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Greimas' square divides semantic systems into two classic types of "programmaticism" and "persuasion"; Landowski, besides the classical semantic systems, believes in two semantic-interactive systems: "adjustment" and "accident". The four systems of programming, persuasion, adjustment, and accident are based on order, intent, sensory interaction, and chance. The present study, employing an analytical-descriptive method, identifies and classifies the common laughter semantics techniques in Folklore (tales, jokes, and parables), and the contemporary stories for children. The techniques of laughter semantics in the strategies of forming the process of laughter are meant within the framework of a semantic system. In this study, the basis for the classification of strategies in classical semantic systems is the connection between the value object and also the change in the modal power of the actors. In the system of adjustment, the basis is adaptability disorder, and in the system of accident, the basis is the definition of accident. This study aims to show that the contemporary humor stories for children as funny situational sub-contexts inherit the meaning-making strategies among their subjects, from large historical-cultural contexts, such as stories, parables, and jokes. The research question is how the social interactions of the tale characters play a role in the spread of these laughter semantics processes. For the first time, this research introduces and classifies the semantic systems of humor.
Introduction
Social semio-semantics examines the role of social reflections and behaviors in the process of producing and receiving meaning. The text is not only the construction of its internal constituent elements, but also the product of its socio-cultural context. Sasani (2010, p. 192).  calls the immediate spatial and temporal context as "micro-context", and in contrast, the historical spatial and temporal context as the "macro-socio-cultural context". Folk literature is humor as a macro context that indirectly plays a role in the formation of micro-contexts, such as children's humor stories.
Background
Landowski, in Reflective Society (1989), deals with the sign of social semantics and the role of the "other" in the formation of the meaning of "I", and in Khatari Interactions (2005), introduces his four systems. Moein, in Meaning as Lived Experience (Moein, 2015), and The Lost Dimensions of Meaning in Classical Narrative Semiotics (Moein, 2017), as well as in his numerous articles introduces Landowski to the Iranian semioticians. In Iran, semio-semantics research in the field of children's literature can be summarized in a study by Zanjanbar and Abbasi (2020).
Aims, significance, and questions
This research, in practice, can inspire satirists and creative writing workshops, and theoretically provide a classification of the narrative techniques of humor in which, based on the frequency of a type of special semantic laughter system, can compare the humorous style of children story writers. This provides a comparison of the style of satirists for comparative literature scholars.
The study seeks to compare and classify the sharing of meaning-making techniques of humorous stories, jokes, and parables as macro-textures with the techniques of meaning-making contemporary humor stories for children as micro-textures. It also classifies them based on Landowski's four semantic-interactive systems.
The research questions include:
1. In the context of Landowski's semantic systems, how is the process of laughter formation in the discourses of popular humor (stories, jokes, and allegories)?
2. What are the common strategies between the popular humor and humorous stories for children to create laughter-semantics conditions?
It should be noted that the "laughter-semantics conditions" refers to the process of laughter formation within a semantic system.
Research Methodology
The research method is analytical-descriptive and the statistical population of this article is the written and oral texts of folk literature satire and fictional texts of children's satire. The sample group is selected by "targeted sampling" method. To complete the sampling, the "data saturation" method was used. The sample size obtained from the saturation consists of fifty works, a few of which will be mentioned because of certain limitations.
Conclusion
According to Landowski's social semio-semantics, the humorous semantic systems (laughter-semantics systems) consist of four systems: pivotal, persuasive, adaptive, and accidental. Each system has sub-strategies, which are made first in the macro-cultural contexts, and then extend the situational sub-contexts in the contemporary children stories. These strategies are differentiated and categorized based on whether the character achieves a value object, as well as how the characters' modeling ability changes. Modal ability refers to the four modality verbs "to want, to know, to be able, and must", which govern each character before performing the action.
References
Landowski. E. (1989). Reflective society (in French). Seuil.
Landowski. E. (2005). Khatari interactions (in French). PULIM.
Moin, M. B. (2015). Meaning as lived experience (in Farsi). Sokhan.
Moin, M. B. (2017). The missing dimensions of meaning in classical narrative semiotics (in Farsi). Scientific and Cultural.
Sasani, F. (2010). Meaning: towards social semiotics (in Farsi). Science.
Zanjanbar, A. H., & Abbasi, A. (2020). Stylistics of "physical metamorphosis" in children stories based on the tensive regime of discourse. Journal of Language Related Research, 11(4), 49-74.

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Introduction: "Physical Metamorphosis" is the change in the identity of the acting element or the actress of the story, from a physical representation to another physical expression. In the present study, the word "physical" in addition to the metamorphosis of the body, as a body, also refers to the metamorphosis of the body as an object. "Physical Metamorphosis" either as a knot method, is the creator of a tensive space, or like a resolver method, derived from a tensive space. To examine the aforementioned method, however the choice of the "tensive regime of discourse, is a proportional choice.
Purpose: The purpose of this study is to classify the stories in the range of children that have been developed around the "Physical Metamorphosis".
Questions: In this regard, the present study seeks to answer three questions: 1. how the style of the elements involved in metamorphosis take the advantage of tensive regime of discourse to produce meaning in the child story? 2. What is the relationship between the level of consciousness of its transformation element and the amount of its transformation process?
3. Based on the model proposed by Zilberberg, how is it possible to define and illustrate these styles?  
Methodology: The two-component stylistics of this study uses two coordinates systems perpendicular to each other: one in terms of time-metamorphosis, which shows the qualitative changes of metamorphic action, in a quantitative period of time, and the other in terms of time-consciousness, which represents the qualitative changes in the consciousness of the actor submissive subject towards his metamorphosis. In this study, "metamorphosis", as well as "the subject's mental awareness of its own metamorphosis", are both considered a qualitative component, alongside linguistic content, and "time" as a quantitative and extrinsic component. The present study uses a descriptive analysis approach.
Conclusions: 1) Zilberberg believes in five styles or modes of presence: style of modality, style of efficiency, style of existence, inclusive and exclusive style. According to the present study, this stylistics can be divided into two groups. The first group includes style of modality, style of efficiency, and style of existence. These three styles are relative to each other being in complementary distribution; that is, although all three are stressful, and have relatively similar functions; but none of both items come together. The second group includes, inclusive and exclusive style. Both components are in complementary distribution relative to each other; but none of the three styles of the first group, with any of the two styles of the second group, are in complementary distribution; For example, the stress space can be both style of modality (from the first group) and inclusive style (from the second group).
2) The first group, which includes three styles of modality, efficiency and existence, divides both the metamorphic process and the pattern of awareness of the metamorphic element towards its own metamorphosis. Based on these two components, we can identify the cognitive style pattern of physical metamorphosis in children's stories based on two components: The first is metamorphosis at the biological level, and the other is metamorphosis at the phenomenological level.
3) Children's stories, which are based on bodily metamorphosis, follow six two-component models: I) The efficiency, with the phenomenon of modality,  II)The double efficiency,  III)The double modality,  IV)The modality with the phenomenon of efficiency,  V)The existence,  VI) Without the phenomenon.
This study, for the first time, generalizes Zilberberg's one-component stylistic model to two-component stylistic paradigm. In two-component stylistics, the first component represents the objective process of the biological changes of the transformed personality, and the second component represents the phenomenological changes that occur in mind of the transformed personality. That is, the coordinate system based on "time-metamorphosis" corresponds to the first component, and shows how the objective the process of metamorphosis is.  The coordinate system based on "time-awareness" corresponds to the second component, and shows how the personality is aware and mentally informed of its metamorphosis. In this article, the representation of stress axes (extent and intensity axes) are completely consistent with mathematical paradigms.
Significance of the study: Regarding the frequency of the application of the "Physical Metamorphosis" in children story, and the lack of theoretical research on this field, the necessity of conducting a research in this field sounds beneficial.

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Abstract
One of the tricks of children's stories to objectify abstract relationships is employing the metaphor of "color". On the one hand, the metaphor of "color change" in the three stories of "Red: The Story of a Candle" (Hall, 2015), "The Day the Crayons Quit" (Daywalt, 2013), and "Purple Pencil" (Ghazaleh Bigdelou, 2012)  refers to the "identity revolution" and on the other, the first two stories are American and the story of "Purple Pencil" is Iranian, so this article has selected the mentioned stories to compare the views of the two mentioned cultural discourses in terms of the meaning of "ideal identity". In this regard, it intends to answer three questions in a descriptive-analytical way, within the framework of Landowski semantic systems: How has ideal self been interpreted in each text, given that these three texts encourage the child to identify? How does each text invite the child to socialize? The hidden ideology in every text creates alienation and de-alienation, which institutions are related to subjectivity? From a cultural semiotic point of view, every text is a culture. The present study examines the paradigm of identification in children's stories. Since identity is a construct of discourse, it translates the ideology embedded in the identity-making discourse from the sphere of origin to the sphere of destination.
Introduction
J. Lotman designed the semio-sphere as the space of all the texts of a culture, being interconnected in such a sphere. Unlike constructivist semiotics, which considers culture to be a hypertextual element, cultural semiology considers culture to be an integral part of the text. According to Lotman, the semio-sphere is like a crystal in which each of the texts inside, as components, has the properties of the whole sphere. Therefore, by placing it within the semio-sphere, he did not only seek for the meaning of the text, but also attempts to reconstruct the semio-sphere.
Greimas divides semantic systems into two classic types: "programming" and "persuasion / manipulation". Landowski by passing over the dual system of Greimas believes in two semantic-interactive systems of "adjustment" and "accident".
Background
Landowski, in Reflective Society (1989) deals with the sign of social semantics and the role of the "other" in the formation of the meaning of "I", and in Khatari Interactions (2005), introduces his four systems. Moein, in Meaning as Lived Experience (2015), and The Lost Dimensions of Meaning in Classical Narrative Semiotics (2017), as well as in his articles, introduces Landowski to the Iranian semioticians. In Iran, semio-semantics research based on Landowski theory in the field of children's literature can be summarized in a study by Zanjanbar (2021).
Aims, significance, and questions
The theme of the three stories, The Day the Crayons Quit (Daywalt, 2013), Red: A Crayon’s Story (Hall, 2015) and Purple Pencil (Bigdellou, 2013) is “identity crisis”, and the main characters in all three are pencils. All three use the "color change" trick to portray the "identity revolution" of the protagonist. The first two stories are American and the story of "Purple Pencil" is Iranian. The aim of the present study is to compare the differences and similarities of the concept of "ideal self" in stories that have different cultural spheres. There is competition among Iranian publishers for the publication of books that receive international awards, regardless of the fact that the dominant discourses award these books due to ideological matters. The importance of this research is that it shows that although a skilled translator can change the language based on the target semio-sphere; but the theme of the story is the carrier of the ideology of the origin sphere.
The research questions are:
1. How has ideal self been interpreted in each text, given that these three texts encourage the child to identify?
2. How does each text invite the child to socialize?
3. The hidden ideology in every text creates alienation and de-alienation, which institutions related to subjectivity?
Research Methodology
The research method is analytical-descriptive and its approach is cultural semio-semantics. The theoretical foundations section introduces Landowski's four semantic systems and its related paradigms (subject, object, and modality verbs). In the analysis section, all three texts are read within the framework of Landowski semantic systems. Then, the signs (written signs and visual signs) that are the basis of the subject's identification are discovered in all three stories, and the signs of each text are compared with the signs of the other two texts, thus, the similarities and differences of the concept of ideal self should be discovered in these three texts, and the way of identifying the semio-sphere should be revealed in each of them.
Conclusion
Although all three works consider the flourishing identity to be dissident, hopeful and dynamic, they do not agree on all levels. According to "Purple Pencil" (Bigdellou, 2012), in Iranian and Eastern culture in general, the way out is based on the system of adaptation and the ideal self is based on the transcendence of the subject through pure love, family-centered, lasting relationships and life. This discourse severely undermines individuality, and strengthens marriage. It also ignores society by keeping silent. American culture recommends two types of dissent: one is for the inferior actor, and the other is for the superior actor. According to "Red: The Story of a Candle" (Hall, 2015), the dual subject is inferior, when it reaches a blossom that gives originality to self, not to its representation. This approach sees the way out, in the system of persuasion (self-persuasion), and believes in individualism, romantic incoherence, inviolability of privacy while cooperation, colloquialism and persuasion, temporary and not necessarily permanent relationships and coercion imposed by subjectivity. This discourse weakens the institutions of collective control (such as education, society, family, peer group), and empowers the individual. "The day the crayons stopped working" (Daywalt, 2013) sees the exit as an exploitation of the persuasion system. Hence, he considers the subordinate subject as an ideal when, as an actor within the system of persuasion, he considers the needs of the actors under his control. In other words, it has an identity such as politician, persuasive, flexible, community-oriented, free, expedient and creative. This discourse reinforces the institutions of social control (the pencil community, the education or teacher who gives a perfect grade, the police who dance), and in general, the discourse of power, but it knows flexibility.
 
 
References
Bigdlu. Q. (2013). Medād-e Banafsh. Tehran: E'lmi o Farhangi Publication. [in Persian].
Daywalt. D. (2016). Ruzi ke Medād Sh'amihā Dast az Kār Kashidand. Trans. Mahboubeh Najafkhani. Tehran: Z'Aferān Publication. [in Persian].
Hall. M. (2015). Red: A Crayon’s Story. New York: Greenwillow Books.
Landowski. E (1989). Reflective society (in French). Seuil.
Landowski. E (2005). Khatari interactions (in French). PULIM.
Moin, M. B. (2015). Meaning as lived experience (in Farsi). Sokhan.
Moin, M. B. (2017). The missing dimensions of meaning in classical narrative semiotics (in Farsi). Scientific and Cultural.
Zanjanbar, A.H. (2021). "Tatbiq-e Nezāmhā-ye Khandeh M'anāyi-e Adabiyāt-e Āmmeh va Adabiyāt-e Koudak az Manzare  Neshāneh-Ma'nā-Shenāsi-e Farhangi". Farhang o Adabiyāt-e Āmmeh. No. 36 (Vol. 8). Pp. 65- 97. [in Persian].
 
 

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Anti-war literature is a subset of peace literature. Peace is portrayed in both negative and positive ways. Positive peace is defined on the basis of the concept of moral cosmopolitanism, while negative peace is in contrast to the concept of war. Accordingly, the cosmopolitan stories represent the utopia and the anti-war stories represent the ruined city. The data of this research are picture books with anti-war stories of age groups B and C. This article was written using the analytical-descriptive method and based on the formalist approach to answer how common devices (common formal patterns) are in children's anti-war stories. The result of this research shows that anti-war stories are divided into three categories according to the dominant element of the story based on the part of the triple process of beginning, middle and end of the war: beginning-centered, middle-centered and end-centered. Each of these three categories is further divided into subcategories based on the devices they use. The acceptance of the emerging genre of anti-war literature and the lack of sufficient internal and external research on peace literature for children necessitates research. This article is the first to categorize children's anti-war literature using a formalist approach.
Introduction
Peace in children's literature is presented in two ways: positive and negative. Positive peace means cosmopolitanism and coexistence while respecting each other's differences. "Negative peace is the absence of violence or war" (Galtung, 1969).
In this article, anti-war stories are not stories based on mild and minor violence (such as ridicule or rejection), but the content of anti-war stories is based on the display of extreme violence (such as large-scale wars) with collective and physical injuries. Indeed, such stories represent the beauty of peace by showing the ugliness of war.
The novelty of the present study is that it analyzes anti-war stories in children's literature and introduces a new classification. The classification of the forthcoming article not only helps the researchers of comparative literature, but also opens a window to peace literature for the authors of children's literature.
Background
Although the anti-war literature in the world has received the attention of researchers; But whether in Iran or abroad, there is still a lack of peace research in the field of children's literature.
"Journal of Peace Research" abbreviated as JPR is an interdisciplinary monthly magazine that has been publishing research related to peace since 1964 (especially articles related to the causes of violence and conflict solutions). Among the peace research books, we can mention War no more: three centuries of American antiwar and peace writing (2016, Rosenwald). The said book is a collection of articles, stories, songs, memories and speeches that convey the message of anti-war and peace. Chapter 7 of War and American Literature (2021, Rosenwald); With the title "About anti-war literature", this author has also discussed American anti-war literature.
In Iran, unlike the literature of holy defense, not much research has been done on anti-war literature. "Exploring Anti- war stories in the holly defense literature" (J′afariyan, 2014) is one of the few researches that have been conducted in this field. The mentioned research deals with the types of characters, anxiety disorders, political-social criticisms and nostalgia in Iranian anti-war stories.
Aims, significance, and questions
Some people consider anti-war literature to be imported. According to them, this genre is the concern of pacifist writers from countries for whom war recalls the crimes of the World War or the 20-year war in Vietnam and the like. At the same time, Iranian writers associate war with defense against the aggression of the Baathist regime in Iraq and tend to write stable literature. What confirms the necessity of this research is the fact that while writers once praised stability due to an imposed war, some of them now no longer see proxy wars as an inevitable necessity. Therefore, whether right or wrong, anti-war literature has become part of the reality of this country's literature. The research questions are:
1- Corresponding to the three stages of the war process (beginning, middle and end), what are the types of children's anti-war stories in terms of the dominant element?
2- According to the formalist approach, in each of the above-mentioned types of stories, the foregrounding  of the dominant element is based on what devices (formations)?
3- In children's anti-war stories, which devices are consistent with Baudrillard's simulation theory?

Research Methodology
The research method is analytical-descriptive, and the sample group is selected by the "purposive sampling" method. To complete the sample, the method of "data saturation" was used. Authored and translated books titled "Peace and Friendship" and one hundred and thirty-five picture and illustrated book titles for age groups "B" and "C" were collected from the Iranian publishing market through library research. Stories that had an explicit anti-war theme were separated from them. The sample size resulting from saturation consists of twenty-four works, which are cited below and in the final table of the article.
This article's approach to studying children's anti-war stories is the formalist approach. The goal of formalism is to discover the form of the work. The key concepts of the formalist approach are: Form, devices, dominant element, foregrounding, defamiliarization.
The war process has three parts "beginning, middle and end". Depending on which part of the threefold process of elemental war predominates, war stories are divided into three categories: initiation-oriented, middle-oriented, and ending-oriented. Each of these threefold categories is classified into sub-categories based on the devices and formalistic arrangements used in the work, and then a detailed tree diagram of each of the above threefold categories is displayed.
Conclusion
Considering the age conditions and the cognitive level of the children, the visual stories of age group "B" and "C" are very brief, single-core, and single-centered and do not have multiple focus. In other words, these stories explicitly convey only one message (no complex and multiple messages) by using highlighting. Therefore, the dominant element in these stories was clearly emphasized in a convergent manner through devices such as the title of the book, the naming of the characters, the phonetic and semantic forms of the descriptions and the images attached to the text. Based on which dominant element is formed by highlighting which part of the three stages of the war process, anti-war visual stories are divided into three categories: initiation-oriented, middle-oriented, and ending-oriented. In this context, this article, while presenting the devices related to each of the three types of dominant elements mentioned above, shows that despite the claims of some critics who consider the formalist approach to be a mechanical one and lacking a dynamic ability to critique and analyze contemporary literature, formalism, like any other approach, can still be effective in criticism and draw the patterns of similarities and formal differences of stories such as the anti-war stories in children's literature by relying on the dominant element and highlighting devices.
References
Galtung, Johan. (1969). Violence, Peace, and Peace Research. The Journal of Peace Research. 6(3). Pp: 167- 191.
J′afariyan, A. (2014). Exploring Anti- war stories in the holly defense literature. MA degree in the Persian Language and Literature. Shahrekord University: Faculty of Literary and Humanities. [Supervisor: J. Safari & visor: E. Sadeghi] [in Persian].
Rosenwald, Lawrence. (2016). War no more: three centuries of American antiwar and peace writing. New Yurk: Liberary of America. (ISBN: ‎ 978-1598534733).
Rosenwald, Lawrence. (2021). "On Anti-war Literature". In War and American Literature. Jennifer. Haytock (Ed.). United Kingdom: Cambridge University Press. Pp: 103- 118. (DOI: https://doi.org/10.1017/9781108654883.010).
 

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