One of the rhetorical representations employed in the Qur’an elaborately expressing certain concepts is metaphor. In the repertoire of metaphors, verbs containing extended metaphors are of special significance due to the complexities of discovering the intended meanings. The neglected issue regarding metaphor is the ‘common ground’ between a ‘Tenor’ and a ‘vehicle’. Rhetoricians dealing with classifications of metaphors believe in a single type of association between ‘Tenors’ and ‘vehicles’, but this seems to be subject to reconsideration. Using a descriptive-analytical method, the present study seeks to cast a new look at a special group of metaphorical expressions. To this end, the study illustrates the ‘common ground’ between the ‘Tenor’ and ‘vehicle’ with a focus on collocations and substitutions, exploring their influence on the translation of Quranic verses with metaphorical concepts. The findings reveal that the ‘common ground’ in an extended metaphor is complex considering the functions of verbs in the conveyance of meanings, their relationships with other sentence components, as well as the differences between types of verbs in terms of grammatical persons, i.e., the first, second and third person. Such metaphors can be considered semi-fables in the Quran presenting more vivid imagery in its translation.

Background: Asthma is a chronic multifactorial disease with a high prevalence. Among asthma risk factors, the effect of baking in wood Tenor ovens (traditional form of baking) on bronchial asthma is still debated. The aim of this study was to determine the association between baking in wood Tenor ovens and incidence and control of bronchial asthma.Materials and Methods: This descriptive study was conducted on 109 patients with asthma referring to Imam Khomeini Hospital in Ardabil, Iran, in 2013. Asthma Control Questionnaire (ACQ) was used to evaluate asthma control. Patients' asthma control was individually evaluated and compared with particular attention to history of baking in wood Tenor ovens. Chi-square and Tau-Kendall tests were used to analyze the data in SPSS software.Results: Of the 109 patients, 45.9% had a history of baking in wood Tenor ovens. Patients with uncontrolled asthma constituted the largest volume of the sample (60.6%). There was no significant correlation between baking in wood Tenor ovens and asthma occurrence (P>0.05). However, there was a significant correlation between baking in wood Tenor ovens and asthma control (error coefficient<0.10).Conclusions: According to the results, although the history of baking in wood Tenor ovens has no effect on asthma occurrence, it has a correlation with asthma control status. Therefore, it is necessary to raise community awareness about the effect of baking on asthma control status.

Since ground shows the power of imagination in a poet, it is one of the most important elements of simile. In traditional books of rhetorics, ground has been divided into different categories such as sensitive and rational ground, real and imaginary ground, allegorical and non-allegorical ground. However in these works the relationship between the imaginary ground and the two sides of simile is less emphasized.In many of his similes, Nima has made use of imaginary ground. In this article attempt has been made to analyze the ground with Tenor and vehicle based on the Goteli table and from a new standpoint. What is remarkable in Nima’s imaginary grounds is the employment of imageries which can not only personify Tenor or vehicle but also can more artistically personify both these elements.

The vocabulary selection and how to arrange them in the sentence based on syntactic conditions, or escaping from these conditions and forms of imagination can be considered as the most important features of any language. Analyzing the language of each work according to its intrinsic features and reviewing the deviations occur in the range of text can indicate its type. Different types of simile, as one of the most important foundations of eloquence, are effective in the rise of language identity in accordance with its lyrical contents and serves the emotional, literary, and inductive approaches of the language. Also, the vocabulary used in form of Tenor, vehicle and simile attribute helps the language of these works being explained. On the other hand, the simile intents and the roles they play to transfer the content are proportional to the type of lyrical themes and are among the factors influence the audience alongside the other coordinates of lyrical language. It has been tried in this study to explain the role of this element of eloquence in five lyric poems with the same subject and to describe one of the characteristics of lyrical language based on achieved common aspects.

Simile represents the intellectual and mental essence of poets and writers, enabling access to their works' hidden layers of imagination and familiarizing the reader with their personal beliefs, life experiences, and perspectives on society. Similes are often influenced by the central interests and perspectives of the poet or writer, reflecting the prevailing thoughts and dominant culture of society. Similes are shaped by the personal and individual worlds of the poet or writer, as well as by the culture and beliefs of the community, thereby being influenced by these factors, whether consciously or unconsciously. Among the forms of imagination, simile has always been of particular interest to poets and writers. Houshang Moradi Kermani has also paid significant attention to similes. A simile is the most important and commonly used imaginative form in Moradi Kermani stories. In this descriptive-analytical research, simile, the elements of simile, the objectives of simile, and the role of simile in the stories of Houshang Moradi Kermani were examined. The research findings indicate that simile is used to enhance the narrative elements, such as atmosphere, characterization, tone, dialogue, and internalization of the theme. Similes are harmonious with the language and tone of the narrator and the story’s characters, with the similes used in the atmosphere of the story being more imaginative. The objectives of simile are primarily to express Situation of Tenor, exaggeration, belittlement, and Imagination.

Language change as a natural process may take place in all levels of phones, words, and meanings. Since language is a social phenomenon, social factors may extend or narrow the possible meanings of words. In addition, mental and verbal factors might bring about a semantic change. The speakers of a language may also be a reason for some changes. Among the speakers of a language, poets and writers are the greatest creators of new words who may also bring about great semantic changes. They defamiliarize words according to aesthetic and rhetorical uses and employ them to signify secondary concepts and signifieds. To explain some semantic changes, this article concentrates on the use of the word "La'al" together with all its secondary signifieds.

One of the matters of difficulty and concern within humanities is the fact that form and sense have always been confused with one another. It is due to the very externalism that one may go astray in the distinction between the elements of comparison in a simile, the Tenor and the vehicle, within the realm of rhetorics. This chaos seems crystal clear in the concept of "Taghyeed" especially when we find out to have been in the wrong in defining and consequently in determining the manifestation of "Tagh-yeed". In addition to what has already been said, this article aims at paying more attention to the fact that on contrary to the viewpoint of authoritative figures, when a manifold simile is of concern, the point of similarity in not necessarily manifold.

This article deals with nature and aesthetical functions of Reverse Simile. First, three different types of Reverse Simile are distinguished and then studied in detail. The central issue of this research is the study of third type of Reverse Simile (Arabic Reverse Simile). If the relation between Tenor and vehicle is well-known, the similarity of them is clear, the difference between them in characterization of the similarity is little and attribution of similarity to Tenor and vehicle has previously numerous uses, then the Reverse Simile would be acceptable and beautiful.Reverse Simile may have functions such as poetic exaggeration, to avoid poetic banality and to make the vehicle subject of assertion.

Translation of the Holy Quran can be difficult for translators in terms of accuracy and translatability. Sometimes translators fail to render the Quranic thoughts because of the lack of language features in target languages. This results in an unfavorable interpretation. One of the challenging aspects of translating Quran is reference switching as rhetorical devices, which are widespread in the book due to the aesthetic aspects of the Arabic language. Rendering rhetorical devices may lead to misinterpreting the Quran as the target languages might not have the same context as Arabic. The ongoing research discovers several rhetorical problems in the English translation of the Quran by Abdel-Haleem in terms of power and solidarity relations on the basis of Brown and Gilman personal pro-noun description. This study provided a brief introduction and review about "Tenor" – interpersonal relationship among the text – that is a part of Hallidayan functional linguistics, which was the framework for data analysis in this study and the pronouns of power and solidarity as rhetorical de-vices. This study also investigated the analysis of the six selected and randomly chosen samples and their English translations regarding reference switching as a rhetorical device in the Tenor of the tar-get texts. The results of the study revealed that the translator was not successful in switching the references amongst the pronouns in English translation and the Tenor in target text was also different from the source one.

Semantic broadening is one of the important processes of semantic change that has long been studied by experts and especially by historical-philological semanticists. In this process, which occurs over time, the meaning of a word broadens from time period A to time period B and thus, in addition to its previous meaning, the word includes a new concept. Semantic broadening over time leads to a multitude of meanings. A word is used to refer to a new unit of language in terms of its similarity to a new concept, and based on the Prototype theory. As such, in addition to its original meaning, it is also applied in a new sense. This "similarity" has, in many cases, led to confusion between semantic broadening and metaphor, and a group of words that has undergone semantic broadening is considered as metaphors. The present research, in addition to explaining semantic broadening, examines the difference of this process with metaphor, and, in particular, by emphasizing Persian verbs, tries to show that many of the constructs considered as metaphor, are, in fact, instances of semantic broadening that, as a result of this process, have gained multiple meanings. Relying on examples, in particular, examples of Persian verbs, this paper attempted to emphasize the distinction between semantic broadening and metaphor, and to show that, by tradition, in our metaphor, one tends to separate the Tenor from the simile and apply it on other contexts. However, in the case of semantic broadening, the Tenor is by no means used in different contexts. Words are semantically broadened over time and their semantic scope expands, which is a process quite different from metaphor. As such, the results of this study indicate the subtle distinction that exists between semantic broadening and the process of metaphor, which is often neglected. In metaphor, the "Tenor" is derived from the simile, and is used in other sentences instead of the "vehicle"; in a way that the "Tenor" adopts the semantic behavior of the “ vehicle” . However, in semantic broadening, an independent process occurs, and what emerges as the process of semantic broadening is the semantic expansion of other units of the simile.