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This study investigates the impact of translational contact on use of epistemic modality in Persian translations  and originals in the genre of education.  Our findings show that the frequency and distribution of epistemic markers (especially, hedges) in the English texts is considerably higher than those of the Persian translations and originals. However, this has changed in the period of some sixty years, and Persian texts have become noticeably similar to English texts. Upon investigation of the ways translators rendered the epistemic uses of English modal auxiliaries (e.g., may, must, etc.) we found that translators in the 2006–2015 time farme have omitted fewer epitemic modals and translated fewer of them into Persian modals of higher confidence than translators in 1957–1968 time frame. These findings suggest that as the translational contact between English and Persian prolonged translated and original Persian texts have relatively converged towards the communicative preferences of English and have become more addressee-oriented. In fact, the addresee orientation of has first leaked into Persian translations and then has found its way into Persian originals. Weakening of cultural filtering  in Persian translations has facilitated this process.
 

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In translation studies, meaning is at the center of translation practice. Since Systemic Functional Linguistics considers language as a meaning making resource, it is arguedthat such an approach could serve as a helpful tool for translator. In Systemic Functional Linguistics (SFL), any text encodes three kinds of meanings or meta-functions. Traditionally, translators and evaluators of translations have mostly focused on one aspect of meaning, i.e., the ideational, in particular experiential. Using a descriptive-analytic method within the SFL, this study is aimed to investigate the way in which the interpersonal meaning of the dialogues between God and the Devil is exchanged in four Suras of Araf, Hijr, Isra and Saad and its role in Quran’s translation. The results show that, taking into consideration the constitutive components of clause as exchange and awareness of interpersonal meta-functional analysis, the translator of Quran will have an appropriate and concrete model in hand for investigating the way of exchanging meaning and will be able to evaluate the quality of his translation. However, regarding the specific characteristics of Quran language, the network unity of verses, the existence of Wujuh and multiple semantic layers of Qur'an and hence the infinitude of Quran, generally this approach would not be adequately helpful in the field of commentary of Quran.

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Paul Simpson is one of the researchers who have worked in the field of stylistics and critical linguistics. One of the topics which he has studied systematically is the “point of view.” In his opinion, point of view is related to the degree of narrator’s interference in the act of narration. It has three dimensions: (1) spatial; (2) temporal; and (3) psychological. The writer or narrator unites these items through modality. Furthermore, focusing on modality, Simpson introduces his narrative model which includes nine different points of view. In this model, he incorporates Genet’s discussion on four points of view and also the model of Uspensky and Fowler. Simpson believes that by studying the three spatial, temporal, and psychological dimensions of the point of view, we can reach at its ideological dimension.

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Among the linguistic tools that can assist researcher in investigating the relationship between the speaker and the audience, are the linguistic "modalities" which are manifested usually in the form of affective speech acts. Some kinds of texts in which are manifested more colorful the speaker’s mentalities, feelings and values, imply the affective acts; also in Masnavi  that benefits from  the literary diversities, this feature allows the speaker to use language as a social reality and on the way to create communication with the audience, the diversity of linguistic modalities is undeniable.
Due to the linguistic characteristics of mysticism, studying those linguistic modals that reflect the ontological and epistemological aspects of text is important. This article aims to show how the speaker by the use of modals known as logical modals, can successfully form his ideas and states into words and by this way informs the audience on his intellectual and value system. For this purpose, this article refers to the provided classifications of the various linguistic modals; hence first it explains the relationship between the modal semi-auxiliary verbs and the epistemological system governing the text and then analyzes the text in accordance with these tools.
 

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This research aims at analyzing the narrator type and the modality governing his point of view in the short story "Frankness and Decisiveness" (1349) by Bahram Sadeghi". We have used Simpson's model (1993) in which narrative and point of view are studied utilizing a linguistic framework. The goal of this paper is to determine the type of narrator (first, second or third person) and modality of the story (positive, negative, neutral). We have assumed that the narrator is third person and modality is neutral. The data are analyzed according to categories and analytic instruments introduced by the theory; Therefore, the method of this research is descriptive-analytic. Modality in linguistics concerns the writer's view on the truth of a proposition stated in a sentence. Findings of this study show that the narrator is type B (third person) who willingly enters the characters' mind and reports their intentions and thoughts to the reader. Analyzing the modal devices in every sentence shows that the narrator uses verbs and adverbs of request, sentences stating opinions, generic sentences, imperative verbs and evaluative adjectives and adverbs all of which denote positive modality. To show the procedure which ends in a misunderstanding and also for evaluating the situation, the writer makes use of negative modality devices through which the most important elements are cognitive verbs.

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Modality is a grammatical feature which plays a crucial role in determining the ultimate interpretation of propositions. Different languages make use of different linguistic elements like mood, modal auxiliaries, modal verbs, modal adjectives and adverbs for encoding the concept of modality. Despite of its importance in the overall structure of any language, little attention has been paid to the study of modality in Iranian Languages. The present paper focuses on the analysis of the modal auxiliaries in Hawrami. After taking a short look at the concept of modality and getting familiar with the Palmer's (1999, 2001) basic classification of modal systems, these three modals are introduced:"mašjo/mašjā: must", "biey:become", "tāwāy: can". It is argued that among the other modals, only "mašjo" is used to denote the degree of "necessity" in both "epistemic" and "deontic" modal systems. "biey" and "tāwāy", on the other hand, exhibit the concept of "possibility" in "epistemic" and "deontic" systems. Moreover, "biey" and "tāwāy" encode different types of dynamic modality. Although "biey" can also be used to indicate "necessity" in deontic system as well, it imposes less severe obligations on the agent compared to the deontic "mašjo". It is also shown that "mašjā" is the only modal verb which can convey the "deontic" reading in the past tense constructions. None of the aforementioned modal auxiliaries encode evidentiality in Hawrami. Key Words: modal auxiliaries, epistemic modality, deontic modality, dynamic modality, Hawrami.

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In the framework of stylistic discourse analysis, literature is a container to express ideas and concepts which are not only relevant to their creator, but also they are in connection with the context in which the text is produced. Yet, literature is the product of discourse where it is developed and all factors like environment, context, cultural issues and dominant ideology of the period in which the specific text is generated affect the growth and visibility of it. In Persian literature, Khorasani style is the product of discourse that its dominant face is full of philosophical thoughts and particularly rationality. This period is influenced by rational thoughts and intellectuality and NaserKhosro's poems, as one of well- known and effective poets and one of the most noticeable representatives of 5^th century literature, is regarded as a dominant sample of this conceptual indicators. Notable point in his poems is the influence of philosophical and religious thoughts, so that a large part of his odes court was devoted to this subject matter. In stylistic layered analysis of this poet's odes, dominant and cultural discourse of Khorasani period in which frequency of philosophical and logical subjects are notable shows specific style of the poet. In this study, based on stylistic layer analysis, in order to specify appearance of dominant- intellectual and cultural discourse of the period in the light of lexical and syntactic style, two layers of vocabulary and syntax of a number of his odes' court are analyzed.
 

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This paper examines the interaction between the visual and the verbal modes, that is, the multimodality of transferring the meaning in Persian visual poetry in terms of cognitive base of different types of integrations which occur in the brain after different sensory channels transferring the visual and verbal data. Although contemporary poetry is multimodal, the visual poetry is considered a type of poetry that has both the verbal and the visual as the dominant, mixed modes that tend to construct the poetic meaning. Different arrangement of words and images, which has a neurological ground, requires different kinds of cognitive processing and will therefore induce different feelings, impressions, and connotations. Consequently, the general meaning of a multimodal text goes beyond that of the combination of the two modes.
Drawing on cognitive semiotics, this paper demonstrates how the multimodal poem is conceptualized through embodied experience. Furthermore, it shows how various types of visual/verbal synthetization in a poetry text are differed by a number of distinctive features. Moreover, it is shown how the meaning-making process and the resulting affection become possible in each type of visual poetry. Through modifying Aarhus’s model (2005, 2012), itself based on Fauconnier and Turner’s conceptual blending theory, this research puts forward twelve different types of interaction between the verbal and visual modes, which, in this paper, are mentioned just the three super basic classified categories due to the limitation of the journal’s space. In fact, the three super categories are:
It is about the general relations among the two or more modes or media. In this kind of relation, each mode/medium comprises separable and individually coherent texts in different mode/media to improve the meaning space at the end.  It is divided into two sub-groups, which are Mode-adjacency and Multimodality.
It is a kind of transformations from one medium to another. An inter-medial text could be divided into Duplicating and Iconicity (Image iconicity, Relational diagram iconicity and Structural diagram iconicity). Duplicating could not presents an indissoluble connection of diverse modes as a fusion of different modal processes, while in the second one (Iconicity), the verbal and visual modes are fused together to represent the similarity or adjacency. The Duplicating could also be based on similarity or contiguity as well, that is the whole or a part of the text could be duplicated due to similarity of the verbal mode to visual mode or the contiguity of both together.
The third and the last type of relation between verbal and visual modes is mix-modal text, which is the combination of modes in a way that the complex signs in different modes would not be coherent or self-sufficient outside of that context. It is divided into four groups which are called in this research Counter-iconicity (Counter iconicity of mis-matching and Paradox-counter iconicity), Mode-situational inclusion, Mode-overlapping and complementary relation. Cognitively, these three basic types are processed respectively as following: bottom-up, top-down and integrated processing. Furthermore, these types are based on the structure of human brain and the functions of neurological cells, to study multimodal, especially visual poetry. Since both brain and literature contain similar patterns, it is inferred that each type of verbal-visual interaction that is constructed through a particular cognitive process will necessarily form specific emotions and impressions.
 
 

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One of the important issues in the field of media is the impact of ideological issues on the translation of this type of texts. The Current paper seeks to examine this type of influential effects and discourse affecting the translation process and changes in target language. Therefore, based on Julian House’s translation quality evaluation pattern which is characterized by high accuracy to highlight the function of ideological issues on the text, a news text was selected from Aljazeera media network and its translation was evaluated in Fars News agency. The results showed that the translator of the above mentioned news text has been strongly affected by media policies and discourse ruling on the target language and in this way, he had to apply some changes in the original text. In the studied case, the same process has been observed and translator of Fars news agency has translated the Aljazeera news in a way acceptable to his own media discourse and had no attention to the original text and its main role.
 

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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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Animations, one of the virtues of digital world, subjectively demonstrates anthropomorphic representations of fantasy worlds in which human and non-human identities are constantly being revalued. In this milieu, animators are heirs to aesthetic resources functioning a mediating force to re-conceptualize and reorganize the world’s spatial coordinates. This paper probes the nature of creeping ideologies about consumerism, globalized world and denigrated non-American local cultures propagated in popular, animated Hollywood film Fantastic Mr. Fox through a multimodal analysis. Multimodality, an interdisciplinary approach to the study of contemporary communication and representation, justifiably claims that there are intricate processes of meaning-making achieved not only through language but also through a variety of modes, including image, gaze, gesture, movement, music, speech and sound–effect, that simultaneously and in various degrees contribute to the gestation of semiotic landscape. Applying a multimodal approach, we try to answer these questions: In what ways is multimodality a repertoire for scaffolding cultural identity? How can multimodal representations help immerse interpreters in the life-worlds of fictional characters? What is the best way to study processes of remediation as they bear on issues of multimodality? The significance of current study is emphasized by the formation of an increasingly intimate association between children, consumer culture, and lucre-oriented media in the USA, as well as the increasingly dire information emerging about disparaged local traditions. This analysis grossly represents the dual, alienating and often conflicting messages that commercial film provides for its young audiences about promised American utopia and their vociferously alleged panacea for the audiences’ desperate situation.
 

 
 

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This article aims to study the modal elements equal to bɑjæd in Persian, meaning ‘must, should, and have to’ in some West Iranian languages, including Balochi, Gerashi, Gilaki, Hawrami, Kahangi, Kurdish, Lori, Persian, Semnani, Tati and Vafsi. It also presents the semantic map of these expressions beside a categorization of these languages based on a modal element. The investigations have indicated that some of these languages (Balochi, Bamposht dialect and Hawrami, Hawraman Takht dialect) use adverbial modals to express these notions, while as least in one case (i.e. Kahangi), there are two distinctive auxiliaries which signify ‘must, have to, and should’. Moreover, classification of these languages, according to a semantic feature, ends in a continuum on which languages are laid next to each other, where some of them are closer to some languages and further from the others; this is against the traditional categorizations which are mostly based on morpho-syntactic features, in which a language is whether a member of a group or not. Moreover, all the targeted elements, (expect one of the modals in Kahangi, i.e. ɢɑde) besides deontic (necessity and possibility) and epistemic modality (possibility type), express participant-inherent need, participant-imposed necessity and situational necessity, as types of dynamic modality.
           
1. Introduction
In the languages of the world, words (mostly auxiliaries) meaning ‘must' are primarily used to convey deontic modality. Modality is usually defined as those semantic modifications that the speaker uses to talk about his thoughts and beliefs about a state of affairs or SoA (Nuyts 2005, Butler 2013). In Iranian languages bajad (and its equivalents) meaning ‘MUST’, is the main language element to indicate necessity and possibility.
This paper studies 11 Iranian languages choosing from Rezaei Baghbidi's classification (2009): Balochi (Bamposht), Gerashi, Gilaki (shaft), Hawrami (Hawraman takht), Lori (Balagariveh), Kahangi, Kurdish (Sorani), Persian, Semnani, Tati (Takistan), and Vafsi. It discovers the modal elements meaning ‘MUST' and specifies their modal domain. The article seeks to provide a semantic map, following Van der Auwera and Plungian (1998), using one modal notion, i.e. ‘MUST'. Ultimately, based on this semantic feature, it presents a language categorization to verify how this categorization varies with current classifications which have syntactic considerations.
 
2. Literature Review
Among many studies on modality, Akhlaghi (2007), Taleghani (2008), and Rezai (2009) study modality in Persian. Following Palmer (2001) they conclude that modal auxiliary bajæd expresses deontic, dynamic and epistemic modality.
In case of other Iranian languages, Moradi (2012) studies modality in Sorani Kurdish from a semantic and syntactic perspective and Naghzguye Kohan and Naghshbandi (2016) investigate modality in Pavehi dialect of Hawrami.
 
3. Methodology
This study applies a questionnaire including 200 situations and 82 sentences to collect the data. The questionnaire was conducted in the interviews and the informants were asked to use modal elements to complete the situations and translate the 82 sentences in their own languages. The data has been transcribed in IPA, checked with the speakers, glossed with Leipzig glossing rules, and analyzed.
 
4. Results
Our study shows that the expressions meaning 'MUST' in the languages of our concern, convey those domain of modality which following Nuyts (2005, 2006, and 2016) can be summarized as in Figure 1. This figure is the semantic map suggested by Van der Auwera and Plungian (1998). Their terminology has been converted to Nuyts:
 
Figure 1: Semantic map of ‘MUST’ in Modern West Iranian Languages


The article is also an effort to categorize these languages based on a semantic feature, namely modality. Applying the typological notions of continuum and number, we may not be able to present a clear-cut category, but we can provide a continuum in which some languages are closer to the others comparing with the rests. Figure 2 is the result of such a try:
 

 
5. Discussion
The first issue to discuss here is to discover the modal elements which are used to express those semantic notions meaning 'MUST'. Our investigation shows these elements are mainly auxiliaries; however, in two of languages of our concern, i.e. Hawrami and Balochi, these are the adverbs which indicate necessity and possibility. These elements are as follows: pejke (Balochi), bɑæd (Gerashi), va/vas(t)i (Gilaki), pʃo (Hawrami), ɢɑde and be-ɡu/be-ɡɑ (Kahangi), æʃe/æʃjɑɛ (Kurdish), boæd/mije/mijɑst (Lori), bɑjæd (Persian), mɛ-ɡi/mɛ-ɡijɑ (Semnani), mo-ɡo/mo-ɡosti (Tati), ær-ɡo/ær-ɡoɑ (Vafsi).
To illustrate the type of modality these elements express, we apply Nuyts' (2005, 2006, and 2016) classification in the category of modality. In this sense, these modal expressions are used to talk about a) absolute moral necessity and desirability (as subcategories of deontic), b) epistemic probability, c) participant-inherent, participant-imposed, and situational (as subcategories of dynamic modality). In Kahangi, two modal auxiliaries meaning 'MUST', these roles are divided between these elements, and they don’t get close to each other's realm.
 
 
6. Conclusion
Our study shows categorizing languages based on a semantic feature does not provide us with an absolute boarder. Rather, we can judge the languages in a continuum that shows how closer or further each language is to the other members. Hither, Hawrami and Balochi, applying modal adverbs, are closer to each other comparing to Kahangi with two auxiliaries for the same purpose.
 
Acknowledgments
We would like to thank all the informants who kindly and patiently participated in numerous interviews in the process of data collection. We appreciate their concern and love for their mother languages

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Research Question(s):
Our main question and problem is how SDPS (Fontanille, (2003 [2006])) can provide ʻpart ofʼ a comprehensive theoretical framework for conceptualizing coaching and its development as an academic discipline and subdiscipline.
Before considering the literature review, we briefly refer to coaching and its interface with SDPS in the point of view of this research. Coaching which is defined and applied in various ways (Brock, 2008, pp. 13-15; Bachkirova, 2017; Abravanel, 2018, p. 1), is addressed under different titles and concepts based on different objectives, functions, theoretical frameworks and approaches. Some of which we refer to: a discipline (Brock, 2014, p. 3; Bachkirova, 2017, p. 23), an applied discipline (Cox et al., 2014), a discursive event or discourse (Graf, 2019). ), change (Graf, 2019; Deplazes et al., 2018; Whitworth et al., 2007, p. 1; Folscher-Kingwill & Terblanche, 2019), an industry (Graf, 2019; Fillery-Travis & Collins, 2017), a professional practice (Fillery-Travis & Collins, 2016), communication (Graf, 2019; Brock, 2008), a process (Graf, 2019; Brock, 2008; Deplazes et al., 2018), a conversation (Deplazes et al., 2018; Jautz, 2018), raising awareness (Brock, 2014, p. 1), and so forth. Brock argues that “Coaching emerged from an intersection of people, disciplines and socioeconomic factors” (Brock, 2014, p. 134). She introduces two tap roots for coaching: philosophy and social sciences (Brock, 2014, p. 8). Considering the diversity of coaching in terms of different aspects, we can mention linguistic, ontological, semantic, integrated, narrative, cognitive, clean language, existential, core energy, neuro-linguistic programming, academic, developmental, emotional intelligence, etc. About semiotics, on the other hand, Martin and Ringham quote Grimas as saying that “... [semiotic theory] tries to unravel the meaning hidden below the surface in an attempt to find sense in life” (Martin & Ringham, 2000, p. vii). According to them, semiotics “... is concerned with the theory and analysis of the production of meaning ...” (Martin & Ringham, 2000, p. 116). “... The Paris School is concerned primarily with the relationship between signs and with the manner in which they produce meaning within a given text or discourse” … “Semiotic practice can thus become a tool of personal empowerment and an expression of social commitment, leading not only to a deconstruction but also to a reinvention of the fundamental values underlying our societies” (Martin & Ringham, 2006, p. 2). Therefore, at the general level, there are many commonalities between semiotics and coaching (its types), some of which are: 1) in quest of meaning (Martin & Ringham, 2000, p. Vii; Cox et al., 2014), 2) related to social process or social life (Brock, 2008; Shoukry & Cox, 2018; Martin & Ringham, 2006, p. 2; Eco, 1973, p. 71 as cited in Chandler, 2017, p. 276), 3) related to man, or humanism, or anthropology (Martin & Ringham, 2006, p. 2; Graf, 2019, p. 2; Brock, 2014, p. 6), 4) to explore change (Graf & Dionne, 2021 ; Deplazes et al., 2018; Jautz, 2018; Grzegorczyk, 2015; Fontanille, (2003 [2006, p. 103]), 5) related to human empowerment and growth (Martin & Ringham, 2006, p. 2; Graf , 2019, p. 2; Bachkirova, 2011), 6) still developing (Graf & Wastian, 2014; Brock, 2008, p. 493; Martin & Ringham, 2006, p. 4), 7) an open and dynamic process (Brock, 2008, p. 493; Bostic, 2006, p. Xvii), 8) transdisciplinary domains (Seif, 2017; Trifonas, 2015, p. 1; Graf & Ukowitz, 2020; Graf & Dionne, 2021), 9) an applied field (Cox e t al., 2014; Beardsworth & Auxier, 2017, p. 807), 10) problem solving tools and/or methods (Kaartinen & Latomaa, 2011; Grzegorczyk, 2015), and the like. Moreover, at the specific level of the present research, there are many commonalities between Fontanille (2003 [2006]) in SDPS, and coaching. Some of which are: narrative (Fontanille, (2003 [2006, p. 107]); Drake, 2017), discourse (Fontanille, (2003 [2006, p. 1]); Western, 2017; Graf, 2019), action and/or act (Fontanille, (2003 [2006, p. 45]); Graf, 2019, p. 3), body and/or embodiment (Fontanille, (2003 [2006, p. 56]); Jackson, 2017 ; ICF, 2020), language (Fontanille, (2003 [2006, p. 56]); Graf, 2019, p. 2; Folscher-Kingwill & Terblanche, 2019; Grzegorczyk, 2015; ICF, 2020), mood and/or modality (Fontanille, (2003 [2006, p. 113]); ICF, 2020; Sieler, 2014), Phenomenology (Fontanille, (2003 [2006, p. 120]); Folscher-Kingwill & Terblanche, 2019), presence ( Fontanille, (2003 [2006, p. 14]); Abravanel, 2018; ICF, 2020), feeling, and/or affect, and/or emotion (Graf, 2019, p. 2; Sieler, 2014; Fontanille, (2003 [2006, p. 124]; ICF, 2020), Rhetoric (Fontanille, (200 3 [2006, p. 198]); Van Leeuwen, 2017), dialectic (Fontanille, (2003 [2006, p. 198]); Brock, 2014, p. 28), Speech Acts (Fontanille, (2003 [2006, p. 65]); Sieler, 2014; Grzegorczyk , 2015; Caccia, 1996), point of view and/or perspective (Fontanille, (2003 [2006, pp. 84 & 156]); ICF, 2020), energy shift (Fontanille, (2003 [2006, p. 41]) ; ICF, 2020; Schneider, 2007, p. 15), values (Fontanille, (2003 [2006, p. 41]); ICF, 2020), beliefs (Fontanille, (2003 [2006, pp. 92 & 118]) ; ICF, 2020), perception (Fontanille, (2003 [2006, p. 8]); ICF, 2020), and others.

2. 1. SDPS and coaching
2. 2. Linguistics and coaching
In Figure 1 we can observe linguistics-coaching interface as derived from Brock (Brock, 2014, Figure 3, p. 11):
 
Figure 1
Timeline of root discipline emergence and relationships, derived from
 (Brock, 2014, Figure 3, p. 11)
 
 
To read more about semantic coaching, linguistic coaching, linguistic ontology, ontological coaching and philosophy look at these sources: Brock (2008, p. 71; Winograd & Flores, 1986, p. 174; Sieler, 2014; Dunham, 2009; Caccia, 1996). Linguistics, language, and coaching interface could be found in LOCCS (The Linguistics of Coaching, Consulting & Supervision) as well as these works: Graf, 2011, 2012, 2015, 2019; Graf & Wastian, 2014; Sator & Graf, 2014, pp. 91-122; Graf et al., 2020; Graf & Spranz-Fogasy, 2018; Behn-Taran, 2014; Grzegorczyk, 2015; Deplazes et al., 2018; Jautz, 2018; Folscher Kingwill & Terblanche, 2019; Angouri & Marra, 2011

2. 3. Pragmatism, semiotics and coaching
Bachkirova & Borrington’s study (Bachkirova & Borrington, 2019) on pragmatism and coaching can be related to the present study in terms of some commonalities one of which is Charles Sanders Peirce who is both a semiotician and pragmatist. Moreover, Fontanille in SDPS has applied some of Peirce’s ideas. This research does not discuss the interplay among pragmatism, semiotics and coaching here.

2. 3. Others
It is obvious that semiotics interacts with other areas like leadership, ethnography, teaching, organizations, sports, advertising, management, and so forth which were not included in this study. For example, it can be referred to Trevisani who has pointed to leadership and coaching in the title of his Linkedin: https://www.linkedin.com/pulse/semiotics-deeper-leadership-training-coaching-new-trevisani/.


Figure 2
Semiotic Coaching Model based on the interaction between Khodnavardi, & the mentioned modal verbs in this study
 
    
To some extent, the circular shape of this model can be consistent with the field of presence, the field of discourse, and the field of enunciation proposed by Fontaille. This model has some features some of which were observed in this study such as: open, flexible, fluid, cyclic, intertwined, networked, selective, eclectic, generative, presence-based, and so forth. There are other aspects like embodiment, tension, emotion, affection, aesthetics, creativity, and the like that are related to this model but were not put in this research. In this model, the interplay among modal verbs is fluid, continuous, and conducted in any direction and any way. Also, the relationship among modal verbs is in the form of dashed line to present not only non-absoluteness and gradation, but also the state of breakdown, disjunction and conjunction of discourse at any moment. Additionally, the interaction among the components of the model is recursive/reciprocal, because the order in which verbs emerge, and the type of actor in terms of modal identity, can be differently constructed for each actor in each part of the transformational, ongoing, and becoming process of coaching. In this model, ʻKhodnavardiʼ exists at every moment and phase in the process of change, transformation, and development.  In accordance with the above, the present study suggests ʻSemiotic Coachingʼ. It is the hope of this research to further enrich the basics of ʻSemiotic Coachingʼ in Iran. And as mentioned, in the future process, different fields, sciences, institutions, practitioners, skills, and many more will be intertwined in this transmodern settings that we will enter into transdisciplinary studies: some kind of localization, entrepreneurship, and job creation. In terms of a linguistic approach, many studies can be arranged for this research, both based on the interaction of linguistics with semiotics, and also according to the types of linguistics and its subdisciplines. Moreover, in terms of SDPS, at the macro level, the approach of this research is in some aspects consistent with Bachkirova & Borrington (2019), and on the other hand compatible with some dimensions of Lureau (2009 & 2014) whose case, according to the author of the present study, may overlap to some extent with edusemiotics and educational linguistics. However, the present study did not put and explain the details here. It goes without saying that this inquiry was just a brief report on the beginning of its research trajectory that did not address the very broad aspects and components existing at the macro and micro level in the beginning of transdisciplinary researches.

Notes

1.  In terms of the publication of the original source of the theoretical framework of this study, we should refer to Bostic, the translator of Fontanille’s book, who says:

The Semiotics of Discourse was initially published in 1998; the present translation is based upon the revised and updated edition, which appeared in 2003. While it remains close to the original, the revised edition is enriched in a number of ways. (Bostic, 2006, p. xi)

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This paper attempts to explain the relationship between the imperative paradigm and the system of tense, aspect, and modality in Kurdish. This study employs the theoretical framework proposed by Aikhenvald and Dixon (2017). Additionally, the data were collected by interviewing Kurdish informants. The results indicate that the imperative paradigm in Kurdish is based on three imperative constructions, and four imperative strategies are also used to convey directive meanings. The results also show that the imperative constructions have different syntactic behaviors in different temporal zones of the tense system. The imperative constructions mainly combine with verbs that have a positive dynamic aspectual feature; however, these constructions transform these verbs during the process of coercion and highlight only the preparatory phases of the verbs. Consequently, these constructions combine easily with ingressive verbal operators because they represent only the preparatory phases of the actions. However, the imperative constructions do not combine with imperfective operators as they highlight the middle phases of the events. Furthermore, the imperative constructions do not host perfective aspectual operators due to semantic incongruity between them. Finally, the results show that the imperative constructions and strategies lack a rich eventual semantic layer and appear mainly as expressive speech acts.

1. Introduction
The tripartite system of tense, aspect, and mood constructs the composite eventual and modal structure of a sentence. However, this composite system manifests differently in various sentential types such as declarative, interrogative, and imperative. Although the interaction of these three subsystems has been extensively studied in declarative sentences, they have not been adequately explored in imperative constructions. Given the highly particular and idiosyncratic syntactic and semantic behavior of imperatives, it is crucial to study these subsystems and their interactions within imperative sentences. This paper aims to examine these subsystems and their interactions within the imperative paradigm, employing the theoretical framework proposed by Aikhenvald and Dixon (2017). Thus, it studies tense, aspect, and modality in canonical and non-canonical imperative constructions in Kurdish.

2. Literature Review
Imperative constructions have not been extensively investigated in Iranian languages in general, and Kurdish in particular. Most traditional grammatical sources in Kurdish adopt a prescriptive approach, primarily focusing on declarative and interrogative constructions and largely ignoring imperatives (IKSA 1976, 1985; Nabaz 1976; Mahvi 2011). No research to date has investigated tense, aspect, and modality in imperative constructions. However, Veisi Hasar (2021) studied imperative constructions in Kurdish, identifying two imperative constructions and four imperative strategies. Yet, he does not explore aspect, modality, and tense within these structures.

3. Methodology
The theoretical approach used in this study is based on the work of Aikhenvald and Dixon (2017) and the typological approach of Van der Auwera et al. (2005). Aikhenvald and Dixon (2017) categorize imperative constructions into canonical and non-canonical types. The canonical construction refers to the imperative for the second person singular subject. According to them, any structure derived from and matching the canonical construction can be considered an imperative construction. However, a non-canonical imperative, whose primary function is to express a directive function but structurally differs from the canonical construction, should be in complementary distribution with the canonical ones. If a directive structure is not structurally related to the canonical construction and is not in complementary distribution with it, it is not an imperative construction but an imperative strategy. In addition, based on the typological framework presented by Van der Auwera et al. (2005), we explain the imperative paradigm in Kurdish. This model illustrates different imperative paradigms as follows: 
- a. The language has a maximal system, but not a minimal one.
- b. The language has a minimal system, but not a maximal one.
- c. The language has both a maximal and a minimal system.
- d. The language has neither a maximal nor a minimal system.

4. Findings
By analyzing the data, it is revealed that the Kurdish language has three imperative constructions and four imperative strategies. The second person singular imperative is formed by a special inflectional ending, an omitted subject, and a subjunctive mood indicated by the prefix -bǝ. The second person plural imperative uses a deleted subject and the prefix -bǝ, but lacks a special verbal ending. Imperative constructions for other person-number categories (first, third, singular, and plural) use a specific imperative operator bā and the prefix -bǝ. These three constructions form the imperative paradigm in Kurdish. Additionally, four strategies are used to express commands and directive meanings, which are not syntactically imperative. These constructions are based on the verbs heŝtәn (let), řoʔin (going), and hātәn (come), each possessing distinct grammatical attributes and used in various contexts.
Regarding the interaction between imperatives and tense, imperative constructions are mainly bound to the present tense and do not appear in other tenses. Interestingly, even the imperative strategies are primarily limited to the present tense and do not convey commands in other tenses. Only the second person singular imperative can appear in the future tense, in contrast to other categories, and takes a different inflectional ending.
Imperative constructions predominantly combine verbs that have a dynamic aspectual feature. However, through coercion, they highlight only the preparatory phase of these verbs. Static verbs within this construct are marked. Dynamic verbs in an imperative structure undergo coercion, and only their preparatory phases are highlighted in the imperative construct. Regarding grammatical aspects, imperative verbs do not combine with imperfective (progressive) verbs, as they do not profile the middle phases indicated by the progressive operators. Instead, they combine with ingressive operators, as both highlight the preparatory phases of the verbs. Additionally, imperative constructions do not combine perfective verbs due to semantic incompatibility. The perfective operator refers to a bounded process, while imperative constructs do not profile the ending limitation of the verbs.
 

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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.