The Semiotics of the Names of the Characters in the Film The Salesman by Asghar Farhadi based on Charles Sanders Peirce’s Point of View

This article about nomenclature is based on the semiotics of the names of the characters in the movie Salesman by Asghar Farhadi, and it tries to deal with various aspects such as the iconic, indexical, and symbolic aspects of the names of the characters in the show, taking into account the knowledge of vocabulary and relying on Peirce’s method of semiotics. Since the science of vocabulary is one of the analytical possibilities in line with literary Characterology and this category has been little used in Iranian research, I tried to write this article, while introducing and applying this science, to provide an analytical example in one of the prominent works. Check out an Iranian show. It should be noted that this type of analysis leads to the efforts of the creators of the work to take seriously the importance of choosing names for the characters in line with the narrative. Because Saussure’s focus in semiotics is on language and also because Peirce presents the sign with images (which is a special point in dealing with the works of theater and cinema), preferring to use Peirce’s method of semiotics is compared to Saussure’s semiotics. According to this research, in the film under review, it is clear that there is a direct and practical relationship between the characters’ names in the film and the content and actions on the show. Asghar Farhadi’s film The Salesman has undergone a discussion on the semiotic nomenclature of its characters based on this finding. The analytical-descriptive method is used to discuss the semiotics of character names in Asghar Farhadi’s film “The Salesman” in this article. The result of this research indicates that the author of the work has used symbolic capacities in the creation of character names to emphasize the concept and create a better atmosphere in the lower layers of the text. The article’s text specifies these capacities. The research indicates that Asghar Farhadi takes into account the denotative aspects of names when naming the characters from the show, both consciously and unconsciously.