حمیدرضا شعیری

Coins of the Ilkhanid Sultan Muhammad Khodabandeh (Uljaytu) transcended their economic function. These coins served as influential media through which the government displayed and managed its discursive system of power, identity, and religion. The primary question of this research is how the fundamental tensions of that period including the conflict between the Mongol roots of the rulers and the inclination toward an Iranian-Islamic identity, as well as the clash between tradition and innovation are reflected and managed in the inscriptions (typography and designs) on these very coins. The aim is to examine the semiotic analysis of these oppositions as constitutive components of the governing discursive system, expressed through both script and image. The methodology is qualitative, advancing based on Greimas's semiotic theory, relying on narrative analysis and the semiotic square model. Five silver coins minted in Tabriz from the years 709, 710, and 714 AH were selected as key samples and meticulously examined. The data included precise images of the coins as well as library resources, which were processed and analyzed according to the Greimassian semiotic approach. The findings reveal a three-phase narrative of this transformation. In the initial years (709-710 AH), the coins simultaneously maintained two contradictory aspects: the Uighur script on one side and Shiite texts on the other. This intentional duality indicates the government's cautious strategy at the outset. Subsequently, emotional symbols such as intertwined heart motifs reinforced the affective charge of the message. However, in the final phase (714 AH), no trace of the Uighur script remains. Uniform Shiite texts and regular geometric designs, such as seven-petaled flowers, constitute a consolidated and unified discourse. The fundamental conclusion is that the coins were not merely passive mirrors of developments but rather an active arena for displaying and ultimately mastering tensions in favor of the official narrative of power. This process reveals the Ilkhanids' intelligent strategy for consolidating their new legitimacy through integration with Iranian-Islamic culture.

Food advertising, as a key marketing tool, uses conceptual metaphors in slogans to evoke emotions and create emotional and cognitive connections with consumers. This study aims to investigate the use of conceptual metaphors in prominent food advertising slogans in Iran, seeking to answer the question of how these metaphors convey complex concepts and align with Iranian cultural values. The aim of the study is to identify types of conceptual metaphors, analyze their role in strengthening the advertising message, and discover their connection with cultural contexts. The research method is based on a qualitative content analysis of 30 advertising slogans from prominent Iranian brands. The theoretical framework of the study is based on Lakoff and Johnson's theory of conceptual metaphors, which divides metaphors into three types: existential, structural, and directional. Also, Zoltan Kovacs's perspective was used to analyze the connection of metaphors with Iranian cultural values. The data were examined through the analysis of metaphorical mappings and cultural contexts. Findings in the analysis of advertising slogans of prominent Iranian brands show that metaphors have been systematically used in three categories: structural, existential, and directional. The largest share belongs to existential and structural metaphors. These metaphors have conveyed concepts such as health, national identity, and intimacy through tangible areas such as life and culture. Also, contextual factors such as the type of media and audience have been influential in the selection of metaphors. 43.3% of slogans were categorized as structural, 56.7% as existential, and 10% as directional. Among them, three slogans were simultaneously placed in two categories, which indicates metaphorical diversity. As a result, the conceptual metaphors used in Iranian food advertising reflect cultural and social values, but they face challenges in terms of diversity and innovation.

In Iranian folk short stories, such as the other classical narratives around the world, narratives are formed around the axis of meaning and characters turn to subjects, when having of something becomes important for them, and start an action process to achieve that thing. Thus, as much as subjects in these stories, there are narratives in which subject follows a way to produce meaning. but the important matter is that these subjects, regarding to their main or secondary role in a narrative, how they succeed in producing meaning, that’s why in this research with descriptive- analytic and statistical method, based on discourse semi- semantic view in classical narratives, which is a sub branch of Semantics in Linguistics, 201 Iranian folk short stories are considered that are common around the Iran and Seyyed Abolghasem Enjavi Shirazi has collected them in a four volume collection: Arousak va Sang-e Sabour, Dokhtar-e Narenj va Toranj, Gol Ba Senowbar Ch-e Kard, Gol-e Boumad. In this research the result of action processes of 661 subjects for producing meaning is analyzed. findings show that the result of action processes of subjects which are put in five category: ordinary, average, special, legendary and mythical and two main and secondary positions, have three feedbacks: producing of meaning, repairing and proving of meaning, destroying and death od meaning. In between, producing of meaning and repairing and proving of meaning, in respect, have the most and the least frequency among these subjects.

This study examines how time, space, and the human interact in representing the lived experiences of the protagonist in Rahesh, a novel by Reza Mirzakhani, based on the combined model of the threshold chronotope and the transhuman–space chain. The significance of this research lies in introducing an innovative approach that integrates these two models to analyze temporal–spatial–human connections in contemporary literary texts—an approach applicable not only in narratological studies but also in interdisciplinary analyses of identity, bio-environment, and urban transformation. Adopting a socio-semiotic perspective and employing a descriptive–analytical method, the study purposefully analyzes selected passages from the novel. The findings reveal that the combined model, by emphasizing threshold situations and transmaterial connections, not only enriches the narrative’s semantic and conceptual layers but also illuminates the transformation of characters’ identities within the dynamic interplay of time and space. The results further indicate that crossing from threshold to post-threshold moments deepens lived experiences and generates new meanings within the narrative.

Code-switching is a phenomenon in which individuals alternately use two different languages in their written or spoken communications. This study focuses on code-switching in French language classes in Iran. Specifically, the study examines code-switching between French, the target language, and English, the helping language. The primary aim of this research is to investigate the impact of code-switching between English and French on improving the oral production of Iranian learners in French classes. The hypothesis of this study is that code-switching can act as both a facilitator and an accelerator for the oral production of language learners. To collect quantitative data, a questionnaire with both closed and open-ended questions was used. The sample consisted of 121 learners who were familiar with English and were currently learning French. Open-ended questions helped in identifying patterns and themes within the data. Subsequently, the data were analyzed using descriptive statistics and partial least squares structural equation modeling. The results indicated that code-switching has a significant impact on the learning and oral production of language learners. Future research could focus on analyzing the factors affecting key variables, exploring indirect relationships, employing qualitative methods, comparing with other models, and providing practical suggestions to enhance teaching and learning methods.

From the point of view of discourse semiotics, three elements of the subject, object and universe are involved in the process of meaning generation, on the basis of sensory-perceptual communication. This research aims to analyze the discourse space of Nowruz beyond the social actions and its anthroposemiotic functions. The main issue is to investigate Nowruz discourse with regard to the phenomenological presence of the human subject, the transfer of discursive spaces following collective interactions and the establishment of a matching system as a result of the transactional performance of collective subject. The question is how the Nowruz discourse, is able to create a relationship based on adaptation between humans and the universe Considering that the intellectual foundation of semiotics is based on the principle of the dependence of meaning on the phenomenal presence of the subject and his interaction with the objects of the universe; the research method adopted based on this approach is the qualitative study of Nowruz spaces and the role of actors in the transfer of spaces. The findings of the research show that the semiosphere of Nowruz, with the possibility of transferring spaces, leads to the establishment of unity between humans and universe.

Adapting literary works for performance, categorized within the scope of intertextual studies, has attracted the attention of many artists in the field of performing arts in recent decades. The main objective of this research is to understand the capabilities of Nima's poetic discourse and to transfer it to the discourse of drama. This research is significant and necessary because it creates a new relationship between the discourse of contemporary poetry and the art of drama, and it is considered a valuable resource for theater artists in Iran. This research has studied Nima Yushij's poem "The House of Sirivili" as a suitable candidate for adaptation to determine the extent to which this work can possess performability. The dramatic aspects of this work have been studied by relying on Aristotle's theories on drama. In "Poetics", Aristotle enumerates six elements in the creation of a tragedy, which are plot, speech, thought, character, spectacle, and song. This qualitative research is descriptive and analytical in terms of nature and method. The data collection is also based on library and electronic data. The findings indicate that this work has a plot, dialogue, thought, character, and scenery. Although, due to the fact that this work is not a play, it has been difficult to recognize some dramatic features in it, but what can be understood is that "The House of Sirivili" has the ability to be performed, leading to a lasting and valuable work.

Iran experienced profound sociopolitical and cultural transformations during the 1980s, which were a significant period. This study selected 15 images from 431 images of women found on the front pages of newspapers from the 1980s, employing a qualitative methodology guided by Foucault's discourse theory and drawing on the social semiotic framework of Kress and Van Leeuwen. The objective of this study was to examine the dominant discourses in the representation of women and to investigate the ways in which these images reinforced dominant ideological norms. The findings revealed that the representation of women in newspapers was not merely a reflection of dominant values; rather, it was an active process that involved the normalization of defined gender roles, the construction and consolidation of the ideal revolutionary female subject, and the management of identity tensions through the employment of specific visual mechanisms and techniques. The portrayal of women in Iranian periodicals during the 1980s served as a mechanism for the reproduction of dominant discourses, reinforcing revolutionary and Islamic values and portraying women as fervent advocates of the revolution and its core ideals. Additionally, they emphasized the supportive role of women during the Iran-Iraq War. In addition to these representations, there were depictions of women's participation in scientific and managerial disciplines, which indicate a degree of acceptance of new roles for women within the revolutionary society, albeit within the framework of Islamic values. Although the images depicted women as active participants in various domains, they restricted their roles to predefined social and cultural expectations within the Revolutionary-Islamic framework, thereby reinforcing and stabilizing these discourses.

The discourse point of view with the Semio-semantic approach believes that linguistic productions are subject to a complex process in which many semantic sign factors are involved; Therefore, what the language says, the image expresses in the form of shape. That is, the world is meaningful and there is no form that does not have meaning because the surrounding world has structures consisting of forms and shapes and these forms imply a meaning. Therefore, there is no separation between language and art, and art is like language, as a result, art acts as a medium and a discourse, and it is also a messenger and a communicator. Discourse, as an effective procedure, includes the formation of different areas such as politics, therefore, political discourse is determined as one of the results of politics in a historical and cultural context (based on power, ideology, and identity). Thus, a political discourse, by becoming dominant in any era, will be able to influence existing political, cultural, social and economic structures, so discourse systems create different dimensions of semantic signs in artistic texts, and these visual media, such as movie posters, as a part of society's culture are affected by social-political conditions, especially the prevailing political discourses. The present research, based on library and audio-visual sources, and with an emphasis on the approach and method of semantic signification and explanation of the discourse systems governing the visual space, tries to answer these questions, with what elements are these discursive and semantic systems shown in the movie posters of "Red" and "Under the Moonlight" And how the process of narrative and semantic system of proposed movie posters has been formed under the influence of dominant political discourses The findings of this research indicate that by explaining the meaning of the discourse systems in these movie posters, it is possible to determine the degree of influence of modern discourse (reformist) and classical discourse (fundamentalist) and in order to be influenced by political discourses in the society, sometimes the clarity of discourse is decreased and sometimes the discourse systems are led to the abyss of ambiguity or discourse reductionism.

Discourse, in any society, is an influential flow in shaping concepts and issues, the scope of its influence extending to various fields, including politics. Cinema, as a cultural phenomenon and a reflection of social structures, is formed under the influence of dominant political discourses. Cinematic works, in order to convey ideology, both explicit and implicit meanings, and to promote narratives, require promotional tools among which, film posters are considered as one of the most effective. These posters, through their specific visual language, reveal the discursive structure underlying the production and distribution of the work. On the other hand, Semio-semantics, as an analytical approach, provides an appropriate framework for studying the internal processes of meaning-making within discourses. Accordingly, this study, grounded in discursive Semio-semantics analysis and utilizing library and audiovisual sources (such as film posters), conducts a comparative examination of the movie posters for The Smell of Camphor, the Scent of Jasmine and The Snowman, to analyze how these works were influenced by the political discourses of the second half of the Seventies (1370s in the Iranian calendar) and to explore the mechanisms of transfer and mutual use of discursive elements. The central question of this research concerns how discursive elements are transmitted and transferred from one semantic universe to another—a process in which structural boundaries are weakened and oppositional systems are broken down, thus allowing for penetration, interaction, and mutual use between semantic systems. The findings of this study reveal that, each of these posters, while remaining loyal to their respective favored political discourse, also employs certain signs and elements from the opposing discourse in order to communicate their intended values and meanings more effectively and clearly. This process, accompanied by the weakening of discursive boundaries, indicates a kind of semiotic contagion and meaning transfer between two discursive systems, wherein former oppositional structures are replaced by interconnectedness and cross-utilization. Such an approach has led to the emergence of a shared and fluid semantic space within the realm of cinematic poster design.

Iranian folk short tales are accounted among the most important types of classical narratives in which the mechanism of producing meaning from the point of view of semi-semantics in classical narratives have formed based on the two components of "having and not having", that is why the object is the main motivation for the formation of the action process of the subjects in Iranian folk short tales or any other classical narrative, which these objects can have a different appearance in each story, which subjects experience a special kind of shortcoming in relative to them; For this reason, knowing the shortcomings that the subjects feel towards the objects and also explaining the types of objects, provides a better understanding of the meaning production mechanism in these stories; Therefore, in this research, how the objects appear and the feeling of shortage that the subjects feel towards the objects, according to the semantic class of the subjects (social position) as well as their central or secondary position, has been stated as an important issue in the form of two questions. It can be analyzed below:In Iranian folk short tales, the subjects enter into an action process based on what feelings of shortcomings they have towards the objectsIn Iranian short folk tales, objects appear in the form of what components and what is their frequency

In this research, with analytical- descriptive method which is influenced by the discourse semi-semantic approach in classical narratives. A try have been made that with regard to semantic class of subjects, which includes five classes of ordinary or peasant-subjects, average subjects, special or ruler subjects, legendary subjects and mythological subjects, as well as their focal or secondary position, 661 subjects in 201 short Iranian folk tales - collected from the four-volume collection Dokhtar-e Naranj and Tonraj, What did the flower do to the fir tree, Arusak and Sang-e Sabor, and Iranian stories, collected by Seyyed Abolqasem Enjavi Shirazi, it should be analyzed to explain and investigate the possible shortcomings of the subjects in relation to the objects and their types or possible types.

The findings of this research show that the subjects in these stories have five classes: normal or peasant-subject, average, special or ruler-subject, legendary and mythological, in  compared to objects, have experienced  two types of shortcomings:  affirmative (must be), privative (must be again) and a feeling of the danger of privative shortage  (must not be lost), among which affirmative shortcoming have the most frequency, and also the objects in these stories are divided into four categories: abstract objects, inanimate objects, merely animate objects, intelligent animate objects. It has been shown that the type of abstract objects includes any mental non-tangible and non-invisible things such as: revenge, honor, title, etc. Also, inanimate objects in these stories include all inanimate touchable and visible things, among which we can mention such things as: treasure, magical pot, magical relic, etc. in these stories. But the merely animate objects in Iranian folk short tales include: animals, birds and creatures that lack any human consciousness, for this reason they can never be placed in the position of an independent subject; But the last group of objects in these stories are intelligent living objects; In means that these objects are living beings, whether human beings or mythical creatures, that can be an object for another subject while being a subject and having an independent action process.

The results of this research, according to its findings, show that affirmative shortcomings have the most frequency in these stories, and this frequency is mostly manifested among special sub-subjects. Also, the data of these statistics show that the privative shortcomings have had the lowest frequency in these stories and its highest frequency was among the focal ordinary subjects. Also, the findings of this research show that abstract objects have the highest frequency in these stories, and in terms of being focal or secondary, as well as the five semantic classes, they have been seen more among specific secondary subjects, while living objects have the least frequency in Iranian folk short stories. this object is mostly seen among medium focal subjects. Therefore, in these stories, the subjects have  looked for something that they have never had, and the most objects that have been searched for, in these stories are abstract and mental objects.

Every neighborhood is composed of multiple and diverse places that, through a combinatory dynamic, generate a space with a multiplicity of meanings. This process is embedded within a flow known as narrative, producing an interactive narrative capable of postponing "semantic death" and fostering ontological flourishing. This article seeks to answer the questions: How can places and narratives create an interactive narrative, and what are the Semio-semantic characteristics of such narratives What attributes must places and neighborhoods possess to enliven our perception and perpetuate the being of presence Ultimately, it is posited that if a neighborhood can be transformed into a space for practice of Flânerie, imagination, and reverie, the demise of meaning is delayed, and a state of ontological flourishing is engendered.

The structure of the form and content of the gravestones of the Islamic era are significantly influenced by climatic, historical and cultural factors. The gravestones are divided into three main groups, raised, horizontal and combined. Box-shaped tombstones are also one of the species of horizontal gravestones that have different types. The lack of typology and accurate classification of this type of tombstone has caused turbulence in naming works among researchers. In addition, by studying the style of the common and different elements in the structure of the shape and content of the wooden cenotaphs, a precise typology of the tombstones can be presented. Identifying and explaining the common and different aspects of the structure of the form and content in the works mentioned and describing them can be a source for many studies in this field and reduce conflicting ideas among researchers.

This study investigates the social status of the varieties of Iranian languages and dialects towards the use of lectals from the perspective of the hidden cognitive realities of real language use within the framework of lectal variation theory. A researcher-constructed survey questionnaire and interview were used in this study. Linguistic data were collected from 314 participants selected semi-randomly from among the language community of immigrants living in Tehran with ten different varieties of Persian languages. Participants had the apportunity to choose one of the varieties of languages (standard or non-standard) in two areas of home invoirement (having conversation with parents, siblings, spouses and children) and out of home invoirement (having conversation with colleagues, professors, classmates and people in the society). The Likert scale was used to measure the questionnaire items. Cronbach’s alpha was used to measure the reliability. Besides, the Chi-square test was used to receive statistical results. According to the results, Due to the power component, the greater validation of the standard language, Escape from their audience’s negative judgments towards their language varieties and ultimately to gain social prestige, 84.71% of speakers of language varieties in Tehran prefer to use the standard variety of Persian language in their daily conversation. In terms of language identity, speakers of languages especially Laki and Kurdish speakers have more powerful sense of real identity toward their non-standard variety of Persian language.

Cette étude voudrait examiner l'impact des textes médiateurs sur la compréhension orale chez les apprenants du français langue étrangère. Deux groupes d'apprenants ont été comparés à travers une série d'exercices de compréhension orale. L'étude vise à évaluer l'effet des textes médiateurs sur l'optimisation de la charge cognitive et l'accès au contenu global.Cet article met l'accent sur le rôle crucial de la médiation cognitive en tant que stratégie clé pour renforcer la compréhension orale et facilite la réception du contenu du document entendu en orientant l'attention vers une compréhension plus approfondie. La cognition, impliquant la mémoire et l'attention, est au cœur de notre approche, en se servant des textes médiateurs préparant cognitivement à l'écoute.La méthodologie comprend une étude sur le terrain avec les groupes expérimental et témoin, et l’analyse de leurs performances. Les résultats révèlent une certaine amélioration chez le groupe expérimental, confirmant que les textes médiateurs optimisent la charge cognitive et facilitent l'accès au contenu. Nous pouvons constater que le nombre croissant de bonnes réponses lors des exercices d’écoute aussi bien que les réponses données au questionnaire illustrent ces améliorations, le tout affirme ainsi le succès des textes médiateurs comme outil de préparation cognitive.

AbstractThe interaction between text and reader and the concept of the "spots of Indeterminacies "are among the essential topics in Wolfgang Iser's theory of "Aesthetics Responsive ". This theory seeks to pay attention to the reader's role in the reading process and formulate concepts that lead to increased interaction between the text and the reader. This study believes that the concepts proposed by Iser provide functional mechanisms for research in the text of the Qur'an and interpretive texts from a new perspective. Therefore, in the present study, we tried to study essential indeterminate spaces in Surah Al-Rahman and investigate how Angelika Neuwirth interacted with these spaces of Surah. The focus on Neuwirth in this study stems from her interpretive approach to the study of the Qur'an and her emphasis on considering Qur'anic chapters as literary pieces. The purpose of this study is to achieve a new approach to research in the textual structure of the Qur'an as well as interpretive texts and determine an indicator to identify the near and far interpretations of this precious text by using descriptive and analytical methods. In this regard, it was observed that Neuwirth, in her interpretive reading of this Surah, tries to fill in the blanks by using the topics discussed in the previous religious books and the results of her analysis of the poems of the pre-Islamic period.Keywords: Surah Al-Rahman, The spots of Indeterminacies, interaction between text and reader, Angelica Neuwirth.AbstractThe interaction between text and reader and the concept of the "spots of Indeterminacies "are among the essential topics in Wolfgang Iser's theory of "Aesthetics Responsive ". This theory seeks to pay attention to the reader's role in the reading process and formulate concepts that lead to increased interaction between the text and the reader. This study believes that the concepts proposed by Iser provide functional mechanisms for research in the text of the Qur'an and interpretive texts from a new perspective. Therefore, in the present study, we tried to study essential indeterminate spaces in Surah Al-Rahman and investigate how Angelika Neuwirth interacted with these spaces of Surah. The focus on Neuwirth in this study stems from her interpretive approach to the study of the Qur'an and her emphasis on considering Qur'anic chapters as literary pieces. The purpose of this study is to achieve a new approach to research in the textual structure of the Qur'an as well as interpretive texts and determine an indicator to identify the near and far interpretations of this precious text by using descriptive and analytical methods. In this regard, it was observed that Neuwirth, in her interpretive reading of this Surah, tries to fill in the blanks by using the topics discussed in the previous religious books and the results of her analysis of the poems of the pre-Islamic period.Keywords: Surah Al-Rahman, The spots of Indeterminacies, interaction between text and reader, Angelica Neuwirth.IntroductionThe purpose of this study is to achieve a new approach to research in the textual structure of the Qur'an and interpretive texts and determine an indicator to identify the near and far interpretations of this precious text and find out how Angelica Neuwirth dealt with the "spots of Indeterminacies" in Surat Al-Rahman. To answer this question, we rely on Roman Ingarden's (1970-1893) phenomenological philosophy, as well as Wolfgang Iser's (1926-2007) aesthetic response theory, which attempted to delve into the fundamental dilemma of the search for the interaction between the text and the reader. The significance of this study arises from becoming familiar with contemporary theories that raise new issues about the Qur'anic text and exegetical texts that lead to the completeness of our understanding of the Qur'an and for the interpretive recipients of this text.The reason for this study's focus on Neuwirth is that she uses the surah as a basic unit rather than a phrase, verse, or syllable while studying the Qur'an. And she feels that the surah was intended to be a unit of informing and receiving from the start, thus the verse should not be stated without considering its context. A serious literary study of the Qur'an, she believes, requires a concentration on the surah as a whole. In her studies, Neuwirth emphasized receiving the Qur'anic surahs as a literary unit, and she believes that the surahs must be understood as the intended literary units.Materials & MethodsThe interaction between text and the reader and the concept of the "spots of Indeterminacies "are among the essential topics in Wolfgang Iser's theory of "Aesthetics Response ". This theory seeks to pay attention to the reader's role in the reading process and formulate concepts that lead to increased interaction between the text and the reader.Wolfgang Iser concentrates his research on literary works and explains what causes the text and the reader's interaction. According to Iser, the structure of a literary text is full of empty spots, and these spots, as well as the blanks and gaps, are the most crucial component of the distinction between a literary and non-literary text.These spots in the text create the "spots of Indeterminacies ", allowing the reader to participate. These spots, according to Iser, provide a foundation for communication and a motivator for interaction.  Communication begins when the reader fills in the blanks. As a result, as Iser puts it, the reader's purpose in his interaction with the text should be to fill in the empty spots. This process is subject to a wide range of variables: personal experiences, moods, and a variety of other things may all have an impact on how the reader completes it.Iser believes that the reader's reaction to the text reflects his mood. The reader is pushed to divulge aspects of himself in this process, and these ambiguous spots prompt the recipient to use his brain and mind to solve mysteries; nevertheless, unless the recipient or reader is experienced and creative, achieving this level may not be possible. So this study believes that the concepts proposed by Iser provide functional mechanisms for research in the text of the Qur'an and interpretive texts from a new perspective.Discussion & ResultIn the present study, we tried to study essential Spots of indeterminacies in Surah "Al-Rahman" and investigate how Angelika Neuwirth interacted with these spots of Surah. In one of her papers, titled "Paradise as a Qur'anic Discourse," she devotes an in-depth examination of this surah (2017). She performs interpretation in this article, which is based on the interpretation of the phenomena of "paradise" in a few Qur'anic surahs, particularly Surat al-Rahman. As mentioned earlier, from Iser's point of view, interactivity occurs when the reader fills in the blanks in the text. Two concerns arise in this context: the level of the reader's freedom to fill in the blanks and the ability to discriminate between concretizations near and far from the text. The idea of consistency must be followed when it comes to the reader's freedom. The reader's concretizations must be made within the context of the text's coherence and general structure. To establish which concretizations are near to the text, we found that those recovered from the surah's context are closer to it than other concretizations, and those inferred from the context of other surahs are closer to it than those retrieved from other preceding texts.ConclusionWhen it comes to Neuwirth's concretizations when analyzing the exegesis of Surat al-Rahman, the fundamental flaw in her interpretation is that she tries to fill in the gaps with material from previous religious texts and, on top of that, she employs the results of her pre-Islamic poem analyses. Using pre-Islamic poetry to concretize the objects is not an issue but Neuwirth's eclectic approach exacerbates the situation; She uses pre-Islamic poetry to concertize the surah at points, but she also rejects pre-Islamic poetry and uses a different concretization at other times. All of these concretizations serve Neuwirth's goal of providing a cultural translation of the Qur'an that meets the needs of today's reader and recipient.

Our body is diverse and scattered. Controlled by our body, we move within time and space. As the border between us and the other, our body differentiates us from the other. It also functions as a veil that hinders our connection with the qualitative and pure worlds. Now, suppose the body wishes to move beyond quantitative and material limitations. In that case, the body must transcend beyond itself and achieve a form of existence that has no spatio-temporal constraints. The transcended body connects with the essence of existence, which, in turn, results in the creation of a presence that Rumi calls “Jān” or metabody. The metabody, according to Rumi, can reach a higher order and become one and the same with “Jānān.” How can the body move beyond itself and fuse with the metabody Informed by Rumi’s thoughts and worldview, this study aims to investigate the semiotics of the body and metabody. The findings of this study suggest that by moving beyond the material, temporal, and spatial constraints, the action-body turns into an event-body and achieves a higher order in existence. The event-body is a Hādith-body that elevates the subject by fusing it with the metabody. The metabody moves beyond spatio-temporal constraints and reflects the essence of the presence.

With the onset of the pandemic and the virtualization of education in universities, art teachers and scholars experienced new problems, challenges, opportunities, and conditions. The main goal of this research is to conduct a phenomenological study of the lived experiences of graphic design students from virtual education in workshop courses. For this purpose, twenty students were selected through purposive sampling and in-depth individual interviews were conducted with them. The results of the research show that the new process of virtual education for art students has become a kind of life world that has affected their professional lives in four dimensions: practical and technical challenges, emotional and sentimental connections, social interaction, breaking away from the requirements of face-to-face interaction, and encountering the opportunities and novel achievements of the virtual world. Thus, the process of learning art for them has been accompanied by learning ways to overcome obstacles and technical problems in working with computers, creating virtual pages, establishing virtual interactions, and exchanging emotions in a remote manner that they had never experienced before. In this regard, while learning workshop lessons in a new way, students had to practice and acquire the art of establishing emotional-social connections in the virtual world on a daily basis. These practical exercises not only required them to break away from the conditions and requirements of face-to-face education, but also provided them with new opportunities and achievements that, in turn, transformed their understanding and perception of art and the methods of learning art.

Discourse, as an influential method in shaping the objects discussed within a society, encompasses various fields, including politics. Political discourses, by dominating any given period, affect multiple existing structures such as cultural, social, and economic realms; cinema, as a cultural product, is no exception. The cinematic works of any society are not merely products of isolated individual minds; rather, they are influenced by the prevailing political discourses of that society, which need extensive promotion to convey their concepts and themes to audiences and impact their mindsets in line with encouraging them to watch the films. One of the promotional tools is film posters, which, relying on their specific language, represent the semantic and discursive system governing the creation and display of films. The present study, based on discursive semiotics and utilizing library and audiovisual resources (film posters), attempts to conduct a comparative study of the discursive and semantic systems present in the movie posters of “E’teraz” (Protest) and "Ajans-e Shishei” (The Glass Agency) to demonstrate how the political discourses in the second half of the 1990s in Iran have influenced these movie posters from a semiotic perspective. Based on the findings, the semiotic discursive systems in the posters of "Protest" and "Glass Agency" show that these posters have been influenced by both classical (principlist) and modern (reformist) political discourses, with their differences and similarities being elucidated through the explanation of the visual and narrative elements embedded in these two posters.

The narrative Semiotics is based upon the two facts of action and change. Actors often go on by predetermined programs in this field until they reach appropriate meanings. It seems that the dominant discourse is a logical and narrative phenomenon underlying the structure of mythic stories. In this inquiry, we will study the story of the Zahak and Fereydoun from the Shahname composed by Ferdosi from a semiotic perspective and a descriptive-analytic approach to showing that all narrative components of the story go to alter the semantic features. The results showed that the discourse is dynamic, and at the end, the elementary situation changes to a secondary situation. Zahak wishes to attain the throne while Fereydoun wishes to destroy this government: The stages of language transition are described in the four stages of contract, potential, passive, and analytic. The passive-semantic structure of this discourse is dividable into personal, passive and intermediate places according to their locality.

Cultural semiotics is one of the fields of semiotics that is associated with the name of Yuri Lutman. Lotman considers culture as a symbolic system in confrontation and interaction with other symbolic systems. From Lutman's point of view, every culture is self-systematic and what is outside the scope of its own culture is known as non-culture. The theory of narrativeness and occurrence based on the theory of Lotman's symbolic sphere considers the event as a kind of change of the norms in the symbolic sphere, which corresponds to the definition of the event from the perspective of Grimas. The present article analyzes the novel "Crime and Punishment" by Fyodor Dostoyevsky, relying on Lutman's cultural semiotics and Grimas's narrative process. The purpose of this study is to investigate the practical capabilities of Lutman's theory of cultural semiotics in comparison with Grimassi's narratology, in order to show how the Russian writer presents the main values, including ideology, religion and politics, in opposition to two poles. It compares itself (Russia) and the other (the West). Raskolnikov's metamorphosis and the transition from the border of "other" to "self" in the last part of the novel is formed through a nightmare, which corresponds to passing through an unfavorable situation, sudden and without intervention of the subject. Therefore, the new situation refers to the "self and not the other" approach; The approach that is related to the function of identification and ideology of culture considers Russian culture superior to the West.

Narratology is a field of study that focuses on the examination and analysis of the structure and components of narrative. Gérard Genette is widely recognized as one of the most influential theorists in this subject due to his structural investigation of the element of time. He assigns three levels to narrative discourse: voice, tense, and mode. Genette studied the differences between story time and narrative time. Hence, in order to gain an understanding of the structure of time in the narrative, Genette analyzes the three elements of order, duration, and frequency. This allows for the specification of different types of flashback and flashforward narratives, anachrony, and types of time accelerations that result in different rhythms in the dramatic narrative. Dramatists have been studying the narrative structure since Aristotle's Poetics, and they can use the examination of its elements as a practical benchmark. Theorists who specialize in narrative and dramatic works, like Fludernik, Rimmon-Kenan, and Chatman have developed Genette’s ideas on fictional and dramatic narration. The comparative of one of the narrative elements, such as time, in the texts of two Persian-language playwrights makes the classical pattern of drama and its use in Iranian plays, as well as its comparison with the traditional and narrating pattern of this play, to be researched. The present research uses analytical-descriptive method of written sources and books to compare the structure of time in the dramatic narratives of two prominent Iranian dramatists, Bahram Beizai and Akbar Radi, with a look at the plays Afra and Khanomche va Mahtabi. This research attempts to explain how, in contrast to one another, Beizai and Radi brought the temporal structure of the narrative into the field of writing, and how they used it dramatically. The purpose of this research is to study the narrative time in the dramatic texts of two Iranian dramatists from structural aspects, relying on Gérard Genette's opinions. The findings of this article emphasize how flashbacks and anachrony have had a substantial impact on the play’s narrative flow and temporal structure. Additionally, temporal duration and frequency have also been involved. This anachronism has caused both texts to find a format close to the Iranian dramatic tradition in terms of the connection between the events and other narrative elements such as characters, theme, plot, etc., which is more significant in Afra in terms of the narrative style. However, the dramatic and conversational elements of Khanomche va Mahtabi are more closely associated with the temporal fractures in the narrative structure. Through the use of dramatic devices like sound or the removal of dialogue, as well as story techniques like the use of a narrator and narrating the past story in the present tense, both authors have attempted to employ other modes of narrative time. The timeline diagram of events in both plays includes discrete forward lines with flashbacks occurring during time breaks, as well as the direct course of those dialogues that review the present time.

Bruce Ellis Benson, in his phenomenological theory, "The Improvisation of Musical Dialogue", points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse which is always open to any subsequent conversions or adjustments. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. The purpose of this study was to explain the concepts proposed by Benson's concept of improvisation, including the ontology of the musical work, the originality, and the identity of the musical work. The improvisational theory of musical discourse is a poststructuralist theory and introduces the basis of music as improvisation, which always has an interpretive nature. Musical tradition and practice as a world are important for a dialogue in music. Instead of playing the composer as the sole creator of music, Benson considers the piece to have a fluid identity that always continues to exist with the performances and interpretations of an experienced performer familiar with the tradition and practice of that music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of method. All material is obtained through the library method.

The present research has investigated the value system of Ethics in Samak-e-Ayyar using the analytical descriptive method and relying on the semiotics approach.The main problem of the research is: what mechanisms are used for the production of EthicValues in Ayyari discourse How Ayyari has changed the boundaries between reality and idealism that leading to changing the normal and common values to idealistic and even mythical ones The data have been selected purposefully and based on action discourses from Samak-e-Ayyar.The results indicated that Ayyari divides the social and cultural functions and even the usual value system into extra-value types such as collectivism, myth-centric, risk acceptability, adaptability, renewability, and other pioneering values in the lifestyle of actors.

Cet article analyse les programmes de formation des enseignants de français des écoles au Canada et en Iran, en mettant en lumière les différences et similitudes. L'objectif est de mieux comprendre les méthodes qui peuvent améliorer la qualité du travail des enseignants dans ces deux contextes éducatifs. L’étude compare les programmes de deux universités canadiennes, l'Université de Colombie-Britannique (UBC) et l'Université Simon Fraser (SFU), avec les pratiques éducatives en Iran. Il est important de noter que le ministère de l'Éducation en Iran ne requiert pas de certification spécifique pour les enseignants de français dans les écoles. Bien que des universités comme Farhanguian et Rajaei certifient les enseignants pour l'enseignement en milieu scolaire, elles n'offrent pas de formation spécialisée pour les enseignants de français. Cette étude se concentre donc sur les institutions officiellement responsables de la formation des enseignants. Les données proviennent d'analyses documentaires, d'entretiens avec des enseignants et des formateurs, ainsi que de questionnaires remplis par des élèves. Cependant, cet article aborde spécifiquement la structure des programmes de formation, les entretiens et les questionnaires faisant partie de la recherche principale. Les résultats révèlent qu'au Canada, la formation des enseignants de français est bien structurée et comprend des stages pratiques essentiels, tandis qu'en Iran, la formation reste souvent optionnelle et manque de composantes pratiques. Ces différences influencent directement la qualité de l'enseignement et la compétence des enseignants dans les deux pays.