نشریه پژوهش های بین رشته ای ادبی
پیاپی 10 (پاییز و زمستان 1402)

Studying the meaning based on discontinuity and adjustment in discourse Semiotics regimes a case study of Architect Mahyar Puzzle drama by Reza Ghasemi AbstractThe elements of the discourse are generally convergent with their existence universe in adjustable regime; if this regime is not adjustable (discontinuity), it behaves divergently with its existence universe. Therefore, the current research tries to deal with the formation of adjustment and discontinuity regime based on discourse semiotics in Puzzle of Architect Mahyar drama by Reza Ghasemi. Hence, eight samples were selected from the whole body and analyzed in a descriptive analytical way. The results obtained in this research indicate that, first, identity is formed in relation to body orientation; Secondly, an identity collapses when it faces the separation of the physical and material body from the phenomenal body. This itself creates insecurity in the discourse and finally, it causes the occurrence of discontinuity in the conditions of challenge, and it is precisely in this state that the frozen and fixed situation breaks down and semantic transformation occurs.Key words: discourse ,discourse discontinuity, adjustment, challenge, identity collapse.

Conducting comparative studies is one of the prevalent approaches in literature. American school of comparative literature provides a suitable framework for research on themes, opinions, and hidden concepts of works irrespective of their original language. In this article we compare, Eye for an Eye by an Iranian playwright Gholam Hossein Saedi and The Tempest by Aime Cesaire, a French Black writer and poet. This research by drawing from Foucault's ideas scrutinizes the similarities and differences between these two plays. In Discipline and Punish: The Birth of the Prison, Foucault explains governments' methods of punishment throughout history. People in power, by using their own approved system of thoughts and punishments, put common people of society under pressure and chastise them. Foucault does not necessarily think these punishments are deterrent or adequate to the crime committed by a criminal, yet his/her body is used as a penal and correctional system. It will be examined that in these two cases the kings’ presence as the highest office of power is the only determinant of punishment. The absence of a judiciary system in both plays highlights the fact that much of the government's actions are biased. In Eye for an Eye, the dominant system prefers corporal punishments whereas in The Tempest play it privileges the mental/psychological one. Foucault believes that dominant institutions sometimes use punishment for its dramatic nature in order to intimidate people. This nature of punishment is represented and noticeable in both of our selected plays.

Evaluations and value patterns are among the things based on which literary texts can be examined and analyzed. This research has investigated and analyzed two collections of stories accompanied by the Hamrahe ahanghaye baabaam and Abshouran by Dervishes, based on text valuation patterns and relying on vernacularism and interdisciplinary knowledge. The research method is descriptive and analytical. These two collections of stories are among the works that were written in the field of realism, and by relying on the valuation patterns in them, the author's focalizations, highlights, and evaluations can be seen. Measure the canvas in them. The results of the research indicate that the dervishes in the form of environmental elements and to express the pains and sufferings of the middle and weak strata of the society in contrast to the affluent strata, environmental manipulations and destructions, although aligned with the manifestations of culture and progress. However, he does not like it and always has negative evaluations towards them. Also, according to the value patterns of the texts, it can be understood that a peaceful life alongside nature and its dangers is rooted in respect for the multifaceted political, social, etc. dependencies of humans with nature. It is necessary to mention that the narrator's social, economic and cultural position has a significant impact on forming a point of view in connection with the environment.

Cognitive poetics, as one of the main branches of cognitive sciences, allows the reader to analyze a text with the help of tools and text builder elements. The present study aims at identifying the builder elements of poetry, an excerpt from the poems of Shirko Bikas entitled “Ma’rouf Aghaee, a rhythmic poem and a dead rain" from the collection of “lights above the peak” to study and analyze it by descriptive-analytic method and based on Text Worlds Theory proposed by Paul Werth in 1999. The results were obtained by identifying the different layers of Shirko Bikas poem, which was accompanied by a departure from the world of the original text to the sub-worlds and then a return to the world of the original text. The results showed that the most important feature of his poems is the use of special names, conceptual metaphors and also the use of adverbs as the most important world building elements in the building of the sub-worlds and the text world. The findings showed that the use of mental processes in the building of sub-worlds and the use of relational and material processes in the building of the text world are the most important function advancing propositions. And also, the findings indicated that in the selected excerpt, the reason for the tendency to read these poems is in the high frequency of the want-worlds and the collapse of the layer of the discourse world and the text world.

Emotion is one of the most important and vital element of poetry. Every poem is a kind of reaction of the artist's self interactions. Psychic interactions are one of the main stimuli for the formation of works of art. Thus, Mawlan's lyric poems are the result of pure mystical experiences and the arousal of his powerful emotions. In this very article, the predominant aspect of the reflected emotions of Shams's lyric poems has been investigated using Robert Plachik's theory of "fundamental emotions" in a descriptive-analytical method. In this research, one point (mark) has been considered for each verse and in the analyzing of verses, linguistic elements (sounds, words, compounds, sentences), direct lexical signification, and rhetorical techniques have also been used. In Mawlan's sonnets different types of emotions (primary and complex) have been expressed to different degrees of intensity which is more than ninety percent of the expressed emotions. This research shows that 24 emotions of Plachik model are reflected in Mawlan's sonnets. The reflected emotions in Mawlan's sonnets are: love, happiness, astonishment, hope, acceptance, humility, respectively. The emotion of love is at the top with 50.92 percent points and despair is at the bottom of the table with 0.02 points.

The present article, as a qualitative research, has been written with an analytical approach and aim to explain the concept of adaptation from the perspective of intertextuality theory, and has examined intertextuality theory and several other key concepts. It seems that the concept that is presented in the performing arts as an adaptation, is in fact a traditional preparation and technique and idea about the meaning of taking from previous texts, which can be explained basically by the theory of intertextuality. The concept of adaptation traditionally emphasizes a kind of omnipresence and explicitly highlights an aspect of the broad and complex dimensions of the various relationships between texts. In general, one of the most important consequences of the development of intertextuality theory and intertextuality theories has been the gradual dissolution of the concept of text as a coherent and autonomous semantic unit, which in turn has led to a shift from a single, independent and mythical text to a new concept of it. That is the way in which texts are related to other categories and texts. Therefore, explaining the nature of adaptation and its relevance to intertextual theory requires our familiarity with some important theoretical concepts proposed by Genet under the theory of hypertextuality, which we have examined in this article.

The narrative of " Sabzeh ghoba" is one of the folk tale. how trajectory of hero in mythic journey in story of "sabze ghoba" Based on monomythic model of Campbell's hero's journey Also, identification of protagonist's psychological Tibi Kahler based on T.A. theory, is main issue of research. This research purpose is study of subconscious mind of story audience and find out narrative motivation of story of hero's journey in mythic story of "Sabzeh ghoba".This article analyzes story of "Sabzeh ghoba" with mythological and psychological approach.This study shows that total levels of initiation and departure levels exist in pattern of hero's journey theory and return levels do not see in story of "Sabzeh ghoba". In addition, research proves existence of interaction between psycho-moral and narrative motives in formation of symbolic story of "Sabzeh ghoba". This study also concludes that going through personality development as an archetype in collective unconscious in human beings is trans-regional value.This research shows existence of Tibi Kahler " be hardworking " in the draft of the protagonist's life . Therefore, this study concludes that Eric Berne's Tibi Kahler theory is reflected in tests of Campbell's hero's journey; And indicates existence of Tibi Kahler in Iranian mythology.Research method is descriptive-content analysis and data collection is field and library.

According to the findings of linguists, the Alamouti dialect can be divided into a subset of the northwestern languages of ancient Iran. Iranian languages can also be studied in the form of a large language family (Indo-European). The horizon of comparison and connection of Al-Mutawi dialect with English at the beginning and origin in terms of form, phonetic and semantic structure of a wide range of research before the eyes of researchers, still many words used in the language of Al-Mutawi dialects It is used with its face and making ancient sounds. In this article, some of the ancient morphological features of this dialect will be briefly mentioned. According to the research method, which is descriptive and analytical, to prove the above attitude, twenty words and three suffixes that overlap with some English words in terms of phonetic and semantic form are examined and adapted; First, he explores words in the ancient origins and roots of Iranian languages (Pahlavi and Avestan); He then compares the words with a deeper look into the context of the Indo-European family of languages and answers these questions: What is the origin? Are these similarities coincidental or do they indicate co-existence in a large language family? Then the ancient identity and originality of this dialect can be seen in the collection of Iranian languages and its connection with the Indo-European language family.

Identity is a fluid and inconsistent concept that is defined based on its use in any text. In some sociological definitions, the contrast between individual and social identity fades under a general view of the concept of identity. The individuality of each person which contains unique and often inherent traits is diminished by the influence of social identity and changes due to the acquisitions of society and any dominant discourse. Recognizing the identity of each individual is possible in the shadow of their distinctions from the other. In other words, Identity is the result of communication and interaction between oneself and the other. In all texts, including literary texts, identity is represented according to the capacities of the text. In narrative literature also, narrative techniques carry out this representation. This research deals with the representations of the meaning of identity and the analysis of its implicit meaning in the screenplay “Facts About Leila, Daughter of Idris”. The result shows that the concept of identity in the narrative of Leila’s life emphasizes on the influence of her individuality on social relations and the dominant discourses of the society. The main narrative techniques used to carry out this representation are the main events of the story, narrative elements and binary contrasts.

All authors have long sought to find attractive and lasting names for their works, and the discussion about the entitling of literary works has been as important as study on their structure and content, in the discussions of literary criticism. The main approach of the article is based on an interdisciplinary foundation, between literature and linguistics. The article aims to present a comprehensive classification of naming methods of literary works using the knowledge of linguistics and based on the construction rules of the Persian language. The claim of this article is that the writers of Iran and the world, have used very definite and limited methods in the construction of language to entitle their works, whether in Persian or in other languages, and many of these methods are similar. This article is written in a descriptive and analytical way, using the approach of analyzing the names of literary works, based on “construction” and “Persian grammar”. The author of this article has used syntactic and grammatical classification methods in the classification of names. The article tries to reach this conclusion, contrary to what is believed, entitling a literary work is the most difficult part of creating a work; The naming of works follows simple and repetitive patterns, familiarity with which can facilitate the naming of literary works for any contemporary writer.