---

Assistant Professor Of  Persian Language and Literature Shahid Chamran University of Ahvaz rn rn rn   rn rn rn According to the  intertextul approach there is no text that is self-sufficient; rather,in this approach, it is supposed that every text is an intertext from previous texts and for following texts. In this essay, first different aspects of text and intertextuality are explained and then, a tale from Marzbanname is analyzed according to this approach. At the end,it has been shown that as Barthes, Bakhtin, Keristova, Genette, Todorov and other adherents of Intertextulity approach have emphasized, there is no authentic and original text; therefore, the mentioned tale from  Marzbanname , like other texts, is a retelling of previous texts.

---

Roland Barthes identifies two types of relationships between text and image: anchorage and relay. Anchorage helps identify one meaning in the image while it can be potentially the site of multi-farious meanings. The complementary relationship of text and image is called Relay. Furthermore, Kress and Leeuwen have suggested another relationship, called “one image-many words”, in which image is free to construct meaning. However, there are some other types of relations between image and words in a text, which have not been examined by Barthes or even Kress and Leeuwen or other individuals. That is, when an image leads to a metaphoric change in the interpretation of the text, simply the conceptual blending theory (Fauconnier and Turner) could be a proper method to explain how the human’s mind could understand and interpret a new meaning through the interaction of image and words (they said interaction of two different concepts). In the present paper, the way in which visual texts could be created and interpreted in the human’s mind as well as the different types of relations between text and image are studied based on four spaces, which are basic for meaning construction and four different types of blending pattern. Finally, a new relationship, which is not so common in any other texts other than literary one, will be introduced. This paper explores the tools, which are used in literary text to free the meaning from the control of words. It also studies the role of the reader in the interpretation of a text in visual poetry. Furthermore, it is going to argue how the interpretation of a text could be changed by the image, not the text. In conclusion, the image space (input space 1) could map its presupposed common features onto the feature of the words space (input space 2) and then project them into the blending space to create new meaning. So the given meaning could be developed from close meaning to far or metaphoric one through the active role of the reader in the interpretation of the floating signified.

---

During his second career, Roland Barthes concentrates mainly on the criticism of the ‎Evident. He believes what pretends to be natural, universal and evident is in fact an outcome of ‎a naturalization process; a process through which the ideological is finally configured as the ‎Evident. Accordingly, the final result of the naturalization process, according to Barthes is a ‎Doxa which embodies the Evident. Therefore, on his way to criticize the Evident and also ‎reveal the ideological implications of Doxa, Barthes proposes Paradox as the antithesis of Doxa. ‎Paradox is actually a weapon against the intrigues of language, on the basis of which it would be ‎possible to experience a different reading of the text. However, Barthes never provides a clear-‎cut explanation of the semiotic mechanism of Doxa and Paradox. As a result, it may be ‎assumed that Barthes' theoretical reorientation involves with the denial of his former doctrines ‎regarding sign. This article, then, tries not only to analyze the semiotic functions of Doxa and ‎Paradox, but also explain the logical outcome of this viewpoint. It will be finally revealed that ‎Barthes' second approach is basically influenced by the criticism of the hierarchical relationship ‎between connotative and denotative meanings. ‎

---

Aims: The environmental crisis in today's world is one of the biggest challenges facing modern man, which requires urgent attention. With the power of wide influence and in-depth analysis, the media can play an important role in raising awareness and shaping the public attitude and behavior about this crisis.. This research aims to represent the relationship between modern humans and the environment in cinema.
Materials & Methods: By reviewing the Iranian films related to the environment, the film “So Far, So Close" was examined as a case study. In this research, Roland Barthes' semiotics method has been used to analyze the complexity and depth of hidden meaning in the film.

---

Identity is an essential concept in the field of cultural and human science studies; especially the group identity with its branches such as national identity, social identity and cultural identity reflects in all art texts. Cinema is an expression mean and appears the identity conceptions in its codes consciously or unconsciously. As a part of a major research on Bahram Beizaei's movies and screenplays, this research analyzes the movie "Bashu, The Little Stranger" with narratology approach by this presupposition that it represents the identity elements in its narrative discourse. The research method is descriptive, and its theoretical framework is Roland Barthes' findings in the field of structure of narration. He defines three levels of function, action and narration for structure of narration as the first level is critical. Analysis of functions will be possible only by understanding the reason of five heremeneutic, proairetic, semantic, symbolic and cultural codes. In narratology representation of movie "Bashu, The Little Stranger" in order to understand the meaning of Identity, it was concluded that the semantic and symbolic codes have the highest reasoning, and iterative and focal reasoning of movie is the unity of social identities under the shadow of national identity.