Aims: Allelopathy and salinity stresses are known as major abiotic factors which limits the growth and production of plants. Environmental stresses such as salinity and allelopathy can affect the growth and establishment of rangeland species; however the interaction of such environmental stress and inter-plant competition (i.e., allelopathic effects) associated with arbuscular mycorrhiza rarely understood. Therefore, this study aimed to investigate the effect of arbuscular mycorrhiza on physiological traits and nutrient uptake of Poa bulbosa L. under the influence of allelopathy and salinity stress.  
Materials & Methods: A factorial experiment was designed with a completely randomized design with three replications. Factors include allelopathy extracted by Artemisia persica Boiss root (treat vs. control), salinity (control, 1, 4, and 8mmol/kg NaCl) and mycorrhizal fungi (mixed and unmixed). The experiment was set up in Malayer University greenhouse in a completely randomized design with factorial layout and 3 replications.
Findings: The stem and root of the studied plant species were higher than those found in non-inoculated treatments at low salinity and allelopathy treatments (p<0.05). Also, in severe stress conditions, mycorrhizal dependency was significantly higher (50.87). Proline content does not show variation under all studied treatments (p<0.05). Chlorophyll content decreased significantly with increasing salinity and allelopathy, but in the presence of mycorrhizal fungi, the rate of reduction was significantly lower and mycorrhizal fungi increased chlorophyll well. Plant nitrogen and phosphorus contents also coincided with the mycorrhizal fungi, showing the highest yield (3.7% and 2.6g kg^-1 for total nitrogen and phosphorus respectively).
Conclusion: The growth, establishment and physiological properties of the Poa bulbosa L. are improved under the influence of mycorrhizal application. Thus, the use of mycorrhizal fungi can be a useful biological method to reduce the destructive effects of environmental stresses such as salinity and allelopathy.

In the story of the Edrissis' House, social perceptions and habits, apart from being able to form a historical study, depict social causes and reflect the author's mentality and social situation. The main points of the story are wandering characters who are immersed in the foggy and bitter memories of their past as if reviewing these memories is sweet or very annoying and painful for them. Mrs. Edrisi, the owner of the ancestral home (Edrissis' House), is still stunned by the fantasy of her youth and her love for the fire brigade. In this story, spatial, temporal, and narrative themes are the tools to describe realistic and critical structures. After the Bolshevik and workers' revolutions, Mrs. Edrisi, a member of the aristocracy, has witnessed profound changes in the urban situation amid popular discontent. The narration in this story is an excuse to describe and explain the linguistic structures and meanings that lie on the one hand and social realities and political conflicts on the other. In the context of Edrissis' House, "meaning" plays out the form and content of the narrative, to remove the potential of Alizadeh's language from the linear barrier and to define the subject in the heart of a dynamic and out-of-structure process. Therefore, to clarify the game of narration from the perspective of semiotics in this story, the position of the sign and its structure must be identified to some extent. For poststructuralists, language systems, events, and events are formed over time. Kristeva, a Bulgarian psychoanalyst, linguist, and poststructuralist philosopher, reviewed her linguistic structures by writing her first book, and investigated the Semantic features , emphasizing literary and poetic texts in historical and social contexts. She showed the dynamics of sing by which processes change themselves. Chora is a symbol of Kristeva's energy, dynamism, and vibrancy, her inner drive, and signifier of language. Thus, the identification of linguistic cues for Kristeva is "the study of the mechanisms of production, transmission, and reception of meaning". In this article, we will try to answer questions about the analysis of symbolic structures and sign language in the novel of the Edrissis' House and pave the way to research in similar contexts. Although we see the presence of both realms in the story, it is a symbolic realm that deeply affects "meaning" in Alizadeh's view. As mentioned above , the destruction of the linear course of the narrative in the story, affects the linguistic structure of Alizadeh and shows the linguistic reality before the author's consciousness.
The novel Edrissis' House, always depicts a few unfinished and wandering stories, the realistic appearance of which contains analytical and obscure signs of the past. This is the realm of signs that leads the nests and the amalgam to the language. In other words, this emotional and fragmented dimension of language is fluctuating, it requires identity and signification for itself, and it puts the subject's consciousness in suspense, so that the meaning is not of the material and conscious type, but based on the inner motivation and drive of production. Thus, the unveiling of emotional and emotional structures and the penetration into the inner layers of motivational language, a reflection of the field. It is a language that has been suppressed and needs to return. Alizadeh prioritizes the nature of language and re-represents its nature to provide the reader with the conditions for understanding and recognizing it. In fact, Alizadeh shares her experiences in the context of narrative and social contexts - which also include language itself. Retrieves - gives meaning and, by searching for intra-cultural links, shows semio-semantic functions for textual structures. Thus, in semiotic analysis of Alizadeh's text, the signifiers lose their order and become dynamic and irregular to evoke the return of the blind or the "command of oppression." Hence, the suppression of female mental beauty shows the focus and symbolic structure of Alizadeh's language. This process itself becomes the originator of language. A language keeps emotions stored and registered in the subconscious layers of meaning. A language in which the interaction with the environment takes the form of unconscious reactions. In the story of the Edrissis' House, Alizadeh, amid its sharp and biting realism, is deeply influenced by the field of symbolism, because the symbols transform its subjects. The emotional burden of the narrative language becomes more and more imposed on readers.
The novel of Edrissis' House is the story of the Tsarist Russian Bolshevik Revolution, which illustrates these two linguistic areas well. And the position of Alizadeh's heroes is manifested not only in language but also in physical motivations. In this story, the environmental space of the Edrissis' House represents the symbolic space of language, which dominates the ample space and profoundly influences the process of signification. In fact, according to Alizadeh, language as a social act necessarily has these two tendencies of symbolism and semiotics because these two linguistic domains produce meaning.  Therefore, according to Alizadeh, this matter and the feminine (symbolic) domain is the reproductive text that forms the masculine (symbolic and lawful) matter of the apparent text and precedes the cultural, social and historical rules. The subject of Alizadeh, inspired by her feelings and energy in the heart of nature and the unconscious, creates a system of signification and discourse. Overall, the linguistic signs in this story are unstable, repressed, spontaneous, and emotional. This rupture reproduces the symbolism of "meaning" and, according to Kristeva, is revolutionary in the realm of signification and semantics. Hence, language and subjectivity are intertwined for Alizadeh’s point of view. For this reason, the realm of symbolism is the style and representation of unwanted signification. 
 

Considered as the climax of the text-narrative, the ending of a text often includes the resolution. However, depending on the dominant epistemology of the text and the status of textual subjects, the ending can also lead to other implications. Among classical Persian texts, the endings of some mystical texts, including the ghazals in Dīvān-e Šams, are distinctive. In this paper, the endings of the ghazals in Dīvān-e Šams have been interpreted in a descriptive-analytic way. The analysis showed that the narrator-lover of the ghazals, in line with the epistemology of the text, appears as the temporal subject of the text at the beginning, but rejects the role at the end and by employing silent speech acts, retracts to the prelinguistic world. In other words, in nearly most of the ghazals the narrator-lover represents the anxiety and longing for the lost unity at the beginning, but in the end, by employing two sets of silent speech acts (“silence as not speaking”, and “silence as speaking for other”), renounce to the present moment. Therefore, the studied ghazals do not come to an end and by using a circular structure, they perplex the reader-participant with an unfinished experience, allowing the reader to feel as part of the represented experience.

Simin Behbahani, Hossein Manzavi, and Mohammad Ali Bahmani, together forming the new Persian Ghazal (short lyric poem) triangle, made significant changes in contemporary Persian Ghazal. Iranian poetry and prose quickly incorporated symbolism into their poetry and prose as one of the essential schools of modern literature. In this study, the researchers have analyzed about 400 symbols in the new Ghazal of the mentioned poets, according to Mahmoud Fotouhi's division of symbols into three categories: micro-, macro-, and structural symbols. They include the analysis of statistics and frequency of symbols, the origins, the concepts, the factors of creation, and the analysis of samples. Among the 326 micro-symbols studied, nature with 73% is the most important source, with a frequency of 326 applications. There are about 14% human symbols and about 11% human-made structures. The Ghazals of the period make little use of macrosymbols. Nevertheless, the organic symbols that have developed into a new art form in contemporary literature appear frequently in Ghazals of Simin, appearing 69 times, making her work distinguishably different from others.
Extended Abstract
Introduction
Symbolism is based on axes such as ambiguity and polysemy, and symbols are signifiers that, in addition to explicit concepts, also refer to implicit concepts. The French philosopher and writer Paul Ricoeur, in defining the symbol, says that every signifying structure, has not only the specific and direct primary and literal meaning, but also another meaning which is indirect, secondary and virtual, and this other meaning is obtained only through the primary meaning (Ricoeur, 1974/a, p. 12).
In contemporary literature, symbolism is one of the important schools that has quickly opened its place in Persian poetry and prose. New poetry has been a pioneer in this field with the initiation of Nima Yooshij, and as a result, classical poetry, including the form of ghazal and then the new ghazal, has seen such developments.
Simin Behbahani, Hossein Monzavi and Mohammad Ali Bahmani, as the three sides of the new ghazal’s triangle, made fundamental changes in contemporary ghazal. Among these changes, these poets approached symbolism by implicit expression of political and social issues in order to avoid the consequences of frankness and clarity of speech.
Symbols are generally divided into artistic and non-artistic ones according to the nature of their function. Rhetoricians divide symbols into different categories in terms of their innovation or circulation, the most important of which are conventional or public symbols and individual, personal or innovative symbols. Mahmoud Fotouhi considers the relation of symbol with the texture of poetry to be studied in three parts with a structural and conceptual view. In this article, the authors have analyzed the symbols in the new ghazal, according to its three categories in the book of “rhetoric of image” with the titles of micro-symbols, macro-symbols and organic symbols.
Methodology
The methodology of the current study is based on the nature of data in accordance with the descriptive and analytical model and the purpose of selecting this model was to identify the symbols and then to analyze the content from statistical, stylistic, structural, aesthetic and categorical perspective.
Results
By studying the collection of ghazals of the pioneers of new ghazal, Simin Behbahani, Hossein Manzavi and Mohammad Ali Bahmani, the authors have extracted about 400 symbols and analyzed them in three sections of micro-symbols, macro-symbols and organic symbols based on Mahmoud Fotouhi's categorization. And in fact, this article looks at categories that include: statistical and frequency analysis of symbols, their origins, their concepts, innovations, factors of creation, comparison and analysis of samples and data. In the study of micro-symbols, with a frequency of 326 applications, the element of nature with about 73%, has the most important origin. Human symbols with about 14% and human handicrafts with about 11% are in the next stages. Macro-symbols have been used sparingly in the ghazals of this period, but the organic symbols that have formed a new artistic form in contemporary literature, have a significant frequency in the ghazal of Simin Behbahani with a frequency of 69 items. It can be considered as one of the special features and distinct characteristics of her ghazals.
Conclusion
The result of this article can be divided into four categories:
1. Origin: Organic symbols have more than two origins, human and nature, but micro-symbols of this period are notable in terms of their high frequency.
a) Nature: In the study of the micro-symbols of the new ghazal, the element of nature has a more significant frequency, which has appeared respectively in Behbahani, Monzavi and Bahmani’s ghazals. Among the various elements of nature, the element of color and nature in its general meaning, and in the next stage, the element of time, are the most frequent.
b) Human: Micro-symbols with human origin of ghazals of this period are not very frequent. In this section, dominator is symbols with mythological origins and the most important reason for its emergence is the political and social content of the ghazal of this period and its goal is motivating the audience.
c) Human handicrafts: Micro-symbols of this period with the origin of human handicrafts have been found to be less frequent than other patterns. What seems remarkable in this area is the fifty percent use in Bahmani's ghazals.
2. Innovation: The micro-symbols of this period, although considered new in contemporary literature, are not personal; and symbols that are more personal, sometimes had occasional uses in the poems of others. However, in this section, the organic symbols of Simin, such as Koli, Sara, Ilkhan va Zohre, Khar haye zesht, Neyzar, etc. can be considered as personal and private symbols of the poet.
3. Concept: Symbolism in Persian poetry and literature is fundamentally different from its western version, which is based only on artistic arrangements, emphasizing on the doctrine of "art for art's sake”. In the ghazals of this period, the symbol is considered as one of the dominant artistic functions among the various forms of imagination. But of all these rhetorical techniques, none has found more anti-oppressive function.
4. Factors of creation: The factors of creating the micro-symbols of this period are mostly socio-political issues of the poet's time and artistic requirements, then intellectual, philosophical, spiritual and psychological factors. In organic symbols, domination is with socio-political factors that we sometimes see the combination of various factors in Simin's personal symbols in which both political and social issues, intellectual and philosophical ideas, even issues and psychological sufferings of this group are discussed.
 

Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and programming towards interaction. In classical semiology, the current of meaning is exclusively shaped through action and predetermined program and toward gaining the value object. But in semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena, and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Therefore, Landowsky proposed two complementary regimes, i.e. adjustment and accident. The present research probes to find what actions by the characters in Zal-and-Rodabe show the adherence of actors to Landowsky's regimes of interaction. It was found that when faced with challenges, some characters first follow a specific regime of interaction, but later, become inclined to other regimes. Others continue to adhere to a single regime. Examining the interactions shows the transition from the classical narrative regime based on action and program to the modern narrative based on interaction, which ultimately results in the unification of the characters towards the realization of a forbidden love.
Introduction:
Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and program-centeredness towards interaction. In classical semiology, the stream of meaning is exclusively shaped through action and a predetermined program and toward gaining the value object. In fact, what is obtained is external to the actor and is the end that the actor intends to achieve. Therefore, it can be considered extrinsic and goal-oriented. Movement is also included in this regime because one place must be left and some stages must be passed so as to reach the place where the desired object is.
But with the turn of semantic studies towards phenomenology and the emergence of a new field called semiotics, we witness the introduction of new words such as "body", "perception" and "sensory-perceptual relationship" into meaning studies. In semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Eric Landowsky’s introduction of the two complementary semantic regimes of adjustment and accident happened in line with this turn.
In the semantic regime of adjustment, a bilateral interaction is formed between related narrative factors as a consequence of a sensual affair. In fact, the two parties involved in the interaction feel each other and transmit this feeling to each other and sometimes to the entire narrative. In the regime of accident, which is based on luck and fortune, the interaction is realized by accident; the system is meaningless, and luck is shown in its purest form.

Method:
Linguistics provides scientific tools for the study of language and literature. Indeed, literature is a place for the manifestation of language in different forms and through the interaction of linguistics and literature, the discovery of meaning becomes possible. Therefore, re-examining ancient texts, trying to find patterns and semantic regimes, along with the use of linguistic theories facilitate the discovery of the meaning formation mechanisms.
As a classic work and a great example of an epic narrative, Ferdowsi’s Shahnameh has various micro-narratives that are the objective manifestation of this phenomenon. The formation of meaning in these micronarratives is the result of the integrated function of these four regimes. One of the most interesting of these micronarratives is the story of Zal and Rudabeh. The present research was carried out using a descriptive analytical method and samples were selected from all parts of the story.
The researchers first investigated the important and prominent parts of the story and then extracted the behaviors and reactions of the characters in the story when faced with the events. These reactions were analyzed based on Landowsky’s four semantic regimes. In this regard, the narrative was divided into three important periods in the life of the protagonist: Zal’s birth and isolation, taking him back from Simorgh (phoenix), and Zal’s love for Rudabeh. Then, the lines of the poem were anallyzed to identify the challenges and tensions of each period. The behavior of the main narrative characters against those challenges and tensions was reviewed in order to determine the degree of conformity of each performance with Landowsky's four semantic regimes. Since events in the story of Zal and Rudabeh contradict the wishes of the main actors, and because their thinking and action fail to solve these problems, the narrative stream pushes them towards adjustment and sometimes accident and thus becomes the solution to the challenge and tension.
In the present paper, an attempt is made to find manifestations of these four regimes in the behavior and reactions of the narrative characters. In more precise terms, the main problem of this research is to examine the degree of conformity of the narration and the interactions of the actors and the characters in the narrative Zal and Rudabeh with the fourfold semantic regimes proposed by Landowsky. In this research, we are trying to see which of Landowsky’s semantic regimes corresponds to the meaning-making process in Zal and Rudabeh narrative when the main characters or actors face challenges.

Results
Using semantic regimes is one of the methods of creating meaning in narratives. These semantic systems help the narrative actor to advance narrative goals and overcome challenges and tensions. In the story of Zal and Rudabeh, two challenging tensions in the course of the story encourage each of the characters to act and apply these semantic regimes. Some of the characters of the narrative follow a specific semantic regime at the beginning, but in the middle of the story, they tend to shift to other semantic regimes. Still, some others continue to adhere to a single semantic regime. What can be raised at the end of this research is that the characters reach a consensus in order to achieve the fruit of love, which happens against the general norms of society. In fact, the course of events in the narrative has proved the ineffectiveness of action and program and reveals the necessity of creating bilateral communication and interactions in order to solve the narrative challenges. In the end, the outcome of the events in this story is towards the interactions of the actors and reaching the fusion.
This merging takes place through the actions of the actors to interact with each other, i.e. Zal’s letter to his father, Sindokht’s visit to Sam, and Sam’s letter to Manouchehrshah. In the end, this chain of communication and interactions causes feelings and sensory connections to emerge in the form of consensus towards the acceptance of a forbidden love. This finding of the research can be considered a new achievement in the criticism and analysis of the narrative of Zal and Rudabeh.
One of the most interesting points in the analysis of such narratives is the change in the structure of the narrative and the movement from the classical narrative to the modern narrative (cf. Shairi, 2019. b). Therefore, this convergence is the result of the movement from the classical narration to the modern narration. The turning of the narrative is from mere programming towards interaction and creating a sensory relationship. The actors who, in the course of the narrative, were striving to obtain value or objects in the outside world, simultaneously reveal aspects and ways of living differently and looking differently through interaction and agreement with each other.
Keywords: semiotics, narrative, regimes of interaction & meaning, Eric Landowsky, Zal and Rudabe