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In semiotics, the denotative relationship is established between the three aspects of the sign, the object, and the interpretation of the same sign, and symbolic processes find endless meanings and this relationship classifies the symbolic, indexical and iconic species. Proverbs are taken from the context of a linguistic community that form multiple meanings and show gender construction. with semiotic studies, the significations of the opposition between man and woman in proverbs can be investigated. In this article, the concept of gender in proverbs of Tati language is investigated with Peirce's semiotic model in order to evaluate and analyze the reflection of their linguistic elements in all kinds of signs. Based on the result, Tati proverbs are mostly in the form of symbolic signs. The highest frequency is objectification and then otherness. The symbolic contrast between male and female gender and the discourse order and hierarchical position of this concept in the form of ideas of superiority/inferiority, value/worthless, human/animal, authoritarianism/weakening, center/periphery, self/other, norm/abnormal, friend/ Enemy and Dominant/Dominant have been classified and conceptualized. This opposition represents the idea of the otherness of the female gender and the superiority of the male gender over it as a dominant discourse. Based on this, the gender structure of this concept can be shaped in relation to the language type of Tat tribes of Northern Khorasan.

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The present study aims to investigate the distribution of meaning in the narrative space of Abu Torab Khosravi's novel "Rood Ravi" drawing on the views of Yuri Lotman (1922-1993), a prominent semiotician and founder of the Tartu-Moscow School of Semiotics. Lotman posits that active sign systems within specific social and geographical contexts derive their significative power from their interaction with a large body of signs present in the collective memory of the people of that context. In his book “Universe of the Mind” (Lotman, 1990), he refers to this conglomeration of signs as the "semiosphere," which he characterizes by features such as boundary, heterogeneity, and centrality. According to Lotman, significative density within the semiosphere is not uniform, and the density of meaning increases as one moves from peripheral regions to the center with cultural meta-structures charging more elements with meanings in the central regions. The study adopts a descriptive-analytical approach to investigate how temporal-spatial elements and character actions acquire meaning in the narrative space as the story progresses towards the center of Dar al-Miftah. The findings suggest that cultural meta-structures load more elements with signification in the central regions, resulting in a higher concentration of meanings in these areas.

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The capacity of Qur'anic stories, which are texts full of meanings, always provides the ground for using various methods and approaches of studying and analyzing the text, so that the intertwined and overlapping layers of the text are opened and the process of making meaning becomes clearer for the audience. The present article is based on the model of the "semiotics square", one of the models of Grimas, the founder of the Paris School of Semiotics, which analyzes the mechanism of meaning construction in the text production process. The "semiotics" box teaches us the methodical reading of a text. Using this model, this article intends to analyze the textual structures of the duality of "honor and humiliation" in the Qur'anic story of Yusuf (AS) and explain the process of formation of their meanings in the Qur'anic discourse of this story. The conclusion of this research for the expansion of the semiotic square is that based on this model, it is possible to continuously move poles and categories in a text; This means that in the process of discourse, although in the dual analysis of "humiliation and dignity" we encounter eight forms at the level of content, but contrary to the usual that at the level of expression, the corresponding formulations can be several people or several things .In the story of Yusuf (AS), the corresponding formulation is one person, namely Yusuf the Prophet (AS

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Due to ethnic, religious and cultural diversity, Zahedan has a heterogeneous and diverse population. The diversity of religions and denominations from the formation of this city until the Islamic Revolution has never been a matter of dispute and peaceful coexistence between different religious groups has been established in this city. After the victory of the Islamic Revolution and the continuation and emergence of Shiism as the official religion of the country, the Baluch people, due to differences in religion, became less integrated with the central government than the Sistani's and became more and more isolated in identity. The objective manifestation of these gaps can be seen in the most symbolic religious element of the city, namely the Makki Mosque. The hidden signs in this mosque as an arena to show the ethnic-religious hegemonic power of the Sunni Baluchi's, with unusual dimensions and heights and unfamiliar forms and decorations, have dominated their surrounding context and produced special semantic rules. In the face of such a situation, the narrator of the Makki Mosque has experienced signs of apathy because the signs used in this mosque have acted in disconnection with the previous meanings of the Baluch mosques and have become an unfamiliar text for the narrator. Finally, the Makki Mosque has provided an opportunity to represent concepts and issues that can take us deeper into the Baluch cultural layers and provide a relatively deep understanding of the people's situation in contemporary society. 

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Landowski, the social semiotician, focuses on the subject of discourse and discourse,and thus introduces the concepts of presence,perception, and emotion in semiotics.The fact that enunciation is more important than enunciation provides the basis for phenomenological semiotics.The important problem of the authors of this research is that since in "adaptation"system,we see unity between subjects and "other" or that aspect of "otherness"is not only a passive object but also plays the role of a subject with dynamic interaction.It explores how the semantic process takes shape,and whether it can be argued that the relationship between the subjects is consistent with Landowski's theory of "adaptation."According to the research problem,the authors hypothesize that the perception of meaning is different according to the specific interactions between subjects in social contexts,so the perception of meaning cannot be separate from the context and field of rhetoric,but it is a function of the interaction between subjects in different discourse contexts.The present study has examined the signs of meanings in the ode "Layali al-Manfa"by Mohi-al-Din Fares.The findings indicate that the semantic system governing the discourse of the ode's "negative night"is of the adaptation system.In fact,the interactive and adaptive relationship of the sign system in this poem is such that the meanings of exile,civil war,occupiers are not predetermined and one-sided,but these meanings can be obtained only if the issue of simultaneous presence and interaction of the subject and another to be raised.At the same time,enunciator has used the Apollonian and Dionysian systems, respectively,to make the phenomenon of colonialism and nostalgia unfavorable.
 

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The simile formation process is based on the combined function of the two paradigms of selection and combination; Selection of phenomena and their combination, which is done with the purpose of conceptualization and Meaning production. Each of the simile components in both axes of selection and combination act as a network in the meaningful communication; Therefore, the communication of the simile components creates a special semantic system. In this system, each of the components is considered as a sign and plays a certain semantic role. The issue of this research is to investigate the symbolic system of simile and explain the process of signification of its components. The aim is to determine how a discourse system emerges in the form of analogy and the process of producing meaning in it. For this purpose, it is shown in the analytical-explanatory method how the poet, in the role of the subject, interacts with the “simulated” as an object in a special situation, and the result of this interaction is the mental perception that is determined by the “simulated to”. The result of the research shows that simile has a symbolic system and this system is associated with discursive, phenomenological-perceptual aspects and dynamic flow of meaning.
 

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The purpose of the semiotics of discourse approach is to communicate between semantic layers and differentiating units of the linguistic, social and intertdiscursive conext at the macro level in order to achieve meaning with the help of cognitive tools of text and discourse. This research interprets and explains how to produce, understand and receive meaning in the context of discourse systems in "Wuthering Heights" within the framework of the semiotics of discourse approach. Discourse systems include two categories, either they are based on Speech-Action and Movement-Action (Behavior) which create cognitive discourse systems or they are based on Sense-Action­ which are the generators of emotional discourse systems. In this research, the representation of Speech-Action, Movement-Action (Behavior) and Sense-Action­ and their feedback in the participants within the text and discourse of the novel has been discussed. Discourse analysis in the text and situational context of the novel based on the semiotics of discourse approach of Greimas is rooted in cognitive perspectives, because Speech-Action and Movement-Action build the infrastructure and a platform for the motivation of Sense-Action­ in the audience of the discursive context. Heathcliff and Catherine are two main characters of the novel who depict the Sense-Action­ of love along with the behavior and Speech-Action of revenge in the textual and intertextual semantic layers. Heathcliff gains the necessary mental, physical and financial competences and performs the action by going through the first stage of Sense-Action­

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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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The sign-semantics approach, which brings together structuralist semiotics and narrative discourse analysis, addresses sensory and perceptual factors in the process of meaning production. This  approach has evolved out of a series of developments in semiotics in the twentieth century such as Peirce’s philosophical semiotics, Saussure’s linguistic semiotics, Greimas’ discursive semiotics, and phenomenology. It provides a precise framework from which to analyze the process of meaning production. According, it can be used to analyze scriptures, particularly the holy Quran. In current Quranic studies, unlike the past, a holistic approach which considers this holy book as a coherent and integrated whole wherein there is an organic connection between verses and chapters is utilized by scholars. This study, drawing on pot-Greimasian sign-semantics semiotics (tensive model) as practiced in Iran by Hamidreza Shairi, analyzes the process of meaning production in Shams Surah. The study finds that the process of meaning production                                                                       is based on “intensite” and “extensite” patterns.
 

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Metaverse is a space that includes the real world and virtual worlds in which people use a digital and virtual representation called an avatar to be present. Metaverse is considered as the major media of commercial advertising in the future and it will play a fundamental role in terms of audience attraction and society awareness. By adopting semiotics approach, this research analyzes the preparation of the subject and the formation of the avatar in Metaverse commercials. Ten commercial advertisements of prominent brands are chosen as statistical sample, and the virtual world of Hyundai brand on Roblox is examined as the case study because of its diverse activities. Descriptive-analytical method is carried out relying on participatory observation, in a way that the researcher experiences the field, and seeks to answer two questions: 1) What kind of discourse is applied to Subject and Object interactions? 2) What is the procedure of conversion of real body to ideal body? Results show that Subject of Metaverse should be considered as a Being-actor who continuously finds itself in a lack of meaning due to Becoming-centered situation and is called to action and achieves meaning as a result of the action. Besides, the avatar could be considered as Ideal-otherness while the dialogue between physical and virtual body is possible through the third body, which is the Imaginary body, which is the main base of sensory-perceptual receptions and leads the actions of the subject.

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Discursive semiotics is an innovative approach to text analysis that uncovers complex layers of meaning by examining the relationships between signs, discourse, and context. This approach, in addition to analyzing the structure of the text, emphasizes semantic interactions and the role of linguistic and non-linguistic elements in meaning production. The Quran, with its rich semantic content and linguistic complexity, provides a suitable framework for applying this approach, enabling a deeper understanding of its discursive and semantic dimensions.
This study analyzes verse 259 of Surah Al-Baqarah from the perspective of discursive semiotics, aiming to explore representations of concepts such as collapse, divine re-creation, wonder, and faith. The central question of this research is: How can a multi-layered and dynamic narrative of human interaction with divine power in verse 259 be revealed through discursive and semiotic dimensions? This investigation seeks to provide an experience that, beyond its apparent meaning, offers a deeper and more sensory connection for the audience.
The research method is qualitative-analytical, based on the discursive semiotics approach. In this method, the verse is deconstructed into various semantic layers, and the relationships between these layers are analyzed in the process of meaning production and their impact on the audience.
The results demonstrate that this verse, through the combination of discursive and semantic layers, creates a foundation for uncovering hidden meanings and establishing a deeper connection with the audience.
 

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Julien Greimas, a French man with Lithuanian descent, has a great knowledge on semantics and narratives. Greimas, who is one of the highlighted European thinkers on the grounds of “Componential analysis” of semantics, has tried to present a coherent and systematic pattern for the study of narration and story. This article is based on the semiotics analysis of “Mahi seyah kochoolo” (Little black fish) story and it tries to review the semiotics phase of this discourse according to Greimas model of study. In this article, we examine the semiotics process of “Mahi seyah kochoolo” story in order to find a right answer to this question: “What are the main elements, which make meaning in the aforesaid story?” In other words, “What are the elements of meaning production in this story?” The aim of this article is to review the narrative features of this story in order to make clear that how a story will pass from itself to break the narrative restriction and cause narrative diversit.

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The present study is the analysis of the drama “Death of a Salesman” and its interlingual and intersemiotic translations into Persian. The drama has been interlingually translated into Persian and it became the basis for an intersemiotic translation, a tele-theatre. For this reason, the researcher compared the Persian translation with the English text and the tele-theatre to the Persian text to define and analyze the translation of significant ideological concepts in both translations. Then, using critical semiotics theory and extending it to translation criticism, the researcher criticized the tele-theatre from a critical semiotics viewpoint to identify which types of signs have been changed in the tele-theatre and how. Therefore, changes of ideologically significant concepts were analyzed and criticized. The results showed that there were no changes in ideologically significant concepts of the Persian text. But, in the tele-theatre, almost all of these concepts were omitted or completely transformed. In fact, the tele-theatre contains so many censorships in a way that, in some parts, it has lost its cohesion and sometimes even its meanings. In fact, the translator/director has tried to do his best to change the text according to the viewpoints of dominant culture of receiving society. Moreover, maintaining and adding their accepted ideological concepts and omitting or transforming their unaccepted ones, he has tried to represent their values and ideological positions to the receivers. As a result, he has created a text, which lacks cohesion in comparison to the original text and infers meanings, which are sometimes completely opposite to those of the original text.

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Since arts normally have human sources, they are originally alike and have different forms. Therefore methods of representation in one media, with a little formal change, could be used for the other one. In this research after defining pun as a rhetoric device, its visual equivalents have been dealt with in the world of pictures and particularly in animation. Pun has been defined as: two words are same in form or pronunciation, and different in meaning. Pun is normally used in rhetoric for decoration and make the speech humorous. But in modern semiotic theories, it has been considered as: two similar signifiers with different signified. In this case one can consider two homogeneous visual signs which indicate two different meanings as a visual pun. For instance a picture of a man’s face and a picture of the moon both of which are round. By replacing word and picture we can define visual forms in animation field. In this paper we will offer methodized analysis from visual plays, which might be found heuristically in the artists works.

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Structural semioticians believe that bilateral contrasts are signifying elements which shape a text’s concealed structure; while their analysis makes the interpretation and paraphrase of meaning a possible task. Binary elements, which according to linguistics, psychology, and structural anthropology are factors of cognition and comprehension, have found a variety of different expressions and manifestations in cultural texts; whether they are in written form within literary works or have appeared in the visual and auditory arts. A survey of the variety of bilateral contrasting elements that the author has used, in addition to the manner in which they are processed, show the stylistics of the work; just as the semiotic study of binary elements in the depiction and portrayal of Rumi’s poetry show that: 1) All the objective and subjective bilateral contrasts which somehow instil ascension or descent are utilized for expressing materialistic and spiritual affairs and phenomena. 2) All the bilateral contrasts are finally united in a specific point and their contradicting identity is resolved. 3) Negation of contradictory identity from bilateral contrasts occurs through rhetorical and declarative devices which once categorized, guides us towards semiotic description of Rumi’s poetry in Massnavi and Shams Poetry Book (known in Persian as “Divane Shams”)

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Regarding the discursive or semiotic approach, unlike the structural studies which consider the linguistic products as external and independent objects toward theirs producers, very semiotic items influence the obscurant process of linguistic productions. The most important, meanwhile, is the discursive presence that its dynamism leads us to a discursive pointing and helps us to extent our relationships, and so the interaction between compatible and incompatible powers. Now the question is this: what helping us to transmit from a systemic relationship between the signifier and the signified to a processional? It seems that the cause arises of a substitution of a processional system instead of the fixed relationships of the signifier and the signified. But someone may ask: what traits cause that the lingual plans change the borders of meaning, and produce a semiotic process? Our purpose in this article, besides answering that question, is studying the conditions which lead us from a structural semiotics that the predetermined meanings are very important for it, to a processional semiotics which for that the meaning is a tributary to the dialogue and conflict between the plans of language. Key words: semiotics, discourse, lingual plans, process, meaning

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Semiology and study of meaning and its effects on users is one of the new approaches that recently have become very popular in urban studies. It can be used as a useful and efficient tool for producing qualitative data out of the city and daily life of citizens and assist urban designers in identifying signs and concepts they represent. In this paper, Nazi Abad Neighborhood in Tehran is explored as a case study in terms of existence of signs, the effects of environmental meanings on different groups of residents and environmental legibility. The objective of this research is to review Lynch’s cognitive mapping approach critically and to study the effects of meanings embedded in urban elements and signs on creation of people’s environmental cognitive maps and legible environments. This is conducted by using surveys, cognitive maps, fieldwork interviews and photo-analysis method in the neighborhood. The findings, parallel to some other critics of Lynch’s studies, confirm that his five elements are mostly used for faster environmental perception and legibility, not clarity, and operate as functional features and cognitive maps vary depending on age, gender and socio-cultural characteristics of urban dwellers. People, based on their experience, culture, past history, ideology etc. perceive different meanings of the environment and can have specific interpretation of their neighborhoods according to their reading of environmental signs. Analyzing Cognitive maps of Naziabad residents and other aspects such as meaningful elements, symbolic buildings, memories and daily experiences revealed that these features, besides affecting cognitive maps, can work as a language via which residents can connect themselves to their environment. This confirms Peponis ideas who believed that there is a difference between people’s perception of and urban form based on their experience, memory, culture and everyday meanings and its verbal description. He believes that people usually use significant visual elements of an environment and not their reading or personal meaningful elements for way-finding or giving address to others. Therefore, urban designers can make environmental design and transformations with regards to elements that are meaningful in private and public life of people and provide an opportunity to create place attachment.

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Both intertextuality and intermediality are discursive phenomena that impact the semiotics by defamiliarization or interaction of the media and the text. Intertextuality function since its appearance could be seen only in the literature and its contrast was only with multi-media novel. In various arts, especially in the cinema, theatre and cyberspace, it seems that they could not achieve to prove the transdiscursive technical and media situation – particularly in the criticism area – until intermediality is discussed. The intermediality shows interaction of various characteristics between different mass media next to each other keeping all characteristics of its signs. It has then a transposition by which the primitive characteristics are suspended and differentiated. The most important aspect of this media conflux is to establish a material and a form of expression next to another material and form. The purpose of this research – besides studying intermediality discourse – is to consider its function in the semiotics and arts as well. That is why having the intertextuality reread, the borders between text and media and, finally, the effects produced by interaction of the media are regarded to gain a proper theory about intermediality.

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Abstract: A comparative study of the application of symbol in Safavi and Iranian contemporary architecture The human kind was always accompanied by some tendency to use symbols, signs and codes. We’ve seen the most ancient of them in works of the primary human which are mostly in the form of graffiti due to technical reasons and in modern society there are few foundations which can be found with no trace of symbols and signs, since symbols and signs don’t require any other foundation than innovative mind of their creator. However, signs, as a kind of communication, need a dynamic society which is the other side of this communication, to communicate. The amount of applying these symbols and signs in different places and their vastness and variety are of the instances which always increase complication of discovering their true meaning. This mistaken recognition was always the challenge to this communication. In response to two questions of _ what are signs and symbols and where is the place for applying them in architecture? And what is the difference between using symbols and signs in Safavi and contemporary periods? _ this essay attempts to do a comparative study on the works of these two architectural periods of Iran by pointing out kinds of signs and presenting a classification of places in works of architecture where symbols and signs were applied. Therefore, a discussion about different kinds of signs, where they are applied in architecture and a case study were embarked on by using a combination of different studying methods of interpretive-historical and logical reasoning. In the end we study the differences and similarities and application process of symbols and signs in area of architecture. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * *