مقالات رزومه دکتر بابک معین

Written body in the East is the symbolic function of engraved images on the body of the subject. The ritual presence of three points engraved with a mystical function on the subject's hand as a non-modality contract represents the seal that existence puts on the subject's body. In the tension-emotional process, the subject's body in a state of impulse has become physical, which is the center of energy production. The subject is in a state of transcendence in crossing himself to reach the meaning aura of love. In this atmosphere of discourse ecstasy; The referential and objective body has become invisible, and the mystical points in Shushi's time make an indeterminate system visible on the body of the subject. Shushgar's subject is tied to the soul of the universe in the separation and escape from the cognitive state due to the mutation of design and experiences Bush from the inside. due to discourse transformation; The written body of the phenomenon is adapted to the body of existence, and the subject redefines the existence of his presence by descending and connecting to the multifaceted space of love in the moment of sparkle. In order to get out of its lack of meaning, the subject surrenders its determination without resisting existence. Everything moves in harmony like a symphony. The results of the research show that the subject of Shushi is connected with the existence of the presence of love at the deep level of discourse construction.

Studying the meaning based on discontinuity and adjustment in discourse Semiotics regimes a case study of Architect Mahyar Puzzle drama by Reza Ghasemi AbstractThe elements of the discourse are generally convergent with their existence universe in adjustable regime; if this regime is not adjustable (discontinuity), it behaves divergently with its existence universe. Therefore, the current research tries to deal with the formation of adjustment and discontinuity regime based on discourse semiotics in Puzzle of Architect Mahyar drama by Reza Ghasemi. Hence, eight samples were selected from the whole body and analyzed in a descriptive analytical way. The results obtained in this research indicate that, first, identity is formed in relation to body orientation; Secondly, an identity collapses when it faces the separation of the physical and material body from the phenomenal body. This itself creates insecurity in the discourse and finally, it causes the occurrence of discontinuity in the conditions of challenge, and it is precisely in this state that the frozen and fixed situation breaks down and semantic transformation occurs.Key words: discourse ,discourse discontinuity, adjustment, challenge, identity collapse.

Authorization is a process in narration that according which the narrator constructs her/ his own legitimation and narration using the discursive articulations. The authors’ aim in this paper is to investigate the linguistic processes of development, maintenance and fixation of authorization which the female and male narrators use in the narrations. Hence, they provided a deconstructive reading of the authorization by Van Leeuwen (2007) based on Laclau and Mouffe (2001) and Derrida (1983). Then, in order to identify the linguistic tools of development, maintenance and fixation processes of the personal authority, they went through the “Se-Ketab” by Pirzad and “Solok” by Dolatabadi and purposefully examined those parts. Finally, it was found that Pirzad and Dolatabadi try to legitimize their own dimensions by using their selves and others’ positions, creating discursive nodes, and crystallizing around them. At the same time, they try to delegitimize by rejecting the meanings of the signs from others’ narratives. Also, on a larger scale, it was revealed that the two narrators’ self-representation was different; Pirzad constituted the discursive “We” and Dolatabadi an omniscient narrator. Neither of these two narrators could escape the paradox.

All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic element of the form in works of art represents the most important features of sign systems. The structure of this element is compatible with Pierce's triple sign structure, namely representation, interpretation, and subject, and the process of forming the sensory experience of form, which is combined with interpretive notions in artwork, can also be formulated by Peirce's concept of abduction. Comparing aesthetic form with linguistic structures, the common expressive features as the double articulation and the information base can be seen as two sign systems shared by both language and art.Form in the artwork has textual and perceptual codes, and can also be analyzed within the framework of Jacques Fontaine's tensive process, an analytical model of the processes of the creation of meaning in the form of modern semiotics. Thus, the four patterns of the tensive process are also visible in the process of aesthetic perception. Analyzing these patterns in sacred architecture, minimal art, gallery art architecture, and the application of music in cinema, we examined the conformity of these patterns. By analyzing all the above-mentioned features presented in the text, it can be concluded that the aesthetic element of the form in works of art is also a type of sign system and can be well analyzed by classical and modern semiotic research methods. It should be pointed out that this research is an analytic-descriptive study.All works of art include the common element of form as one of the most important aesthetic elements. At the same time, all forms and types of art have a variety of expressive forms that convey their semantic content through the media and sensory channels to the audience. In this sense, the aesthetic element of the form in works of art represents the most important features of sign systems. The structure of this element is compatible with Pierce's triple sign structure, namely representation, interpretation, and subject, and the process of forming the sensory experience of form, which is combined with interpretive notions in artwork, can also be formulated by Peirce's concept of abduction. Comparing aesthetic form with linguistic structures, the common expressive features as the double articulation and the information base can be seen as two sign systems shared by both language and art. Form in the artwork has textual and perceptual codes, and can also be analyzed within the framework of Jacques Fontaine's tensive process, an analytical model of the processes of the creation of meaning in the form of modern semiotics.

Based by Saussure, it is known that the meaning has a differential and privative aspect . Also this fact applies about the subject and his identity, it means that for having a distinct identity the subject needs an (other) who is different of himself.Based on this fundamental debate Eric Landowski, the french social semiotician, offers the model that studies the contact of the groups: the «dominated other» and the «dominant reference», he calls these behaviors and contacts the «lifestyle». In this way he defines four lifestyles of bear, snob, dandy and chameleon.This paper describes and analysis scrupulously the two final models and tries to analyze the system of taste and desire of Marcel, the main character and the narrator of Marcel Proust's masterpiece (In the search of the lost time) and shows the way that this character passes from the lifestyle of «mundane man», to the «bear» lifestyle (jungle man) and his passage to the lifestyle of the «genius man».

Considering the analysis of phenomenological discourse from the semiotic perspective, the tattoo semiotic system focuses on linguistic reproduction. Discourse reveals some aspects of sensory perception to the subject. Proper body is a path to the sensory perception of the lost dimensions of meaning and the lived experience of phenomena. The purpose of this study is to investigate the process of sensory perception of phenomenological tattoo in the framework of semiotics of discourse. Throughout the research process and with the development of Merleau-Ponty and Landowski theory, the authors  study the written tattoo with the semiotic approach of  Paris school of semiotics by dealing with the process of discovering, producing and receiving meaning. In the present study, the findings showed that  the phenomenological tattoo leads the semiotic system of language towards the discovery of the lived experience of presence and reveals the hidden layers of meaning and conceal the obvious meanings. This is a feature of meta-discourse that manifests itself within discourse in order to achieve power and immortality, and leads to transcendence of  semiotic system of discourse.

The systemic perspective does not only apply to living organisms, but also a wide range of cultural systems such as language and social behavior in human communities. A vast volume of interdisciplinary researches was carried out in the field of social sciences and cultural studies with the purpose of using the behavioral patterns of the living systems in order to study the development patterns of the cultural elements. These studies indicated that the complex systems share similar patterns and behaviors at the macro-level. With regard to these researches, the present qualitative study with systemic perspective, analyzes the similarities and differences between the reproduction patterns at a biological level and the reproduction and publication of meaning/information elements at the cultural level. Afterward, the results were generalized to the sign system - concentrating the artistic signs and symbols- in both semantic and morphological dimensions. The present study revealed that the properties of two reproduction strategies in nature, i.e. r-selection and k-selection, could be generalized, at the macro-level, to the reproduction of artistic signs and symbols at a cultural level, despite the obvious differences in the details. Taking into account these similarities in reproduction patterns, with an interdisciplinary perspective and different from other popular analyses, could lead to a different understanding of the reasons for some developments in the amount of reproduction and development of sign systems in various communities.

In the specialized discussions of semiotics of the Parisian school, two Greimas are commonly spoken: the first Greimas, who has a rigid vision of structuralism, and reveals himself as a structuralist semantics, and the second Greimas, who tends to see phenomenology. And the book imperfection of meaning is the crystallization of this vision. We believe that the basis of Garmas's narrative thought is based on the logic of logocentrism, which is itself based on the concept of economics or centralism, that is, the rotation of value issues in the hands of subjects in a closed system. In this system, the ontological connection of the subject and value issues is reduced to the level of interaction based on "ownership". Gradually, Greimas treats the subject not only as a "pure concept of grammar," but also as an ontological subject, a subject that engages with the world itself and communicates with it instead of with distance and transcendence. In this paper, while proving that Greimas’s narrative thinking is based on the logic of econometric-based logistics, we will focus on how Greimas believes in the "transcendental and proprietary " relation of Descartes' subject with the world in the heat of a phenomenological relation, based on the "being-in-the-world" of the subject.

Eric Landowski distinguishes two different and possible forms in searching for joy and happiness based on two different forms of taste and desire: ‘the longing to enjoy from’ and ‘the longing to be enjoyed from’. In regard to ‘the longing to be enjoyed from’ which is the main topic of discussion here, he proposes two different takes of ‘enjoy’.The first take defines subject’s sense of enjoyment built on a one-way relationship of possessing the other person or worldly element. The second one describes the sense of joy based on a reciprocal interaction between the subject and the world which Landowski calls ‘to like’.He also poses two different interactions on subject’s association to the world, which one is attached to the idea of ‘use’ and the other to ‘praxis’.The present paper tries to describe and explain Landowski’s train of thought on taste and desire system and analyze the key concepts of the field as well as proving that in Proust’s significant novel, In Search of Lost Time, the interaction between Marcel and Swann and the beloved is based on possessive desire and is founded on idea of ‘using’. On the other hand, their interactions with the worldly elements are grounded on affectionate intentions established by the praxis with the world, meaning the elements are not considered as objects but subjects or semi-subjects.

One of the difficulties for the addressee who encounters theosophical texts is the inability to comprehend the experiences gained by the theosophist. Regardless of language and scientific understanding of linguistic signs, it is impossible to discover how to make sense of the phenomenal world in theosophical discourse. In line with Heidegger who considers language the house of being, the truth of theosophy is also manifested in language; but for some reasons like the inability of language to express experiences, obstacles in the way of understanding the truth and theosophical experiences, the difficult topic and the extraordinarily of theosophist’s experiences, etc. theosophical language seems difficult and complicated to find. Especially in theosophical discourse, the theosophist/subject as an agent and narrator of theosophy encounters different objects. On the one hand there is the sensory phenomenal world and his sensual experience and on the other hand, we see his mental-theosophical experience which is the interansferable and immediate part of his experience. In this research and in the framework of phenomenological, linguistic and philosophical insights of Eric Landowski the authors have tried to decipher the process of signification of the phenomenal world in two attitudinal systems called Pantheism and Intuitionism in theosophical discourse. Ontologically speaking, the theosophist/subject portrays his relation to the world/text from two viewpoints which are existential and intuitional in nature. As a subject, he makes sense of the phenomenal world in new ways and consequently he will have a different process of birth and semiotic acquisition in front of himself. In this research it has been tried to apply some considerable principles and phenomenological basics in mystical discourse and the relationship between subject and object and subject to the text of the world. Concepts such as Perception, the sensitive, Lived experience, interaction of subject and object, Presence, mental perception  and the way we look at phenomena, co-presence, the importance of motivation and Social requirements, etc., have paved the way to the study and analysis of the meaning and perception of the mystical discourse. This approach gives us the opportunity to focus on the subject and the object and the relationship between them. The present study provides a context for better understanding of meaning and phenomena. Based on discursive and phenomenological perspective, the present study attempts to examine the mystic-subject semiotic approach to the text of the world of phenomena in the field of theoretical mysticism. Therefore, the combination of mysticism discourse in this article refers to theoretical mysticism and mystical foundations based on ontology. The main objective of this paper is Rereading of how to produce meaning in two intuitive and existential approaches and in the language of mysticism, which have been done in the theoretical framework of Eric Landowski. This approach answers the following questions in this research:How does the mystic look at the world of phenomena shape the subject view? - How is it possible to establish a relationship between the meaning in the discourse of mysticism with the mystic thoughts and perceptions of mystical experience? - How the presence of subject and two-way interaction cause to create meaning in mysticism?  The type of mystic view answers these questions; since the alterity and the object in the world of phenomena are determined by a reference point, and in the discourse of mysticism, this reference point is the mystic presence and narrator of mysticism who plays the role of an independent and dynamic subject.This semiotic process is undoubtedly based on the ontological view of the subject about the category of existence and its multiplicity in two mystical attitudes; that is, the view of intuitive unity and existential unity. The first factor in the difference between the processes of giving meaning to the text-world in these two mystical systems is the mystic-subject point of view, which creates two completely different way of the Scheduled and unity. The difference in the type of meaning of the text-world between the intuitive and existential mystic has continued to make difference between all the mystical beliefs such as having an instrumental view to phenomena or interaction with them, the concept of annihilation and the concept of theoretical and practical mystical education.

The relation between human being and the world, has become the center of attention since the appearance of the Romanticism movement in 19th century. By the second half of the 20th century, the science of geography developed and the human aspect of the geographical space was studied more. Maurice Merleau-Ponty, the phenomenological philosopher of 20th century, believes that the relation between man and its environment is based on his sensitive experience which inspires poetical ideas. In his point of view the human body can be considered as the common point between the consciousness of the author and the world around him. He also thinks of the physical aspect of the language, as the exceptional style of the writer. In fact the language incarnates the idea of the author’s viewpoint and indicates his relation with the world. Michel Collot, inspired by Merleau-Ponty, propounds the concept of “landscape” in the literature. He claims that the description of a landscape depends on the spiritual attitude of the writer as well as on his physical situation. He declares that the language and the style of the writer are highly influenced by the emotions he receives from the world around him. The man who is situated in a landscape, is related to the world by all his senses with whole body. Here in, we study the confluence of human body and the world within the novels of Julien Gracq, the 20th century French writer. His descriptions of landscape represent the human aspect of the space. With the help of figures of speech such as personification and metaphor, he tries to find the relation between human being and the world. In this paper, the main problem is how the interaction between the human being and the world around him is manifested in the novels of Julien Gracq. Indeed by the help of literary devices he tries to connect the human roots to the earth; this relation is based on the sensitive experience of the artist in the world and represents the triangular unity of me (the artiste), the world and the words which is mentioned by Michel Collot inspired himself by the phenomenology of Merleau-Ponty.

We can consider two sets of views on the world: first the one from the the classical structural semiotics which considers the world as a “text” or as a “narrative discourse” and second the view which is based on the lived experience. These two sets of views on the world have each a specific design regime. In the first case we can say that we consider the world as page of a book on which we can find the hidden meanings, therefor to understand the world means to discover these hidden signs. On the contrary, based on the second regime we do not read the world anymore, but we feel it. In this article besides explaining about these two processes of meaning production and their relationship with the regimes of meanings suggested by Eric Landowski, we analyze the behavior of some main characters of the novels and in their interactions with their surrounding and the world.

We have not exaggerated, if we claim that all the poetry of Rene Char is a challenge to the French poetry between the contradictory category of "openness" and "dependence." In fact, in his poetry, we always witness the exuberant desire of the subject to go, escape, and change permanently, and on the other hand, the tendency to return to the starting point where the departure had begun. The return is not for permanent stay, but for the subject to take advantage of this initial location as a launch pad, and the launch pad is nothing but an energy source for the subject which looks for openness to discover different possibilities only through relying on the source of energy of the initial locations. The subject of Char never tones to the deceptive charm of closed places where he can repose, but on the contrary, he sees himself continuously ready for permanent vivification. In other words, he would prefer the hazard of departure to indolence. So far, many studies have been done on poems and philosophical themes of Char, and critics have often criticized, studied and analyzed his works. Raychar explores the main themes of the Char's poetry and the dominance of his poetic language. In some part of this work, he analyzes Rambo's poetry in depth. By reading this section, the poet's influence on Char is clear. Char who has also been influenced by the Heraclite ideas, prefers the "permanent movement," "becoming," and "openness" to "the stagnation of rational and rational transparency." Char like Heraclite confirms the existence of a world in which everything, and even the world itself, is always in the midst of change. Therefore, every thought is rejected by the positivist certainty that is based on rational transparency. Char in Marto collection of poetry, quotes from Heraclite: "It should be remembered who forgets where the road ends" (cité par René Char, 1934: 11). This sentence emphasizes the denial of determination the proof that defines all the data beforehand. It can be argued that for Char what is essential is guaranteeing your presence at the moment, a moment that is full of anxiety and risk. The anxiety that comes from going to the unknown discovery that lies ahead of the subject. In fact, for Heraclite, like Char, "escaping from scientific certainty and giving up to the necessary and possible affair, while accepting the risk, is guaranteed to be present at the moment" (Fortier, 1996: 65). Char believes that in order to be present at the moment, we need an eternal death in the moment. In other words, the human being who is constantly witnessing his death at the moment and constantly living death is the living human being, because he is ready to accept new experiences at any moment. The main purpose of this paper is to answer the question that, basically, in the Char’s poetry which poetic images portray these two opposite tendencies, namely, the desire for departure and openness and return to consoling and supporting initiating places in a metaphorical manner.

According to the four semiotic regimes proposed by Eric Landowski, the social semiotician of post Gremassian tradition, four different space regimes entitled space, "network", "texture", "spinning" and "the abyss", can be distinguished one from the other. In fact, the basis of these spatial regimes goes back to semiotic and interactive systems. The semiotic system of "programmation" or operation in the world, whose basis is "order" is the basis of the texture- spatial system.The semiotic manipulation system based on intentionality is the basis of the network spatial regime. The rotating or spiral- spatial system is defined by the semiotic regime called "abyss" based on the perceptual-sensory state and, finally, the spatial regime which relies on the semiotic regime of accident based on luck. The main purpose of this article is to introduce each of these spatial regimes and to discuss the formation of each of them. The current research tries to investigate the basics and infrastructure of each of these spatial regimes proposed by Eric Landowski's semiotic and interactive regimes

As Saussure says, the meaning of the unites is not in the meaning itself, but the meaning is essentially an aspect of differentiation. In this perspective, all values are attributed to the “relationship”, not to individual units or separately of words what happens accordingly for a subject (“I” or “we") and its identity: the subject defines itself by the “difference", and in order to achieve the specified identity, it needs to other one. So Landowski suggests a general pattern that consists of four different strategies about the relationship between "I" as dominant and "other"as dominated. This pattern originates from semiotics square of Greimas. These strategies include assimilation, exclusion, segregation and identity acceptance. The main objective of this paper is to show that this pattern can be used in translation’s domain that is a challenging atmosphere of contact between our language and other foreign language. But the main question is that how Landowski identity pattern can be used basically for a new reading of the translation strategies.

L’image de la sémiotique française s’est figée, à partir des années 1960, comme celle d’une discipline formelle travaillant exclusivement sur des artefacts séparés de la vie et de la réalité de l’expérience vécue. En effet, la sémiotique classique narrative coupant le texte de la réalité du monde vécu, donne toutes les valeurs à l’énoncé, extrait de leur contexte, où les sujets sont exclus de leur histoire, les objets vidés de leur substance et effets de sens sans présence. Pourtant cinquante ans ont passé et la discipline offre un autre visage en s’inspirant des origines phénoménologiques qui font paraitre au sein de la sémiotique les dimensions perdues du sens, celles qui dépendent de la «présence» même – immédiate, éprouvée – de l’autre, des textes, de la matière sensible. A vrai dire, cette inspiration oriente cette discipline vers la constitution d’une sémiotique de l’expérience, où il s’agit d’un retour à la réalité, aux expériences vécues et aux pratiques quotidiennes. Cet article a pour l’objectif de montrer comment cette nouvelle perspective a changé la lecture des discours notamment publicitaires en nous faisant passer de l’univers du visible à celui du sensible, de la surface du papier à l’expérience vécue, de la représentation à la présence et à la réalité.

The 1980s witnessed a methodological turn in semiotics. This change is rooted in philosophy, particularly phenomenology which is an attempt to invite such concepts as the presence, the sense-understanding process, and the body into definition of meaning. In the 1960s, semiotics was inward and mainly dispensed with life itself, and life experience, instead, it concentrated on the rigid discipline of structuralism. In fact, traditional narrative semiotics cuts the text from life itself and concerns itself with the text and discourse, a temporally and spatially attached subject of study, the discourse is stripped of its materiality. In other words, the text becomes a stage where meaning is exposed without being present. However, phenomenology brings back the present as a main factor of meaning. One good example is Lawndowsky's semiotics. By using semantic pairing system and controlled slide, he refers to an active relationship, yet perilous, between the subject and the "other" side of the text which is no longer considered as object but is regarded as a subject in itself. The dialectics of two subjects based on concepts such as embodied subject, sense-understanding relationship is formed and enables them to reveal their hidden potentials and pairing thus creating new meanings and values. This study is an attempt to show how the poetic discourse with such concepts as semantic pairing system and controlled slide reveals the dialectics of the poet putting himself as subject in danger in the face of poetic language which resists against the poet life experience, a resistance which creates aesthetic language. In short, the poet plays a dangerous game with language which results in the aesthetic creation of poetic discourse.

The image of French semiotics has been frozen since1960; for instance a formal discipline of working principle on complete texts, excluded from experiences, that is to say texts taken out of context, subjects separated from their history, and objects emptied of their substance, and the construction of meaning without presence. But, in recent decades we witnessed the transition from classical semiotics based on positivism to the phenomenological origins of semiotics. The main problem of this article is to answer this question: How does Eric Landowski, French sociosémiologue, emphasize the lost -dimensional sense of meaning and highlight concepts such as aesthesia, Presence, adjustment and dynamic interaction of subjects, complete both plans of meaning already present in the classical narrative semiotics, namely, programming and manipulation, and defines systematically four regimes of meaning.