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The present study aims to investigate the distribution of meaning in the narrative space of Abu Torab Khosravi's novel "Rood Ravi" drawing on the views of Yuri Lotman (1922-1993), a prominent semiotician and founder of the Tartu-Moscow School of Semiotics. Lotman posits that active sign systems within specific social and geographical contexts derive their significative power from their interaction with a large body of signs present in the collective memory of the people of that context. In his book “Universe of the Mind” (Lotman, 1990), he refers to this conglomeration of signs as the "semiosphere," which he characterizes by features such as boundary, heterogeneity, and centrality. According to Lotman, significative density within the semiosphere is not uniform, and the density of meaning increases as one moves from peripheral regions to the center with cultural meta-structures charging more elements with meanings in the central regions. The study adopts a descriptive-analytical approach to investigate how temporal-spatial elements and character actions acquire meaning in the narrative space as the story progresses towards the center of Dar al-Miftah. The findings suggest that cultural meta-structures load more elements with signification in the central regions, resulting in a higher concentration of meanings in these areas.

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The two sides relationship between man and place has had a significant impact on the formation of various types of human culture.the relationship of place as a sign system with other cultural codes is discussed and investigated in cultural semiotics to determine the "umwelt" and " osemiosferes" of texts. A collection of poems Do Chenar by Hasan Roshan is one of the contemporary literary works in Persian language describing the history, culture and geography of North Khorasan, especially the city of Bojnord. In this collection of poems, the place element as a dynamic and fluid code is linked with other historical, social and cultural aspects of North Khorasan people which defines the osemiosferes of the text from the point of view of cultural semiotics.This article tries to analyze the semantic implications of the mentioned places in the Do Chanar based on the cultural semiotics approach of the place.The result of this study shows that the memory of ancient places (Spakho Temple, Etrak River), natural places (Faiz Abad Aqueduct, Palmis Spring), old streets and neighborhoods of the city (Sabze Maidan, Qaranga Dalan, Alang Och Agach, Shatrakhana) and modern places (cinema and cafe), religious places (Revolutionary Mosque, Imam Mosque) in Do Chanar are out of their function.

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Yuri Lotmn (1993-1922) is the founder of the Moscow-Tartu school. He has a distinguished role in introducing and developing the “Theory of Intercultural Semiotics”. In Lotman’s opinion, cultural semiotics considers each text as a cultural totality. The existing signs in the text could indicate the way in which the significances are produced to achieve a certain specific meanings in a culture. Hence, cultural semiotics can choose many texts that belong to a social and historical ambiance for recognizing the cultural and social infrastructures of that period. In fact, it could be an analytic approach, which envisages the cultural productions of a particular section and the survey of intertextual relations, interactions and dynamic relationships between them.  In this article, we rely on the movie The Private Life of Mr. and Mrs. M. (2011) directed by Ruhollah Hejazi as a cultural product of a particular period. The analysis of this text's themes and its dynamic relationship with other texts shows a considerable part of the cultural phenomenon in this period. Finally, this study aims to reveal common themes and processes in the meaning interdependency between these texts

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In a paradigmatic shift, semiotics tends to poststructuralist approaches with phenomenological landscape. The result of this shift has been the emergence of subject at the center of enunciation by paying special attention to perceptive components and socio-cultural issues in the study of signs and language. In this perspective, the manner “ I” as subject encounters with “ other” undergoes diverse changes and new interactions come into play. New semiospheres emerge as a result of this encounter whose relations encompass interaction, contrast, exclusion, segregation and adjustment. This approach has been proposed by Eric Landowski –French semiotics theoretician- and is based on four main strategies including assimilation, exclusion, segregation and acceptation in case of identity. Thus, the main question of the present study is as follows: How is it possible to explain the semiotic place of culture as semiosphere and the type of interaction occurred between “Self” and “other” in discursive atmosphere of “Nasseri’s death” by Ahmad Shamlou? The purpose of this study is to investigate the type of their encounter (self –other) and their complex relationships in the so-called poem from the point of view of socio-cultural semiotics in order to explain the position of the cultural spaces that govern it. This study will pave the way to better understand the manner semiotic atmospheres interfere with each other and finally leads to the formation of central semiotic semiospheres at socio-cultural level.     
 

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In this Paper, the authors aim at understanding either the inmportance of the origin (the original features) of the brand logo or its audience's experience acts to be more effective. The purpose of the present study is the semiotic review of the 14 best-brand logos of automobile luxury goods through analysis of data and questionnaire which the authors can reach the rules governing on the brand logo with a focus on the two terms of the origin of the luxury brand's logo and its audience experience, and based on the indicators defined for each, within the framework of Barthes's visual semiotics and Van Leeuwen's social semiotics. The findings reveal that what is important to attract the attention of the customers of luxury automobiles in Iran is the audience's experience of the logo, which has tangibly got a head of the role of the origins and the identity of the goods. Accordingly, the difference in the perceived meanings of every brand logo by the audience indicates that the meanings received from every logo are not uniform and it is based on culture, so that individuals, based on their individual experience and their socio-cultural insights, understand the different implied meanings from a similar logo; it means the meanings received from every logo are not universal and regardless of audiences culture. This affects the success of the goods and maybe leads to different results in business.
 
 
 
 

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Cultural Semiotics, concerned with revealing the processes of meaning formation and identifying inherent values and norms in texts, was established by Yuri Lotman (1922-1993). This approach to text analysis, by focusing on the interrelation of different semiospheres, provides a new possibility to analyze cultural events to identify the means of text production in a specific semiosphere. Mythological-theological texts appear to be significant cultural sources for such an analysis and therefore Avesta, as a mythological-theological text, was selected for the current study. This paper has focused on Jamshid and attempted to study the delegitimization process of Mithraism and legitimization process of Zoroastrianism. Jamshid was studied in the binary of Self and Other and he was viewed as a god in Mithraism who, by the depreciation of vedic ideas and the influence of Zoroastrian semiosphere, had obtained a sinful character. Sinfulness of Jamshid was explored here by analyzing his introduction to the new semiosphere, the rejection of Other and the emphasis of Self culture (Zoroastrianism).
 

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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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Rafi Halati and Moez al-Diwan Fakhri are two playwrights of the Pahlavi era who have tried to adapt many of their works and present Western works from this point of view on stage for Iranian audiences. This happens at a time when Iran tries not to act passively in dealing with Western theater and achieve a self-imposed image of this form of theater. In the Moscow-Tartu school of cultural semiotics, what the state and thought have addressed in their practice is called cultural translation. Therefore, to show the "action" of these two playwrights as the theoretical basis of cultural semiotics, and according to the method that this form of semiotics provides, the amount of cultural "Accept" and "Ignore" in the texts will be studied. As a study example, the two plays "Esfahani Cholman" from Halati, which is a cultural translation of "One Servant and Two Masters" by Carlo Goldoni, and the play "Abdullah" from Fekri based on the play "Ernani" by Victor Hugo are reread. This research, which is based on the practical purpose, based on the method of collecting library information, based on the qualitative method, and based on the nature of a mixture of two descriptive and comparative methods, try to answer the question of a state of mind to accept and how has the cultural ignore of their time acted in the face of western texts? This research aims to find and clarify a part of the history of Iranian dramatic literature based on the method of cultural semiotics.

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The semiotic space is distinguished in a certain period and formed through the cultural signs that are sent by the sender of message. Culture absorbs what is compatible with it in the course of its tremendous influence on the external environment, and then it may change texts that it could not resolve. The study of the semiotic space of the Qur’an includes the vision of the holy book. The Qur’an extracts the prior cultural structures from its historical or psychological context and characteristics and establishes new cultural systems without ignoring or separating these historical and cultural cognitive systems. This process is accomplished only through continuous semiotic breakthroughs. In fact, instead of the external space invading the internal space, it is the holy book that obliterates the unorganized and uncultured space that was already established in the semiotic memory of the society. On a higher level than the myth and legend that the polytheists demanded in Surah Isra, the Qur'an begins to establish knowledge in the framework of "miracles" in order to re-establish a view completely opposite to the mythological tendency of the infidels. This article, with a descriptive-analytical approach, and in accordance with the semiotic-cultural vision of the Tartu School, wants to study the revolution brought about by the Qur’an on both the practical and theoretical levels. In the meantime, the existence of a mythical hero who is capable of doing extraordinary things was erased from the cultural memory by the Holy Qur'an, and prophecy clearly took on a human form and took on a new form in a context full of challenges. Finally, by transforming the concept of the legendary hero, the Holy Qur'an established and re-established the rules of the miracle of prophecy.