زبان بدن

The subject of the body and the concept of corporeality are among the issues that have been considered by researchers and scholars in various fields such as sociology, anthropology, philosophy, and cultural and literary studies in recent years. The principle that man has always been in bodily situations throughout history, as well as the fact that the human body is not limited to biological existence, but possesses structural and sociological aspects according to different situations, has raised important questions such as; how can humans make connections between the biological body, individual identity, and collective structures? Furthermore, the impact of power relations on the formation of people's image of their body, or the connection between the gender patterns instilled by cultural forces and the perception of males and females in their bodies have been investigated. The famous writer “Belqeis Soleimani” is one of the creators of Persian fiction that deals with new cultural and social topics and concepts in her novels. In his latest novel, “Tokhme Sharr”, she tries to address the issue of the body and its biological and social effects. In this research, which has been written in a descriptive-analytical manner, an attempt has been made to study and analyze the evidence related to this issue in narrative actions and textual dialogues, focusing on the dual division of the natural body and the social body. The results have indicated that within the biological aspect, the author has paid more attention to the issue of body language and body awareness. However, in the social aspect, he has analyzed the issue of the effect of patriarchal power relations and culture on the gender image of women's bodies.

Verbal and non-verbal communication is used in literary works to convey concepts and messages. Non-verbal communication is the use of body movements, sounds, facial expressions, clothing, place and time in the process of communicating with the audience. In this article, an attempt has been made to analyze the categories of Sufism from the perspective of non-verbal communication and show that Khwaja Abdullah Ansari from All kinds of non-verbal communication have been used to narrate the book and all kinds of non-verbal behaviors such as body movements and gestures, location, artefacts, facial expressions, body contacts, analysis, classification and review. The purpose of this article is to introduce, classify, decode and analyze the types of Non-verbal communication is in Sufism categories to show how body language can have functions such as controlling, complementing, emphasizing and replacing verbal conversations.

In the present research, the non-verbal communication of Sufi sects has been analyzed with the descriptive-analytical method.

It seems that in tazkira texts, in addition to the general examples of non-verbal communication, there are special expressions that are specific to this type of text. Categorizing and dealing with this kind of special and specific manifestations can distinguish this research from other works in this field. So that every audience will be able to interpret and decipher the text of Tabaqat Sufi, according to their cultural and social background.

The research shows that non-verbal communication in Sufi classes is mostly used to replace the verbal message, and the component of physical appearance has been used the most due to the expression of educational purposes and individual and social situations, and among the components of physical behaviors, non-verbal behavior The hand has the highest frequency due to the movement towards God and capture (with ironic meaning) in mystical behavior and religious education, and the physical behavior of the head has the lowest frequency among these components. The low frequency of this behavior is remarkable and interesting.

Two features of Sassanid commemorative art are "realism" and "respect for hierarchy". Far from being an accurate portraiture, realism here refers to paying attention to signs (such as clothing, symbols, taking into account the hierarchy of positions), which together create a cryptic context in need of interpretation. The purpose of this essay is to assess the extent to which any sign can be interpreted in the symbolic language of Sassanid commemorative art, especially in the rock reliefs. To narrow it to one example, we are faced with two ways of representing “carrying the sword” by the figures in the presence of the king, which may raise the following question: why do they carry the sword differently in front of the king of kings?

Method and Research: 

The research approach is semiotics and research method is the comparative study of historical texts with archaeological evidence.

The central response of this paper is to show that the difference in sword-carrying is primarily due to the difference in the hierarchy of power. Regarding this matter, there might be two subsidiary hypotheses which can be put forward in the following way: First, carrying the sword vertically and/or placing the hands in front of the body can be interpreted as the respect for "superior lineage"; These representations are equivalent to the respectful movement of "raising the hand and bending the index finger." The second subsidiary hypothesis interprets the figures at stake, not as respect for "superior lineage" but as paying exclusive respect to "Shahanshah [the King of kings]", done by the royal family. It is clear that each of the hypotheses put forward can have an impact on the way to understand the characterology, genealogy, and position of the figures, and consequently, it can also be helpful in understanding the nature of the political system of the Sassanids.

One of the common aspects of stories and narratives is the quantity and quality of relationships between the characters in the story, which is revealed in both verbal and non-verbal ways; But the amount of using these two types of communication and how to combine them in the narrative changes according to the goals of the author and the type of audience. The manuscript of Thālāsaht al-Araīs and Lezhah al-Nafais, by Haji Ali-Ben-Haji Allahwardi Kashisaze Mashhadi, is one of the unknown writers of the Safavi era in the twelfth century of the lunar calendar. This work is an important and valuable book in the field of fiction and novel, which was written by the author himself. The subject of the book is legend and anecdotes, which the author has provided by editing, modifying, distorting and changing famous historical events, and using the poems of Ferdowsi and other poets such as Saadi, Hafez, and Rumi and various proverbs, the epic and literary spirit. It is blown into it. In this research, the author aims to investigate and analyze the elements of non-verbal communication and its effect on the story elements of Thālāsaht al-Araīs and Lezhah al-Nafais using a descriptive-analytical method and a library tool. The results of the research show that the author has used special non-verbal relations of the same situation according to the time and place of the people, and among the non-verbal communication processes, he has used the movements and gestures specific to the face, hands, feet and eyes, so that the role They have been important in the process of conveying concepts and messages.

The purpose of this research is to analyze the linguistics aspects of the speech of the pilgrims of Imam Reza’s (AS) Holy Shrine.  Therefore, the discourse of pilgrimage in the Holy Shrine is examined from two verbal and non-verbal dimensions. The data of this research has been collected by observation method   and interviews with 20 Iranian Shia or Sunni pilgrims between the ages of 20 and 60 who visited Imam Reza’s Holy Shrine in the summer of 1400. The sampling method was targeted and available. In this research, first the verbal data were analyzed and then the relationship between the non-verbal gestures of the head, including eyebrow, eye and lip movements, as well as hand and foot movements, with the amount of pilgrims’ emotions was investigated. The results of this research show that in the theological dimension, the motivations for visiting the shrine are both material and spiritual, but the spiritual and spiritual motivations, especially obtaining peace of mind, reward and intercession, are more important and evident. In addition to the sensory and spiritual atmosphere, the pilgrims’ sense of peace and security is involved in the Holy Shrine. Among pilgrims’ non-verbal behaviors, hand gestures have the largest contribution in explaining emotional perception. In other words, pilgrims use non-verbal hand gestures to express their inner feelings and emotions more than other organs. In fact, pilgrims speak with their hand movements. This means that they convey different messages with their different hand movements or establish a more effective communication by using their hands.

The main objective of this research is to identify the function of behavior and body language in creating the dramatic expression present in the story of Prophet Yusuf (Joseph) in the Quran.

The information and data in this research have been collected through the library method and then analyzed using the narrative analysis method.

Part of the life of Prophet Yusuf is mentioned in the Quran, and his story is addressed in different numbers of verses. By examining all the verses, in some of them, behaviors and actions can be seen in the form of body language that have advanced the suspense, character development, and conflict in the story. Rereading the Quranic story of Yusuf, considering the analysis of the dramatic expression present in it, provides us with new points in storytelling and the rhetorical style of the Quran.

In the story of Prophet Yusuf, behavior and body language have been used to create dramatic expression. In this story, God has unveiled thoughts and ideas, emotions, moral values, and personality traits through the limbs of the body and their states, which, in line with dramatic expression, have caused the creation and intensification of suspense, character development, and conflict. This has led to the eloquence and, consequently, the complete penetration and influence of the divine word, considering the psychological characteristics of human understanding, and best illustrates the purpose of narrating the story of Prophet Yusuf.

Possessing good communication skills is one of the main professional criteria for having effective teaching and classroom presentation. This study tries to pave the way for analyzing the body language of the student-teachers of Farhangian University during class presentations and delivering interpretation of the common discourses in their body language. To realize the goal, a qualitative approach has been used with a mixture of collaborative observation and phenomenological methods. The research participants were professors and students of Farhangian University in the 2023-2024 academic year. The research sample was selected through purposeful sampling of the confirming type of cases; therefore, ten professors and eighteen student-teachers were selected given the theoretical saturation. The data gathering tool was participatory observation and semi-structured interview, which after the determination of research objectives, the presentation of the student-teachers came under observation. Structural-interpretive analysis was used to analyze the data and the details of the findings interpreted. The results denoted that student-teachers use body language signs in their classroom presentation for twelve types of discourse, including the discourse of content completion, the discourse of persuasion, the presenter assertiveness or non-assertiveness, emphasis on verbal content, keep calmness, the ability and mastery of the presenter, the presenter trust or lack of trust, the approval and disapproval, control and warning to students, participation of students in the classroom, keeping balance and fairness in interaction with students.

This research focuses on the comparative study of proverbs and expressions in French and Persian languages. This branch of linguistics has keywords in different areas of meaning, such as plants, animals, human body, colors, numbers, nature, etc. To define the subject, the authors of the article chose the terms related to the human body and targeted five organs, that is to say "the head, the eyes, the heart, the tongue, the hands". The researchers wondered if the French terms in question are equivalent to those in Persian. If so, is the member used in both languages ​​the same or different? This comparative-analytical study is based on the studies of linguists in this field. Along with the examination of the terms cited, one encounters cases where two different organs, the repetition of the name of an organ, or the combination of the name of an organ and an adjective create a new expression. Also, the symbolic role of the limbs used in French and Persian proverbs and expressions is very evident. According to the search results, often these French expressions have equivalents in Persian, or find structures in our language in the form of explanatory sentences. In the equivalent of some expressions, the organ is not used as a keyword, and in some others it is used in conjunction with the name of another organ.

The aim of this study was to determine the effect of body language training on failure and defectiveness schemas of university students with academic failure. This experimental study adopted a pretest-posttest design with a control group. The statistical population of this study included all Qom University of Technology students, of whom 30 were selected by convenience sampling and randomly divided into two experimental and control groups. The Young Schema Questionnaire was used to collect data in pre-test and post-test stages. The experimental group received eight sessions of body language training. The results of univariate analysis of covariance (ANCOVA) showed that there was a significant difference between the experimental and control groups regarding their post-test failure and defectiveness scores. The results highlight the significance of body language training in helping university students struggling with academic failure.

Non-verbal communication is a communication that conveys concepts and meanings through non-verbal and speech. messagesNon-verbal messages are more powerful than verbal messages. Body language, non-verbal communication andIt is our non-verbal communication that we use in each of our interactions with others. Body language includedPeople's messages are with looks, facial expressions and gestures that help the reader to understand the text in literary texts.slow "Paul Ekman" and "Walce Friesen" have done extensive research in the field of non-verbal activitiesTheir goal is to better understand people's emotions and behavior. They non-verbal activities in three waysThey have analyzed "origin-encoding-use". This research with descriptive-analytical method based on approachesMentioned from "Ekman and Friesen" body language in the novel Al-Shahaz, which is the work of Najib Mahfouz, including; face languageThe language of gaze and head gestures has been described and examined. The results obtained from the analysis of language samplesThe body in this novel shows that the origin of facial language, which has a high frequency in the novel, is intrinsic.Its encoding is instinctive and its use is informational.

Poetry is an event and a revolution that occurs in the poet's impatient soul, a stimulus that motivates her to rise up in words and put an end to the chaos of the disordered world. and display the outside world in the frame of art and become a mirror to reflect the political and social reality.Therefore, the poet uses language as an important tool in the relationship process among people in society. Communication is divided into two types of verbal and non-verbal communication based on its communication methods, and each communication includes the components of sender, receiver and message. But in non-verbal communication, features such as facial color, eye and eyebrow gestures, head and hand movements, etc. are discussed.Ahmed Matar, a famous Arab poet, has used many verbal communication such as conversation, debate, etc. to convey her literary concept and experience in her poetry.In addition to this type of method, she has artistically used non-verbal communication, which has the role of complementing, substituting or denying and emphasizing, etc. for verbal messages.This article tries to clarify the purpose of non-verbal communication and the place and importance of body language in the reader's understanding and reception of Ahmad Matar's poetry with a descriptive-analytical method. Body language, hand and face movements, possessions and the conditions of the time are well-helped to convey the purpose and finally the space in his poem.

Fiction is full of non-verbal cues, including body language cues. Examining stories from the perspective of non-verbal communication, especially body language, which is a chain of extensive cues and messages are received according to the context of communication, can lead to a new reading of the text. Azhar Gerjis in the novel“sleeping in the cherry Field” has used the signs of body language, including the language of the eyes, hands, head, touch, limbs and physical appearance. This research intends to use descriptive-analytical method based on semiotic approach to analyze the role and position of body language and their function in this novel.Research findings show Gerjis messages such as; Astonishment, anxiety, anger and rage, forgetfulness, fear, etc. are conveyed to the audience through body language, the unveiling of which plays an important role in discovering the message hidden in the text. Among the non-linguistic behaviors mentioned in the novel, eye language with (32%) has the most role during message transmission and language of physical appearance (facial hair) with (2%) has the least role and body language in this novel is more, alternative and substitute. It has become verbal communication but in some cases it has emphasized more to complete the verbal message or verbal messages. The use of body language in this novel has increased the theatrical capacity of the story.

Body language is one of the most important communication tools of human society, which people use to express different emotions and meanings. The role of body language in the context of literary texts to discover purposes and conceptual data and literary arrays embodied in body language; It is remarkable. The book of Nahj al-Balagheh is full of literary arts and verbal subtleties. In this article, the topic of body language (hand) in Nahj al-Balagheh is investigated in terms of conceptual-rhetorical implications in a descriptive-analytical way. Among the conceptual and rhetorical meanings used in the words of Imam Ali (a.s.), we can include expressions of helplessness, insisting on disobedience, declaration of allegiance, avarice, cursing, the amount of blessings and forgiveness, preparation for Attacking, acceptance of allegiance, regret and regret, assistance and harmony, sadness of separation, regretful impatience, expressions of regret, seriousness and tirelessness in demanding, distance between right and wrong, being defeated and being wrong, metaphor., simile, allegory, irony and adaptation.

Among the communication processes, communication science considers an important role for non-verbal communication. This role becomes important in one-way communications; like the News in which receiving feedback from the audience and correcting the sender’s moves is not possible when sending the message. In this research, 18 21:00 programs of IRIB’s TV channel 1 have been systematically selected and studied using qualitative analysis method to identify the six types of known non-verbal communications (approval, completion, denial, repetition, control, and succession) used in 21:00 news and relate to the text read by the anchor. Five parameters of “the anchors’ posture”, “gestures”, “facial expressions”, “eye contact” and “paralinguistic features” were selected as the main parameters totally shaping 38 sub-categories. After qualitative analysis of the extracted categories and subcategories, we concluded that most of the non-verbal communications used by the anchors are restricted to the movement of the head and facial expressions, and the movement of hands and different postures have barely been used. In general, the anchors select the “stone face” (stilt) position as their base position for news reading and when reading the news, they try to use body movements and phonetic techniques in order to refrain from monotony, but incorrect usage of this technique or overusing non-verbal movements can reduce the validity and attractiveness of 21:00 news. Also, the function of emphasizing the speech by non-verbal communication is used as the mostly-used function by the anchors after which completion and control are the most important functions.

One of the constant and important goals of poets and writers in their verse and prose works is to communicate with the audience as best as possible and convey the meaning and message to them as best and accurately as possible. In this regard, using verbal and non-verbal communication has been one of the most common methods in this regard. Non-verbal communication or the use of visual signs has always been an efficient tool for poets to convey themes and concepts hidden in poems. Concepts that main topics are issues such as education, awareness and awakening of people and love (descriptions of the beauty of a lover, separation of a lover, etc.). 'Orfi Shirazi is one of the poets of the early Safavid period, who played an important role in the development of the Indian style of ghazal. The main volume of his divan is sonnets. One of the important indicators of 'Orfi poems is the visual signs (non-verbal communication) hidden in his lyrical themes. For this reason, the present article, using the descriptive analytical method, has attempted to analyze the level of non-verbal communication of "body language" in non-linguistic actions, in 'Orfi Shirazi poems. The hypothesis of the current research is an emphasis on the issue that the body language in the non-verbal communication of 'Orfi Shirazi's lyrical poetry is completely intentional and aimed at attracting the beloved and attracting the audience, as well as rethinking the behavioral patterns of the individual and society, with the aim of irony and symbolism. Among the non-verbal communication processes in 'Orfi Shirazi's poems, gestures and gestures specific to the face, hands, feet, and eyes have the most communicative function and play an important role in conveying concepts and messages.

Analysis of eye language in the biography and words of the Prophet (PBUH)AbstractCommunication is the process of sending and receiving messages that are sometimes formed in the form of words and sometimes in a form other than words. The effect of non-verbal communication on the audience and the recipient is more than verbal communication. Nonverbal communication is the use of different parts of the body to receive and send messages. Among the types of non-verbal communication, in other words, the use of body language in the communication process, "look language" or eye communication has always been of paramount importance. It seems that the importance of this issue has been raised in religious texts and it has been used well to strengthen communication with the audience. Accordingly, in the present article, an attempt has been made to use the structure of eye contact or the language of gaze in the biography and words of the Prophet (PBUH), using the analytical-descriptive method, with the question of how the language of gaze is manifested in the biography and words of the Prophet. Found ?. The findings of this study indicate that whenever the eye and the gaze sit on the bed of "speech", it conveys the message wisely while also containing a symbolic and sign language.

Social semiotics examines the status and function of signs in the society and it is one of the recent approaches to text analyses in semiotic studies. One of the important views in the discussion of social semiotics is Pierre Guerrero who classified social semiotics into issues of identity and social etiquette. Signs of social etiquettes show how individuals and social groups communicate. These signs are divided into verbal and non-verbal communications. The aim of this study is to find the signs of social etiquette in Makhzal Al-Asrar based on the Pierre Guerrero's framework. Using a descriptive-analytical method, this study explored the social signs of non-verbal communication from the Makhzal Al-Asrar. After categorizing, counting and analysing the data, it is found that these signs are associated with actions and postures, various states of facial expressions (crying and laughing, shyness, color, look and eyes), distance, space, food, objects, clothes, symbols and signs, smell and aroma in Makhzon-ul-Asrar. However, the actions and posture of the body and the posture of the behaviour, respectively, had the highest frequency of use, which has played a role in the transfer of concepts through body language along with the spoken language. With the intention of recognizing and encouraging the audience to accept moral-behavioral norms according to his proposed models, Nizami consciously uses the non-verbal communication indicators as auxiliary language in order to make his teachings more effective.

Corporeal communication is a clear expression of non-verbal communication by means of the body and its nuances that takes shape in interpersonal relationships. This form of communication may be intentional or unintentional and be accompanied by verbal features or not, and functions as an extra-linguistic factor. In Persian literature, Anvari is among the poets who have used corporeal elements in their compositions; in particular, these are common in Anvari’s ghazals (~sonnets). The present study, employing a descriptive-analytical methodology and drawing on a philosophical theory of the body, examines twelve approaches in a total of forty of his ghazals. The research findings indicate that the highest frequency of corporeal approaches in Anvari's ghazals belonged to the ‘aesthetic’ approach, which enhances the artistic aspect of his ghazals. Other approaches, in the order of frequency, included: political approach; psychological approach; socio-cultural approach; biological approach; existential approach; gender approach; philosophical approach; metaphysical approach; and, semiotic approach. The abundance of these approaches and their distribution in Anvari's ghazals not only reveals the intrinsic essence of his poetry, but also reflects the predominant style of non-mystical poetry in the sixth century AH, which, in addition to being meaningful and thoughtful, is primarily form-oriented and crafted through linguistic finesse.