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The experience of time, like anything else in the world, can manifest itself in the text. Time is regarded as a structural element of the text. One characteristic of narrative is that time is considered as the main element of representation tool and the represented object. Therefore, time is described in the light of the chronological relationship between story and the representing text. By analyzing the time of the story and the time of the representing text, it can be concluded that in all the four plays of Naghmeh Samininarrative has two kinds of temporalities: the cyclic and the linear. The linear temporality gives a dramatic characteristic to the text, while the cyclic temporality gives an epic characteristic to the text. The cyclic temporality is always connected to a particular place and somehow reveals the feminine subjectivity governing the text. This study aims to show that when the linear temporality is dominant, the text is dramatic, and when the cyclic temporality is dominant, the text becomes narrative, while both temporalities exist in these four plays simultaneously.

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Comparative literature is a kind of interdisciplinary research study and it is a branch of history of literature which considers historical and literal relations between two or among several national literatures. This study comparatively considers the objectification of female characters in Suvashun written by Simin Daneshvar and a change of heart ( la modification) by Michel Butor.
The main character of Suvashun is Zari, which is a woman of family And this dependence makes her timid and obedient and takes the subjectivity away from her. From the beginning of the story she is in fluctuation between fear and bravery until the moment when her husband is assassinated and then she decided to be brave and remove her objectification.
In Change of heart, Cecile and Henriette are the two women who suffer from the imposed objectification in the mind of the main character mr Leon Delmon and until the end of the story this objectification lasts. Leon Delmon wants his wife as a lady who manages his house affairs and his beloved as a lady to promenade with her in Rome.
The results of the present study showed that female characters of these two novels  suffer from objectification. In change of heart there is no way for them to be free from objectification while in Suvashun there exist a possibility for the female character to be free from objectification and her subjectivity is developed at the end.
 
Key words: Suvashon, Daneshvar,change of heart,Butor,obectification, subjectivity

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  Although Bakhtin did not formulate any theory of subjectivity per se, the problem of subject or, as he called it, “self” formed one of his main critical interests. This study focuses on his definition of “dialogic self” and the different notions of subjectivity discussed in his books in the course of his twenty-five year career. For convenience, five stages are introduced through which Bakhtin has constituted his definition of subjectivity by taking a piecemeal approach to the issue. These stages are labeled as: ethical, aesthetic, novelistic, carnivalesque, and dialogic subject. Except for the carnivalesque stage, each of these stages is built on the modification of the previous stages about subjectivity. It was only in the carnivalesque subject that he discusses a new characteristic for the subject—a characteristic that was eventually omitted in his final paradigm. Two of the contemporary theories of “dialogic self” predicated on Bakhtin’s ideas are also briefly discussed in this study. One is Hermans’ theory of subject-space/subject-position, and the embodied dialogic subject, and the second is the later developments on Hermans’ theory of the dialogic self.

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The current study will be focused on the analysis of modern Persian conditionals based on a cognitive-pragmatic approach.
The study proceeds to answer three questions: 1) Can Sweetser's (1990) theoretical model elucidate the different cognitive and pragmatic dimensions of Persian conditionals? 2) What are the conventional readings of agar (‘if’, the common particle in Persian for the conditionals) in Farsi, and in which conditionals are they most present? And finally 3) Can we draw a relationship between subjectivity / intersubjectivity and conditionals?
The study assumed a pure and descriptive research whose data were largely derived from contemporary spoken Persian over a period of three months.
To answer the questions, the investigation is comprised of three parts.  The first part includes the analysis of triple classification of conditionals (e.g. content, epistemic, and speech act conditionals) in Persian sentences based on Sweetser's model (1990) and upholds the efficiency of this model to a great extent.
The second part deals with the ways in which 'agar' construes several readings in Persian conditionals and classifies them as necessary and sufficient condition, topic marker, and concessive readings.
Finally, the discussion focuses on the subjectivity and intersubjectivity aspects in relation to hypotheticality of conditionals and it argued that the hypotheticality of conditionals can be fairly explained in terms of subjectivity and intersubjectivity. Accordingly, we can propose the grammaticalisation of agar in Persian conditionals.
Moreover, this paper furthers the issue by looking at the ways in which conditional insubordinate clauses are triggered by cooptation (in Heine’s term); this happens by foregrounding the components of discourse situation, in particular, subjectivity and intersubjectivity. In fact, it can be asserted that subjectivity and intersubjectivity can account for the various conditional sentences applications in Farsi
 

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Language in esse has already stablished its possession of subjectivity of the bilingual speaker. As soon as contact between language in fieri and subjectivity commences, numerous problematics, such as translation and linguistic production, emerge. To start with, language in fieri is completely affected by language in esse. This paper attempts to address how, the resulting language interferences bring about the use of or impression by signifiers available in language in esse. This process enhances translation and reduces linguistic production in language in fieri. Therefore, we should figure out in which stage of the transformation of language in fieri does the user have a shared semantic representation and in which part does he/she have an independent semantic representation. In which part of this transformation would the translation and production process would take place.
 

 

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Despite the harmony and consistency in  Ferdowsi's Shahnameh's with Hegel's belief  in his aesthetic lessons about  the features of “proper epic”, he calls Shahnameh incommensurate and lacking an independent functional center. He knows the proper epic, the manifestation of the totality of the world of a nation, which is the result of the human manifestation of incomprehensible myths. Therefore, the original epic poetry, as the first stage of the self-consciousness of the absolute soul, can be regarded as absolute art, which, by creating a kind of collective consciousness in the historical community, has the highest degree of consistency between the subject and the object. The aesthetics of Ferdowsi's Shahnameh also focuses on the actual fulfillment of mythological content, namely: "the controversy of the opposing forces. In this paper, first, using Hegel's views on proper epic, we have answered his criticism about Shahnameh, and then, relying on the categories of "Hegelian philosophy", including: the family, the system of needs, and the country or goverment, in the category of social ethics, in a comparative analysis method, we will prove that Ferdowsi's Shahnameh, like some of the world's greatest epic, unlike Hegel's views, has the most prominent features of an  proper epic with the power to convey the common religious and moral understanding of the world, is a global and lasting art.
 

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Firms in many industries rely on knowledge generated outside of the firm as an input to their own research and development. The ability to exploit knowledge that exists outside the boundary of the firm is calld Absorptive Capacity. Cohen and Levinthal defined AC as ‘‘the ability of a firm to recognize the value of new and external knowledge, assimilate it, and apply it to commercial ends’’. They argued that AC is an organizational learning concept and the cumulative effect of continuous learning. However, this definition deals primarily with external knowledge. Implicit in the definition is the notion that firms are aware of internal information and have access to it. In some cases, organizations may not be aware or have access to their existing knowledge, especially tacit knowledge that can only be communicated by direct social interaction.Thus, a network of formal and informal communication linkages are necessary for the internal diffusion of new knowledge and technology. We employed a social theory of absorptive capacity and investigated its affect on innovaton and fliexibility in firm. On the other hand, we investigated the effect of intersubjectivity on absorptive capacity . To illustrate the links, the present study tested the hypothesis by structural equation, applied to a large sample (n=619). The results indicated a strong, positive and direct relation among intersubjectivity, absorptive capacity innovation and flexibility.

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Three types of meaning i.e., propositional, textual and interpersonal were acknowledged for language in the tradition of functional studies. In light of such appraoch, this study aims: 1) to describe different types of meanings of in (this) and ân (that) in Persian and, 2) to show that how basics of grammaticalization can be applied to provide a synchronic survey of the semantic variety of the aforementioned dectic expressions as discourse markers in Persian. On the basis of grammaticalization in terms of Traugott & Dasher (2002), this paper examines the different uses of these linguistic elements by looking at their propositional, textual and interpersonal meanings. The analysis indicates that in & ân are used exophorically, anaphorically and textually in their referential meaning and also used in the bridging contexts. Moreover, the investigation shows unlike ân, the semantic changes of in extends beyond the bridging contexts. So in (this) as a discourse marker, functions textually, subjectively and inter-ubjectively. Grammaticalization of the deictic expressions supports Traugott & Dasher's clines. However, indexicalizing speaker's spatial aspects, in & ân have impersonal subjective meaning. Therefore, Traugott & Dasher's semantic cline, should be modified in way of impersonal subjective > personal subjective > inter-subjective to describe the behavior of these linguistic elements in this respect. 

 

1.  Introduction

Although studying different uses and semantic development of deictic expressions in Persian seems to be perciptible at first, it isnot that much easy to convey the sheer complexity of the situation. This paper tries to study different pragmatic and semantic dimentions of these linguistic expressions on the basis of grammaticalization, which is essentially a diachronic concept. Using samples of in (this) and ân (that) in daily Persian conversations, this study aims: 1) to describe different types of their meanings and, 2) to show that how basics of grammaticalization can be applied to provide a synchronic survey of the semantic variety of the aforementioned dectic expressions as discourse markers in Persian.

2. Literature Review
Most studies pertaining to diectic expressions in (this) and ân (that) in different languages emphasizes their role in expressing speaker’s attitudes and feelings and also discourse management in addition to their propositional meaning (Perera & Strauss, 2015, p.36).
Persian researchers (Amid, 1963, Moeen, 1995, Sadri & Hakami, 2002, Moshkvar, 1971), adopting a traditional approach and insisting upon the concept of referentiality, commomly declared that in and ân are used to refer to near and distant respectively. However, what has been ignored in such studies was that they just paid attention to their referential meanings at sentence level and did not cover the discourse-pragmatic dimentions.

3. Methodology
The data of this study were obtained from fifteen hours of daily Persian conversations in a one-year period. From the mentioned corpus, 260 cases of using the deictic expressions in and ân were identified from different situations and in various constructions. To conduct this research, all 260 cases were first categorized into propositional, textual, and interpersonal meanings, following Halliday (1970, 1979), Trauggot (1982), and Brinton (1996).  Different uses of the deictic expressions were then classified based on the classification propopsed by Halliday and Hassan (1976), Lyons (1977), Fillmore (1982), Levinson (1983, 2004) and Diessel (1999) in terms of propositional meaning. After that, according to Heine (2002), items that simultaneously had a propositional meaning at the sentence level as well as discourse meanings (textual and interpersonal) were categorized into bridging contexts. Continuing to examine the types of meanings and uses of the expressions, the cases that functioned as a discourse marker were identified and were put in textual, personal and interpersonal categories based on the concepts presented. Lastly, their semantic variations were examined based on the views of Trauggot and Dasher (2002), analyzed from the perspective of synchronic grammaticalization and the proposed clines of these developments were presented.

4. Results
The analysis indicates that in & ân are used exphorically, anaphorically and textually in their referential meaning and also used in the bridging contexts to function for the retrieval of linguistic information, projection, feeling and emotion expression, avoidance of unpleasant concepts and referent identification. Moreover, the investigation shows unlike ân, the semantic changes of in extends beyond the bridging contexts. So in as a discourse marker, textually has a function in changing the topical trends and creating a pause to formulate the upcoming discourse. It is subjectively used to designate and emphasize the upcoming discourse and to create a contrast and inter-subjectively functions in speech acts such as requesting, asking and advising. Grammaticalization of the deictic expressions supports Traugott & Dasher's clines. However, indexicalizing speaker's spatial aspects, in & ân have impersonal subjective meaning involving the grammaticalization process. Therefore, Traugott & Dasher's semantic cline, should be modified in way of impersonal subjective > personal subjective > inter-subjective to describe the behavior of these linguistic elements in this respect. In sum, the current study used a descriptive-analytical methodology to describe the discourse-pragmatic aspects of in & ân and indicated that these linguistic elements have different types of uses which the notion of grammaticalization (e.g. Traugott and Dashar, 2002; and Brinton, 2008) provide a solid theoretical framework to describe and analyze these expressions as discourse markers in Persian. In sum, the current study used a descriptive-analytical methodology to describe the discourse-pragmatic aspects of in & ân and indicated that these linguistic elements have different types of uses which the notion of grammaticalization (e.g. Traugott and Dashar, 2002; and Brinton, 2008) provide a solid theoretical framework to describe and analyze these expressions as discourse markers in Persian.        
 

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Abstract
One of the tricks of children's stories to objectify abstract relationships is employing the metaphor of "color". On the one hand, the metaphor of "color change" in the three stories of "Red: The Story of a Candle" (Hall, 2015), "The Day the Crayons Quit" (Daywalt, 2013), and "Purple Pencil" (Ghazaleh Bigdelou, 2012)  refers to the "identity revolution" and on the other, the first two stories are American and the story of "Purple Pencil" is Iranian, so this article has selected the mentioned stories to compare the views of the two mentioned cultural discourses in terms of the meaning of "ideal identity". In this regard, it intends to answer three questions in a descriptive-analytical way, within the framework of Landowski semantic systems: How has ideal self been interpreted in each text, given that these three texts encourage the child to identify? How does each text invite the child to socialize? The hidden ideology in every text creates alienation and de-alienation, which institutions are related to subjectivity? From a cultural semiotic point of view, every text is a culture. The present study examines the paradigm of identification in children's stories. Since identity is a construct of discourse, it translates the ideology embedded in the identity-making discourse from the sphere of origin to the sphere of destination.
Introduction
J. Lotman designed the semio-sphere as the space of all the texts of a culture, being interconnected in such a sphere. Unlike constructivist semiotics, which considers culture to be a hypertextual element, cultural semiology considers culture to be an integral part of the text. According to Lotman, the semio-sphere is like a crystal in which each of the texts inside, as components, has the properties of the whole sphere. Therefore, by placing it within the semio-sphere, he did not only seek for the meaning of the text, but also attempts to reconstruct the semio-sphere.
Greimas divides semantic systems into two classic types: "programming" and "persuasion / manipulation". Landowski by passing over the dual system of Greimas believes in two semantic-interactive systems of "adjustment" and "accident".
Background
Landowski, in Reflective Society (1989) deals with the sign of social semantics and the role of the "other" in the formation of the meaning of "I", and in Khatari Interactions (2005), introduces his four systems. Moein, in Meaning as Lived Experience (2015), and The Lost Dimensions of Meaning in Classical Narrative Semiotics (2017), as well as in his articles, introduces Landowski to the Iranian semioticians. In Iran, semio-semantics research based on Landowski theory in the field of children's literature can be summarized in a study by Zanjanbar (2021).
Aims, significance, and questions
The theme of the three stories, The Day the Crayons Quit (Daywalt, 2013), Red: A Crayon’s Story (Hall, 2015) and Purple Pencil (Bigdellou, 2013) is “identity crisis”, and the main characters in all three are pencils. All three use the "color change" trick to portray the "identity revolution" of the protagonist. The first two stories are American and the story of "Purple Pencil" is Iranian. The aim of the present study is to compare the differences and similarities of the concept of "ideal self" in stories that have different cultural spheres. There is competition among Iranian publishers for the publication of books that receive international awards, regardless of the fact that the dominant discourses award these books due to ideological matters. The importance of this research is that it shows that although a skilled translator can change the language based on the target semio-sphere; but the theme of the story is the carrier of the ideology of the origin sphere.
The research questions are:
1. How has ideal self been interpreted in each text, given that these three texts encourage the child to identify?
2. How does each text invite the child to socialize?
3. The hidden ideology in every text creates alienation and de-alienation, which institutions related to subjectivity?
Research Methodology
The research method is analytical-descriptive and its approach is cultural semio-semantics. The theoretical foundations section introduces Landowski's four semantic systems and its related paradigms (subject, object, and modality verbs). In the analysis section, all three texts are read within the framework of Landowski semantic systems. Then, the signs (written signs and visual signs) that are the basis of the subject's identification are discovered in all three stories, and the signs of each text are compared with the signs of the other two texts, thus, the similarities and differences of the concept of ideal self should be discovered in these three texts, and the way of identifying the semio-sphere should be revealed in each of them.
Conclusion
Although all three works consider the flourishing identity to be dissident, hopeful and dynamic, they do not agree on all levels. According to "Purple Pencil" (Bigdellou, 2012), in Iranian and Eastern culture in general, the way out is based on the system of adaptation and the ideal self is based on the transcendence of the subject through pure love, family-centered, lasting relationships and life. This discourse severely undermines individuality, and strengthens marriage. It also ignores society by keeping silent. American culture recommends two types of dissent: one is for the inferior actor, and the other is for the superior actor. According to "Red: The Story of a Candle" (Hall, 2015), the dual subject is inferior, when it reaches a blossom that gives originality to self, not to its representation. This approach sees the way out, in the system of persuasion (self-persuasion), and believes in individualism, romantic incoherence, inviolability of privacy while cooperation, colloquialism and persuasion, temporary and not necessarily permanent relationships and coercion imposed by subjectivity. This discourse weakens the institutions of collective control (such as education, society, family, peer group), and empowers the individual. "The day the crayons stopped working" (Daywalt, 2013) sees the exit as an exploitation of the persuasion system. Hence, he considers the subordinate subject as an ideal when, as an actor within the system of persuasion, he considers the needs of the actors under his control. In other words, it has an identity such as politician, persuasive, flexible, community-oriented, free, expedient and creative. This discourse reinforces the institutions of social control (the pencil community, the education or teacher who gives a perfect grade, the police who dance), and in general, the discourse of power, but it knows flexibility.
 
 
References
Bigdlu. Q. (2013). Medād-e Banafsh. Tehran: E'lmi o Farhangi Publication. [in Persian].
Daywalt. D. (2016). Ruzi ke Medād Sh'amihā Dast az Kār Kashidand. Trans. Mahboubeh Najafkhani. Tehran: Z'Aferān Publication. [in Persian].
Hall. M. (2015). Red: A Crayon’s Story. New York: Greenwillow Books.
Landowski. E (1989). Reflective society (in French). Seuil.
Landowski. E (2005). Khatari interactions (in French). PULIM.
Moin, M. B. (2015). Meaning as lived experience (in Farsi). Sokhan.
Moin, M. B. (2017). The missing dimensions of meaning in classical narrative semiotics (in Farsi). Scientific and Cultural.
Zanjanbar, A.H. (2021). "Tatbiq-e Nezāmhā-ye Khandeh M'anāyi-e Adabiyāt-e Āmmeh va Adabiyāt-e Koudak az Manzare  Neshāneh-Ma'nā-Shenāsi-e Farhangi". Farhang o Adabiyāt-e Āmmeh. No. 36 (Vol. 8). Pp. 65- 97. [in Persian].
 
 

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Modernist literature decidedly experiments with such modes of discourse representation as free indirect discourse (FID) to highlight the subjective nature of reality and reflect the estrangement of the modern subject. Accordingly, an analysis of discourse representation has proved to be integral in exploring Modernist narratives. The discourse representation in movies, however, has received little attention from film narratologists. After an overview of discourse representation in literature and film, the present paper examines Virginia Woolf’s modernist masterpiece Mrs Dalloway (1925) and its cinematic adaptation of the same title by Marleen Gorris (1997) and its interconnectedness to present characters’ subjectivities. The basic claim of this study is that the (free) indirect discourses of the novel are turned into free direct discourse in the movie using the technique of internal sound or flashback. Although there are instances of internal focalisation in this movie, they are so disjointed or short that the dominant discourse remains that of the narrator. Therefore, the findings of the present essay demonstrate that Gorris’ film is not creative enough to bring about effects equal to or beyond those produced by Woolf’s or reproduce the underlying forces of “difference” at play in Woolf’s text.