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The dynamism of Rumi's thought is embedded not only in the meanings of his poems but also in the structure of his speech, word choices, and the morphology of the verbs he employs. The manner in which he expresses himself and the content of his poetry reflect the continuous dynamism of his thought. This dynamism can be examined through semiotics in conjunction with discourse linguistics. Rumi's active thought and evocative language are evident throughout the entire Divan-e Shams and are closely related to the poet's worldview. From this vast sea of poetry, we have selected several ghazals from the Divan-e Shams, which serve as clear examples of the connection between form and content, By focusing on these ghazals, this study aims to illuminate Rumi's mystical perspective through an analysis of time, verb manifestations, and vocabulary, illustrating how everything is in a state of becoming, and movement, and how a person is never at rest from this motion. Our methodological approach is based on the subject-centered semiotics of Jean-Claude Coquet, a French semiotician and phenomenologist who shifted away from object-centered semiotics to emphasize the subject and its transformations. One of the key themes in his works is the concept of time and manifestation, which is linked to linguistic discourse. We aim to explore the indicators of aspects, manifestation, and time in these ghazals, seeking to achieve an important understanding that these discursive indicators are not only present in the morphology of words and verbs but are also embedded in their meanings.

Signs form an important part of human consciousness and communication level and by playing a meaning-making role, especially in literature, in addition to their main role, they cause the expansion of meaning and the conscious effort of the audience to communicate with the text. The role of signs is more visible in texts that have a complex narrative structure and elements. It seems that after the experience of the Corona era and the dominance of the virtual communication space, which uses signs widely, the literature of the new age has gained the opportunity to benefit more from these facilities. Therefore, in this article, we are going to read the novel "The Tragedy of the Author of the Short Story" by focusing on the two geometric shapes of the square and the circle as signs. . In the present novel, in accordance with the general belief, the symbol of the square means the earth, stillness and the presence of man, while the symbol of the circle represents the sky, spirituality and time. But in some cases, we see the semantic overlap of these two signs and the author's attempt to expand their meaning. The results obtained during the research show that the author explains the events, characters and overall movement of the narrative by using the semantic field of these signs And when necessary, he adds new meanings to them.

Some researchers have considered Nasser Bukharayi as a poet of appealing speech, using an eloquent language with selected masterful words. As a poet living in Bukhara in the 8th century AH, he wrote odes and ghazals in the style of Iraqi poets. This research seeks to answer the following question: To what extent are the experts’ opinions about the eloquence and smoothness of his speech correct? Therefore, in the present study, the rhetoric and language of his poetry are examined and analyzed in a descriptive-analytical manner. In the linguistic domain, the results show incorrect use of some combinations and interpretations, catalexis, verbal abstruseness and contradictions in syntactic analogy, causing ambiguity and weakness of his speech. Rhetorically, some far-fetched and unjustifiable congeries among different elements are responsible for conceptual mistakes in the meaning and images of his poetry. In general, much evidence could be found in his poetry, which do not correspond with the standards of eloquence. Nevertheless, the poet’s success in inventing various verb combinations on the one hand and employing familiar phrases and combinations to reflect new meanings on the other hands enabled him to enrich the themes of his speech to some extent.

Quignard’sreflections on art possess both theoretical and scientific dimensions. His reading of painted images simultaneously examines the invisible behind the visible and analyzes them from an Epicurean and psychoanalytic perspective. This analysis leads to rhetorical thought centered on the concept of the image in its broadest sense. Mastering theoretical and critical knowledge of art and utilizing his extensive intellectual background, Quignard reinterprets significant discussions such as pictorial poetry in a novel manner and reevaluates key concepts like mimesis from a fundamentally anthropological perspective. His thought, which bridges literary criticism andimagination, pays particular attention to the unconscious roots of language and transcends the boundarybetween reason and emotion. In this view, art is a movement in search, an experience in which knowledge encompasses an acknowledgment of primal ignorance and intertwines with the revival of the initial passion for thought.In Pascal Quignard’s works, the relationship between knowledge and understanding becomes one of the key concepts. He surpasses the restrictive boundaries of knowledge and perceives art as a domain for free experience and reflection. He argues that understanding, in contrast to knowledge,has a more fluid and living nature. In this process, imagination plays a crucial role. Quignard views art not merely as the representation of reality but as a process in which humans, through their imagination, uncover the hidden layers of the world. Thisaspect is particularly essential in the interpretation of ancient paintings, as such works often communicate in an enigmatic language that remains incomprehensible to the modern viewer. From Quignard’s perspective, imagination serves as the necessary toolto bridge the gaps created by the lack of access to the historical context of these works. This view is particularly evident in the study of cave paintings, where the first artist was not only an illustrator but also a storyteller, a philosopher, and an anthropologist. Here, Quignard reminds us that engaging with ancient art means engaging with the origins of human thought and imagination—where the first sparks of self-awareness and understanding of the world emerged. This approach to art situates Quignardamong thinkers who perceive art in profound connection with life, where truth emerges in the gaps between knowledge and imagination, and where, through the experience of beauty, humans come closer to the depths of their own existence.

During the second half of the 20th century, looking to the language as the basic raw material of the literature, leads to overlapping some of the achievements of Discourse Analysis and Sociocriticism. In fact, getting an internal approach to the literary text in order to degage its sociality, and focusing on the discourse in the context of social involved situation, these are the common bases of the two analytic methods. Therefore, Pierre V. Zima introduces his approach as the “sociology of the text” and believes that the social questions could appear through the languages, sociolects and discourses, as well as the lexicon, semantics and syntax could have a social function. In the present article, we aim to analyze the social function of the semantics and the syntax inside the novel Ace Heart by Moniru Ravanipur to find out the interdiscursive relation between the text and the surrounding society.

How to read a poem affects its grammatical, rhetorical and semantic structure; This reading casts a shadow on all parts of the poem whether it is under the influence of ambiguity and confusion or under the influence of changing the tone of the words. Some poems have two types of readings and two types of interpretation for different reasons, and this leads to different perceptions of that poem. The purpose of the present research is to investigate this important matter. Another goal of this research is to show the necessity of paying attention to the difference in the reading of poems, that is, we should not read all the texts of Persian verse and poetry in the same way. Especially in poetry, more attention should be paid to grammatical, rhetorical and semantic structure.The present research is descriptive and analytical, based on library sources, after studying the divan of poems of several Persian poets, verses that have double readings were extracted and analyzed in three grammatical, rhetorical and semantic levels. It has been classified and analyzed.According to the topics proposed in this research, the role and effect of double reading in creating different grammatical, rhetorical and semantic structures in poems was discussed and it was determined that the verses that have two types of reading at the lexical and syntactic-sentential level are under the influence of each of readings, they can induce double impressions to the reader. This causes changes in three grammatical, rhetorical and semantic levels and gives at least dual analyses. At the grammatical level, each of the readings may change the grammatical role and type; At the rhetorical level, it causes double rhetorical interpretations, and at the semantic level, it causes two relatively different meanings from verses. Therefore, paying attention to the correct form of reading leads to a more correct understanding of grammar, rhetoric and meaning, and neglecting this can cause wrong and incorrect perceptions.

Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.

The purpose of this article is to study the plot structure, semantic units and aesthetic elements of the end in two old and new narratives of the story of two pines in Persian books of the fourth grade of the elementary school of the sixties and fifths of today. This is a poetic narration by Mohammad Javad Mohabbat, which is mentioned in the fourth elementary Persian book of the sixties called "Two Pines" and in the fifth modern Persian book called "Kajestan". He is injured and asks the neighbor to put up with him for a few days. In the narration of " Two Pines ", the damaged pine is rejected by the neighbor, but in the narration of "Kajestan" it is taken care of by the neighbor. Now, the fundamental question that constitutes the body of the present study is how the change of plot and ending in the new narrative has led to the production of a comprehensive, aesthetic and ethical meaning? The results of the present study show that although the new version is a rewritten version of the old version, but the structure of the plot, the middle and the end of it has changed in a way that both the narration is in the category of narrations with a good ending and induction of aesthetic meaning, lasting and pleasant. aesthetic and ethical meaning? The results of the present study show that although the new version is a rewritten version of the old version, but the structure of the plot, the middle and the end of it has changed in a way that both the narration is in the category of narrations with a good ending and induction of aesthetic meaning, lasting and pleasant. With a good ending and induction of aesthetic meaning, lasting and pleasant. With a good ending and induction of aesthetic meaning, lasting and pleasant. We believe that there is a connection between "production of meaning" and "plot" in fiction. In simpler terms, it can be said: what creates meaning in a story is "how the events are arranged". In a way that can be said: the author shapes the events of the story according to the meaning he brings up in his mind. On the other hand, we are also aware of the fact that no story has consistency without plot and what makes a story shine is the plot factor.

When the elements and components of a literary work are examined and how they are related to each other and their relation to the general structure of the work is retrieved, a basic (formalist) form reading is performed. It is with such a reading that we can talk about the degree of bonding of the components of the work (horizontal and vertical bonds). In this article, the form and structure of a lyric by Rumi has been read with the following information (with the help of in-text symbols): A word that rises from the soul of the soul to veil the gem and the lips of the sea, the tongue of the veil

It is a descriptive-analytical research method that examines Ghazal No. 921 from Shams Tabrizi's KOliat, edited by Badi ol-Zaman Farozanfar.

The feature of this sonnet in all verses is that the face is a veil and at the same time a means of expressing meaning. The world of existence is the world of forms and meanings, and forms are veils of meanings, and at the same time meaning manifests itself in the face. To reach the meaning, you have to go beyond the surface. Of course, the absolute meaning cannot be understood and there is always one curtain behind another curtain, and it is only in death and silence that we understand the meaning. The theme of the contrast between form and meaning and the contrast between pairs of their synonymous words can be seen in all the verses of Ghazal.

The link that can be seen between the verses of this ghazal has created an organ-like structure and the overall structure of this ghazal evokes one of the key oppositions of form and meaning in Rumi's thought, "wave and sea". For Rumi, the content is the tool for the evolution of the form, and the form is the material for the emergence of the truth of meaning. Rumi's poetry boils from inside him and finds its shape and form according to the type of boiling. However, due to the reliance on form, the new critique cannot be a suitable critique for mystics who are free from form.

Sain al-Din Ali known as Ebn-e Torkeh Isfahani (770-835 AH) is one of the philosophers and mystics influenced by the school of Ibn Arabi. Therefore, he has explained the meaning, language, and words in the framework of the unity of existence. In the present descriptive-analytical study, the authors have tried to extract semantic explanations and the related components from Ebn-e Torkeh's printed works, letters, and manuscripts and discuss the central concepts of his theory. The results of the study show that the unity of existence has provided a possibility for Ebn-e Torkeh to be able to explain the worldly and abstract dimensions of language together in a dialectical unity, and based on that, to plan the theory of Ish'ar. According to Ebn-e Torkeh, Ish'ar is the goal of human creation. Man is in the place of Ish'ar in the universe. Ish'ar is used in the works of Ebn-e Torkeh to mean to inform. One who does the Ish'ar actually discovers the truths of the universe and learns its secrets. Because all of existence is the word of God and man is the reciter and impersonator of these words. Ebn-e Torkeh seeks to combine the analogical and metaphorical dimensions of the universe, and considers verbal language, which is the extension of Nafs al-Rahman in the Microcosm, to have two aspects of beauty and glory. In this regard, he examines the situation of words with a two-dimensional explanation.

Sain al-Din Ibn Torke Esfahani is one of the mystics and philosophers influenced by Ibn Arabi’s school of thought. In addition to the commentary he wrote on Ibn Arabi's Fusus al-Hekam, he has shown this influence in his various works. The view of existential unity as well as the streaks of literalism is evident in his works; therefore, it is necessary to pay attention to this point in the examination of Ebn Torkeh's view on meaning.
Meaning is one of the concepts that has been discussed in the tradition of Islamic mysticism and has evolved under a central discourse. In the beginning, the theory of meaning had an abstract aspect, and with the emergence of Ibn Arabi, the practical aspect of language was also explained along with its abstract dimension. In other words, the mysticism of existential unity and its dialectical nature has provided a capacity to find an argumentative explanation for the practical aspects of language and meaning and issues related to them. In the view of the mystics of the first mystical tradition, it is God who created the meanings, and the words of human contracts have been degraded several times from their true meanings. Kamal al-Din Hossein Khwarazmi says in his commentary on Masnavi: If the words that were created in the rank of God's oneness do not descend from their position several times, the understanding of any creation will not reach the surroundings of its articles. This results in putting the meaning first over the form. In this way, the truths from the field of discovery and intuition enter the field of acquisition science and are expressed with language.
The spoken language can also tell many of those intuitive facts. In the field of science, the interpretation of mystical facts is not a true interpretation. Because only a reflection of mystical experiences has made its way into the field of science, and basically, mystical experience is inexplicable. Such a perception has always been of interest among scholars.
In interpreting these mystical experiences, human intellect and thought distance themselves from their pure abstraction. This distance is actually the distance of the material world. In other words, those meanings find a new form in the degradation of their identity, which is a reflection of single worlds and, at the same time, is also contaminated by the reflections of external factors. In the definition of this meaning, Mustamli Bukhari believes that this science of thoughts, observations, and revelations is dedicated to being called the science of pointing. So, something appeared in his head, which means the phenomenon of truth, not the phenomenon of non-righteousness. And it is like this that no matter what they express in the language, it is not the exact expression of the truth; Rather, the meaning of the phrase is right (n.d, p. 1135).
The discussion of meaning in the tradition of Islamic mysticism will be incomplete without paying attention to the category of interpretation and its components, so it is necessary to emphasize two points:1) In mystical interpretation, attention is paid to the source of meaning. The literal meaning of interpretation also conveys the same point. Henry Carbon (2008) considers the ultimate goal of mystical interpretation to return the text to its "true and original" meaning. The meaning of this contrast is that the ‘text’ is degraded from an inner meaning and the work of the interpreter is to reach again the inner and original meaning of the text. The words are outwardly disguised and the interpreter must penetrate into their innermost being. In these interpretations, it should be noted that the main meaning of the text is not the same as the figurative meaning of the science of rhetoric; rather, according to his interpretation, the interpretation of the apparent text is returned to its true original meaning, in which the analogies of the apparent text are its codes.
2) Another component is the balance of the Macrocosm and the Microcosm and the equivalent relationship between them. The basis of this idea is the belief in the existence of a kind of correspondence and equivalence between the classes of the world. Generalizing this correspondence and equivalence to the relationship between the parts of the world also makes each phenomenon understood as a representative of something else. Based on this, tanzil and taweel also express the back-and-forth course of meanings in these worlds. Every meaning in the higher world (inner) becomes a phenomenon (text) in the lower world (appearance) as a result of the reduction, and the interpreter tries to discover the inner or truth by interpreting that phenomenon.
In addition, in the continuation of the tradition of Islamic mysticism, the discussion of the spirit of meaning has also been taken care of. This discussion, which has been raised among the commentators and in an effort to understand similar verses, emphasizes the point that words have been established for the souls of meanings. This view indicates a special view of language. In modern linguistics, it is a well-known opinion that each word carries only the meaning in which it appears. For example, when someone uses the word "pen" because the word "pen" is used for a specific meaning, the audience understands the same specific meaning, and it is not possible to choose another meaning from this word without analogy. In contrast to this approach, the mystics, by establishing a rule called the use of words for the spirits of meanings, aim to say that the words are not used for external and objective objects. For example, the pen is not an external object, wood, or colored ink that writes. Rather, the word pen is used for everything he writes. In Jawaharlal Qur'an, Ghazali proposed the theory of the spirit of meaning with an argumentative expression and argues that nothing exists in the realm of martyrdom unless its example exists in the spiritual realm. This view has gradually spread to the commentators of the Qur'an. Interpretations that have an interpretive approach are influenced by this view.
In the present study, after explaining the nature and essence of meaning in the tradition of existential unity mysticism, by analyzing the concepts related to the theory of meaning in Islamic mysticism, we have tried to measure the relationship between the existential unity attitude and its perspective on meaning by examining the works of Ebn Torkeh, while showing the intertwining of his perspective. In other words, the study aims to explain innovative ideas about meaning with the tools of ontology and epistemology of existential unity.

Review of the Literature:

In the mysticism of existential unity, several issues related to meaning have been considered. The first is the discussion of how to put words and the relationship of meaning with God. The next issue is the two-dimensionality of language and the explanation of meaning in its context.
Some mystics of existential unity, such as Shabestari, under the influence of Ibn Arabi, have paid attention to both the material and abstract realms of language. Two-dimensional attention to the nature of language makes both the practical nature of language not to be neglected and its deep origins to be explained. In the mysticism of existential unity, the ontology of meaning is taken into consideration and the question is answered whether meaning is an objective matter outside the mind or is equivalent to the mental concept of the word. Mystics consider the concept of mind to be different from meaning and believe that meaning is something determined beyond the mind. In mysticism, the existential unity of the whole world is the manifestation and degradation of the truth of the world, and every phenomenon, including language, must be examined in relation to the truth of existence. If we consider the meaning to be subjective, the relationship between the mind and the word will be disconnected and the mind and the word will not be affected. But in mysticism, the existential unity of meaning is not an incidental matter; rather, it is a matter of length and in connection with the truth of existence. In this view of existential unity, the meaning is the scientific form that God has given to the interior of a phenomenon.
In Ibn Arabi's view, the signification of a word is not separate from the signification of letters, whether spoken letters or written letters (both external and internal letters). Also, the meaning of linguistic words, whether written or spoken, is not separate from the meaning of existential words (phenomena). Ibn Arabi's view on the meaning of words originated from his theological view. In other words, Ibn Arabi's point of view originates from the sum of God's nature and attributes in that they are on the one hand the mediator and link between the nature of God and the world, and on the other hand the mediator and link between the nature of God and man. In this view, the duality of essence and attributes, as well as the duality of step and occurrence, which is caused by the difference of opinion about the linguistic meanings (inherent or conventional meaning of words), is eliminated. According to this view, the phenomena of existence are the words of God. And because they appear objectively, they are connected with occurrence. And since the human language is the outward representation of the word of God, the conventionality of the signification in the human language will only be a matter of credibility. if the meaning of human language is like this, the meaning of divine words, which is actually the innermost part of human language, will not be based on convention. In the view of existential unity, existence has many levels which are called plurality in manifestations. But a unity connects these multitudes, which is its soul. And what exists in the abundance of the universe is the existence of God (Ibn Arabi, n.d, p. 38-39). This view also extends to Shabestri's Gulshan Raz. Shabestari's point of view also has innovations in explaining the meaning and implication of words (Shabestri, 2004, pp. 13, 75).

The aim of the present study is to analyze Ebn Torkeh's semantic and linguistic explanations in accordance with his epistemology and ontology of existential unity with a descriptive-analytical method. In this regard, all the works of Ebn Torkeh have been examined and an attempt has been made to explain Ebn Torkeh's semantics under his ontology and epistemology. From the ontological components, the balance of the Microcosm and the largest world, expression, and emergence, and from the epistemological components, inspiration and fantasy, perception of meaning, meaning, and silence have been mentioned. Also, the components of poetry and consciousness, gestural expression, the placement of words and the two-dimensional nature of the language indicated the compatibility of the two sides of Ebn Torkeh's ontology and epistemology.

By examining the works of Ebn Torkeh and the ontological and epistemological analysis of his works, we come to the conclusion that Ebn Torkeh is firstly influenced by Ibn Arabi and Shabastri and in some cases he repeated their same point of view. The view of existential unity on the existence and truth of the world and its generalization to the world of human existence, in other words, establishing a balance between the greater world and the Microcosm within the framework of the view of existential unity, is the most important approach of Ebn Torkeh in his explanation of meaning. In this view, the universe is multidimensional and all the multitudes are the words of Allah, whose true meaning has been scientifically determined in the unseen identity, and words are one of these multitudes and are at the end of the arc of descent. In his opinion, the meaning is related to the real and main subject of the words. And he examines the words like the manifestation of God in three forms and on three levels.
In Ebn Torkeh's epistemology, the role of imagination is its discovery of occult meanings. The discovery of the Macrocosm has a questioning nature that Khatam-ul-Rasul is at the highest level or the level of total revelation. Man is in a position of awareness in the universe. The reciter actually discovers the truths of the universe and learns its secrets; Because all existence is the word of God and man is the reciter of these words.
Ebn Torkeh, following the fusion of similarity and metaphorical aspects of being, considers the language of Malfuz, which is the extension of Nafs al-Rahman in the lower world, to have two aspects of beauty and glory. The glorified form is related to the common sense of the words and the glorified state is related to the true meaning of the words. According to the first method, the position of Ish'ar is two-fold in the view of Ebn Torkeh, which means that having reached this position, he has made his perceptive powers capable of receiving the lower meanings and he can also find the jewel of the lower letters. The first aspect is related to the order of spirits and the world of the unmarried, and the second aspect is related to the Book of Allah and understanding the meanings of the words contained in it.
Ebn Torkeh considers verbal forms to be a continuation of the emergence of existential expressive forms (ayan shabiteh). And Malfouz's language and, in his words, verbal forms have an inherent meaning, but in the passage of centuries and the development of customs, inherent meaning and the subject of the original letter have been forgotten.

Over the past two decades, and in dominant discourses of Humanities, the body has always been present; History, sociology, linguistics, poetics, anthropology, philosophy, communication sciences and marketing, among others, have always benefited from this concept. “Le corps et sens” by Jacques Fontanille is one of the most significant works ever written in this field. The title of the book, like other works published in this approach, goes in some way in line with the theoretical developments of the concept of sign from its creation in the tradition of structural and Saussurean semiotics to modern approaches to semiotic analysis. In this step a question arises in the field: why and how did the concept of the body find its place in semiotics and can it be excluded from its field of study? ? In this article, in addition to present and describe the work, the author seeks to critically analyze the issues.

The literary miracle of the Holy Qur'an is one of the most important aspects of the miracle of this heavenly book, which with its special style of expression makes every literature disappear in its beauty. Each letter and even a short sound has a special feature to highlight a concept. Since the sound of words plays an essential role in portraying perceptual thoughts and is also effective in stimulating emotions, in this study, the role of the sound of words in Sur Mubarake Az-Zukhruf and Ad-Dukhan in inducing meanings was tried to be analyzed and investigated using a descriptive analytical method. take The results of the research show that the intervals between the verses of two surahs play an important role in inducing meanings appropriate to the space of the surahs and play an essential role in strengthening the phonetic system. Also, repetitions - even in the smallest language unit such as phonemes - are wonderful instigators of meanings that, in addition to stimulating emotions, create balance and enhance music. In general, the phonetic analysis of two surahs shows that there is an extraordinary coherence between word and meaning.

The purpose of this paper is an introduction of a new approach into morphology as “construction and interpretation”. To achieve this goal, some parts of Role and Reference Theory has been extended to inflectional morphology; it has integrated with a new approach and constructed new perspective as “construction and interpretation”. This new approach has been provided to analyze how conceptualization in language is and how the function of correlate between polysemy and synonymy is and what causes this correlation. It has been performed in three steps: in the first step, different morphological approaches about polysemy have been reviewed, in the second step, the proposed approach has been presented and in the third step, problematic samples of previous approaches within the proposed approach have been analyzed. The results suggest that usage is different with meaning and it is the basis of language and axis of conceptualization. Usage simultaneously and continuously is in interaction with both meaning and form. This simultaneous and permanent interaction causes correlative and competitive formation of polysemy and synonymy. Pragmatic competence is in the mind of the speaker, so the speaker refers by creating interaction among usage, meaning and form inside cultural cognition and context, and the listener interprets and infers the reference unit or “construction”, in this way, conceptualization of form takes place.

In translation, what is important is the process of transferring meaning from the source language to the target language. From a discursive point of view, the transfer of meaning is the product of the correspondence and interaction between the two language plans, namely the plan of the face and the plan of the content. The aim of the research is to show how semantic disorders are formed in translation and how these disorders cause meaning deviation and damage to translation. Our aim is to investigate the relationship between the two linguistic planes (form and meaning) in the act of translation and the semantic disorders that are produced by the mismatch between the two planes. The present study is based on body analysis; According to the parameters of the theoretical framework, the data will be purposefully collected from the body text and analyzed. The results of this study indicate that factors such as semantic distortion and semanticism disrupt the relationships between language two planes and disorders such as: isotopic disorder (disregard for semantic homogeneity), lack of isomorphism between two language planes (conformity and change of plan). The rhythm of the source text, the lack of semantic adjustment, the lack of polyphony and omission, to some extent affect the process of meaning transfer in the translation of Papillon's novel.Keywords: Semantic Disorder, Translation, Meaning, Semantic Sign, Henry Charièrre Papillon, Parviz Naghibi.

Theoretical book, Textless sentences, in the field of linguistics text, for the first time printed in Paris in 2012. In this work Dominique Maingueneau, emphasizes and focuses on the subject of short silent, non-textual sentences such as short and instructive sentences, political slogans, proverbs, general facts, Press titles, etc.- separated from the original structure and present in the oral or written words of the speakers in a specific linguistic community, in this regard of French language that meaning and interpretation of separate short sentence from construction of original verbal grammar with the meaning of same sentence as in the secondary texture and construction (enunciation aphorisante) somewhere the other verbal context used by another user will not be the same. According to Maingueneau understanding such statements were directly related to the specific condition of speech formation eventually leads to otherness in the speech of current speaker.

Fictional allegory in literary terminology refers to an extended narrative that has multiple layers of other esoteric meanings behind the apparent meaning, that Each of these layers of meaning needs to be discovered, studied and recognized. Anything that is considered the center of gravity in this way of decoding and plays a major role in discovering and interpreting the mysteries and hidden images in the anecdotes is the analysis of one of the important elements of storytelling, namely the characterization in these anecdotes. The use of symbolic confrontational characters is one of the important types of these characters that play a significant role in the allegorical anecdotes of Persian literature to induce secondary meanings that arise in the context of cultural, religious, social, historical, etc. Investigating and analyzing the symbolic role of confrontational allegorical characters in the form of three types of single, double and triple confrontation and discovering the hidden relationships of these characters with other narrative elements and matching them throughout the story with the main theme of the story can lead to the discovery of secondary meanings. And new anecdotes for the audience. The results of this division show the special functions of this type of contrast for specific topics that the authors have assigned each of these contrasts to specific topics related to that contrast. This article tries to analyze the confrontational characters in mystical and theological allegories with a (descriptive-analytical) method.

In the process of achieving literariness, language moves away from its usual form, and linguistic elements in the text go beyond conventional types for an artistic usage. In outstanding literary works, there is a special link between the content and the way linguistic units are used in different layers. Haft Peykar is also one of the unique works, in which Nezami used various linguistic capacities at various levels to strengthen the content and create a kind of stylistic distinction in this masterpiece. A literary work consists of intertwined layers. Therefore, analyzing the text of Haft Peykar with a layered stylistic approach is a proper way to discover the linguistic capacities and artistic function of language units. Accordingly, the role of each layer in the production and transmission of the message is specified in the analysis of that layer. Among the linguistic layers, the phonetic layer is considered as an introduction to language analysis since sound is the first tangible sign of language. In addition to their role in increasing musicality, the components that can be studied for their external, internal, spiritual, and lateral music have found an artistic function concerning the meaning in the Nezami’ words so that even the smallest linguistic units play a significant role in producing and transmitting the message of the work. The rhythmic capacities in the external music cause the music that governs the different spaces of the text to be consistent with the content and the induction of meaning. In lateral music, the purposeful selection of rhyme scheme Rhyme scheme and the resulting melody facilitate signification, production and transfer of meaning from the sound level to the content. Literary techniques are used in the inner music similar to perceptual coding, which leads to readers’ further contemplation and also creates a kind of hypertext signification. The connection of spiritual music with content and the creation of marginal meanings is a novel method that has bestowed a kind of stylistic distinction to Nezami’s words.