نشانه-معنا شناسی

Semiotics refers to the conditions of receiving and producing meaning in narrative discursive regimes. In the field of narrative, we can mention Greimas and Landowski, two researchers of the Paris School, who have classified various types of narrative and its discourses into four categories: Action, Interaction, Accommodation, and Fusion. “Time” is one of the elements of narrative which plays an important role in the semantic chains of the narrative systems. It appears in the action systems on the basis of physical and temporal conventions, and in the modern narrative systems, it appears as sensible/stative times, such as ecstasy, circular, etc. In this article, by examining the framework of semiotics on the subject of narrative discourse and its various types, and also relying on each of the narrative models and their associated times, we answer the following questions: How do the dominant systems in a literary-dramatic work change, and how do these transformations of discourse systems lead to changes in the types of time in the narrative. According to the Discursive semiotic approach, the main issue is how the narrative systems and their times are able to change and enter the domains of each other. The main purpose of this article is to investigate the various types of narrative systems in the Semio-Semantics discourse and their transfer to each other, and consequently, the types of times that have a narrative function in these regimes. To achieve this goal, the focus is on the narrative in the play Afrā by Bahram Beyzai.

Sign-semantics is one of the domains of the discourse system that studies the mechanisms of formation and production of meaning in texts. Algerdas Grimas, a French semantist, has tried to provide a coherent model for the study of narrative and story in the field of the semantic sign of discourse. According to Grimas, discourse systems are divided into three categories: intelligent discourse, emotional discourse, and event discourse. In this article, using analytical-descriptive method, the types of discourse systems mentioned in the story of Prophet Noah (AS) have been studied. Due to the nature of the narrative discourse, this story contains numerous value-oriented aspects and actions and is noteworthy for examining the semiotics-semantics of the ruling systems in it. In this research, the desired action of the Imam, ie communicating and promoting the legitimacy and oneness of God, is shown with the help of sign-semantics. . The analysis of the action system of the speech of Prophet Noah (pbuh) shows that the first core of the narration is the action of the divine order to call for the monotheism of religion and abandon false gods. The analysis of the emotional system of the discourse of Prophet Noah (pbuh) shows that the elements of the emotional discourse produce the two concepts of teaching the program of religion and servitude and the transmission of the hegemonic discourse of the righteousness and unity of God. The analysis of the tension system of the Prophet's discourse shows that despite his logical words and enlightening discourse, he increases the knowledge of a small number of his companions, and with the increase of knowledge, their faith in the words of the divine saints increases simultaneously.

Semantics and semiotics of discourse are the results of structuralist semiotics and the narrative system of semantic studies. This approach links the flow of meaning production with sensory-perceptual conditions. The main purpose of this article is to investigate the narrative structure of the position of animals in the stories of Kelileh and Demneh from the perspective of semiotics. The main issue of the research is how the state transcendence is manifested in the current narrations. The research method is descriptive-analytical and the data are ten chapters of Kelileh and Demneh anecdotes which have been collected and examined in a documentary manner. The main idea is that people broadly interpret their experiences and convey them in the form of stories. The results of the research show that in each narrative, depending on the events and happenings, different discourse systems can be observed and explained. Narratives serve to convey a moral message to the audience in terms of the function of semio-semantics as a meaningful discourse and the abstract narrator often take the state system by layering the text. The results indicate that in most of the narrations, state system overcomes the action system and after that, calls for other systems of discourse, such as systems of coincidence, event, and adaptation. The findings indicate the fact that the discursive state system in various ways produces meaning sometimes by resistance to the stabilized situation along with retaliatory actions, sometimes, with a system of discourse conservatism and adaptation principle, sometimes with the discourse system of risk-taking and thus provides the way to enter the existential transcendence of animal narrations. The analysis shows that in the tales of this masterpiece, and has realized the meaning.

The element of feminine emotion and feelings makes part of the problem of resistance and its internal and external structures and relations recognizable. A number of maps and connotations that reconstruct the strong connection between the purity of the feminine sense and the violent world of war, through this factor, give possible and broad meanings to this pure and pure human concept. This study, with the help of semantic sign approaches and text description and analysis methods, analyzes the novel of Qamar Kilani, the lady of Syrian resistance literature, on the subject of female emotion. The scope of this article is limited to examining the role and position of Syrian women in the novel "Continuity" based on the method and pattern of Fontaine's emotional schemas. The purpose of this study is to investigate the formation, production and reception of meaning in the field of women's sustainability literature. This discourse shows how Qamari Kilani, using her feminine emotion and relying on the historical event of the June war, produces resistance-oriented meanings and distances herself from the existing and known contexts and confronts the audience with unexpected elements. They face. According to the mentioned value system in the mechanisms of production in the schema of emotional discourse, the most important themes of women's resistance in the mentioned novel are patriotism, invitation to struggle, praise of martyrdom and drawing the situation of war, This schema is aimed at establishing the ideal that governs society, namely, praising resistance and freedom, and marginalizing other concepts.

.Basically sign and meaning in language science complements each other and each one does not count anything without another, Attar in a discourse that provides fire in their mystical works, A species of signs is evident that the fire is not only in the position of a heated warfare, which also occurs in the position of the meaning and meaning, which is further investigated in the field of linguistic substitution. Our main questions are that the fire in the poetry of Attar Neishaburi finds, how to flow and expands; Also how fire can make meaningful and mean meanings and values; Also, fire and correlations are related to which semantics signs, such as tension, perceptual, emotional and aesthetic systems? In this process, symptoms are commonly used in transplantation with seminal fluid, dynamic and multidimensional. This method is able to reveal the alternative reading of literary and mystical texts. Investigating Attar's works shows that he has a new approach to phenomena, including fire in perceptual transplantation, and beautiful concepts and concepts. Attar in this linguistic approach, the fire from the constructive semiotics has led to a sign of fluid semantics. The purpose of this article is to examine the meaning of 'fire' in the works of Attar Neishaburi, which has been done in descriptive analytical manner. According to this research, a military can be achieved for better understanding of concepts associated with the sign of fire in Attar Nezhaburi poetry.

The present article analyzes a Japanese novel, The Woman in the Dunes written by Kobo Abe. He has shown the effects of World War II, modern society, and human confusion in dealing with these issues. We learn about concepts such as identity crisis and alienation. Actually He puts each of his characters in a special and exceptional situation, the decisions made by these people in this situation, changes that occur in the quality of their lives and even the experience they gain from these changes represent the real crises in the society of that time. In this article, we have tried to analyze one of his novels, to find another kind of identity change. We intend to examine the emotional changes that occur to Niki Jumpei, throughout the story by semiotics of emotion to gain a model of this inner process of emotional changes that actually originated from the outside world and external pressures.

In this expressive – analytic essay Akhavan Sales`s poem titled (Veda) has been explored and analyzed using sensational semiotics. In Akhavan`s poems a sense of bitterness and disparate emotions is prevalent. This poem is a narration of interaction between two subjects in a stressful atmosphere, the narrator has an active value, but his unintentional induced stress transforms him into an inactive subject, thus somatic body is revealed in weeping form. The emotional discourse presented in this poem indicates a simultaneous decrease in the extent of cognitive and stressful emotion and shows a state of connective discourse and due to pursuing an adverse system of discourse by the other subject right from the beginning, tension-being style dominates the context of the discourse. Moreover the cognitive, sensational and emotional elements that interfere with the main subject cause the object of silence to rise to subjectivity and subjectifying of object has a relation with inactive and projective state of the narrator. The inactive subject (narrator) being under the induced and prescribed system, accepts his lower place. The separation in front of him cannot make any change in the process of meaning, because the subject of actor determines the relation emotional and cognitive aspects of discourse have with the flowing process of meaning, and it has the ability to impact both pre-strain and post-strain direction of the discourse. Thus, the choice and power of the other side of discourse has imposed the place of lower value on the inactive subject who is the narrator.

In a paradigmatic shift, semiotics tends to poststructuralist approaches with phenomenological landscape. The result of this shift has been the emergence of subject at the center of enunciation by paying special attention to perceptive components and socio-cultural issues in the study of signs and language. In this perspective, the manner “ I” as subject encounters with “ other” undergoes diverse changes and new interactions come into play. New semiospheres emerge as a result of this encounter whose relations encompass interaction, contrast, exclusion, segregation and adjustment. This approach has been proposed by Eric Landowski –French semiotics theoretician- and is based on four main strategies including assimilation, exclusion, segregation and acceptation in case of identity. Thus, the main question of the present study is as follows: How is it possible to explain the semiotic place of culture as semiosphere and the type of interaction occurred between “Self” and “other” in discursive atmosphere of “Nasseri’s death” by Ahmad Shamlou? The purpose of this study is to investigate the type of their encounter (self –other) and their complex relationships in the so-called poem from the point of view of socio-cultural semiotics in order to explain the position of the cultural spaces that govern it. This study will pave the way to better understand the manner semiotic atmospheres interfere with each other and finally leads to the formation of central semiotic semiospheres at socio-cultural level.

Forough Farrokhzad, Persian contemporary poet, was born and grown up in a society where the female poets were less rebellious against the values, the values which were rooted in the cultural background and beliefs of Iranians. In 20th and early 30th , Forough decided to escape the contracts and norms. Her first reactions were rebellious. The demand for emancipation in her first three poems, "captive", "wall" and "rebellion" represents this issue against the beloved and the values of the male-dominated society. In the "Other Birth", she criticized the patriarchal domination of society and began to explicit all the dominant values of society. In most of her poems, the poet wants to leave everything that she throws at her and always sees the obstacle to this emancipation; this barrier can be man, law, society, or human. But in the "Let's believe in the beginning of the cold season," she rather criticizes the modern Man. In her latest work, the poet portrays the themes such as rebellion and emancipation in abstract and in some cases multi-dimensional manner. Specially in the poem " Let's believe in the beginning of the cold season", which is also the title of the collection, the poet expresses her desire to rebel and then to liberation in various ways.
Therefore, it can be said that this rebellion is, in the first poems of the Forough, has obviously two senses, first of all, the love that comes from the feminine passion and then the rebellion against the beloved-woman contracts in his contemporary society. Moving through the first poems of Forough and following her poetic path, we find that the poet faces a number of ups and downs in expressing the concepts in her poem, most of them follow the same form. But what we see in the books after the "captive" and "the wall", is the expression of these two concepts with more poetic images and other poetic arrangements. In fact, the poet has never ignored the rebellion during the stages of maturity, but rather propagated it with new ways of expression.
Our hypothesis is that the theme of rebellion in these works is personal most often unidimensional or bi-dimensional, but what is said in the poems of her two latest works, it is very important to go beyond the personality of the poet and, therefore, to move from personal revenge and to reach “the social self” for “the collective rebellion”.
From the beginning to her final poems , the poets seeks to express this rebuke, which include expressions, images, metaphors, analogies and poetic arrangements. Of course, it should be pointed that this measures are not conscious, rather it would be her won worldview. In addition to the rebellion, another important issue is the belief of liberation from persecution. In fact, for Forough Farrokhzad, the liberation is a kind of attempt to find a solution to the breakthrough, and that liberation is expressed with various poetic forms.
By adopting a semiotic approach to literary discourse analysis, the authors tried to analyzed the visual dimension of Forough's poetry in the representation of the concept of liberation and rebellion. Thus the main objective of the current research was to show that the visual dimension was one of the main structures of the meaning of the text. Our hypothesis was that the figurative dimension in Forough's poetry is the concept of rebellion and emancipation, and sometimes the abstraction of this dimension makes it difficult for the reader to understand the meaning. This paper consisted of three parts. Following the research background, which focused mostly on sources that analyze Forough's poem from thematic-structural perspective,the authors have discussed the methods, and approaches of semiotic theories of Paris school to text analysis, which defines the figurative dimension.
In the end, the authors have shown some Forough’s poetry characteristics that are remarkable. First, the negation of all social and poetic constraints, in relation to the man, the beloved, the nature and the love. The next step has been attributed to the liberation theme. The love has different aspects in Forough's poetry and is not valued, the only thing that gives hope to the poet is the season that is cold. This image of the cold that was from the beginning continues throughout the poem with the changes of comparison and metaphor and in the end, it is again the center of the poet's interest. Thus Forough's poetry has a spatio-temporal isotopy and at the end the first picture appears, which is due to the uniqueness of the image of rebellion and liberation. In the case we want to show the figurative dimension on the basis of model proposed by Denis Bertrand, we must say the figurativity goes in the negative direction, towards the conceptualization and not on a clear and explicit direction.

One of the main elements in the Da novel is the fear and anxiety associated always with the characters forming the story. In fact, fear and anxiety are the main elements and the foundations of this novel, and they appear in any form at anytime and anywhere. Given the fact that there is a sort of essential and fundamental difference between fear and anxiety, it is natural that their appearance, as well as the reaction and positioning of the characters of the story against fear and anxiety, differ from each other. Each of the characters in the story also has their own strategy to reduce that feeling. An interesting point in this story is the relationship between these two senses, because sometimes one is an introduction to the emergence of another. In fact, in order to study one of these factors, it is necessary to study another formation way. In the article, it is tried to analyze the semantic sign of this novel as well as the formation way of different feelings in the hero of the story as well as the strategies that individuals use to express, change or conceal these feelings.

Language products are a function of a complex process, in which many sign-semantic factors are involved. One of the dimensions of the sign-semantics is the tension process. In the tension process, between sign-semantic elements, there is a relationship that fluctuates from the bolder.This process drives discourse into a kind of value system and confronts us with the generated meaning. The question of research is how are the sign-semantics factors creating the process of the formation of meaning in the narrative of Iraj's verse? And is it possible to find an open and fluid reading through the tension squared effect? The purpose of this study was to investigate the general structure of Iraj's verse narrative and to explain the discursive factors, semantic and tension squares, effective verbs in the narrative process, and the place and meaning of meaning in the above effect. The present article reviews the narrative narratives of Iraj in order to explain the discursive factors, semantic and tensile squares, effective verbs in the narrative process, and the place and meaning of meaning in the above work. In this narrative, meaning has been formed both through action and passiveness. The process of moving actor here has led to the production of mythical, ideal and moral values. Iraj is an idealist who is going to visit his brothers in the way of protecting his brotherhood, without any belonging to power, and without any armies and war tools and sacrificed for his cause. In other words, young prince reduces the scope of his material life so that the breadth of his spiritual life is vast and overwhelming.

Adopting an analytical semiotic approach to literature, the present study surveys the presence of agents and the type of their existence in the meaning formation process. We analyze Dash Akol a story by Sadegh Hedayat. The story centers on the focal character of Dash Akol and his actions in the surrounding context. In fact, in the course of the story, the agent confronts crises which make him leave or negate a former condition to attain a new one. The study mainly aims to analyze the trend of emergence and movement of the main agents in the story based on the existential semiotic theory. In existential semiotics, the agent who feels a gap leaves the Dasein (being-this) and negates the present conditions, thus moving toward an affirmative situation. The study seeks to investigate the existential function of negation and affirmation in the discourse of Dash Akol in order to explain the conditions for meaning production and passing the presence crisis. The main research question is: how do negation and affirmation as two significant discoursal elements affect the existential process of the discourse?