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Realism addresses and explores the truth in different approaches. These approaches involve expressing details, accurate analysis of society and illustrating personality in combination with social environment. Mahmoud Teymour and Jamalzadeh are establishers of Arab and Persian storytelling. They were writing most of their stories in the form of realism. In this paper, we first discuss about the biography of Mahmoud Teymour and Jamalzadeh and their position in Arab and Persian story literature; then we argue about their similarities and differences realism approaches. Then we explain their dominant realism approach and attitude. This envestigation looks for the similarities and diffrences in their realism approach considering the American school of comparative the literature as a comparative research approach.    

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One of the best ways of understanding reflection of the society in the literature is the comparison of the effects of a social content in different communities. This paper, using this method, studies the reflection of the society of author in "Thaïs", "Confabulation of Mullah Ghorbanali" and "Sacred lien". Thaïs by Anatole France, romance novel that theme is “a beautiful woman monk”, accords drew to many scholars and critics. Mohammad-Ali Jamalzadeh also takes effect of Anatole France and wrote the short story with the same theme Confabulation of Mullah Ghorbanali. After he, Tofigh Al-Hakim, an Egyptian writer, attempting to recreate Thaïs in Arabic novel and he created the novel, Sacred lien.
The present study poses, in the first time, the influences of the story French to two stories Persian and Arabic. Then, the Common themes shared between the stories, from the perspective of the sociology of literature, relying on the theory of Lukács will be studied; the themes that the most are “Religious man’’ and “woman’’. And finally, the process of socialization of literature and the highlight role of society of author in all three stories will be showed in the subtle differences

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As a Pioneer story writer, Jamalzadeh by bringing together Western and Eastern techniques in Yeki bud yeki nabud^[1] founded a new style that became famous as “short story.” “Veylân od-Dowleh” with a different structure from the other five story of this collection poses the subject of joblessness which is similar to the “Le Vagabond,” the work of French writer, Guy de Maupassant. In these two stories, the joblessness is discussed from two different angles: voluntary joblessness, by emphasizing on the mystical observation, and involuntary unemployment. By posing this question that whether Jamalzadeh, in the writing of this story, was influenced by Maupassant or not, I investigate comparatively these two works, looking at the subject and style of expression. Accordingly, drawing on some textual examples from these two stories, I have investigated the views of the two writers about the subject of unemployment through a study of the personalities, actions, and reactions of the two protagonists struggling with the inner-self and the outside world. [1] Once Upon a Time

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Writing, along with fiction, editorial, translation, and writing research papers and critical literary career jamalzade forms. Impact on language practices jamalzade fiction writing and literary issues as one of the main themes, the author of a literary privileged position makes. Major topics include literary criticism, review and introduce new fiction writers have noted that different motivations for jamalzade were sent. . Critical jamalzade impressionistic style in these letters (Tasrgra) and is a hobby which is based on his personal beliefs and preferences as often, and as a professor and veteran informal tone sometimes intimate and loving tone, as Written friends and colleagues. In recent chat critical and scholarly discussion between the two is similar. Issues of language and writing, the main topics of this review. This letter, along with critical essays jamalzade complete picture of him as a literary critic, offers and shows in jamalzade principles and Persian prose fiction, literary manifesto issued from time Until the end of his life, without The same principles remain the same, the assessment criteria for the new generation, he has been criticized for fiction.

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Realism is the real expression of life. The writer of realism does not adequately observe the image of observation; it also always considers factors and social conditions. In author's critical realism, he criticizes human relations and the environment and human and society in a system.Moustafa Lotfi and Mohammad Ali Jamalzadeh are of contemporary writers which the reflection of the out facts of the life are so bright in their essays. Jamalzadeh, the contemporary Persian writer has important essays affected by critical realistic thinking and stated the facts in his own essays.  Dialect of Jamalzadeh is so simple and sometimes colloquial in his own stories. The style of his view and his analyze and his realizations from social affairs are often repetitive and the repetitions of the topics sometimes cause his stories become stereotype.

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Due to individual regression in ancient world, body and its components were not important identity-making elements in the semiotic system of Persian classic texts. On the other hand with the emergence of socio-cultural factors in the contemporary world, literary subjects reflection based on body and its requirements became common, and body -orientation and body knowledge were the bases of social and textual subjects-objects introduction and calling. In this study the body-oriented reflection of subjects-objects identity of Jamalzadeh’s Yeki Bud,YekiNabud is analyzed in the light of “body as a symbolic-sociological theme” based on Weblen and Bourdieu’s theories. Because Jamalzade is one of the first Iranian story-tellers who has relied on body portrayal and its component to reflect the identity of textual and inside-story subject-objects identity and to reproduce the identity of subject-objects, both directly and indirectly reflected as actions and conditions which emanate from body and contain consumption and taste signs. The conclusion showed  that in realistic narration, out of the mentioned subjects, three categories have been reflected:A)The high class who by means of cultural capitals such as: literacy, language, clothing and physical distance as well as different types of apparent and real consumption flaunts its power, and simultaneously they are degraded by satire and grotesque. B)the middle class with deprived and non-ostentatious cultural capital,  which can be observed in clothing, language and lack of confidence which is seen in their physical distance from others. C)another class as the removed or silent one, in these reproductions, body-orientation and body-knowledge have been mainly organized in the form of actions and behaviors such as speaking, wearing, arranging body distance and some forms of body language; and this body orientation in the form of taste and consumption or signs of flaunting consumption and some types of cultural capital, not only has portrayed class distinction due to body, but also has reflected the anxiety, anger and struggle latent in them and has impeached them. Unlike the two previous classes, they have been affected by this classification of taste and consumption. Such narration along with cultural-social texture and reflecting the individuality of the subjects based on physical function, decreases the prestige of dominant discourses on the one hand, and reminds the forgotten prestige of the silent voices on the other hand.
 

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Yeki Bud Yeki Nabud, a story collection written by Mohammad Ali Jamalzadeh (1892-1997), marks the beginning of modern short story in Iran. Along with the stories in this collection, also known as the very first attempts to write Persian short story, the foreword to this book is of prime importance in Persian literary studies and literary theory. One of the basic and yet significant concepts of this foreword is “literary democracy.” The analysis of the micro-concepts and metaphors developed in this foreword helps us analyze this particular macro-concept and hence better understand the foundation for the notion of “literary democracy.” It is also important to note to what extend this macro-concept have played a role in modern Persian literature.

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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.