نشانه معناشناسی

Semiotic signs in the discourse process lead to the reconstruction of semantic operations. From semiotics point of view, signs are in interaction, opposition, adaptation and competition with each other, and during that, they form performance, state, tensive and existential discourse systems. Relying on semiotics approach, the present study tries to analyze existential signs in Ashbah sermon. Existence or the existential object is in the position between Dasein and Transcendence, and according to the context of the sermon, it achieves its perfection by passing through different Daseins. The goal of this research is to achieve the process of transferring meaning and passing semiotic signs from a negative state to a positive one. The results of this research are as follows: Simultaneously with the operation of discursive attachment or connection, the "I of the speaker" is placed in opposition between imperfection and perfection with the phenomenal presence of " انتت = God" and semantic transformation occurs; Borders and distances between Creator and creature are eliminated, and as a result, the negative state reaches the positive one, namely the transcendence of presence. In this discourse, the subject passes through tension-oriented semiotic signs in order to pass from the negative state to the positive state of Dasein. In the discourses related to the creation of the heavens, angels, and the earth, the intense and extent dimensions of meaning fluctuate and form increasing, decreasing, and ascending schemas that lead to semantic operations. Therefore; The functions of discursive detachment and connection and tension-centered signs in the Ashbah sermon, provide the process of transferring meaning to a positive state.

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.

One of the most important elements of Patrick Modiano's novels is the investigation of identity. A Trace of Malice begins and ends with distance from the identity. This article tends to find why the identity issu in the initial situation, which has led to some investigations in actions happened in the past, is different from the identity issu at the end of the novel. In order to answer this question, we use the narrative programs and the model of actors by Algirad Greimas. So, the text has been divided into three different structures : surface structure, functional structure and semiotics structure. In semiotics structure, we cut up the text into some sequences; each sequence is considered like a sample of whole text. It seems that what we can find in each sequence exists in whole text. At the end, we have presented the actantial model. As a result, we have found that one person appears at the same time in the role of the three main actants in the narrative: subject, sender and receiver. Three roles by one person might be the reason why the object loses its value for principal actant.

Today, paisley is a symbol found in Iran’s and some other countries’ artistic discourse.There are controversies about the origin of this symbol. It has been said that it is derived from cedar, pine, fire, etc. Now paisley has gone to culture and has produced discourse and identity there.Today, this symbol has penetrated the borders and has been drawn from the national discourse to the international one. Paisley belongs to cultural and mythological experiences and when it is studied from the narrative point of view, it is clear that it has a mythological origin and creates a narration and a discourse. The research questions are: how does paisley maintain its narrative position within the discourses? How does it develop its discourse role and function? How has it been able to reach from the national discourse to the international one? In other words, how has it gained its discourse legitimacy to transfer itself to other cultures? In order to answer the questions the semiotic approach of discourse was chosen to show the value position of paisley, as well as analyzing the conditions of its narrative development within multiple discourses. The results indicated that paisley in artistic social systems preserves its value in addition to transforming it through producing movement. Paisley achieves its identity not by change but by stability. By producing imagination paisley forms a dialogue between nature and culture, so it links its value with myth and imagination. As a result, it moves from a national position to an international one.

In this research, the mystical experiences of Bayazid Bastami in the narrative of Attar's Tazkira  Al -Awaliya were analyzed with a semiotic-semantic approach in order to explain the mechanism and how the meaning is formed in the text in question. In this discourse, Bayezid is cared for and chosen by God before birth. Then, in the process of development, there is an activism that does not reach the goal during austerities, worships, worldly travels and all the actions that are considered valuable actions in the ontology of Islamic mystics, including Attar as the narrator of the text. The outcome of these actions is being; Unsuccessful outcomes and shortcomings, failures and emotional stress, intense desire versus lack of necessity, and complete denial of what is right eventually cause him to dissolve his sense of self, transcend his limits, and unite with existence and God. The stronger and more intense the desire, the more severe the failure resulting from not being able to be and the more meaningful the emotional tension. A meaning that is full of emotion, perception and presence. The feeling and perception of the narrator, sometimes with an external phenomenon and sometimes by confronting the inner world, leads to the emergence of meaning. Some external experiences are the result of adaptation, reflection and some internal experiences are the result of attraction, co-presence and unity. The mention of Bayezid and his ascension is a mirror of the whole view of what mystics call mystical experience. An unexpected event, a passivity that brings with it an outburst of meaning and enthusiasm of the language. The research method is descriptive-analytical. The theoretical approach of the research is based on the theoretical foundations of semiotic-semantic knowledge in the analysis of mystical experiences. The scope of the research includes re-reading and reflecting on the mystical experiences of Bayazid Bastami in the narrative of Attar's Tazkireh Awaliya, which tries to analyze the formation of meaning in an emotional discourse, between the system of action, tension and excitement.

In this study, the aesthetic system of discourse in Nima Yoshij's poem "Naquos" has been studied. According to the semiotics view, the aesthetic system of discourse is a subordinated intuitive-perceptual and occurring process that is formed due to the presence of the enunciator state in the discourse. The poem "Naquos" is one of the symbolic poems of Nima that the two central signs of "Naquos resonance" and "daybreak and light" in interaction with each other and also in opposition to the symbol of "night" have influenced the semantic action and have led to the formation of an aesthetic order in it. The question here is how is this discourse system formed in the structure of this poem and what are its mechanisms. In this study, first, the discourse action and the categorization in the discourse of this poem have been specified. Then, the main constituents of the formation of the aesthetic process, including semiotics-semantics conditions and state, linguistic indexes, discontinuity and time are studied. The results show that the discourse of this poem has state and occurring features and the narrator has been able to create a discourse with aesthetic features with symbolic methods by selective (Naquos) and serial (light and daybreak) categorizations and by breaking the continuum of language through rhetorical devices and effective verbs, and the use of narrative time in a massive and ultimate form, and passing through solid and fixed signs to flowing signs.

Phenomenological and different dimensions of discourse including sensory, perceptual, emotional and aesthetic dimensions are based on systems. Greimas has divided them into action, action, tension, and action. Semantics studies based on the process of meaning production. This article has analyzed the poem "A letter to Saif bin Dhi Yazen" according to the approach of Greimas' action-oriented analysis. Relying on the action-oriented analysis approach, the authors seek to understand and explain the meaning generation process in this ode. According to the obtained results, the poem begins by drawing a tense atmosphere. The speaker is under the influence of sensory and perceptive conditions and is not receptive to these conditions. He invites Saif bin Dhi Yazen to a confrontation. According to the transcendental system that dominates the discourse, in the course of the narrative, the narrator seeks to make the spoken to move and rise. The poet portrays the reality of the stagnant and distressed society. By using movement and aesthetic schemas, it seeks to transfer the sense and perception embedded in one's existence to the spoken word and create an action stage. The narrative moves from stillness to movement. In the tense stage, the lack of interaction is drawn, and at the end, the active presence of Saif bin Zhi Yazen is established. An action that has brought liberation and life to the homeland and the land and has depicted the repossession of the homeland and the land as a valuable object

Analyzing the emotional process of discourse in Bahar's Damavandiyeh and Fi Al-Bada. and Uras Trilogy by Ezzedin Meihoubi Semiotics, which is a semiotics derived from the school of Paris and the opinions of Grimes and Fontaine, is the transformation of Saussure's semiotics into a method of text analysis in which meaning is a fluid element that is formed in a discourse process. Diversed dimensions of the discourse system play a role in the formation of this discourse process, and one of these dimensions is highlighted in each text. In order to read the semiotic-semantic text, it is necessary to determine the pominent discourse dimension in the text first. In the current research, Authors have analyzed two poems by Ezzeddin Meihoubi and Damavandieh Bahar in terms of the formation of emotional process of discourse in a descriptive-analytical way. The reason for this choice was the similarities in the emotional scene and the common extra-linguistic texture of these two poems, which have automatically created a common tone and emotion. The results have indicated that in Bahar and Mihoubi's poem Fei Al-bada the emotional rush stage is expressed in an identical way. Furthermore, in both poems, anger is the central emotion of the emotional process of discourse. Also, effective verbs, emotional scene, narratee, and instigator have similar meanings in the poetry of both poets. Finally, the observation of the same emotional evaluation is another outcome of this research.

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.

condensed Discourse in words or text causes the formation of a semantic process, and this semantic process seeks to discover the mutual foundations and intertwining of signs with each other. Semantics considers the word as a coherent and meaningful collection in which there is a directed flow. Language also has different semantic angles, only a part of which emerges in the form of discourse, and it is necessary to get close to elusive meanings to reach the evolutionary stages of dynamic discourse, which this article tries to do by examining some of the stages of language evolution in Chirag's novel. Zoya Pirzad's work evaluates the elusive meanings in this novel with a descriptive-analytical method based on the study and analysis of data.Zoya Pirzad tries to force the active factors in the novel to move and dynamism with a gentle movement and deduce the desired result from it. The descriptive form of the novel has become the slowness of dynamic discourse and discourse transformation.

Semiotics is a tool that can be used to examine the mechanisms of formation and production of meaning in discourses. The logical and narrative discourse is the dominant discourse on the epic stories of the Shahnameh, and often, in the narrative stories of the Shahnameh, the direction of the events, due to having cause and effect relationships, goes in a certain direction, which by examining its structure Narratives can reach the depth of those stories. "Labov;p" and "Waltsky" are among theoreticians in the field of narratology; They have proposed a model for the structure of narrations, which is known as the diamond-shaped model; This research is trying to answer this question with the analytical-descriptive method, in the form of semiotics-semantics and by using the poetic pattern and mixing it with the diamond-shaped pattern of lips. To what extent does the macro structure of this story fit with the diamond-shaped pattern and its hexagonal parts? The research findings show that; The construction of this narrative is completely compatible and adaptable with the diamond-shaped pattern of the lips, and the assessment that the diamond-shaped pattern is the most important part can be seen in most of the narrative clauses of this story. In this narrative discourse, which is dynamic, the dynamic process of meaning generation is on the one hand, due to the interaction of intra-textual factors (actors and receivers) and on the other hand, due to the interaction of extra-textual factors (narrator and listening narration). ) and Ferdowsi has been able to form special systems of narrative discourse by passing through common signs, with common functions and achieving new signs, with aesthetic functions, and form a special system of dynamic narrative discourse. has created semiotics-semantics, narrative body, Labov and Waltsky, poetic pattern, Bijan and Manijeh

The emotional system is one of the discourses that is examined in the frameworkof the sign semantic model. in this system, the flow of means production is linked to perceptual sensory conditions of the passoniate and the signs- meanings are transformed into dynamic and muitydimensional forms. In this regard, the purpose of the present study is to explain the role of the mentioned process in the style of the passoniateˈs presence  and the evoluation of discours conditions, based on the method of the sign- semantic discourse ,while explaining the emotional process of the story “Al-less va  Al-kelb “. Findings show, in the story of Al-less and Al-kelab, the emotional system is based on passions. The emotions and passions in the novel, of which anger and despair are the most prominent, have created the emotional system of discourse based on a meaningful and logical flow. The occurrence of two events in a passionate life, betrayal of loved ones and failure to avenge betrayers, has played an important role in transforming the discourse by influencing emotions, as well as, fundamentally changing the text. In the initial partes of the text, the emotion of anger while causing a continuous and dynamic presence of passion, cause the value of revenge in the discourse. In the final partes, the feeling of despaire leads to isolation and passionate absence from the scene of events and the value funection of the text has changed from revenge to surrender.

The study of literary discourse from Semio-semantic point of view has opened a new horizon for understanding and analyzing the complexities of the language of lyrical poem and its fundamental concepts. One of the most important achievements of Semio-semantics is to acknowledge that literary speech is no longer considered as bound to words and sentences and that most of the literary processes go beyond the boundary of sentence into a larger totality called discourse. Therefore, even for an accurate and thorough understanding of the words like ‘love’ and ‘parting,’ which are among the fundamental concepts of Persian lyrical poem, we need to study these words and other related terms in association with relevant discourse totality. Emotional discourse is considered as one of the main domains of expressing feeling in poetry. Since the formation of emotional discourse in every poem begins with diction, this analytical – descriptive research initially investigates the mechanism of the production and perception of meaning, based on the lexical network and its emotional processes in poetry. In doing so, to show the emotional discourse in poetry, this article focuses on the lyrical poem “Thou Cameleer! Take not Shelter...” (Ey sārebān manzel makon …) by Amir Moezi to deal with the meaning of parting (Hijrān) in association with the emotional elements of discourse such as body proper, emotional scenery, discourse disconnection and connectivity. The results of the analysis shows that the fundamental meaning of parting in this poem becomes the core concept, overshadowing all the elements of emotional discourse such as body proper, emotional scenery, discourse disconnection and connectivity, perspective as well as the role of affective verbs, rhythm, and manifestations to reinforce discourse coherence. Also, by considering the relationship between fundamental concepts and lexical network and the elements involved in the emotional process, it is possible to methodically analyze and evaluate emotions in lyrical poetry.

Instability plays a significant role in postmodern clothing design and is done with a deconstructive look. The narrative of fashion influenced by the spirit of the post-structuralist era always has an indeterminate semantic system and creates an active and dynamic dialectic by reproducing artistic pre-texts. The purpose of this research is to investigate the narrative meaning system hidden in the existential values ​​of contemporary fashion discourse, and this research is done in order to discover the nature, what and why of the interaction and adaptation of the subject with the space of instability within the discourse of clothing. In this research, the element of instability through The presence of contradiction, contrast and visual ambiguity in the size, shape, color, arrangement and visual movement has been investigated and by analyzing the narrative process of contemporary fashion in the works of prominent world fashion design artists such as Valentino, Ossie Clark and Issey Miyake, it has been studied the process of production, transfer and reception. And sensory perception of meaning has been discussed. The obtained results state that due to the creation of ambiguity and visual deception, tension has been formed from the coexistence of divergent levels of discourse, and it has caused the interaction of the cognitive and qualitative dimensions within the narrative. Clothing has become an active pseudo-subject, which, in the discontinuity of its determined function, steps into the indeterminate world of meaning and tries to redefine the identity of the adapted subject as a phenomenal text.

The short story Midday Moon (Mah-e-Nimrooz) is from the collection of stories with the same name written by Shahriar Mandanipour. In this article, we explain and analyze the narrative configuration, focalization, and semiotics of this story to show how the plot of the story is formed and what meaning it conveys. Using Gennet's focalization approach, we have discussed the focalizer and the focalized, and we have shown the role of images as focalizers or focalized. And we have analyzed the semantic systems formed in the story with the semiotic-semantic approach of Grems.The result of the research shows that this story takes place in the dream of an old man who is dying, while three strange characters in his dream watch and interpret paintings of death. The objects of the images become active and create a new form of existence for them, and the reflection discourse of the story is formed. They speak, express their feelings and pain. The activation of the paintings and the use of this narrative plot are for expressing the unsaid things that cannot be seen in the image. Images can only show the present time of the event, but by becoming active, they also express some aspects of the past and future.

This research with descriptive-analytic and statistical methods and its approach is from the view point of Semi- Semantic in classical narratives, tries to analyze the problem of following  or non-following of subjects acting  pattern for possessing or repossessing or protecting the object, of a special pattern in201 Iranian folk short stories collected by Enjavi Shirazi in a four-volume collection: Arousak and Sang-e Sabour, Dokhtar-e Narenj and Toranj, Gol ba Senowbar Che Kard and Gol-e Boumadaran. The results of this research show that the narrative procedure of 661 existing subjects in these stories, just like a repetitive rhythm, involves partition and rhythm vacillation and at last, finds a repetitive rhythm again. This type of narrative procedure follows a proto pattern with different variables that the changing of its variables, creates 19 types of sub-rhythm in these stories, and are listed based on the numbers from one to 19 in this research.

Examining and reviewing the formal and semantic layers of Persian language stories is one of the tasks in the field of contemporary literary criticism. The cultural and linguistic functions of folk tales are the reason for preserving and examining them via literary criticism. They also increase the importance of such stories. The purpose of this study is to investigate the folk tale of "the Pearl Leaf" by Enjavi Shirazi based on structuralists and poststructuralists’ viewpoint. So, adopting a descriptive-analytical approach based on Greimas’ theory, the method of producing and receiving the meaning of this story has been studied and analyzed. Greimas, the semantic semiotician, sought to provide a coherent model for the study of narrative, which was later called the modern semantic semiotics. According to him, the important thing is to know the process of text production from the time of transmission to reception, based on the Actantial and sensitivity elements. In this way, fiction can be considered as a suitable platform for discourse exploration and integration of literature and discourse; since linguistic narrative has opened new windows in the field of fiction. In this study, using the theme of this story, different types of intelligent discourse system and their factors have been extracted. Finally, it has been concluded that although this story comes from the heart of popular culture (folklore), with an appearance simple, yet complex and coherent form, it has a specific structural and narrative pattern and form- Propp's morphology - which has made it fully compatible with Greimas’ theory of semantic semiotics.

Mahmoud Darwish is one of the contemporary poets of Arabic literature whose poems reflect the hopes and pains of the land of Palestine. "Woman" and "homeland" are among the most frequent concepts that have played a role in his poems. This essay has tried to investigate the duality "woman/homeland" based on the emotional system of discourse in a descriptive-analytical approach in some of his poems. Emotional system of discourse is one of the types of discourse in signsemantics that focuses on the relationship between the set of surficial signs (signifiers) and content (signifieds) because it is in the context of the very sign and signified relations that the perceptive presence of the statives takes place and the creation of themes becomes possible. The present research aims to answer this question: How can the creation and overflow of themes be interpreted and explained based on the emotional system of discourse in the poems by Mahmoud Darwish where "woman/homeland" is the main focus of the theme? In other words, how can the creation of themes in the poet's works of this sort be explained and described based on the emotional system of discourse? The ultimate results of the discussion indicate that the emotional system of the discourse in these poems is based on perceptual, corporal, and intensive mechanism which mainly the poet uses the two concepts of "woman" and "homeland" as an artistic tool to convey the suffering and sorrow among Palestinian people through which he would Stimulate the sympathy of the audience about these tragic images i.e. through transcending the concept of woman to the concept of homeland, he seeks to negate this duality in better words.

The social approach of Eric Landowski's about interactive sign-semantic, which is presented in continuation of Greimas' aesthetic beliefs of guizzo , is a productive approach in literary criticism. The researchers of this study have used this approach in analyzing adaptation of the corporality sign meanings of romantic in Forough Farrokhzad’s poems which are transcendental.The interaction of the discourse partners in the process of the poet's romantic discourse creates infinite meanings by metamorphosis of the corporality signs. the source of meaning creation occurre with union of me and other.Corporeal subject and corporeal object create a dynamic and generative texture in a life experience with eachother and the surrounding world in phenomenological understanding. this is in a collection of dynamic physical signs that create a generative texture in an ecstatic text . the movement of chain of ambiguous combinations leads to a pleasant ecstasy in the union of discourse partners.the authors have investigated three poems named "Vasl". "Fathe bagh" and "Bad ma ra ba khod khahad bord" with a holistic criticism. The result of investigation was that the romantic interaction of discourse partners with physical sign-meanings has been continuous in order to achieve unity and creation of new meanings.

This research examines the woman’s role as a hero and one of the semiotic actants in the story of Lake Surati (Pink Lacquer) written by Jalal Al-Ahmad. In addition to identifying the semotic role of woman, the researcher intends to address the issue of whether woman has discursive appeasement against man and also whether man has discursive appeasement against woman. According to the definition of discursive appeasement that is surrendering of a character in the game of the other we see that the woman enters the role of an appeaser and ignores her desire under the influence of appeasement. Also, appeasement between two discourse agents, i.e. man and woman, is not two-way, and only woman ignores her presence and is under the command of man through appeasement. The woman in this story dissatisfied with her own Dasein, seeks the transcendence. She is also considered an actant who is looking for pink lacquer in a completely planned way, which is considered a valuable material object.