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The historical novels The Golden Falcon  and The Flares of the City of Otrar  narrate the life of Jalal al-Din Khwarazmshah. Unlike ancient historical texts in which the simple and predictable process of action by the central actor of the hero takes place, in these works, by creating active and anti-active characters, the actions deviated from their main stream, leading to the actions of deviation, substitution, action error and ... have become. The purpose of this research is to investigate how actions deviate within the narrative and damage such as action error, action change or even action collapse. For this purpose, the theory of action-discourse system of Greimas has been used to examine the action narratives related to the character of Jalal al-Din in the two historical novels The Golden Falcon and The Flares of the City of Otrar. In The Golden Falcon's novel, the deviation of action is seen as the transformation of action and the destruction of action by actors; A place where efforts have been made to reach Jalal al-Din's valuable object and save his life. In this novel, according to the value object "Beloved" and "Homeland" Jalal al-Din is depicted as a "lover" and "patriot". In The Flares of the City of Otrar, deviation of action can be seen as transformation of action and replacement of action. Most of the characters in the story and Jalal al-Din himself play the role of antagonists and try to distance Jalal al-Din from his valuable object and destroy him.
 

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Every story is formed from a strong link between two elements of surface and structure. In structuralism, narrative is considered as a structure, which has been studied by theorists such as Algirdas Julius Greimas (1917-1992) to find its components and provide a basic pattern for this structure. Algirdas Julius Greimas was a structuralist and semantic theorist, also a follower of Vladimir Propp (1895-1970). He introduced the theory of Actantial model for the narrative. This model aims to reveal the role of the characters of a narrative, and helps to indentify the characters by linking action and character to each other. In this research, we studied the Ilahi-name of Attar based on the modern literary theories including structuralist narratology, semantic pattern of Greimas, and morphological pattern of Gerard Genette. In addition, the narrative function of two stories of Ilahi-name, the “Pious Woman” and “Daughter of Ka’b and Her Love”, has been interpreted according to the narrative model of Greimas. We further studies stories by recognizing the situations of the narrative discourse (based on the focalization theory of Gerard Genette), and also the plot, i.e. Actantial model (six actants: sender/receiver, subject/object, supporter/oppositionist), to analyze the tales based on semantic square (le carré sémiotique).

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Although regular study of the story plots opened the new way into analysis in literature by the formalists’ studies, especially by Propp's findings, Structural narratologists after Propp, including Greimas, have tried to find a comprehensive pattern for the study of narration by removing some shortcomings of Propp's framework. This article tries to answer these questions by studying Joseph Story in The Quran according to Propp’s and Greimas' views: do Propp's findings conform to The Quran’s Stories? Can these three syntagmes offered by Greimas be found in The Quran’s stories? Analyzing Joseph Story as a sample of The Quran’s stories can decide which of these views is more efficient in the analysis of The Quran’s stories.  The text of the twelfth surah of The Quran has been examined with a descriptive-analytic method. The findings of this study show that: 1) in spite of the fact that Propp's view is capable of analyzing a lot of stories, analyzing The Quran’s stories according to this view requires basic changes in it. 2) Due to the fact that Greimas' syntagmes are not specified for a special kind of narration, they can be found in The Quran’s stories, too. 3) Considering the analysis of Joseph Story as a sample of The Quran’s stories, it can be said that Greimas' view is more efficient in the analysis of The Quran’s stories than Propp's view.
 

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The present study aims at investigating narratology of the short story "Elegy for Jaleh and her murderer" by Abou Torab Khosravi based on Greimas' Actantial and Sensible /Stative Models. It also seeks to investigate narrative structures considered by Greimas in order to explain the gradual evolution of sequences and formation of the story to compare the Sensible /Stative models, and to examine the way of passing through the actantial system into the Sensible /Stative model in this story. The actantial model turns around Lieutenant Kavous actions where in a pre-programmed and prescriptive manner, he wants to affect the object of value with a special order in contractual / executive and disjunctive sequences. Action helpers and anti-actants in turn, facilitate or make difficult the hero's action. However, in the Sensible /Stative Model, we can find how actants and object of value turn into object of value and sensible or stative subject in the cycle of discourse. As well, it is easy to observe that sensible or stative subject without any pre-planned program, finds himself in a new situation by dealing with the object of value after passing through emotional-perceptual processes and other aspects of discourse that can be called "moving toward the beloved". Thus, it can be concluded that in this discursive transmutation, the relationship between actants can be redefined with a gradual transformation in five sequences, and the established actantial discourse reaches doubt and changes into sensible /stative discourse.
 

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According to group of researchers, the semiotic square of Greimas in some of texts, has a mechanical and solid structure and doesn’t successfully represent meanings in a discourse. They believe that the tensive square is more appropriate; because it has fluid and dynamic applications. However, fluid and dynamic deep structure of a narrative can be illustrated by using of “consecutive semiotic square”; In other words, it can be shown off the processes of the meaning production in a narrative from primary meaning to ultimate meaning. In this regard, we suggest in this study a novel model, “semiotic ladder”, to analyze narratives in the lyrical genre, to discover their inner and deep structure meanings to prove dynamic feature of meaning in the semiotic square. After analysis, it was found that the process of the semiotic ladder thanks to consecutive semiotic squares, represents the displacement and fluidity of meanings in a narrative and refuse the mechanical and solid feature of squares. Finally, the application and process of the semiotic ladder is applicable and practicable in all narratives.

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Semiotic Square, as a model trying to analyze and explain the foundation of signification, was ‎firstly developed by Greimas. This model is the logical outcome of the development of binary ‎oppositions, and is based on the primary structure of signification. It was first used in the ‎structural analysis of narratives. However, Greimas, Rastier and some other members of Paris ‎school applied it in the field of semiotics of poetry, as well. Nevertheless, researches using ‎this model in the field of Persian literature are mainly concerned with its application in the ‎structural analysis of either prose or verse narratives, and as a consequence, there is no ‎comprehensive research which analyses the process of signification in poetry according to this ‎model. Hence, after providing the basic assumptions of semiotic model, the present article ‎tries to apply it in a semiotic reading of poetry. Therefore, at first the basic components of ‎semiotic square and their combination methods is explained and afterwards the internal ‎organization of the components of a poem by Attar, Mowlavi, and Hafiz is respectively ‎analyzed. Such a research not only provides the possibility of the analysis of the poem's ‎structure, and brings forth some of its latent perspectives, but also offers a reader-oriented ‎model which indicates how a potent reader recognize and categorize the semantic ‎components of the poem so as to arrive at a better understanding. ‎

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The current research investigates the role of Action in “Ahle Gharq”- the novel by Moniro Ravanipour. In this respect the authors tries to show how the cognitive process engages in producing value and meaning which is influential in manipulating the reader’s mind. The results of the research suggest that an innovative discourse, due to the influence of the parameters of magical realism, could lead the reader to expect a central discourse; belief in the conditions governing the creation of the object of value compels the subject to act and induces a central discourse. Throughout the process of conjunction and disjunction from the object of value and in order to remedy the loss of meaning that is happiness and the fulfillment of happiness what changes the negative status of actantial regime of discourse into affirmative one and vice versa. Sometimes the disjunction of the object of value and the temporal transformation changes the value of the components of the changing conditions from disorganized to organize during the action-oriented discourse, and changes the prescriptive regime of action that was at the beginning of history to the virtual regime of action. The psychoanalyst has created the contractual process of action between the actors and the actant to reach the object of value and identify the actor of his position and detach himself from the object of value in an induction operation to provide the main action of the discourse and to provide a semiotic analysis of the so- called novel narrative.
 

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One of the stages of recognizing the intellectual, cultural and emotional characteristics of nations possessing culture and literature is the adjustment of their literary works. Semiotics approach reaches meaning through the literary text, and in this process, regimes of discourse as the main elements of discourse shape the narrative and change from one status to another. This study analyzes of Savab ya Gonah by Jamalzadeh and The Corn Planting by Anderson of two Iranian and American writers by the use of Greimas’s semiotics model, also explicate types of regimes of Discourse.The main question of this research is how the narrative process of signification is formed and what are the most important discourse systems involved in meaning production? The results showed that both authors have used a variety of narrative discourse systems in their story, but the discourse systems of action and Stative have been the dominant discourses in the narrative formation so that the narrative with Stative has turned to action and again to the Stative with aesthetic and mythical type. and we are confronted with the process of forming high spiritual values, and the characters in the story make their mythical presence visible to the audience. But what leads to the difference between the themes of the two stories is the attitude of the actors and the value worldview in these two cultures, such as in the story of Savab ya Gonah, the main actor in the form of religious codes of retribution and reconciliation with death is elevated to the status of myths. However, in The Corn Planting story, the main actors, in the form of Eco-Semiotics codes, linked the death of the child at the end of the narrative by turning to nature and attaining mythical status.

1. Introduction
 Developments in the study of the field of sign provided the basis for the transition from structural semiotics to discourse semiotics. Greimas, with his extensive research and new findings, made profound changes in the semiotics of the Paris School, so that the three levels of change created by his studies under the headings: 1) structural semantics; 2) narrative semiotics; 3) discursive semiotics. Accordingly signs in the field of semiotics are manifested beyond the signs in the structural approach, as they are a dynamic and interacting entity, forming meanings and emerging within Regimes of  Discourse.The present study intends to study the regime of discourse in two stories by two authors of East and West, based on the discourse semiotics approach, and shows that the types of semantic processes in both stories cause the formation of discourses and the creation of intelligent, emotional and events to show how much the moral, cultural messages and myths hidden in the underlying layers of these narratives can affect the life, thinking and lifestyle of their audiences.
 
 
2. Research questions
 This study tries to find out what are the types of regimes of discourse used in the story of the authors and how these regimes are formed and from their interaction, the meanings are formed and the narrative is developed. Also, what are the main similarities and differences in the process of producing meaning in the stories in question? The next question is what moral themes, characterization, and mythology are used in the underlying layers of these two stories? The main hypothesis of the article is that a set of action and stative discourses and unexpected events play a role in shaping the narrative process and creating meaning, which change its nature by transforming from stative to action and vice versa. The secondary hypothesis is that there is a difference in the occurrence of human actions in both cultures, and this difference in the lifestyle of the actors makes the cultural function different in both discourses.
 
3. Methodology
 The method of this research is descriptive-analytical method and the purpose is to analyze the regime of discourse from the perspective of discourse semiotics and enlighten the action and stative regimes of discourse so that a clearer reading can be done for the reader. In the research model, first, the text of the story is decomposed into its components and parts and then it is analyzed meaningfully by inductive method from the components to the whole text. In this approach, the elements and underlying layers of the text are considered in interaction with each other and processes and regime of discourse are examined and analyzed.
 
 
4. Innovation
 The present study aims to study and analyze the processes of meaning production and regime of discourse from Savab ya Gonah and The Corn planting short stories according to  semiotics approach and comparatively, to analyze and discover the mechanisms of meaning production in two short stories by two Eastern and Western writers so that we reveal the similarities and differences in the cultural and social themes underlying the story.
 
5. Discussion
In this study, the regime of discourse in two stories by the authors of Eastern and Western and their semiotics relations was examined and depicted by descriptive-analytical method and comparative type. One of the moral points raised in the story of Savab ya Gonah written by Mohammad Ali Jamalzadeh were the issue of poverty and misery, which are the main cause of crime. They forces Sohrab, who could not afford for  himself and his mother’s daily life, to take risks in order to reach the wealth by seizing a part of the wealth of his wealthy neighbor, Haj Fathulla. He enters to tensive regime of discourse and commits the murder of Haj Fathulla and is imprisoned. In this part of the narrative, we enter the stative regime of discourse. Sohrab, who has accepted the act of murder by entering the cognitive system,  and considers death  as liberation from calamities. The semantic processes in this story from the point of view of semiotics show that actions are subject to special conditions and proceed based on cognition and experience and are not based solely on physical strength. Sometimes, actions are a function of emotions and statives and lead to action. In some cases, statives lead to cognition and attainment of the aesthetic. Eventually, by entering to the aesthetics of nothingness and absence  atmosphere,  death becomes a stage for revival and spiritual life. The main actor of the narrative, with the retribution of his death, is linked to a myth in an aesthetic process such as light-winged birds, and at the end of the tensive process, he clearly explains the fluidity of meaning and its non-confinement in stereotyped forms. That is, the narrative changes from stative to the action regime of discourse and finds its way back to the stative which is of aesthetic and mythical nature.
 
Table 1
 The story processes of Savab ya Gonah at a glance
 

stative regime of discourse	actional regime of discourse	event	Cognitive space	tensive space	transformation of the actional regime of discourse into the stative regime of discourse of aesthetic (transcendental) kind
Poverty and misery of Sohrab family	Sohrab and his mother's efforts for livelihood and the narrator's support of them	Sohrab committed murde	confession of murder committed by Sohrab and blaming himself	The torment of the victim's conscience in Sohrab's dream and the death of Sohrab's mother	Acceptance of retribution by Sohrab and death is a stage of his spiritual life

 
The main theme of The Corn Planting is the pride and being happy for what we have, sacrifice in maintaining it and accepting the situation of life, patience and endurance in the face of adversity. The main semantic processes in this story have advanced the narrative, using the intelligent regime of discourse means actional discourse as well as the emotional regime of discourse, stative discourse. In this story, actions are linked to cognition, and sometimes they are subject to the morality of ethics and create love, sometimes they are the generators of love and affection, and they figure out some cases of dependency. Even the occurrence of an unexpected event, in addition to the action, leads to the transcendence of the concept of death, patience and perseverance. In other words, Hatch and his wife's dependency on their only child, leads to uninterrupted work on the farm. With the event of Will's death, we enter a tensive space, but the occurrence of a tensive atmosphere instead of disturbing the mental balance of the main characters of the narrative, by working non-stop on the farm, is an attempt to nostalgia which is aesthetic and mythical. In other words, he makes them a myth who like a saint worshiping and praying in the sanctuary of worship, has surrendered. The aesthetic atmosphere of the corn planting has also gone beyond myth, and every moment, by planting death in the heart of darkness, waiting for sprouting hope and lif  in the bed of existence.
 
Table 2
 The story processes of The Corn Planting at a glance
 

stative regime of discourse	ethic	actional regime of discourse	event	tensive space	transformation of the actional regime of discourse into the stative regime of discourse of aesthetic (transcendental) kind
Parent solitudes for their only child	Will financial support for his parents	the relentless effort of Hatch and his wife	Will 's death in a car accident	Getting the news of the child's death	transcendence of the position of the subjects in time of corn planting to worshiping saints

6. Conclusion
 The findings indicated that in the comparison of these two narratives, the most important regime of discourse are stative, action and the occurrence of an unexpected event cause a transformation in the stative regime of discourse and mythical. Ultimately distinguishes the two narratives is the lifestyle and performance of the actors and their cultural differences. Because in the story of Savab ya Gonah, the main actor achieves the status of a myth by choosing death and retribution, and in the story of The Corn planting the main actors in the form of Eco-Semiotics codes, by turning to nature and accepting the loss of a child, transcend his death to the status of a myth.

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Shaikh shahaboddine Suhrawardi (1154-1191) originator “Illuminato school”, has linked Hellene philosophy, Islamic mysticism with Quranic inspiration in his symbolic books. His symbolic narrative alleged thoughtful among Henry Corbin (1903-1978) are result intuitive experiences himself that they have been written. Theory discourse semiotic is the new attitude of knowledge semiology that convert relation between signifier and signified to a fluid stream and multidimensional and provide background creation new meanings in a text. Suhrawardi  is among discourses in arena mystic symbolic texts that although he has been lived centuries before thoughtful semiotics among Greimas; but his writings have ability research with the theories. Therefore two texts that have selected as example, are similar together namely “Red wisdom” Shaikh shahaboddine Suhrawardi and “Resalatottair” Abne-Sina for this research, until we research on one hand discourse systems and on the other hand the kind of narrative in them. Both narratives are explanation an effort for access to value object that unlike classical narratives, is interior of activist not external of him. In both narratives have been signs of regime narrative de fusion and in  “Red wisdom” moreover is regime narrative de accommodation too. Also the kinds of action, tension, modality discourse systems and existential can be researched in two books of Suhrawardi. This research has done to style analysis quality context and basis theory of semiotic in arena of modern linguistics with emphasis on sample Greimas.

1. Introduction
The aim of this article is comparative research between two theosophical disquisition “Red wisdom Shaikh shahaboddine Suhrawardi and Resalotottair Abne-Sina" with attitude Semiotics Analysis.

2. Research questions
 How do specify position of Suhrawardi as a discours with  his addressees in symbolic stories basis Semiotics Analysis?; is the first question. And other question is; basis what signs two story   Red wisdom and Resalatottair that have similarity together too, are befitting research because of discourse systems?

3. Methodology
 This research has done to style analysis quality context and basis theory of semiotic in arena of modern linguistics with emphasis on sample Greimas.

4. Results
View of Suhrawardi is very similar to view of Charles sanders peirce (1839-1914) in trichotomy noetic circles to sense: origin of sensory cognition, wisdom: origin logical cognition and design: origin intuitive, theosophy and attendance experiences in world of forms or world of shapes that he knows in man’s noetic circles qualitatively senses connected to concrete world, thought and cognition that -are basis of discourses-connected to wisdom and third dimension connected with man, immanence too. In “Red wisdom” narrative is interactive because of dialogue between narrator and “Red wisdom” for accomplishment to inside object therefore contemplative lighting and because of narrator in beginning as an activist lankness and attend in existence and then in position of modalities, askes address of living source of “Red wisdom”. And with his accede to living source in darkness’s, he was astonished lighting that is influence of existence’s main point; For this reason is regarded regime narrative diffusion (subject become like existence and existence become like subject). In “Resalatottair” like “Red wisdom” can also be seen signs of interactive narrative and regime narrative diffusion and both narratives are explanation an effort to accomplishment to value object in inter personally of activists.

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The signs that direct the discourse of a narrative to create a core action in the central core and to reproduce intelligent and program-oriented meanings constitute the pattern of Greimas’ action discourse in the context of the narrative. The preface of Persian classics reflects the author's feelings in creating the work. This essay has examined the narrator's reasons for creating the narrative by exploring the discourse in the process of creating the narrative and the reception of the verbal signs in the prefaces of the verses of Nizāmi Ganjavi ‘s Makhzan-ol-Asrār and Iskandernāme. This essay explained the manner of discourse action in the opening of these Masnavies using a descriptive-analytical approach to illustrate the composition of these poems based on Greimas’s discourse and relying on the study of the signs that refer to the conditions of the Nizāmi in the preface during the creation of the works. This study investigated the evolution of Nizmi's states using Greimas' action discourse theory and extracted and analyzed the pattern of action-value and action-prescriptive discourses in the central core of the preface of the ethical and didactic works of this narrative poet by extracting discourse signs.
Extended Abstract
Lithuanian narratologist A. J. Greimas has presented a coherent model of modern sign- semantics for the study of narrative, arguing that the recognition of literary texts is no longer based on structural analysis and recognition of sender and receiver, but that the process of meaning production in the text, from transmission to reception, is based on functional elements. The elements of meaning production in discourse are intelligent and program-oriented, ultimately leading to actions in narratives. Discursive studies emerged after structuralism and semiotics, and accordingly, the best literary field is the extraction of signs and reaching the sequence of meaning in the creation of narrative. The indirect discourse, the representation of the discourse of the other and the language of the other in the lyrical quotation marks have long been known in the discourse- novel form, as found in the earliest periods of theological culture.
Many of the works of the Iranian classical literature have the ability to narrate and extract discursive theories. Hakim Nizāmi Ganjavi composed his own systems when stylistic and linguistic changes began in relation to the previous style of Persian poetry. During this period in northwestern Iran, in the Azerbaijan region, a group of poets emerged whose style was new. They were able to renew the Persian poetry style. Nizāmi's works are in the depths of content creation, forms, characters, and the purpose of a unique morality. The elaborate presentation of human personhood, human emotions, happiness and sorrow, natural desires and aspirations have been discussed and analyzed in these works to the extent that it is intertwined with the social ideals of the poet and the exploration of the psychology of the spiritual world of mankind, concerns his experiences, turmoil and goals are in Nizāmi's poetry a philosophical and moral concept.
Action discourse is a narrative-based method in which action is motivated by an inductive, prescriptive or value motive; the actor does not act according to his own emotions or will and feeling, a relationship of command is dominant in this system and the expression of meaning is subject to predetermined goals. According to Greimas, in this kind of cognitive systems, the process governing the text in most of the story starts with a shortcoming and leads to a contract. This research analyzes the state of the Nizāmi spirit by extracting the forms of action in introducing of his moral works during the creation of each of these Masnavis, to show that Nizāmi wrote the Makhzan-ol-Asrār and Iskandarnāme by which factor or factors of action he wrote. This essay does not examine narratives, but addresses the premise of these systems. Introduction of a narrative reveals the subject in a discourse form and knowledge of the state of the spoken processor at processing time so that the reader with a better understanding of the utterances explores the models of dynamic linguistic production processes in the creation of the main narrative discourses. Nizāmi, in his composition, narrates the sequence of events in the lives of the heroes, but the introduction of each Masnavi includes the present poet. At the beginning of each system, he explains the reason for the creation. Therefore, the essay is not concerned with the personalities of the narrative of the systems, but rather explains the signs by examining the poet's state when he created the work, leading to the action of each work.
The writing of the Masnavis of the Makhzan-ol-Asrār and Iskandarnāme as the first and last Nizāmi’s masnavis has been done in twenty years and in different phases of the poet's soul. We begin with a young poet seeking to create a work to make his reputation known to the world of literature. Therefore, in composing an Ethical-philosophical Masnavi, he attempts to express human complexities and a functional-value discursive variant; and it depicts a prescriptive action in the introduction. Here, the poet is an activist working to achieve the object of value and willing to reward him for creating this action. So, the young man is looking for wealth and fame. Nizāmi writes his love masnavis after Makhzan-ol-Asrār. Composing each work creates a new perspective as well as insight into the poet's affairs.  The poet, who has created human landscapes in his masnavis, considers himself in the need of composing a masnavi which, apart from attaching to the object of value, is for quantitative evaluations, in order to solve ontological crises with the aim of finding himself and reaching wisdom. The discourse of Sharaf-Nāmeh and Eghbal- Nāme from Iskandar-Nāme masnavi is an action-value discourse that motivates the poet to create an Ethical Masnavi in line with experiences Iskandar's rationalism shows that, though these experiences are legends attributed to Iskandar, they represent a wise recognition of the scholarly and ancient poet demonstrating the value of wisdom in the symbolic language of these masnavis.