta fragments that Geldner has examined and described, apart from the added texts and late prayers, independent and specific pazand texts are also reported among them: The Pazand Afringans  in manuscripts Mb1 and L18 and Jm4 and O3; Patets in manuscripts J9, Mb1 and K39; Nirangs are used in manuscripts J10, J9 and Mb1; and unknown Pazand  texts in manuscripts Mb2, Jm5, J17, H2, E1 and Kh2; are some cases that confirm the existence of Pazand in Indian Avesta verses. Iranian Khorda-Avesta manuscripts are very important in terms of having and not having pazand text and they play a decisive role in the history of pazand writing. In Iran, where the ancient tradition was still popular in various centers and there were not few pahlavi-native  priests, what position and dignity did Pazand have, especially in the Avesta texts, including the Khorda-Avesta book? Pazand fragments, or the presence of pazand text in Iranian versions have been investigated, is very rare, as it is common in Indian manuscripts. It is the 12th century of Yazdgirdi during the Qajar era, when the communictions between the Iranian Zoroastrian society and India increased and gradually the Iranian society lost its superiority over the Parsi society, the tradition of the Persian Avesta was influenced by the Indian Parsi, and additional texts in Pazand and Farsi entered khorda-avesta. The khorda- Avesta  of Mulla Iskandar Kermani and his son Molla Behrouz, as well as the khorda-Avesta  of Dastur Tirtanz in Yazd, are examples to show the evolution of khorda-Avesta  and additional texts around them in the period under discussion.   Conclusion The Pazand additions of the khorda-avesta was most likely formed among the Parsis of India, and if such a tradition was common in Iran, as it turns out, it was an oral tradition in the Pahlavi language and was gradually mixed with New Persian until around the 11th-12th century of Yazdgardi. / Hijri, probably as a result of getting to know more about the heritage of the Parsis of India, Pazand often in Persian script, it entered the margins of the manuscript and then lithographic texts of khorda-avesta.    

Abstract Nadia Hajipour* Abstract Mādayān ī Hazār Dādestān or the collection of A Thousand Judgments is a legal text. This text was compiled at the end of the Sasanian era, i.e. the beginning of the 7th century AD. A very diverse of legal issues are raised in this text, which can help us get to know the legal laws of Iran in the pre-Islamic period. Among the legal issues of this text are slavery, guardianship, guarantee, marriage, divorce, contract, etc. In addition, many legal terms have been used in the text, and their study will familiarize us with the specific concepts of these terms. The topic of this research is about "covenant" which is mentioned in the text with the terms pašt, paymān and wizīr. The purpose of this research is to examine the issues related to the covenant in order to compare the three mentioned terms. The question that this research intends to answer is, what are the legal issues related to these 3 terms? And what is the difference between these terms? The research method is descriptive and analytical and the data collection method is library. Some of the results of this research are as follows: These terms are used in different subjects, which are sometimes the same. Analysis showed that pašt is a verbal agreement and commitment to do something. A paymān is an oral or written contract that has its own rules and details. wizīr is also a contract document and actually a contract.   Introduction Mādayān ī Hazār Dādestān or the collection of A Thousand Judgments is a legal text. This text was compiled at the end of the Sasanian era, i.e. the beginning of the 7th century AD. This text is a specialized legal text and is written for experts in jurisprudence and law; That is, those who were completely familiar with the Sassanid legal system and its technical terms. Its content is exclusively legal without referring to religious issues. A very diverse of legal issues are raised in this text, which can help us get to know the legal laws of Iran in the pre-Islamic period. Among the legal issues of this text are slavery, stūrship, guarantee, marriage, divorce, rent, adoption, security, pledge, transferring property to others, contracs and etc. Analyzing the contents of this text can introduce us to the rules of each of them. In addition, many legal terms have been used in the text, and their study will familiarize us with the specific concepts of these terms. One of these terms is the words related to the contract / covenant, which is discussed in this article and is mentioned in the text with the terms pašt, paymān and wizīr.  The purpose of this research is to examine the issues related to the contract / covenant in order to compare the three mentioned terms. Because the legal and specialized terms of this text are very important and must be studied carefully. The question that this research intends to answer is, what are the legal issues related to these 3 terms? And what is the difference between these terms? Method and Materials This article is done with descriptive-analytical method and the method of data collection is library method. To carry out this research, first, all the materials related to the terms "contract" were collected and explained in three parts: pašt, paymān and wizīr. After categorizing the content, thematic analysis was done to achieve the purpose of the article, which is to achieve the semantic difference of these terms. Discussion & Results The term pašt is found in the forms of "noun", "adjective" and with the conjunction "kardan" in the compound verb. The legal issues in which pašt is raised are “the transfer of property ownership to someone”, “keeping the sold property healthy”, “stūrship”, “determining the value of the property”, “giving something at a certain time and place”. To express the agreement, are used from the expressions pēš az pašt: "before the agreement", pas az pašt: "after the agreement", abāz ō pašt ī pas ēstādan means "standing by the last agreement, acting on the last agreement" and .... In this text, the term payman is used as a noun and a compound verb. Only 4 times it is in the nominal state and in the rest of the cases it is in the form of a compound verb, whose verb is always the verb "kardan". The paymān is raised in the subjects of "transfer of property ownership to someone", "expressing ownership of property for someone", "expressing acceptance of a property", "doing something", "repaying debt and loan", "renting something ", "security and pledge", "guarantee", "Sale and exchange", "participation in income". The word of wizīr is always a noun in the text. The issues in which wizīr is raised are "taking a loan", "transferring and assigning property", "assigning the right to declare ownership", "marriage contract", "pledge", "participating in property" and "dividing something". wizīr is common with paymān in subject of getting a loan and transfer of property. conclusion Some of the results of this research are as follows: The analysis of the data extracted from the text of Mādayān ī Hazār Dādestān shows that the three terms pašt, paymān and wizīr with the apparent meaning of “covenant” / “contract” have significant differences together. Analysis showed that pašt is a verbal agreement and commitment to do something. In all the mentioned subjects in pašt, the concept of "agreement” and “commitment” is always inferred and the concept of concluding a contract is not mentioned. A paymān is an oral or written contract that has its own rules and details. Both the terms pašt and paymān are common in the two issues of transfer of property and sale of something; and a comparison of their usage reveals the difference between the two. Pašt is used in property transfer when the issue of transfer of ownership is raised by someone, then in the explanation of details, the agreement between the parties is mentioned. But in paymān, it has been mentioned from the beginning to conclude a contract to transfer ownership. wizīr has been used wherever there is talk of the agreement and the document related to it. Therefore, wizīr is the contract and contract document. Comparing them clarifies the difference between the two terms paymān and wizīr. Whenever paymān is mentioned in borrowing, it refers to the conditions of payment, setting the time, and setting the pledge, which the parties define for each other and make an agreement to fulfill the obligations. Wizīr on the subject of borrowing refers to a document in which all the conditions of borrowing are mentioned and sealed    

Abstract Abstract Context is considered a crucial factor in constructing metaphorical meaning in a dynamic discourse situation. Drawing on Kovecses's idea of "pressure of coherence", the current paper sets out to study the role of context in recruiting metaphorical expressions in newspaper articles and headlines. Data is gathered from newspapers and news websites in Iran, then based on Kovecses' model (2015), the kind of context that triggers metaphor is specified and the data is analyzed using the tenets of Cognitive Semantics. With regard to the research questions, the paper has come to the conclusion that novel metaphorical expressions are recruited under two kinds of pressure; namely, the pressure of context (culture, ideology, climate, geography, discourse topic, discourse elements, spatial and temporal context) and the pressure of body. Furthermore, some factors such as cultural components, body structure and invariance principle may impose constraints on the way mappings are done between domains in metaphorical expressions. Finally, priming as a cognitive process can prompt the use of particular metaphors both universally using shared bodily experiences and/or locally using unique bodily features such as physical paralysis, blindness and left-handedness.   Key terms: context, metaphorical creativity, pressure of coherence, journalistic texts, Cognitive Semantics   Introduction In Cognitive-Semantic approach, distinctive embodied experience and differential contextual features in discourse are regarded as the main sources of metaphorical creativity in language. Kovecses (2015:5) put these two influential elements of metaphorical creativity under the cover term "pressure of coherence". When people metaphorically conceptualize a conceptual domain in a situation, they are under the “pressure of coherence” (Kovecses, 2005). What this means is that they are to obey two simultaneous pressures: the pressure that derives from the human body and the pressure of the global and local context in which the conceptualization takes place (Kovecses (2015:93). It should be mentioned that mapping of features in this kind of conceptualization is not ad hoc or arbitrary, but obeys the limitations posed by invariance principle.  Lakoff and Turner (1989: 199-204) define the invariance principle as: "Metaphorical mappings preserve the cognitive topology of the source domain, in a way consistent with the inherent structure of the target domain". Meanwhile, priming as a cognitive procedure which comes from our frequent embodied experience and everyday routines triggers the use of metaphors in discourse (Kovecses, 2015:191). In the present paper we aim to analyze Persian newspaper article and headlines based on tenets of cognitive semantics and we try to find appropriate answers for the following questions: How does situational (physical, linguistic, cultural, social) context influence the creation of novel metaphors in Persian newspaper articles and headlines? What roles do body and physical components play in creating metaphors in Persian newspaper articles and headlines based on the "pressure of coherence"? How does speakers' knowledge of discourse elements influence creating novel metaphors in Persian newspaper articles and headlines? What are the roles of priming and invariance principle in creating metaphors in Persian newspaper articles and headlines?   Material and Method Drawing on Kovecses's idea of "pressure of coherence", the present paper tries to study the role of context in creating and understanding metaphorical expressions in newspaper articles and headlines. Data containing 27 headlines and news texts on economy, politics, religion and sports is collected from the newspapers and news websites. The analysis is carried out descriptively using tenets of Cognitive Semantics such as embodiment of meaning and other cognitive procedures such as priming and invariance principle. Result and Discussion Metaphor as a linguistic, literary and cognitive device can play a significant role in persuading people and forming axiological systems in language (Charteris-Black,2004). In the present research, we try to find how context an embodiment can play roles in recruiting metaphors in Persian newspaper articles and headlines. The main assumption in this research is that based on the relation between universal embodiment theory, differential experiences and various context, Kovecses's principle of coherence accounts for the variety of metaphorical expressions in natural discourse. To reach this aim, we made use of Cognitive-Semantic framework and cognitive procedures such as "invariance principle" and "priming". Using Kovecses's (2015) model of contextual factors in analyzing the data indicates that different contextual factors are at work when we try to produce or understand metaphorical expressions. Besides, novel metaphorical expressions are derived from the interaction between context (situational, linguistic, conceptual-cognitive and bodily context) and embodiment. Conclusion Regarding the research questions, the results showed that novel metaphorical expressions are formed and comprehended under two kinds of pressure: the pressure of context and the pressure of body. Besides, the way mappings are done between domains in metaphorical expressions are constrained by some factors such as cultural components, body structure and invariance principle. Finally, since human body and physical properties of human beings operate both universally and locally, priming as a cognitive process can prompt the use of particular metaphors in two different ways. For instance, when we address the shared bodily experience of human beings, body acts as an element of "pressure of coherence"(Kovecses, 2015) and triggers the production of metaphors that originate from the conceptual metaphor "society as human body" (Musolff,2019) and that are common among a large group of people. On the other hand, unique bodily features such as physical paralysis, blindness and left-handedness which are considered as individual bodily specificities can have an influence on which metaphor to be used by particular people. Therefore, it seems that the results in this article go against the traditional view that body and context are in a diametrical opposition in creating metaphorical expressions.

Abstract Abstract: Each narrative, as a combination of narrative chains, is made up of small components such as nouns, verbs, and words, so that the foundations and underpinnings of the narratives end in these elements in the shortest possible time. In linguistics we consider verbs to be dynamic, definable, and time-bound phenomena that represent the action of the actor, but in the narrative science the extraordinary power of the verbs and their frequency becomes apparent when we know each genre depending on the theme, theme, and theme of the actor. Accordingly, the present study seeks to illustrate the process of linking the color and hierarchy of verbs in psychological and horror narratives, and to map the process of action in such stories from situational verbs to achievements in a precise and calculated scientific course. The results of the present study show that in the psychological and horror narratives we see a regular hierarchy of verbs: situational, dynamic, accomplished and attainable, and this hierarchy is very closely related to the color of such narratives.  Keywords: Narrative Verbs, Structural relationships, Narrative, Wonder.   Introduction: In the science of narratology, apart from its known definition, the verb is classified in other ways in relation to the events of the story. This division is formed based on the three factors of "action", "event", and "situation" in narratives (Reck, Kaden, 2010: below the narrative) and depending on the type of story, different verbs also play a role in its narrative structure. Now, we should pay attention to the fact that in all kinds of narratives (police, psychological, realistic and terrifying) depending on the actions of the story, which type of verbs has more frequency. Examining verbs in this approach is of interest from various aspects such as: time, state, event, process and situation. In psychological and eerie narratives - which is the subject of this study - because of the mental and inner states of the actors, "state and situation" are more important; Therefore, the frequency of verbs with this approach plays a more prominent role in the pirang structure of such stories. Zeno Wonder has divided narrative verbs into four categories: active, final, achieved, and situational. In the pirang structure of psychological and eerie narratives, certain hierarchies of these verbs are regularly repeated and form the pirang structure. Based on this, the basic question that forms the body of the current research is raised as follows: What is the process of forming the tone and hierarchy of verbs in psychological and spooky narratives based on Wendler's theory?     Discussion:  Zeno Wendler divides the verbs into four categories based on the type of time: active, passive, achieved, and situational. In this theory, dynamic verbs refer to a uniform process in a moment of a free time interval. The precision in the definitions of each of the verbs in Wendler's theory shows that he has a narratological and not a linguistic emphasis on the active, as each of the verbs of the above division is based on a story action and not on linguistics. The word process in the dynamic verb indicates an action and the free time period indicates the uncertainty of the start and completion time of the action. The word event in the past tense indicates that a certain action or episode is taking place at a moment, and the closed time period indicates that this action has a definite end. So active and passive verbs can be distinguished from each other according to whether their time of occurrence is known or unknown (Safi, 2008: 61). While dynamic and action verbs are different in terms of time, situational and achieved verbs are distinguished from each other by another means, and that is "the structure of achieved events against the integration of situations in situational verbs" (Ibid.: 62).   Conclusion: One of the fields of expansion of the theories of literary criticism in Western literature and following it in Persian literature is the expansion of previous theories. The present research was carried out in line with the expansion of Zeno Wendler's theory: "Hierarchy of types of verbs in the horror and psychological fiction genre", which resulted in the following results: 1- In Wendler's theory, there is no mention of the structure of two genres, and we want to explain The relationship between the structure of the plot and the hierarchical position of the verbs, inevitably, at the beginning, the structure of the plot consists of four stages: beginning and description (status verbs), organizing the node (active verbs), (activist action to solve the crisis at the climax (finitive verbs) and achievements We drew the action for the actor (acquired verbs) for these two genres. 2- The relationship and the place of the order of the verbs in the narrative structure of the following two genres, which we were able to explain with limited (but accurate) examples and this is important. We have found that in each of the stages of the structure of the story in these two genres, a specific type of four verbs (in the order: situational, active, end, and achieved) is seen with greater frequency, in such a way that between the structure of the story and order There are verbs in these two communicative genres.