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Showing 6 results for Semiotic Square


Volume 6, Issue 7 (3-2015)
Abstract

The semiotics is a new approach in analyzing texts and discourse systems. This approach in literary critics has been resulted in different models to explain the state of function, production and receiving meaning through text. These models which originates from the text itself, attempt to reduce any possibility of plurality in literary works reading as much as possible. Therefore, this study considers Jami's Salaman and Absal as one of the theosophy texts with symbolic exposition and ability of interpretability. In  addition to introduce  the state of semiotic model function to explain poet's benefit reason of every two possible approaches of creating meaning in this text, the process which is manifested in reflexive way is the semiotic square. So, this study presents this hypothesis by utilization of semiotic models in analyzing Jami’s Salaman and Absal. This study shows that Jami's intention in utilizing two creating meaning processes in this text refers to "Return" and he attempts to present this concept by a symbol and symbolic exposition in "Salaman and Absal".
 

Volume 7, Issue 5 (11-2016)
Abstract

Tarsousi's Darab- Naameh is a long folktale related to sixth century. According to the main action on which the subject's intention is focused, Darab-Naameh is divided into three separate stories. The story, in addition to its three main plots, is comprised of infinite narratives within each grand narrative. Sometimes the little-narratives become structurally related and coherent to the main narrative, and they are also formed independent from the grand-narratives in other situations. And so these little narratives distort the unity of narration by their disturbance, independency and separation from trilogy processes of speech evolution. The discourse system, despite its action-oriented nature, in the story of Alexander precedes two types of the state and actional discourses on parallel bases, and cognitive and situational discourse system affects actional discourse too. This paper aims to study narrative syntax, organizing levels of narration and interaction between them from the narratology perspective, and examine the way of meaning creation in the long folktales by dividing Darab-Naameh into deep and surface structures. Have narrative processes been organized in a distinct juxtapositional system? Can scattered narratives of the story, as instrumental narratives, lead the grand-narratives to the achievement of the main action? Is the story plot within its narrative syntax in interaction and harmony with the basic structures of meaning? We try to answer these questions within this research by analyzing Darab-Naameh. Keywords: Tarsousi's Darab-Naameh, Narrative Semiotics, Plot, Semiotic square tensive axis
 
Fatemeh Savab, ,
Volume 8, Issue 31 (12-2015)
Abstract

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.
Masoud Algooneh Juneghani,
Volume 9, Issue 33 (5-2016)
Abstract

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. ‎

Volume 10, Issue 1 (3-2019)
Abstract

Rouzbahan Baghli is one of the major figures of 6th century who has his own particular mystic language. His language shows a set of particular features like abstractness. The present article has taken into account the semiotic square theoretical framework in order to analyze his language as well as to yield a better understanding of his mystic experience. Accordingly, having taken into consideration his mystic language, the properties of his language will be analyzed in the light of semiotic square. This study reveals that among the current oppositions like contradiction, contrast and entailment, Rouzbahan’s language incline towards contrast. This is due to the fact that Rouzbehan generally speaks about major existential categories, which are completely contradictory in two poles. Thus, whenever he talks about his experiences, he sometimes intermingles the binary oppositions in a complex meta-term. As a result, he sometimes collects these binary categories and puts them together to create a "compound" term. Sometimes he rejects both categories and creates a "neutral" frequency, and sometimes a "positive indicator" by deleting both. Other meta-terms like neutral, complex, positive deixis, and nameless are the dominant indicators of his abstract language.
 

Volume 12, Issue 2 (5-2021)
Abstract


The four elements have a key position between ancient myths .Also they have gained the attention of many philosophers, physicians, and mysticians. These elements have also represented in literature, and Gaston Bachelard categorizes human material imaginations based on the elements of water, fire, soil, and wind. According to Bachelard, to recognize the original poets one should consider their closeness from these elements and their distance from these elements. He beleives that the artistic works get their dynamics from the dept of relation  with four elements which widely represented in an artistic form in Surah Al-Qasas. The semiotic square depicts the dynamic verbal process and relies on the speech relation. The aim of the present research is to find the effect of four elements on semiotic transformation to discover their effects on the hidden and abstract layers of the text. In this way the authors have attempted to study the function of these natural elements within the story of Moses and Pharaoh by adopting a descriptive-analytical research methodology.The results showed that the four elements have considerable similarity to the target community of Moses Prophecy (Egyptian society). Water is the beginner of sloving humanity. Fire is a sign of change and rebirth. The highest frequency belongs to the element of soil. Also the four elements of the communication axis figure out contradiction opposition in the semiotic axis of mission and guidance.
 
1. Introduction
 Greimas’ semiotic  model, an analytical tool utilized in the field of linguistic research, is based on binary contrasts or semantic categories. Greimas places the abstract meanings of the text in a double opposing structure and depicts the dynamics of the meanings of the stories using the semiotic square. In this structure, binary pairs, one with a positive value and the other with a negative one, shapes a conceptual network, which determines the relationship between the implicit layers of the text and the underlying syntax of the narrative. The semiotic square is one of the dimensions of semiotics that illustrates the process of mobility and dynamics of speech, acting as the building block of the discourse system.
The semiotic structure of discourse consists of both formal and implicit meanings. Since the four elements are reliant on material imagination, and according to Bachelard theory, these elements also express implicit concepts and create double opposing images, the opposition of the natural elements in the story of Moses and Pharaoh can be analyzed based on the contradiction of semiotic square categories alongside Bachelard literary theory concerning the four elements. Bachelard analyzes literary images in accordance with the four elements of water, fire, earth and wind. To him, the literary image needs the representation of these elements for its development.
 
2. Questions and Hypotheses
 The primary question raised in the present study is “What is the role and function of opposing categories in deepening the story of Prophet Moses (pbuh) and Pharaoh?” The second question is “What is the message conveyed by four elements in the trajectory of the protagonist and antagonist? The third question is concerned with the effectiveness of the four elements, and their effect on the progress of the semiotic evolution of the story.
The assumption is that these elements are affirmative concepts in the protagonist axis and privative concepts in the antagonist axis. As regards the other two questions, the authors assume that the four natural elements have influenced the semiotic evolution of the story and deepen the implicit meanings.
 
3. Research method
The authors have used both theories of semiotic square and Bachelard theory of imagination criticism to study the semiotics of four elements in the story of Prophet Moses (pbuh) and Pharaoh in Surah Qasas. Thus, an integrated approach has been adopted in this paper. The authors first explain and analyze the four elements of water, wind, earth and fire based on Bachelard theory of imagination critique using a descriptive analytical method. Then, using the semiotic square, these elements are investigated in the form of opposing categories. By doing so, the authors  analyze the opposition of these elements as well as the trajectory of the protagonist (Prophet Moses (pbuh)) and antagonist’s (Pharaoh) actions in four affirmative and privative situations and their relationships.
 
4.Innovation
Despite the wealth of scholarly attention on semiotic theories, the semiotic square has been rarely applied to the analysis of Quranic stories. In this regard, the necessity and importance of the present research is not only limited to the analysis and application of this method to the analysis of Qur'anic stories, but also to the integration of this linguistic approach with Bachelard literary criticism, which is a new approach in the realm of literary and Qur'anic research.
 
  1.  Results
Using the semiotic square and the four elements of Bachelard in the analysis of the story of Moses (pbuh), the authors found that these elements have contributed to advance the conjunctive and disjunctive discoursive processes of the story. In such a way, their formal meanings have deepened the implicit meanings in the story. As a result, the semiotic evolution has been successfully conveyed to the reader. The results also revealed that the four elements correspond to the community of Prophet Moses (pbuh) (Egyptian society). Water marks the beginning of human salvation. Fire symbolizes change and rebirth. Earth element is used more frequently in a prominent manner. Also, in the semantic axis of mission and guidance, the four elements of the communication axis create a contradictory opposition.
In the end, it should be argued that a certain linguistic acumen has been exercised in the selection of Quranic words by the narrator, which inspires tangible images for the reader. The immersion of Pharaoh and his companions in the sea is a familiar image for the Egyptian readers, for they believe that water embodies the annihilation of this world. Therefore, the richness of words in the story of Moses and the juxtaposition of linguistic combinations in producing thrilling and conceptual images should not be overlooked. Though an element of liberation, water may also indicate the end of life. In fact, the contradiction in nature has highlighted the beauty of the syntax and discourse of the story of Prophet Moses (pbuh), because beauty emerges from the juxtaposition of the opposites.

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