van leeuwen

In this research, we try to apply linguistics studies to the analysis of novels through critical discourse analysis. Critical discourse analysts take into consideration those elements of discourse that are hidden medium in order to preserve power hierarchy. Contrary to descriptive-formal survey of language, they contend that language can be used intentionally to support dominance, inequality and struggle against them as well. The novel Bamdad-e Khomaar (The dawn of lassitude) by Fattaneh Haj Seyyed Javadi is analyzed based on Theo Van Leeuwen’s research tools namely activation and passivation, nomination and categorization, identification and functionalization, differentiation, and over determination. The research demonstrates how the analysis of the novel based on linguistic research tools, which were used in this research, can help readers to understand the opinions of the novelist regarding both social classes and women.

Critical discourse analysis is an interdisciplinary method that seeks to uncover concealed power dynamics, dominance, social inequalities, and ideological processes through language analysis, focusing on structures beyond individual sentences. Within this field, van Leeuwen's (2008) framework is a fundamental approach that emphasizes the role of social actors in manifesting underlying discourses. This framework comprises two main components: exclusion and inclusion, each encompassing various subcategories. Lutfia Al Dulaimi's "Women of Saturn" is a renowned literary work by the contemporary Iraqi writer, exploring political and social issues in Iraq over recent decades. This descriptive-analytical study examines the novel using van Leeuwen's framework's sociocognitive and semiotic aspects to illustrate how the author presents her ideology by introducing the novel's characters. The findings of this study indicate that the representation of social actors in "Women of Saturn" is influenced by Al Dulaimi's intellectual and social perspectives. In the novel, women are portrayed as active and dynamic agents, while male figures are depicted as passive and negatively valued, reflecting Al Dulaimi's feminist ideologies. Furthermore, the Baath Party, American forces, and Takfiri groups are represented as active agents due to their extensive crimes against the Iraqi people and their significant role within the tumultuous Iraqi context.

Critical discourse analysis analyzes and explains texts with a systematic approach. One of the basic propositions of critical analysis is to pay attention to the human actors, which is constructed and represented in the context of discourse. " Van Leeuwen", one of the critical discourse theorists, presents a inventory of sociosemantic about the way of representation of social actors, This network consists of two main components: elimination and statement, and each of them has several sub-components. Through them, can understand the ideology, and the hidden intentions of the discourse owners. In the present research, The special discourse of Imam Ali in the sermon of Shaqshaqiya is analyzed based on the descriptive-analytical method from the perspective of Van Leeuwen's model, considering the special importance of this sermon and the importance of the actors participating in this sermon, And as a result of the analysis of discourse-oriented constructions from the total components of Exclusion and Inclusion, it is understood that the Imam does not want to mention the names of people, especially the usurping caliphs and members of the six-member council, they have been represented as active actors to realize their desires in a collective action and reaction through Personalization, or have been mentioned in a Collectivation format such as "Al-Shuri", "Al-Jama'a", "Al-Nazair".The non-use of the element of Honorification indicates that no legitimate right has been given to them in the Imam's discourse. Imam is an actor who has assigned a high frequency of passivation. By examining the difference between the explicit and implicit components, it was found that the discourse of the Imam refers to explicit categories.

Reproduction of the thought hidden in any text is possible by accessing the discourses constructed by the social agents in the public thoughts. In a discourse-oriented theory on the approaches of critical discourse analysis, Van Leeuwen has examined the hidden layers of text with an emphasis on social agents, revealing their method of representation. This study examines the texts inscribed on the coins in Safavid Shah Isma’il I’s era through a descriptive-analytical method, based on the “sociological-semantic” components in Van Leeuwen’s model, assessing the functionality of that approach in studying the texts inscribed on coins, showing the method of representation of the social agents in the lingual structures as well as the relationship between ideology and power in the hidden layers of those texts. The results of this study show that Shah Isma’il I, in addition to using the mottos on coins for solidarity of the people’s national and religious identity, used those texts for threatening the enemies, encouraging his troops, and showing off his celestial power and authority. The mostly used discourse-oriented component in achieving these goals is expressions of the type of naming and classification.

Because textbooks play an essential role in education and are one of the most important components of the educational system, they should be constantly reviewed and revised according to new research findings. One of the important components of textbooks is pictures. Numerous researches have shown that, whenever text and image are used simultaneously for education, the amount of learning is higher than when only texts are used; Therefore, in the present research, the images of high senior school Arabic textbooks (literature and humanities major) under the title "Arabic, the language of the Qur'an 1,2 and 3" are examined based on the theory of picture reading grammar by Kress and van Leeuwen. Van Leeuwen and Kress used Michael Halliday's system-based roleoriented grammar as the basis of their study and applied this theory to analyze images. Kress and Van Leeuwen changed the systematic grammatical meta-roles from the intellectual meta-role to the representational meta-role, from the interpersonal to the interactive meta-role, and from the textual meta-role to the composite one to use in their theory for the analysis and reading of images. In the "grammar of reading pictures" approach, the role of representation is equivalent to the role of thinking in language. This meta-role is related to the constituent parts of images such as objects, persons, and places. The new idea of reading images theory is to analyze images in terms of representational meta-role related to emphasis on the syntax of images as a representational source. Kress and van Leeuwen have divided these visual syntax patterns into two narrative patterns and conceptual patterns based on their function in creating meaningful connections between image components. In the interactive meta-role, the direction of looking at the participants in the image, the quality of placement of these participants and the message provided by the images, forms the interactive meta-role. In understanding the meanings by the observer, are influenced by three factors of contact, social distance, and attitude (viewing angle). Mixed metamorphisms are mostly used to analyze sources that use images and texts together to convey a meaning, such as newspapers, magazines and textbooks which contain both texts and images. Composite meanings integrate interactive and representational meta-roles to form a meaningful whole. Research questions: The research questions are: - How are the pictures of high senior school Arabic books evaluated based on Kress and Van Leeuwen's picture reading theory? - To what extent are the pictures of high senior school Arabic books compatible with the representational, interactive and hybrid role of Kress and Van Leeuwen's theory?

The current research was carried out using a qualitative and descriptive method of content analysis and based on the theory of Kress and van Leeuwen's picture reading grammar. The statistical population of this research is the high senior school Arabic books of the 10th, 11th and 12th grades of the literature and humanities field published in 1401. The units analyzed and examined in this research are the input and original images along with the text of each of the lessons of the mentioned books. Considering that 10th grade Arabic books include eight lessons, 11th grade includes seven lessons, and 12th grade includes five lessons, the research items include 20 such main pictures of the lessons along with the related text. The images of these books were analyzed from the perspective of representational, interactive and hybrid meta-roles of the above theory.

The findings of the research show that from the set of images, 16 cases equal to 80% have conceptual structure and only 4 cases equal to 20% have narrative structure. Most of the conceptual images are of analytical type (10 cases equal to 62.5%), which is in accordance with the goals of this type of images, i.e. introducing objects, places and elements represented without action. In terms of the contact pattern, most of the images (18 cases equal to 90%) are in presentation mode. In terms of distance, the images with a long shot view (12 cases equal to 60%) are more than the images with a medium shot view, and the images with a close-up view (1 case) are used very little. But the viewing angle of most of the images is from the front (13 cases equivalent to 65%) in terms of information value, about half of the images (9 cases equivalent to 45%) do not have information value patterns. In terms of the degree of relationship and fit between the text and image and the degree of connection between this meta-role and representational and interactive meta-roles according to Kress and Van Leeuwen's theory, in most of the images (13 cases equal to 65%) this link and perfect fit between the combined meta-role with representation and interaction and the relationship between text and image is not ideal.

The results of data analysis from the perspective of meta-representational role show that in terms of the visual pattern of meta-representational role, images with conceptual structure are much more than images with narrative structure. Therefore, in a balanced proportion, narrative and conceptual patterns have not been used in the images, and narrative images have been used very little. In terms of the interactive role of the images, it implies the distance and non-intimate relationship of the viewer with the components and elements of the images. The front view angle in the images conveys the sense of equality and similarity between the viewer and the represented components, but the long shot angle of view in most of the images greatly increases this sense of participation and It destroys the intimacy and in some way in these two patterns of interactive trans-role, there is a contradiction in the semantic equivalent of the images, which is one of the weak points of the images. In the combined role, because more than half of the images do not have informational value, it makes the learners unable to fully understand the subject and the educational purpose of the image due to the lack of prominence and proper placement of the elements, which is one of the weaknesses of the images. Also, a complete link between the text and the image is not established in most of the images. Therefore, according to the findings of the research, for the images to be more useful and efficient and, as a result, for the students to understand the text better, it is necessary to make changes in the visual patterns of the images and the relevant texts to form a complete link and interaction between the text and the image.

The process of actor representation in narrative involves various aspects of discourse-based formulations. The narrator refers to the actors as subjects to either accept or reject them, encompassing different stances, including acceptance and rejection with their sub-categories. Siavash Kasraei's stance as a subject-narrator towards a character as a subject-situator requires the selection of a specific approach and the rejection of other procedures. The mention or omission of actors in Arash Kamangir's poetry is directly related to the poet's thinking and his evaluation and interpretation of that character. The poet describes and depicts the situation of the character through his own interpretations.

Critical discourse analysis examines the dialectical relations between language, discourse and society and examines the consolidated hegemony of these relations at the level of social practice and the changes resulting from these relations. Critical discourse analysis explains the relationship between the text and the author's perspective.The analysis of critical discourse prepares the ground to benefit from it to treat literary texts that reflect political and social issues for societies in general and for Arab society in particular. Due to his politically and socially unstable life, Bayati chose poetry as a weapon to rebel against the prevailing situation and awaken thoughts in his backward society. Therefore, this research aims to portray the social agents in the poem "The Journey to the Cities of Love" and to determine the meanings of the aspects hidden in it and the semiotic and social elements, based on Van Leyen's theory, relying on the descriptive-analytical approach. In this poem, social agents are depicted with two methods of elimination and expression. Bayati removed the social agents who oppressed the people and deprived them of their freedom. But he identified the agents who rose up against the oppression and used the method of expression. Bayati has given legitimacy to concepts such as defiance, honor, revolution, and avoiding isolation by using myth and authorization and rationality and value for emphasizing his own perspective.Therefore,the strategy of authorization in this ode is very clear to legitimize these abstract concepts.In this discourse ,the naminalization is represented more along with the implicit meaning which is a type of statement in order to express the importance of the role of the characters in the awakening of the people and also to give legitimacy to their discourse based on the invitation to modernity and the awakening of rusty thoughts.As it has tended to delegitimize concepts such as stagnation, stagnation, lack of freedom, killing, and exile based on the theory of Van Leuween.

Characters are considered an important element of narrative in a novel and a narrative work. This element, in addition to the structural aspect, is also responsible for a large part of the ideological form of the story in terms of thematization. In his theory of discourse analysis, Van Leeuwen links the element of character and the discourse of the work. He talks about the representation and non-representation of actors and their relationships with the discourse of the work. Based on this theory, this study aims to analyze the famous novel Mot Saghir by Mohammad Hassan Alvan. It is a character-oriented novel that deals with the life of Ibn Arabi, a famous Sufi of the 6th century, in the form of a narrative mixed with the author's imagination and reality. Ibn-Arabi encountered various personalities in his mystical journey and in the journeys he followed to achieve his mystical goals and purposes. The narrator of the story, according to the historical aspect of the work and the influence of each of the personality types in the formation of the discourse has focused on their representation by relying on different methods of elimination and expression.

This study is based on Van Leeuwen’s theory of legitimacy to show how proverbs can legitimize or derive legitimacy from a discourse. The research method is descriptive-analytical and is based on Leeuwen’s components such as authorization, moral evaluation, rationalization, and mythmaking. The statistical population is Twelve Thousand Persian Proverbs and Thirty Thousand Equivalents written by Ebrahim Shakurzadeh Bolouri. The sample size is three thousand Persian proverbs that have been selected from this book based on the systematic random sampling method. The results show that among the legitimation processes, the evaluation components have the highest range with a total of 380 proverbs. This seems to be due to the importance of evaluation as well as the human tendency to evaluate. The results also indicate that proverbs in discourse are used for various purposes such as persuading the audience and legitimizing or deriving legitimacy from a discourse.

The interaction and correspondence of a set of linguistic, literary, narrative, and discourse elements form a network of relationships with varying degrees of influence in connection with the text. The combination and integration of the views of theorists in linguistic, discourse, and narrative fields prevent the researcher from giving a one-sided account and pave the way for achieving more desirable results. In this study, using an integrative approach, we have attempted to present some of the most important linguistic, discourse, and narrative elements as effective factors in meaning formation, and to describe the position and the role of each of these elements in the text to understand the intra- and extra-textual aspects. To this end, the present research based its analysis on Halliday and Hasan's three-tiered theory of linguistics (context, agents, and mode of discourse). It also referred to Riffaterre's views for the description of the discourse context in poetics. Regarding the narratology, reference has been made to some statements of structuralist narratologists, and finally, for the description of discourse agents, Van Leeuwen's (2008) views on discourse and actors have been utilized. The results of the research show that firstly, the foundational theme and discourse context in Arash the Archer's poetry is the reproduction of the anticipation and hope for liberation through the emergence of a hero and savior. Secondly, the agents (actors) of discourse are divided into two main categories: the agent of action and the recipient of action. Arash, in the role of the sacrificed hero, is the agent of action in the narrative, and the people of the city, who are passive and waiting, are represented as the recipients of action. Thirdly, due to the specific discursive and ideological field to which Kasrai belonged, he omitted the ‘king’ character in the narrative.

"Nefrin-e Zamin" (The Cursing of the Land) is one of the important works of the social sciences in the1960s. The present study examines this book from the perspective of critical discourse analysis (CDA) based on the exclusion components in Van Leeuwen's model. The purpose of this study is to show how social and intellectual views are linked to discourse-based structures in fictional texts in order to highlight the importance of linguistic structures in creating social discourses and their relationship with power and domination. This survey has been studied using a descriptive-analytical method, based on socio-semantic categories in the representation of social actors and how to use different types of exclusion and its reasons in a total of 3600 expressive discourse phrases. The results show that in this story, the author has tried to suppress the role of social actors with the use of special linguistic structures, including short sentences with different types of exclusion, the preferences for passive structures over active structures, and using infinitive structures and the use of adjectives, and this has a direct connection with the social institutions and the author's community especially “institution of power and politics”. In the Nefrin-e Zamin, the impact of political issues on the social, economic, and public institutions of that period is obvious and the author with his language choices and his style has explained the manifestations of modernity, social transitions, and the imbalance of power in society.

According to the determinant role of the images in transferring the curricular concepts, the present study analyzed the Arabic textbooks images based on social semiotics approach of Kress and Van Leeuwen. Statistical population was the Arabic textbooks of 7th to 9th grade of year 1400 SH. The statistical sample was 15 main images, randomly selected from every three grades. The images analyzed according to representational, interactive, and compound metafunctions. On the level of representational meaning, the analysis showed that visual patterns used for images are both narrative and conceptual. These patterns are assistive for students in achieving different information from events, measurement, and instruction of people; therefore, using these two patterns are the positive points of the images of these textbooks. Analysis of the images in the level of interactive metafunction indicated that most of the images are in the provider and exhibitive mood and stands as information source and thought topic for the viewer. Also, the visual angle of most of the images is from the front view and on the eye level which is consistent with curricular aims of the images in textbooks. Analysis of the images at the level of compound metafunction demonstrate that in the most images there is no complete coherence and proportion between texts and images, so it is suggested to revise the images by the writers.

The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events of the day, either as critic, advocate or opponent. The literature study of this era is of paramount importance aligned with social and political changes to get basic texture reading, and is an excellent source for analysis and investigation in the field of sociological-semantic studies. Farrokhi Yazdi is one of the poets of turbulent times of constitutional era who dedicated his poetic talent to the service of social goals and concerns and his poems are full of social and folky themes. Diversity of social and national concepts in Farrokhi Yazdi’s poems require an analysis of its discourse with a society-oriented perspective. Discourse criticism according to Van Leeuwen’s model is helpful in better understanding the ideology and value system governing the poems’ text, as well as understanding Farrokhi Yazdi’s intellectual and social views in the constitutional era. The result of this research is not only the linguistic interpretation of Farrokhi Yazdi’s poems, but also the interpretation of the society in which this freedom-loving poet lived and struggled with its crises and difficulties. In this research, it is assumed that social-political poems of Farrokhi Yazdi contain discourse-oriented components that can be analyzed and examined by Van Leeuwen’s model. This study is done in order to discover the position of social agents and how they are depicted in the poems of Farrokhi Yazdi.In Van Leeuwen’s model, the text is not examined from the perspective of formalism, but rather the impact of social issues on the text. In this model, each text expresses the social intellectual views or the specific class of the writer or poet. The degree of utilization of power sources has a direct effect on the openness and concealment of the text in such a way that the greater access to power sources, the franker and more transparent the text and the social agents are displayed in an active manner, and the lower access to power sources, the image of social agents is more covered Although, in Van Leeuwen’s approach, sociological components are preferred over linguistic, but the analyst is still bound to use linguistic components. This is because the foundations of social functions are in language and words are linked with meaning. The current research has taken advantages of the application of nomination and categorization in the discourse approach of Van Leeuwen’s social agents. This research seeks to show the result of using these two components in Farrokhi Yazdi’s poems and rereading them in his social-political thought system. Based on this, in the first step, verses that have social-political contexts were selected. In the following, discussed components were marked in every verse and the application rate and statistic of the components were determined. The result of the study show that Farrokhi has paid much attention to deliver social matters indirectly and in a hidden way due to the asphyxiation and mutes of the era. Highest frequency based on the numbers of occurrences respectively, is assigned to the components of negative appraisement, classification, nomination and functionalization.

Since images play a significant role in educational texts, its systematic application could simplify learning and increase learners' cognitive performance. In present study, images of first grade of high school Arabic textbooks were qualitatively and quantitatively analyzed in terms of various aspects of representation, including development, character and setting based on the social semiotics of Kress & van Leeuwen (2006) and in what manner to convey the meaning of images proper to learners' knowledge and their cognitive and perceptual progress on the basis of Guo and Feng's Ontogenetic perspective (2015). The results displayed that in most images in the modes of representational meaning, there is no appropriate pattern in the selection of images in the seventh to ninth grades in accordance with the procedure of cognitive and perceptual progress of learners; Because in reviewing the development mode, progressive and cognitive changes have not been fully observed from the narrative process method to the concept in the pictures of seventh to ninth grade textbooks. In the character mode, progressive and cognitive changes from cartoon images to real images have not been observed and only individual and group characters have been used to some extent. In terms of setting mode, there are no progressive and cognitive changes from indigenous to non-indigenous environments in the seventh to ninth grade images. The results of this research can assist the authors to select appropriate images with developmental and cognitive modifications of learners to facilitate their learning in future editions of these textbooks.

The book Asrar al-Tawhid is a mystical work in which social agents are represented in different ways. The purpose of the present study is to analyze the discourse of this book based on Van Leeuwen's model relying on the descriptive-analytical method. Preliminary results of the study indicate that in this work, Abu Saeed Abu al-Khair is introduced as a dynamic and effective force through activation. The highest frequency of writing after Abu Saeed Abu al-Khair is related to Khajeh Hassan Modab, the special agent of Abu Saeed and Abolghasem Qashiri. It is obvious that the frequency of naming this prestigious figure due to his final inclination towards Abu Sa'id has had a tremendous impact on the image and spiritual legitimacy of Abu Sa'id Abu al-Khair. In Asrar al-Tawhid, the highest frequency of groups is related to Sufi elders, dervishes, and disciples, all of whom belong to their own group and to the sect-oriented discourse. In the non-identification section, it was found that the identities of anonymous agents were not important in propagating the method-oriented discourse. However, what matters is what they do. The actions of these anonymous agents always have a similar and effective function in expressing the author’s mystical views, which often include observing and perceiving the greatness and importance of the spiritual personality of Abu Sa'id Abu al-Khair. In the book Asrar al-Tawhid, the humanization of animals has an ideological burden, because the presence of these wild animals is one of the virtues of Abu Sa'id Abu al-Khair to be a sign of his legitimacy, consolidation of power, and truth. From the point of view of the deletion component, it was proved that parts of Abu Sa'id's knowledge include the category of fading, since the producer of discourse in this work, like other seekers, is obliged to refrain from revealing the secrets of God and not to share the secret of truth except with the people of truth.

In the present study, the novel Tibetan Dream by Fariba Wafi is examined in the framework of critical discourse analysis using Van Leeuwen's model. In this novel, the representation of social actors is a platform for presenting the views and ideologies that the text seeks to establish. The identity of the actors at the beginning of the novel is designed in such a way that the reader is accompanied by the text to discover this identity in order to identify the implicit meanings in the text in relation to the actions of the actors. Using Van Leeuwen's sociological-semantic components, the relationship between ideological processes and discourse structures can be identified. In this way, he evaluated the mechanism of formation of the current of power and ideology and its role in the explicitness and secrecy of the actors and how they interact or confront. Accordingly, in the present study, an attempt has been made to explain the ideological attitudes of social actors from the perspective of women's class system in relation to discourse-oriented components through qualitative analysis. This study shows that most of the sociological-semantic components used in the novel include omission, activation, passive representation, naming, categorization, confusion time and symbolization. These components serve to describe the social and ideological mechanisms governing the social system of women.

This study tries to deal with the effect of political, social, and ideological currents, and power relations on the discourse of selected satirists' works, and the degree of their words' explicitness and implicitness. These satirical works were written between 1953-1978. Moreover, this study aims to analyze the effect of various events and currents of this period such as coups, the spread of the discourse of absolute Pahlavi modernism, the expansion of political restrictions on Satire's discourse, and the words' explicitness and implicitness of mentioned satirists. Using components of Van Leeuwen's model such as categorization, impersonalization, nomination, etc., this article examines the methods of representing actors in satirical works and explains and analyzes their relationship to the prevailing powers and ideologies. The research results show that the implication of categorization has the highest frequency in all works; as satirists represent most actors based on their occupation, social status, gender, etc. By applying the exclusion component, they avoid criticizing the institution of the monarchy and clericalism. This can be justified by factors such as the prevalence of the discourse of absolute Pahlavi modernism, Shiite resistance, lack of political development, fear of the danger of excommunication of clericalism, and the precautionary thinking of these satirists. Furthermore, the explicitness and application of the nomination component are often reflected in the field of cultural, literary, and social satire.

Discourse analysis is a method that has been developed in the context of postmodern thought. In the present study, Aref Qazvini's lyric poems have been studied and analyzed in the framework of critical discourse analysis and using the representation model of Van Levon's social agents. The main issue of the research is as follows: How Aref has used the naming and classification of social actors to express his views. Based on this, first the naming and classification components in each bit were determined, then by statistical calculations and according to the frequency of the components, the amount of references was determined. In this research, using descriptive-analytical method and using library-documentary sources, the researcher has studied and read the issue of naming in the field of Aref Qazvini poems and has discussed the reasons for using these names. The results of this study show that Aref has used the most explicit components such as naming to represent social agents. Also, the methods of representation and illustration of social agents show the mystic position well.

Critical discourse analysis is an approach that considers language as a social practice in relation to factors such as power and ideology. According to this approach, the present study has tried to use sociological-semantic components to demonstrate how `Jalal Al-Ahmad expressed his ideology through the representation of the characters of Fall Valley and how he portrayed the social agents of that period after Reza Shah’s fall. In this short story, linguistic constructions are analyzed through the sociological-semantic components. So Van Leeuwen’s modal is appropriate for analyzing the text and discovering the relationship between language and the author’s ideology. The main question of this paper is whether the author has been able to reveal his hidden ideology through the representation of social agents? Research findings exhibit that this has happened and Al-Ahmad has expressed his ideology and views in the story by using the methods of suppression, backgrounding, activation, passivation, personification and impersonalization. Using the general strategy of “exclusion”, he hides the identity of high-ranking officials of Pahlavi government and completely “ignores” them by “backgrounding”. The “government” and the “army” have been activated in the discourse, and the “workers” and the “elites” have been passivated to highlight the oppression that has been inflicted upon them for his audience.

The main discussion in the present study is to examine the reflection of the discourse governing the working class of Reza Shah's era in the story of "Fall Valley". In this work, Al-Ahmad, using a general representation, shows the rulers of the Pahlavi regime as generally active in suppressing workers' protests.  He also identifies each of them with a distinct identity through a special representation. This research seeks to answer these questions in the framework of critical discourse analysis approach: 1.How does Van Leeuwen's theoretical model help to analyze the representation of social actors in the story? 2. Has the author been able to reflect his ideology in the text by representing the actors? 3. How is the relationship between the discourse-oriented components and the ideology embedded in the text explained? The main hypothesis related to the above questions is that Al-Ahmad has been able to use the depiction of social actors in the story to express his ideology.The results of the research related to the theory under study indicate that so far no research has been done on the subject of the present article, namely the sociological-semantic analysis of Al-Ahmad political stories and novels. Therefore, the present study examines this issue in order to compensate for the existing deficit in this field. Obviously, considering this point, the necessity and importance of such research is clear.

 Literature Review

Regarding the theoretical background of the present study, several works were generally found in the fictional literature that have been criticized according to Van Leeuwen's model. Among these works, we can mention Pooshneh and Babak (2013) who, in their study, have found different ways of representing social activists in the story "Between Yesterday and Tomorrow" by Ebrahim Golestan. The main purpose of this study is to discover the relationship between intellectual-social (ideological) perspectives with discourse-oriented structures in the story.In their study, Saeidnia et al. (2014) have examined the novels of Suovashun and Sang-e Sabour from the perspective of critical discourse analysis and based on sociological-semantic components. The results of this study indicate that the authors of these novels have represented women as a second sex, weak and with lower social prestige than men.Junidi and Khaghani (2015) in their article have represented social action in zane ziadi (story collection). Their research findings show that in this set, actions are more inactive and static that are pushed into the background of the audience's mind.The subject of the research of Armi et al. (2017) is dedicated to the analysis of how gender relations are represented in the novel "Lullaby for a Dead Girl" by Hamid Reza Shahabadi. This research, in the framework of critical discourse analysis and using Van Leeuwen components, has analyzed and explained the role and identity of family members and their interpersonal relationships in the novel.In their article, Hamidreza Akbari et al. (2019) examine the story of "Ab-e Bid" by Mohammad Bahman Beigi to determine how the author has used the representation of social actors to express his views. He also uses the component of changing time, at the same time as raising the issue of modern Iran, to reveal the faces of the people of a part of Iran who still live in a prehistoric way. The author of the article has thus challenged the policies of the Pahlavi government.Although the present study is similar to some of these works in terms of methodology, including Junidi and Khaghani (2015), but specifically and in terms of the studied stories, a study that analyzes the political and ideological literature of Al-Ahmad with this method. Has not been found yet.

The purpose of this research, with a descriptive-analytical approach, is to investigate the representation techniques of social actors using data collected from the story of Al-Ahmad. To achieve this goal, using a qualitative method, first thirty discourse-oriented sentences with political and social themes in the story were selected. These sentences were then analyzed based on Van Leeuwen's model in order to find the components of cognitive-semantic society. Although Van Leeuwon's theory lists 51 ways to represent social actors, the authors focus on only the most frequent components of the story, as not all of them appear in the selected sentences. Their findings show that the author has shown the actions of nomadic teachers to be effective through a mass display strategy.

Van Leeuwen (2008, p. 52) divides the "exclusion" component in discourse into two types, "suppression" and "backgrounding". In the discourse of Al-Ahmad, we see on several occasions the "suppression" or extremist exclusion of the activists who are the main cause of the deplorable situation of the miners. These activists, who are in fact the rulers of the Pahlavi regime and the owners of the means of production; By substituting unknown faces, they are completely hidden in the author's discourse! It is obvious that the author has deliberately removed from his discourse the indications of the involvement of the Pahlavi authorities in these cases by removing those who are responsible for killing the freedom fighters. This form of "suppression" serves to marginalize the first person of the government, Reza Shah. The extreme omission of Reza Shah's name in the discourse occurs by using the method of "general naming" that is, bringing the title "state" instead of the title of king. In this way, Al-Ahmad has tried to present the image of the "state" as a general nature, hegemonic and totalitarian, in order to remove negative and extremist actions from the realm of the "king" by highlighting it.
       The most prominent example of "backgrounding" in the discourse of the story is when describing an actor who is referred to as "Colonel D". Although this officer has little presence in the discourse and his function is limited to his brief meeting with the head of the mine, his actions are recognizable in all incidents, including raids on workers' homes and their arrest and execution. The action of "Colonel D" (exploring the valleys of the mines) initiates a bloody repression, while its action in this story is diminished by the producer of the discourse and marginalized through the background.
       It is obvious that the main cause of the repression of the miners and the execution of the protagonist is the Pahlavi government and Reza Shah himself, while as mentioned before, no name of this person is mentioned in the discourse. The question here is whether the removal of Reza Shah's name from the discourse was due to political reasons and the suffocating atmosphere around the text? The definitive answer to this question seems difficult, because the author wrote this story in 1326, six years after the fall of Reza Shah, and therefore could have explicitly named him as the main person responsible for the Zirab mine accidents. But why does he remove Reza Shah's name from his discourse instead? Perhaps the concealment of Reza Shah's name was based on the assumption that the audience already knew the hidden actor.
       In the process of "expression", the presence of actors in discourse is represented in the forms of "activation", "passivation"," Personalization" and "Impersonalization". In Al-Ahmad's discourse, we see the active depiction of gendarmerie officers; For example, Haidar Babakhanlu is mentioned several times in the discourse, and his actions (including the torture of miners in the field court) are prominently represented in all behavioral and speech processes. The linguistic manifestation of this method is the role of the actor as the subject in certain clauses. It seems that Al-Ahmad wanted to portray all the members of that organization in a negative light by actively portraying Babakhanlu as a member of the army. In the discourse under study, the "boss" and the "miners" are actors who are shown to be passive. And they are represented as if they have escaped the attention of the country. It is possible that Al-Ahmad, with this kind of illustration, wanted to show the audience that the working class and the elite of Iranian society will always be ignored by politicians!

5.

The authors of the present article sought to answer the question of how to use Van Leeuwen's strategies to analyze the representation of social actors in the story. The authors also sought to answer the question of whether the author was able to reflect his ideology in the text by representing the actors. Analysis of the research data, in addition to explaining the relationship between the discourse-oriented components and the ideology embedded in the text, showed that Al-Ahmad was able to use the representation of social actors in the story to express his ideology. His discourse shows that in representing the actors in the story, the author has used the strategy of expressing non-governmental actors in positive issues and removing them from negative issues, and vice versa, the same strategy in the case of government actors. Thus, statesmen are represented in the discourse as negative actors, and workers and miners as positive actors. In general, the author uses the method of "differentiation" to highlight the contradiction between these two groups, the "state" and the "working class". Using the method of "general naming", which uses the name "government" instead of mentioning the name of the king, the author has removed Reza Khan's name from the discourse of the story. The actors identified by their names in the author's discourse are all male and are portrayed formally, semi-formally, and informally. Al-Ahmad, by passively portraying the head of the mine, puts him in the spotlight to highlight the oppression that has been inflicted on him and the miners. In general, the representation of social actors in Al-Ahmad's discourse has been influenced by his socio-intellectual views and the power relations that govern the society of his time.