semio-semantics

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.

The current paper is a phenomenal semio-semantic study of the tree in Iranian modernist paintings. The motif of the tree would escape definition if confined to its semio-semantic dimension. That is why the present study intends to find new meanings for the complicated motif of the tree within the visual frameworks. The focus on the visual elements is central to this semio-semantic method. Interestingly, some Iranian modernist painters were preoccupied with the phenomenon of the tree in different forms. I have selected some works by Davoud Emdadian, Abulqasem Sa’idi, and Abdullah Ameri Alhosseini (picking two works from each artist). Along with the desk research including library and online sources, the data have been collected and analyzed according to the semio-semantic approach. The data shows that the becoming agent A/painter represents the motif of the tree by drawing a connection between the sensory-perceptual and the esthetic functions. Moreover, in the discursive processes, the becoming agent A/painter takes the advantage of elements such as the event, becoming, tension, phenomena, and body. The becoming agent B or the interpreter’s repetition of the process, during the passage through different layers of meaning and culture, re-creates the meaning of the tree as different layers are accumulated.Keywords: semio-semantics, phenomenology, phenomenal semio-semantics of the visual, tree

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 modern semio-semantic approach has gone beyond structuralism and entered the realm of narrative discourse, creating the conditions for the production and acquisition of meaning in discourse. This paper, examines the process of narrating in One Thousand and One Nights from a semio-semantic perspective by analyzing the movement from the narrative structure to the narrative discourse systems using the Greimas model. The purpose of the study is to discover how embedded narrative structures leak into the discursive structures of the story, and the tense (sensory-perceptual) space created by the narrative process controls and recreates the process of meaning production. Analysis of the narrative process in this work shows that narratives are never formed without the formation of a discourse system. On the other hand, the resistance of the narrator, Shahrzad, changes the emotional crisis and the lack of meaning in Shahriyar during the narration of several narratives to change the meaning of the presence of change. Using the tools of narrative language, he changes Shahriyar’s socially deplorable situation and mental state, and finally Shahrzad’s energy injection and practice in the discourse space has caused unfavorable stabilized conditions to become liberating conditions, and Shahriyar is confronted with a new meaning of life in the world. These changes are the result of his Dasein mutations after hearing the story. Shahriyar, in order to be himself and to fill his emotional vacuum, by being in the path of narration, takes away his previous Dasein and enters a new Dasein. In order to reach a new Dasein, he must first discard his faulty and critical previous Dasein in order to enter a new and improved Dasein. This is what puts him in front of another meaning of life and existence. The changes resulting from the Daseini mutation in existential discourse system are sometimes so profound that it is difficult to see a trace of the past. Perhaps it can be admitted about Shahriyar that he was accompanied by a great Daseini leap and the resulting changes were so profound that they were also observed by the people of that land.

IntroductionSemio-semantics is the study of language that begins with a sign but focuses on the meaning often based on the relationship between two language plans (i.e. the forms of expression and content). Accordingly, neither sign nor meaning can be effective without each other. As the sign justifies the presence of meaning, meaning also makes the presence of the sign efficient, effective, and necessary, and the sign, by being in the process-system, produces meaning, a meaning that is not frozen or static because the process in which signs are located are dynamic and inexhaustible.
One of the concepts in linguistics and in the semantic investigations is polysemy which refers to multiple meanings of a word. It is believed that there is a relationship between multiple meanings of a word. Linguistic signs are rarely monosemous. Except for scientific terms, many terms have multiple meanings which are determined according to the context they appear in. Polysemy is a concept introduced at the end of the previous century by Bréal (1897) to describe words that kept their old meaning besides a new meaning. To understand the correct meaning of a polysemy, context should be used. Context is a network of relationships that exist between form (grammar and lexis) and the outside world, and forms the referential meaning of the language. Besides context, paying attention to the adjacent units (co-text) may also help the recipient to understand the meaning better, especially in cases in which a word has multiple meanings or its meaning is not clear.
MethodologyIn the Holy Quran, the semantic topic is also of great importance because most of the Quran's words have several meanings, indicating the aesthetic richness of this sacred text. The presence of several meanings in the Quran leads to a variety of discursive dimensions, which means that this phenomenon changes the path of discourse and causes three types of discourse with functional, cognitive, and emotional-existential characteristics. Moreover, this phenomenon causes ambiguity for the reader and especially for the translator of the Quran. Each verse has been revealed due to a particular situation and a specific purpose. The Holy Quran is a narration devoted to a particular discourse system, based on which the sender drives the process of the discourse. The course of narration goes as well along with the goals of that system. In this study, after mentioning the dominant discourse of Quran, the two words "Zikr" (verse 9 of Surah Al-Jumua) and "Khayr" (verse 30 of Surah An-Nahl), which are two words of the Quran with multiple meanings, were analyzed semiotically according to the context and co-texts to understand the exact meanings of the words in the verses. Afterwards, the equivalents chosen by seven French translators including Masson, Savary, Chouraqui, Berque, Grosjean, Blachère, and Kasimirski were analysed, and then, a new translation was presented. In the end, the study tried to find an answer to the question how the Quran’s translator can transfer the verbal content to the audience in the same relative allegiance to the source text.
DiscussionIn this study, it was found that the seven French translators mentioned above did not succeed in translating the words "Zikr" and "Khayr" because they only sufficed to the form of the words and did not seek the their inner meaning. To understand the Quran and its vocabulary as a sacred text without any distortion, one must consider two factors of context and co-text simultaneously, because the examination of the text of the Quran and the determination of the Quran's vocabulary items are very difficult due to the abundance of vocabulary.
ConclusionTherefore, it was better for the translators to understand the text of the verse by referring to the interpretative books first and, then, they could communicate the bunch of meanings in a word, using the adjacent words. The most appropriate way of translating the Quran is group translation where one translates the Quran, and the result of his efforts is evaluated by a group specialized in various sciences, including Arabic literature, Quranic sciences, linguistics, etc. The possible errors that result from the translator's monograph would be eliminated, thus allowing the transmission of the implicatures to the audience since less common mistakes usually occur in group work.