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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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Bahaar-e-Daanesh is one of the folk and ancient Indian legends in Persian language with the theme of love,written by Inaayatullaah Kanabweh Laahoori(died 1088 AH)who authored it in the year(1061 AH)under the name of Shah Jahaan Gurkaani. This book is part of fiction literature, that is,the intersection of folk and literary stories and in the Indian storytelling style, a story within a story. Its main and long story is fictional and its theme is the love of "Bahre-Varbaanu and Jahaandaarshaah" and the theme of the main story and its main sub-stories are stories about women's tricks. In the spring of knowledge, themes such as shape-shifting, spells, magic, incarnation in a shape-shifting state, awareness of the science of dismembering the body,and the transfer of the soul from one body to another can be seen throughout the stories. In addition, the presence and conquest of Divan and ghouls,talking with magical animals, using the magic in the elements of nature,etc. are present in all the stories. In this article, the functions of magic and its helpers,objects and tools of magic and the ways of using them, magical trips and places and surreal beings,ways to achieve magic factors and nullifiers. Magic and talismans in the stories of Bahaar-e-Daanesh have been examined and analyzed to emphasize the importance of studying,knowing and preserving the cultural and social background of folk tales,which is the most important platform for the presence and manifestation of mythological and ancient themes among the masses. It is the people - to be emphasized.

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Abstract:
Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature, this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives, which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers, despite the existing large culrual legacy, have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives, this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives, the paper goes then to propund some common ignored challenges concerning the "adaptation" techniques for media productions. Finally, we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

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Formula is a structural element of popular romances. This essay analyzes the situation of this element in the romance of Amir Arsalan. First, the concept of formula in the field of oral composition is defined; then functional arrangement of formulas is presented (formulas construct linear process of the story, shape the space of the story and dialogical formulas); afterward, through analyzing the subset of this three major groups, qualitative and quantitative effects of the factors such as literary tradition, naqqali's (storytelling) tradition, naqqal (the storyteller), addressee, writer, social setting and other factors depending on this romance have been demonstrated. It should be pointed out that among the above factors the influence of epic and lyric text and artistic prose, domination of metaphorical pole of language and poetic quality of the text and sensible effect of the addressee and the writer of romance (Naser al-din shah and Fakhr al-dowleh) on the process of creating the romance have been also influential.

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Oral literature is a part of the non-material culture. It is a rich kind of literature and includes a variety of legends, songs, proverbs, riddles, idioms and so on. Each of these types has rich dimensions for cultural analysing. "Ara" /ærɒ/ is a common expression or term in oral literature of Sheshtamad, Sabzevar region. It denotes to a series of processes and actions and activities that using native aesthetic elements, make a ritual and ceremonial aspects to objects and affairs. This article investigates the application of this local and popular  idiomatic expresion for four ritual and ceremonial ceremonies like "Nakhl","Alam" , "Asbe Chobi"  and the "Asbe Hizomi" . The research question is why does a particular action become a ritual and ceremonial act and the  symbolic experesion of it become a ritual or ceremonial idiomatic experesion. The results indicates that each of these ceremonies show certain cultural and social meanings. "Ara"  as an idiomatic expression is for highlighting the importance of the ritual and ceremonial meanings ,concepts and in general the importance of that social ceremony, art and aesthetic also is for showing this importance. This highlighting is with the transition from the realm of everyday life to social, ritual and symbolic life, so this idiomatic expression can be considered as a mixture of art, ritual and ceremonial concept. Moments of human life represents in social dimensions of the communal spirit of society. Due to the enormous significance of social reproduction and representation, the society benifies from  main and the most important elements of itself ,that is art and aesthetic and ornamental elements to represent itself.

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Popular culture deals with the public perception of habits, traditions, anecdotes, beliefs, anthems, proverbs, and oral speech, having been discussed in different areas of humanities including sociology, history, psychology, literature, art and even religions. Literature is, in its technical sense, marked with folklore elements. Particular attention to literature in multidisciplinary studies is a new approach.
An itinerary is a personal account of the conditions of the cities and nations visited by a travel writer. An itinerary encompasses invaluable information by means of which the social, political and economic realities of different historical periods can be established. Moreover, it is among the most critical ways to analyze and compare various nations, being at the same time the best way to gain insights into diverse phenomena surrounding popular culture and social communications, about which little has been written in historical documents.
This research, descriptive-analytical in nature, was concerned with investigating Iran’s popular elements, popular culture and social communications (folk literature of Iran). It also focused on popular-culture-based behaviors in the eyes of the Moroccan travel writer, who traveled across Iran during the Mongol Empire.  The findings indicate that folklore elements occupy an important position in Ibn Battuta’s itinerary. The appearance of these elements is mostly focused on eating habits and foods.

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Keyxosrow in the Shahname after the final victory over Afrasiyab, goes to a mountain and disappears. In one of the oral- popular narrations of this wonderful disappearance, Keyxosrow goes to cave with a dog. Dog is seen in some other stories that in them a person ascends to sky or lives in under world and or goes to other world and returns. Dog in ancient beliefs and stories of many nations connected with another world and is supposed guard and guide of spirits. Probably dog of Keyxosrow in Iranian oral tradition is based on this mythical and ritual motif and in fact , dog is his guard and leader in cave.
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Abstract
This paper aims to examine the major effects of popular culture of folklore culture in the production process of Iranian dramatic literatureand studying the solutions for localizing the literature. This interdisciplinary study, tries to discuss the effective roll of folklores roll of developing Indigenous patterns of creative writing for the dramatic arts. Hamid Amjad, as one of the Iranian contemporary dramatists, uses various aspects of folk culture in create and representing dramatic world, and his works are proper example for research for studying some factors such as
language and tone, beliefs and customs, behaviors and subjects, and common signs of Iranian folklore culture.
This study is organised with gathering library data and the method of direct expose of dramatic texts, and with analytical method tries to determine the potential of Iranian folklore culture in organizing the ideas and realize them using techniques of playwriting. Findings of this research shows that some of the most important indexes of Iranian folklore culture, like folk tales, folk feasts and folk language was attend in creating dramatic texts by Hamid Amjad. Comparative comparison with some dramatic concepts and elements, like characterizations, subject, creating folk spaces and native language and culture, shows the different aspects of this usage. finally, research shows that using the elements from folklore

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The aim of this paper is to understand youth representation in popular cinema after the Islamic Revolution with comparison of two periods of reform (1997 - 2005) and fundamentalism (2005 – 2010). To achieve this goal, the advent of cinema, popular cinema and cinema as a mass communication has been studied. In the following, the theories of representation, semiotic, Stuart Hall's coding theory, and theories of young people would be discussed. Finally, a conceptual framework is presented based on the representation theory and Hebdige's view about the representation of youth. Semiotics is the method of the present paper that is based on Selby and Cowberry’s patterns for analysis of the technical codes, and the patterns validity and semiotics of Barth for analysis of cultural codes. By focusing on these patterns, the three movies from Reform period (Under the City's Skin & Party & Me, Taraneh, I Am Taraneh, I Am Fifteen Years Old) and three movies from Fundamentalism period (Tambourine & About Elly & Pay Back) have been chosen purposefully to be studied and analyzed. In addition, at the end of every chosen scene from these movies, we explain for more understanding by using the considerate codes of Fiske. The results indicated that popular films (the movies with top selling) at these two periods are representing the different vision of young people. In each of these two periods, the conflicting references have been seen to word the young people. At the Reform period, young people have been shown by some concepts like "adherence to the structure", "hope for the future", "self-confidentce", "audacity", "accountability", "idealism", "law-abiding", and "democracy and freedom". In opposite, at the Fundamentalism period, young people have been represented as "anarchist", "show-off", "no Identity", "antisocial", "confused between tradition and Modernity", "lawbreaker", and "risk-taker". Therefore, we can say that about the representation of young people at the Fundamentalism period, kinds of media panic in the popular cinema have been exposed.  

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Every language and dialect is formed of components and materials such as famous stereotypes and idioms, ironies, proverbs that make the language rich. Molded lingual structures have particular applications and roles in establishing social communications. These compressed dialects are often reproductive carrying deep meanings. Over the years, these cliches and stereotypes components are transferred from person to person and from one generation to other and are recorded in the culture. The same molded dialects form the important part of unwritten lingual reserves that double the need of scientific attention. As the main issue this article intends to deal with the explanation of the theoretical basis and typology as well as to show the variation of these molded cliches in the Persian language. For that reason, the author, first focuses on the previous accomplished studies and then studies the root and origin of these lingual cliches. Thereafter, in order to explain and describe these cliches and their sub-typologies, each of which includes curses, insults, compliments, blessings, pledges, threats, idioms, ironies and proverbs, the paper tries to investigate the lingual structure, themes, their applications, and diversities incolloquial language. The current aims of this paper are to present a model to study typology, structure and contents of colloquial languages. Sociological and cultural analyses have their own places and are liable to further study.
 

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Hans Christian Anderson (1875-1805) is a prominent Danish poet, storyteller and scriptwriter with 160 stories and legends, 800 pieces of poetry and 6 novels. One characteristic of Anderson's writings is his attention to popular literature, verbal and speech language. He most of all affects folk tales. To write these myths, he is inspired more by the legends of the Thousand Words and the legends of other nations of the world. In this article, only four of Iran's sources of Andersen stories are mentioned and their adaptation to Iranian stories. These four stories are: Mandel's fantasy and Emperor's new clothes, Gibreel Jolla and the flying box, Big Claus and Little Claus, Judge and Jail, Tomblinia and Aunt Souske. Previously, it talks about the characteristics and origins of Andersen's stories and the background of the subject. In the narrative of these four stories, from different dimensions to adaptation of narratives are discussed. We find that for a variety of reasons, including the familiarity of Anderson with the Thousandists, through his translation of the word "A" to lunch and interest in the literature of the Orient, he is well acquainted with the Iranian myths and is well versed in it, and for his religious and educational purposes With part of the story.

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Blood and bleeding and their related themes have long been rooted in human spirit and have had a decisive influence on Iranian and world culture. Themes and beliefs such as the sacrifice of human beings and animals, the rituals and beliefs that involve it, the killing of the holy people and its effect on human destiny, the bloodlust of the bleeding woman, blood spilling on the stone for the suppression of magic, the death of a sacred animal and those reflected in the history of Siavash, Iraj, Sohrab and Esfandiar in Shahnameh and finally the narrative petitions and oral narratives about the national epics are reflected and rooted in myths and branches in popular beliefs. In this research, using stories and other sources, first of all, popular beliefs about blood and its contents are examined at narrative plan, then the method of content analysis has been used and the desired samples have been compared.
 
 

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One of the intrinsic qualities of literature as art is beauty. The important musical and linguistic elements make poetry beautiful by creating deviation. Sherveh which is one of the well-known examples of southern Iran musical art (Hormozgan and Bushehr ) is not the case of exception. The present research aims at introducing as much as possible the verses as well as the study of the aesthetic elements of this type of poetry, with a rhetorical criticism and a descriptive- analytical approach. The corpus of the present study consists of Fayez Dashtestani and Mahya Bastaki lyrics. The results of the research indicate that the main reason for the survival of these poems, in addition to their content, is due to the aesthetic components of these poems, which shows that these two poets are totally mastered the poetry. These two poets were able to create beauty in their poetry by using simple language, the most popular vocabulary and the vast frequency of inventive figures corresponding to the linguistic context of poetry, such as comparison and metaphor. A linguistic and literary beauty which are in perfect harmony with the emotional texture of the poem, its content and its audience in general.

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The purpose of this study is to examine the effects of folk culture in Joseph Arthur Gobino's travel book entitled “Three Years in Asia” , based on the content analysis method in which he tries to divide these effect in six categories of hospitality, compliments, customs and types, Iranian art, architectural and urban features and the story of his trip to Iran. Superstitious thoughts were also studied and analyzed. The result of this study shows that although in his account of his trip to Iran Gobino was able to provide a detailed account of Iran's morality and behavior patterns, it would be impossible not to ignore the contrast between the European “I " and the oriental “other” that underlies his thoughts and descriptions of different aspects of Iranian life and customs. Conflicts that have a direct impact on the spectator's mind with the other and with what belongs to his territory, followed by his reports and descriptions.
 

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The oath has long been manifested in culture and literature in a variety of ways. In this study, the patterns of swearing in Bakhtiari people is analyzed. Oaths of fire, fire stoves, blades of sun, running water, bread, nuns, temples, devotees, underworlds, and thugs are the most important examples of swearing among the people of Bakhtiari. The importance of taking an oath to this people is the last way to prove the truth of the word and to distinguish the righteous from the wrongdoer. In this study, while studying the types of oaths in Bakhtiari people, the literary characters and their mythological aspects are investigated as well. This research is fundamentally based on the field-based library study and qualitative content analysis. After examining various sources and analyzing the literary and mythological aspects of swearing among the Bakhtiari people, it can be said that the ritual is a remnant of the same ritual in ancient Iran. Also, the oaths of fire, bread and salt, time, running water, sun and souls of the beloved ones are among the most important and common manifestations of oath taking among these people that have many literary and mythological aspects. The function of oath is to prove the truth of the word and recognize the true from false.
 

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The epic threnodies or šowxins are popular poems that are composed by unknown poets after the death of one of the heroes or elders of the Lori tribe in the fight against the ruling regime, and have long been read by the people and singers of Lori poems. Bakhtiari and Boyerahmadi tribes have many racial, linguistic, cultural and historical affinities, and threnodies have a high place among them; therefore, in this paper, in order to study the various dimensions of these poems and to find out the phenomenon of the transmission of popular poems, they are compared according to the method of content analysis (comparative approach). It is briefly stated that Bakhtiari and Boyerahmadi threnodies have the same and common elements of epic poetry (heroic, national, ethnic, and narrative forms), themes, verses and hemistiches, description, and literary characteristics, but the language of Boyerahmadi threnodies is rougher than that of Bakhtiari's and it has a kind of controversy with the unexampled creator. In this paper, the most important linguistic, literary, cultural and historical values of these threnodies are discussed. Also, the analysis can be regarded as a model for study of this kind of popular poetry in different parts of Iran.

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Fertility is known as a biological phenomenon. The diversity and proliferation of the popular belief suggest the importance of this issue in popular culture discourse. In different periods, the reflection of the hidden aspect of fertility has been disputed with respect to the culture of society in most cases. In this study, it has been tried to identify and study the ceremonies and rituals associated with birth in Bushehr province considering multi - ethnic groups. The characteristics of child sex, sexual preference, infertility solutions, and the mother – child relationship during and after birth and other interactions between women and childbearing are particularly focused. Following other ethnographic studies, the field method was borrowed as the research method, and in order to eliminate the defects and possible shortcomings from the combination of methods, the direct observation and interviews with women and local midwives were to analyze the ethnological structural and normative explanation. Moreover, the religious attitudes and cultural foundations of rites of passage and fertility rituals were investigated based on sympathetic magic theories, the survival of the fittest, rites of passage, Social contagion and stigmatization. The results show that the representation of rituals is necessary in order to know the cultural past of the regions and its structural and normative explanation regarding the development process and the high migration potential of the province.
 

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Ajaib-Nname is written document from the fifth to twelfth centuries. This study hypothesizes that there is a relationship between Ajaib-nameh and mythological views. To text it, eight texts of this genre were described and analyzed. Using Foucault's theory of genealogy, it was revealed that collective imagination in Ajaib-nameh has a relationship with the quasi-mythological motifs, despite the former's methods and objectives. The evolution of these texts has been explained in three distinct eras, including the geography-based era, the narrative era, and time-based era. The intensity and weakness of imagination in these texts are highlighted in three colors: yellow, orange and dark red.