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By studying the Qur'anic narratives, what is most visible is the amazing and elimination that includes a complete part of a story, even at a time. A pity that has been used not only in the Qur'anic stories, but also throughout the Qur'an as one of the highest literary and rhetorical manifestations of the Qur'an. This is one of the mechanisms and tools of the narrative or discourse silence process in which the signs of the narrative are eliminated and with their absence refers to the modules that the reader can rely on succession and companionship. And also from the intersection between the two and the use of brain capacity, fill those holes and gaps, thus fully view and receive the story. The important point in discourse silence is the interpretative and analytical aspect of narrative, and merely, such as the elimination of the classic rhetoric of the Nesith, which appeared in the form of metaphor, metaphor, permissible, and such equipment and to express aesthetics. In this article, we will first explain the silence of discourse in modern cognitive criticism, and then explain the narration of the life of Yusuf (AS) in the Holy Quran, based on the same validity and discourse. The result shows that discourse silence in this sura has been used in three types of structural, semantic and implicit, and with the systematic structure of the Qur'anic narrative structure, these vacuums are received and completed by the reader.
 

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Maulana J'alalu·'d-din Muhammad Rumi and Walt Whitman are two of the greatest and most influential poets of the world. Nicholson considers Rumi as the greatest Sufi poet of all time, and the United Nations (UN) has named the year 2007 after him. Walt Whitman, on the other hand, is the poet who is entitled the father of the American Free Verse, and forms the third column of the trinity of American transcendentalism along with Emerson and Thoreau. Despite linguistic, cultural, temporal and spatial differences, both poets consider language an insufficient tool for the expression of the transcendental and mystical thoughts; hence, their readership is invitation for silence. Undoubtedly the poets have some differences in silence motif, which is rooted in their culture and language. Rumi denies language courageously to the extent that some of his ghazals end in silence. Whitman, too, expresses his concern for silence spasmodically; however, the real silence in his poetry happens when he invites the readers to be united with nature. In this paper, the authors have investigated the silence motif in the poetry of Rumi and Whitman using the theories “analogies without contact” and “Rapprochemen” within the domain of comparative literature.    

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The general aim of this research is to determine the relationship between transactional-transformational leadership style of principals and organizational silence of teachers at Junior High Schools in Rey City in academic year of 2012-2013. In this study descriptive and correlation methods were applied. Statistical universe consisted of all teachers (1374people) of guidance schools in Rey City including 468 men and 906 women. 312 teachers including198women and114men, were selected by Stratified Random Sampling. Data gathered using two questionnaires including multifactor questionnaire of leadership by Bass and Avilio (2000) and the researcher-made questionnaire for organizational silence. Both questionnaire were reliable considering Cronbach's Alpha. The research data was studied and analyzed using enter and stepwise regression and T-test (2variables and 1variable). The results showed that transformational and transactional leadership styles of managers is able to predict 0/10 of teachers’ organizational silence. Among transformational leadership style dimensions, intellectul stimulation dimension has a negative and significant relation with organizational silence. Among transactional leadership style dimensions, management-by-exception passive dimension is a positively and significantly related to organizational silence.

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The basis of Wittgenstein’s early thought is that concepts like God and values ​​have no representation in names, that is, they are never named, because names stand only for things that are simple, solid parts of the world. Since these things are never named and have no simple signs within the proposition to represent them in the proposition, no meaningful proposition can ever be formed about them and no meaningful talk can be said about them. If Wittgenstein’s theory had ended there, we would be right to call Wittgenstein a positivist. But the final paragraphs of the Tractatus provide evidence that a positivist interpretation of the Tractatus cannot be what Wittgenstein intended. Wittgenstein was not claiming that there is no God, that life is completely meaningless, and that values ​​are illusions; rather, his argument was directed at the limits of language. He said that one should remain silent about what is beyond the scope of language. 

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This paper aims at investigating the communicative functions of eloquent silence in Persian. It also investigates how contextual and pragmatic factors pave the way for silence to have such functions. In this regard, “A Separation” (2011), a widely known Oscar-winner Iranian movie by Asghar Farhadi was selected, and analyzed. This movie has been met with universal acclaim from film critics, and seemingly has utilized silence successfully in order to carry and convey some hidden messages. Instances of eloquent silence were collected and then analyzed based on Ephratt (2008) in an attempt to determine the communicative functions of each case. Our main argument has been that eloquent silence can convey different communicative hints in the course of linguistic exchanges in Persian. The results showed that eloquent silence usages do play a key role in communication in this movie and accordingly in Persian. These usages also have different types of function for the realization of which different contexts of situation seem to be at work. We also tried to analyze and explain the way contextual and pragmatic factors impact upon determining these communicative functions. In this regard, the study depicts that aim of communication, context of situations, target of communication, and power relations between interlocutors, as well as cultural and social norms are among the most important contextual and pragmatic factors, active in preferring silence over speech.

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New historicism refers to an approach that does not accept history as the historians convey. This approach mostly is based on the ideas of the American professor, Stephen Greenblatt, in the eighties of the twentieth century. According to Greenblatt, new historicism presents a new reading of the text, not a school of criticism. New historicism investigates the multilateral relations of the literary works with other texts including the historical ones to clarify their inter-textual and extra-textual aspects. New historicism inspects the relations of power and cultural, social, and ideological constructs. From the new historicist point of view, there is no difference between literary and non-literary texts. The present paper attempts to examine The Silence of the Sea to reveal the author’s and the history’s influence in creating the literary work. With the help of Greenblatt and Foucault views, inter-textual factors such as power relations as the main context are studied in the paper as well.
 
 

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This research explores power relations in Touba and the Meaning of Night, focusing on the gender issue and gender representation in the novel. Studying modal structures and modality is one of the tools provided by Halliday’s social linguistics for examining texts and revealing their ideological functions. Focusing on the role of modality in the production of texts and reproduction of power and gender relations, we study modality in this novel with an analytic-descriptive method. The novel offers a seventy-year-old historical perspective on Iranian women. However, in the course of this seemingly progressive historical movement, Touba, the heroine of the novel, not only does not achieve her ends but also, quite on the contrary, shows signs of regression. In the beginning of the novel, Touba is a self-assured woman who talks and acts decisively, but toward the ending of the novel she turns into someone without certainty or any kind of conviction. Indeed, Touba’s modal structures evolve from external certitude and determination to internal doubt and hesitation. In the end, Touba’s internal evolution and spiritual barrenness are closely related to more general social discursive relations and functions during the Qajar and First Pahlavi dynasties, especially those convictions that prevent women from thinking, speaking, and participating in external practices in the social scene.  
[1] Touba and the Meaning of Night

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Semiotics of discourse aims to explore the underlying structure of meaning production. In generative process of discourse, the most superficial layer has a close relationship to the most profound layer. Space, that has recently get considerable attention in literary studies is one of the discursive figurative elements which results in the meaning in the underneath layers. As a result, the space converts into a sensible element.
Silence is the absence of any verbal element so that it is a sign of something. But this absent element has been manifested in discourse by structural and textual elements and it is present in text background. Silence as an indicative element is received by relating to its antithetic element, the sound. In addition, the silence makes sense whether it is a sign of something or an effect of a being which is postponed in a discursive context.
Mahmoud Dowlat-Abadi Iranian contemporary realistic author, is also one of the regional literature storyteller and based on this, space plays the crucial role in his works. In spite of the special place in his novels, silence appeals as a present and significance-producer element in his books. In Dowlat-Abaadi’s literary works, particularly in mentioned novels, imprisonment or stopping the converses, which is caused by thrill, phobia, respecting others, suffering, inability of talking or believing the power of unsaid words produces the silence. This matter connects the Dowlat-Abaadi’s text to a clear silence.  
This research, while expressing the procedure of silence formation in Kelidar and missing -Solouch, seeks the presence and emergence of silence by the aspects of tensive and spatial semiotics in some of the spatial structures. In fact, considering the space not even as a referring element, it takes part in producing the meaning. This research is up to answer this fundamental question that how the space, that is a tangible and apparent element of converse, could produce the meaning at the deepest layers of the discourse and also could produce the silence in the present novels. On this basis, the study of sensorial orders of discourse, auditory sphere and also its relation with silence formation are not avoidable. Discourse structures have followed the generative process principle and fearful black room which have been portrayed in the simulative layer of two mentioned novels, which are indicatives of deterioration and death away from the only referential function in a more profound level controlling the asphyxiation existed in contemporary age of these two novels and in the most cavernous layers.
 

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The concept of "silence" in Rumi's works and poems has been one of the concepts that has attracted the attention of scholars. Books and articles which have tried to explain the concept of silence from different mystical, theological, linguistic, etc. points of view have been analysed. In this research, with a critical-analytical perspective, while classifying and describing the various approaches that researchers have focused on the subject of silence in the works of Rumi. We will discuss the missing link in these studies, that is, the lack of hermeneutic reading of silence in the works and poems of Rumi. The hermeneutic silence by which the word of truth is reflected in the language of the mystic, has been scrutinized.
Introduction
In the field of literary, mystical, philosophical studies, etc., Rumi's research has a large and fruitful and extensive record. It is very clear that the works of Rumi, both poetic and prose, are in the field of mystical literature. The capacities and capabilities of Rumi's works have made it possible to open the door to many reflections and research from different perspectives. One of the concepts and topics that have occupied the minds of researchers in recent years is the category of silence in the works and thought of Rumi. Research on the subject of silence have explained and analysed this concept in Rumi's sphere of thought with various approaches. Accurate classification of books and articles written on this subject is difficult due to the entanglement of concepts and approaches. In order to. We have tried to classify these studies thematically, including:  the study of Rumi's silence in the moral-mystical field, study of Rumi's silence from a philosophical perspective, study of Rumi's silence from a psychological perspective, Study of Rumi's Silence from a linguistic perspective, investigation of Rumi's silence based on prosodic weights, comparative study of Rumi's silence. We will briefly outline and describe each of these studies, and then, we will point out the missing link.

Discussion
What is presented in the general conclusion, is that there are different approaches to silence. The focal point in the studies is that they refer to silence as the unspoken. In other words, it is the silence from which the words of truth emerge and the mystic becomes the language of truth and in this mystical experience, existence is seen as a language fifes and serenades. Rumi in his works, has referred to this type of silence and most scholars, despite its description and expansion, have not gone beyond the limits of Rumi's references and in this case, have not been the designer of a new perception of silence in Rumi's mind and language. Therefore, it could be said that the fundamental aspect of Rumi's silence and eloquence has been neglected in these studies. This original and fundamental feature is the hermeneutic reading and interpretation of silence in Rumi's works. That is the most important feature of silence. It should be noted that hermeneutics is a term coined by the authors of the present study under the influence of the philosophical ideas of the German philosopher Martin Heidegger. To further explain this term, it can be said that the meaning of the word hermeneutics in this interpretation has served the word silence and its content. Because silence itself, due to its fundamental nature, has an opening and revealing aspect and creates an opportunity for openings and manifestations. A trait that can also be attributed to the term hermeneutics according to its function.

Conclusion
In many studies, including articles and books on the concept of silence in Rumi's works and poems, not even the slightest hint of the hermeneutic nature of Rumi's silence has been mentioned, and in most cases Rumi's words about silence have been repeated. While showing the hermeneutic analytical absence of the concept of silence in Rumi's works and poems, we explained the hermeneutic dimension and revelation of silence, including annihilation and its relation to the hermeneutics of silence, the hermeneutic relation of silence to language and the hermeneutics of silence and receiving original speech. And in this way, we highlighted the missing link in the named research.
 

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Silence is a topic that has been widely investigated in recent decades, and researchers such as Jaworski (1997), Kurzon (1997) and Huckin (2002) have published studies on this topic. Silence is usually considered as complementary to speech, but scrutinizing its nature reveals two points: first, silence is not specific to language, it exists in other semiotic resources as well; second, the non-use of speech does not always mean silence. Sometimes information is communicated not through words, but with the help of other types of signs. Therefore, analysis of just language is not enough to study silence; it is necessary to employ a multimodal approach that takes into account all the modes involved in communication. The purpose of this study is to investigate silence with respect to the various modes involved in novel as a communicative act. The question this research aims to answer is how silence is manifested in different modes that form a novel, how it is involved in creating meaning and how it makes a difference to the elements of novel. For that purpose, silence has been examined in three modes, conversation (representation of speech), text (writing), and narrative in the novel "Suvashun" by Simin Daneshvar. It is worth mentioning that due to the lack of an articulate single theoretical framework, a mixed approach has been adopted. Results show that different modes create different types of silence with different functions, and these types, besides communicating meaning, affect novel elements by developing unintrusive limited omniscient narrator, theme, characterization, etc.

1. Introduction
In recent decades, the discourse and communicative functions fulfilled by silence have been emphasized in various fields such as linguistics, semiotics, psychology, etc. Silence has been traditionally considered as complementary to speech; however, scrutinizing its nature reveals two important points: first, silence is not specific to language; it exists in other semiotic modes as well; second, the non-use of speech does not always mean silence. Therefore, to study the function of silence in any kind of text, including novel, relying solely on linguistic data is not sufficient, and other semiotic modes must be taken into account as well. The present study aims to investigate silence with respect to the various modes involved in the Persian novel “Suvashun” as a communicative act. These modes include speech (conversation), writing (author's text) and narrative. 
The questions this research aims to answer are threefold: first, how silence is manifested in different modes that form a novel; second, how it affects the different elements of the novel; and lastly, how it participates in creating meaning.

2. Literature Review
There is a considerable amount of research on silence, addressing its meaning, pragmatics, typology, semiotic function, social and political functions and of course, its relationship to speech. In this regard, the works of Jaworski (1992, 1993, 1998, 2006), Kurzon (1997, 2007), Huckin (2002), Nakane (2007), and Dinkler (2013) are noteworthy. Also, relevant to this research are previous works on multimodality and multimodal semiotics. Multimodality (which means the existence of more than one semiotic mode in a given context) has its roots in Halliday's Systemic Functional Linguistics, social semiotics, and conversation analysis (Jewitt et al., 2016). Kress and van Leeuwen (2001) and Kress (2010) are the works addressing multimodality and whose theoretical principles have been employed here.
It should be noted that due to lack of a proper unified approach enabling the study of silence from different angles and in different modes, we have developed and utilized a mixed analytic framework based on the aforementioned resources.

3. Methodology and Analytic Framework
Using the mixed approach mentioned above, identifiable instances of silence in the novel "Suvashun" were examined in three modes: speech (conversation), writing (author’s text) and narrative. In the mode of speech, the participants in the communication are the characters of the story, and silence is explored in terms of how it can occur in the conversations of the characters. In the text, the participants in the communication are the author and the reader, and silence that is examined is usually the author's silence. In narrative, the participants in the communication are the narrator and the narratee, and the silence of the narrator is investigated. 
To determine the types of silence that can occur in conversations, we have adopted concepts discussed in Nakane (2007), who proposes four types of conversational silence, including pauses during turn-taking, non-participation in conversations, lack of speech on various topics, and lack of speech specific to interactive situations. Additionally, we have utilized concepts from Kurzon (2007), who identifies four types of conversational silence: pauses, silent answers to questions, silence by some participants in conversations involving three or more people, and silence during interrogations (usually by law enforcement officers, intelligence agencies, etc.).
To explore the types of silence that can occur in the mode of writing or text, we have adopted the concepts outlined in Huckin (2002). These types of textual silence include speech-act silence, presuppositional silence, discreet silence, genre-based silence, and manipulative silence. Finally, to identify the types of silence in narrative, we have referred to the classifications provided by Dinkler (2013), who discusses two types of silence: narrator’s silences and those related to point of view.

4. Results
The results obtained from the novel show that the silences in the mode of speech or conversations are not limited to those mentioned in literature. We should also consider instances of irrelevant answers to questions, and discreet silence in conversations. Therefore, the identified types of silence were pauses, silent answers to questions, non-proportion in conversations, irrelevant answers to questions, and discreet silence in speech. Excluding pauses as they lack communicative value, the other types of silence were examined and analyzed. These silences often belonging to Zari (the main character), play an important role in plot progression and characterization.
In the mode of text, instances of discreet silence and genre-based silence were examined. In the novel “Suvashun”, the whole story can be considered as a type of discreet silence, as the author, out of caution, uses myths and historical events to indirectly criticize the country's state of affairs at the time of writing the novel. Also, bearing in mind that genre-based silence is unmarked and only its violations can be determined, it should be noted that in this novel no instance of its violation was found.
In the mode of narrative, instances of narrator silence and the types of silence related to the point of view were examined. The narrator’s silences mainly involve providing insufficient information and silencing some characters by summarizing their conversations. The types of silence related to point of view also include cases of ideological silence, as well as silence related to phraseology and psychology of the characters. By providing insufficient information, the narrator adopts a limited omniscient point of view. Additionally, silence at the ideological level of point of view help to form the theme of the novel, and silence at the phraseological level of the point of view aims to avoid the challenges of representing a specific dialect in Persian abjad writing system (Shirazi dialect in this case). In addition, silence at the psychological level of the point of view has helped to create an unintrusive narrator.
The findings of the present research show that investigating silence as an active and impactful element in discourse cannot be limited to linguistic data; and it is necessary to examine all modes involved in the novel as a communicative act. Silence can be manifested in different modes and in each mode, it has its own functions and meanings. It is the concurrent function of these silences across different modes that, along with the function of other elements, form the overall meaning and the reader's experience of the literary work.