فهرست مطالب hamidreza shairi

Des chercheurs du monde entier examinent la valeur éducative et l'efficacité de l'intégration des derniers gadgets électroniques dans les activités d'enseignement et d'apprentissage en classe. Malgré la disponibilité des derniers gadgets électroniques tels que les iPods, les tablettes et les montres intelligentes, les chercheurs s'intéressent davantage à la valeur éducative des téléphones portables pour l'enseignement et l'apprentissage de la langue étrangère. La prise de notes est l'une des activités d'apprentissage les plus courantes et les plus présentes, qui constituent une part importante de la vie quotidienne de tous les étudiants. Le potentiel d'utiliser la technologie pour améliorer les activités de prise de notes a récemment fait l'objet de sous les feux de la rampe. L'écriture est considérée comme la compétence la plus difficile pour presque tous les apprenants de français car elle exige leur connaissance des règles grammaticales et des structures françaises. Grâce au développement de la technologie, de nombreux outils a été utilisés pour aider les apprenants à produire des écrits de qualité. Les participants à cette étude de cas étaient 22 apprenants du niveau A1 à l’institut Zaban Negar. Ils ont suivi leurs cours en utilisant Google Keep pour la prise de notes. Nous avons utilisé un groupe de contrôle et après trois mois de l’essai et par le biais d’une dictée à la fin, nous avons comparé les résultats. Notre recherche a révélé des résultats positifs dans les performances d'écriture des apprenants ainsi qu'une vision optimiste de l'utilisation de Google Keep.
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In Iranian folk short stories, there is a possibility for the existence of more than one subject. Without a shadow of doubt, these subjects, with regards to the Semantic horizon and their action process path, are in interation with each other. According to this matter, the question addressing the kinds of relations between subjects has been proposed. Furthermore, how the semantic horizon followed by subjects affect the relations among them. With that in mind, this research, imposing an analytic- descriptive method and affected by Semi-Semantic discourse approach in classical narratives, tries to consider and analyze the quality of relations among subjects in Iranian folk short stories by considering 661 present subjects in the collection of Iranian folk stories that include 201 collected stories by Seyyed Abolghasem Enjavi Shirazi in a collection of four volumes. The results of this research indicate that these stories have formulated 13 types of relations among subjects comprising; coexistence, confluence, divergence, confrontation, interaction, alignment, excellence/failure, object/subject, understanding, dialogue, imitation, self- sufficiency, and competition. According to the Semantic horizon component that determines the quality of the relations among subjects, these relations, in most cases, have changed and, as a result, 34 communication chains from one to eight rings have been formed among subjects.In Iranian folk short stories, there may be more than one subject. Undoutedly, these subject are in interaction with each other interms of the semantic horizon and their path of action process. According to this matter, it is proposed that the type of interactiosn between subjects and the way the semantic horizon followed by subjects impacts this interaction are the two subjects which turn out to be worth-mentioning.This research, having an analytic-discriptive procedure, is effected by the semi- semantic discourse approach in classical narartives in which the relations among 661 subjects (characters who want to possess an object, repossess, or protect it) in 201 stories from a four volume collection of Iranian folk short stories are considered. These stories had been collected by Seyyed Abolghasem Enjavi Shirazi. In this research, prior to anything, the kinds of relations among subjects and  their frequency are determined and, followed by that, the relation chains among subjects and their frequency are explained which are formed in these storeis.The results revea that in these stories 13 types of relations have been formed among subjects: coexistence, confluence, divergence, confrontation, interaction, alignment, excellence/failure, object/subject, understanding, dialogue, imitation, self- sufficiency and competition. According to the Semantic horizon component that determines the quality of the relations among subjects, these relations, in most cases, have changed and, as a result, 34 communication chains of one to eight rings have been formed among subjects.The result of this research reveals that object and possessing, repossessing, or protecting that, which causes to creation and forming the relations among subjects. This process causes to forming different relation chains among subjects.

Bruce Ellis Benson, in his phenomenological theory The Improvisation of Musical Dialogue, points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. Improvisation has always had a special place in Iranian classical music. The purpose of this study was to investigate the concepts of Benson's design on improvisation, including the ontology of the musical work, the originality and identity of the musical work, the limitations of creative performance and how to convey the composer's intention to the audience based on Iranian classical music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of methodology with a phenomenological approach. All material is obtained through the library method. The results show that in Iranian instrumental music, "Radif" plays an important role as a musical world for a dialogue. Improvisation has an interpretive nature in Iranian music and Iranian classical music composers, along with ontology in Benson's theory, always enter into an open dialogue on the application of Iranian music in creating a piece of music. In composing their musical works, Iranian instrumental music composers always enter into an open dialogue based on the tradition and application of Iranian music, and contrary to the common notion that improvisation and composition are created out of nothing; Composing in Iranian music is always based on the tradition and works of the past (Radif, ancient works and even the composer himself) and in Iranian music, it is better to use the word "piece" instead of the work, which is part of a coherent whole. This piece of music, which lives in the world of the emergence of Iranian classical music, has a fluid identity that always continues to live with the performance and interpretation of an experienced performer who is familiar with the tradition and application of Iranian music. Also, the need for moral responsibility of Iranian music artists in the face of and in dialogue with the "other" is an important issue in Benson's theory and it is important to expand it in Iranian classical music.

Place is one of the important components of a literary work. Its importance is twofold in narrative works and it plays the biggest role in revealing facts. Qur'anic stories are not exempt from this rule; reflection on these stories shows that God chooses the places of the stories with a special elegance to achieve the educational goals of the Qur'an so that the reader can see himself in that environment and understand the existing conditions. The necessity of delving into the text of the Qur'an for a better understanding of the concepts and facilitating the further inference of this divine book to encourage everyone to study it further, prompted us to focus on the story of Prophet Moses (as), which is one of the most important stories in the Qur'an. Using the descriptive-analytical method and setting the story of Moses (as) as a model for other stories in the Qur'an, this research discovers the role of different types of places according to the semiotic-semantic approach and due to the functions of the place and its role in this story. A semiotic-semantic glance at the places in the story of Moses (as) shows how the beautiful and instructive expression of the story from the narrator's tongue in the form of many events and the use of the element of place by creating many spaces of induction, transcendence, whirlwind, etc. on the way of the hero to invite people to Monotheism pulls out the places from their original meaning and makes them serve the purpose to help the hero reach his destination.

La langue et la culture sont indissociables, car la culture se manifeste dans la langue et grâce à cette dernière, pourrait être fournie la base nécessaire à la manifestation de la culture. La traduction est un discours socioculturel où les sociétés humaines pourront afficher leur identité culturelle en invoquant l'autre. La problématique principale autour de laquelle s’organise cette recherche est celle de savoir comment dans la traduction, les culturèmes provoquent le déplacement des frontières sémantiques et comment l’union entre le nous et les autres, comme l’explique Y. Lotman dans la théorie de la sémiosphère, serait possible.  Cette recherche aura pour objectif de montrer que dans la traduction du roman Papillon, la transmission du sens des culturèmes dépend des situations discursives fondées sur deux systèmes sémantiques convergents et divergents. La présente étude est fondée sur l'analyse du corpus c’est-à-dire le roman Papillon d’Henry Charrier traduit par Parviz Naghibi. Ainsi les données principales de la recherche seront collectées à partir du corpus. Après avoir analysé les stratégies du traducteur, nous chercherons à apporter des solutions pour la bonne transmission du sens des culturèmes dans le processus de traduction. Enfin, nous essayerons de déterminer les typologies de traduction des culturèmes du point de vue de J. Fontanille. Les résultats de cette recherche indiquent que le traducteur n’a pas réussi à transférer le sens des culturèmes, car en adoptant des stratégies qui ne sont pas convenables pour traduire des éléments culturels d’une langue à l’autre, il n’a pas essayé de réduire les distances entre le nous et l’autre.

Due to the importance of advertising in the contemporary world and the fiercely competitive market that has made brands struggle to outdo each other in attracting the attention of the audience to their products and services, also putting the audience in a position to face new visual experiences and, as a result, making them surprised when facing all kinds of advertisements is one of the important concerns of advertising team designers, it has always been necessary for designers to choose appropriate solutions in creative ways. Research in the field of advertising and finding advertising solutions also considering the interdisciplinary nature of advertising, identifying the hidden aspects of some approaches, and using them for studying in this field is necessary and the results are useful for designers. One of the approaches that can be used to investigate advertisements is narratology. The current research was conducted to identify the hidden aspects of this approach for advertising analysis and, as a result, extract advertising solutions through the study of one of the types of narrative. Narratology originally started with Propp's research. According to him, the basis of every narrative is the change from one state to another, which is called an event (Abbasi, 2013: 57). Greimas also considers actors and action to play a fundamental role in the process of generating meaning. According to him, the actor is "someone or something that performs an action or the action happens to him", thus the act of narration is revealed in the action pattern of the actors (ibid.: 69).What has been conveyed is the basis of the definition of narrative in the Paris school of narratology from the point of view of Propp and Greimas, who consider the change in the process from the beginning to the end of the narrative and the action of the actors to be the principle. However, the narrative does not always have a linear process and is not accompanied by action. accordingly, in this research, we intend to deal with a type of narrative in advertising that does not follow the linear structure of classical narrative and change is not the basis of meaning production. Rather, the passion system replaces the action system, and meaning emerges after sense and perception (Greimas, 2018: 30). As a result of these two types of narratives, there are two types of classical and modern aesthetics in the narratives. In classical aesthetics, beauty is definite and time is eternal, perfection-oriented, and complete. In this type of aesthetics, beautiful is absolute and its audience is passive. But modern aesthetics are mixed with presence. Attending means facing a passion instead of being an actant. Presence is not something that can be acquired. Rather, it is formed in time (Greimas, 2018: 36). "Each presence is the creation of a moment that ceases to exist as soon as it is formed because every present immediately joins the past and leaves the aspect of being a flash to the time before it." In fact, these now shape the presence of a modern subject and create a new beauty system that can be called a poetics of infra-thinness. Therefore, in the current research, we will study the types of infra-thinness in narrative according to its characteristics, and to achieve the goals of the research, we will seek to answer the main question - How can the infra-thinness in narrative be observed in advertising discourses? - to the sub-questions. We answer below: 1. How is infra-thinness defined in the narrative? And how many types can it be divided into? 2. Are all types of infra-thinness observable in advertisements? 3. Is it possible to introduce various types of infra-thinness as advertising solutions and tricks?This research is fundamental in terms of its purpose and has been carried out in the descriptive method of content analysis. It is also qualitative in terms of data analysis. The method of data collection was purposeful and according to the types of infra-thinness in narrative and its characteristics, they have been selected from foreign advertisements. The reason for using external samples is easier access to categorized examples on websites such as Ads of The Word and similar sites. In fact, by searching and viewing the archives of the sites, examples of all kinds of infra-thinness in the narrative have been found in the examples of foreign brand advertisements. In this research, explanations were given first about narratology and its types, and then concerning infra-thinness. and then, according to the types of infra-thinness, its examples in advertisements were examined to evaluate the types of infra-thinness for introduction as an advertising strategy.The result of this research shows that there are five types of infra-thinness in a narrative, which are infra-thinness in process, enlargement of small elements, fragmentation of elements, metaphoric infra-thinness and Lepsos or Formal error can be divided. By explaining the types of infra-thinness in narration, we found that infra-thinness can be used in visual texts in addition to verbal texts. If we consider advertising design as a kind of visual narrative, then the modern narrative and, as a result, the infra-thinness in the modern aesthetic system can also happen in it and become a kind of advertising strategy to persuade the audience; As in the examined samples, these strategies were used well. When we pay attention to the infra-thinness features of the narrative process, we find that these features share common features with creative and effective advertising.In a good advertising plan, the speed of the event and the surprise of the subject are important, which is symmetrical with the features of the first type of infra-thinness (process). Also, the loss of cognitive and reasoning function in relation to a narrative that is explained by uncountable time and zero place is a feature that can be observed in the infra-thinness of advertising narratives; Because the audience does not find an answer with logical reasoning in front of this time that has become zero, which is significant in natural conditions and is accompanied by displacement during the process. As a result, the audience is disarmed and loses its power and management in front of the events that happen in the advertisements and surrenders. According to this, the goals of advertising designers to control the mind of the audience are achieved by using this type of visual narration.In relation to the second type of infra-thinness (enlargement of small elements), this type of narrative in advertising is one of the tricks of creative advertising; Because sometimes to advertise a product or service, it is necessary to magnify the elements that are not visible to the audience under normal conditions to activate the sensible–perceptive presence of the audience in the advertisement. According to the examination of samples of advertisements in which the second type of infra-thinness be seen, it can be concluded that the use of this solution is very helpful, especially when it is necessary to warn the audience of threats with multiple powers. Also, the third type of infra-thinness (fragmentation of elements) in advertising, can have an effective presence in cooperative advertising. In some examples, the fragmentation of advertising narratives sometimes leads to the fragmentation of the advertising media, and to realize the message of the advertisement, the audience is used to participate and remove the fragments. In addition, it can be understood that this solution has good capabilities for showing different parts of different narratives in one medium; Because some media, especially print media, are facing limitations for narration.In the fourth type of infra-thinness that uses metaphorical forms, with the help of extratextual references, the audience's understanding of the advertising message takes a shorter time, and metaphor also helps to make messages that carry abstract concepts more concrete. This solution is very suitable for displaying numerical information in advertisements. Finally, the use of lapsus or rhetorical errors in advertising first confronts the audience with a cognitive error and then gives the audience a deeper understanding of the message of the advertisement. Also, Lapsus can be used as a solution for advertisements in which replacing, substituting, and removing image forms as an advertisement message is intended by designers. In general, we can conclude that all kinds of infra-thinness in advertising narratives can be a kind of advertising strategy and trick. In addition, infra-thinness is a way to achieve new meanings by paying attention to details rather than portraying generalities.

Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and programming towards interaction. In classical semiology, the current of meaning is exclusively shaped through action and predetermined program and toward gaining the value object. But in semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena, and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Therefore, Landowsky proposed two complementary regimes, i.e. adjustment and accident. The present research probes to find what actions by the characters in Zal-and-Rodabe show the adherence of actors to Landowsky's regimes of interaction. It was found that when faced with challenges, some characters first follow a specific regime of interaction, but later, become inclined to other regimes. Others continue to adhere to a single regime. Examining the interactions shows the transition from the classical narrative regime based on action and program to the modern narrative based on interaction, which ultimately results in the unification of the characters towards the realization of a forbidden love.

The current research was conducted to analyze the effect of pedagogical theater on the growth of students' creativity in primary and primary secondary schools. The statistical population of the research includes Primary and Middle school students (7-14 years old) from 6 regions of Tehran. These students were selected and randomly replaced in two experimental groups (10 people) and a control group (10 people). In both groups, a pre-test was performed and the experimental group performed pedagogic theater based on aesthetic training for 10 sessions of 90 minutes. After that, the test was performed again for both groups. Data collection was done through Abedi's creativity questionnaire based on Torrance's creativity questionnaire. The results of the research showed that pedagogical theater has led to the improvement of problem-solving ability and creativity of primary and middle school students in the experimental group. The statistical methods used in this research include analysis of covariance, T-test, and the use of SPSS software. The results of the statistical analysis show the positive and significant effect of pedagogical theater on the creativity of the experimental group(P05/0> ).

This research with descriptive-analytic and statistical methods and its approach is from the view point of Semi- Semantic in classical narratives, tries to analyze the problem of following  or non-following of subjects acting  pattern for possessing or repossessing or protecting the object, of a special pattern in201 Iranian folk short stories collected by Enjavi Shirazi in a four-volume collection: Arousak and Sang-e Sabour, Dokhtar-e Narenj and Toranj, Gol ba Senowbar Che Kard and Gol-e Boumadaran. The results of this research show that the narrative procedure of 661 existing subjects in these stories, just like a repetitive rhythm, involves partition and rhythm vacillation and at last, finds a repetitive rhythm again. This type of narrative procedure follows a proto pattern with different variables that the changing of its variables, creates 19 types of sub-rhythm in these stories, and are listed based on the numbers from one to 19 in this research.

The present article deals with the comparative study of literary Fiction and music in the short story "Marsh al-Ghroub" by Youssef Idris, based on comparative literature criticism studies and with a Semiotics of discourse approach. In this story, in addition to the musical title; A kind of folk music related to the profession. A kind of folk music related to the profession, in the overall structure of its plot, advances the narrative sequence. In this discourse three types of active, tensif and aesthetic presence are formed and the main core of the process of meaning is aesthetic presence. At this stage, the music becomes the essence of music. Therefore, the issue that arises is what the aesthetic presence is based on. How the dialogue between literature and music guarantees the transformation of the world. This research examines three types of presence in this story with a descriptive-analytical method, and at the same time, they refer to the role of title, place and time. This study shows that the subject, passing through two relations of action and tension due to the phenomenological view, reaches one of presence and aesthetic moment, and its manifestation is shown in his improvisation and his ecstatic and transcendental relationship with existence. At this stage, due to the disturbance in the action and tension relationship, the literary narrative suffers a deficiency in its progress, from here, literature and music enter a dialogue, and the reflection of the voice of the narrative is entrusted to music.

This study investigates the social status of the varieties of Iranian languages and dialects towards the perspective of the hidden cognitive realities of real language use within the framework of the lectal variation theory. Using this usage-based theory, researchers have explored the language speakers’ desire and tendency towards different language varieties considering the independent social variables of financial level of living and occupation. A researcher-constructed survey questionnaire and interview were used in this study. Linguistic data were collected from a total of 314 participants selected semi-randomly among the language community of immigrants living in Tehran, with Turkish, Laki, Kurdish, Baluchi and Mazandarani languages as well as Mashhadi, Lori, Hamedani, Isfahani and Yazdi dialects. The Likert scale, Cronbach’s alpha, the Chi-square test, the P-value and one-dimensional student’s t-test were used in this study. According to the results, the use of non-standard varieties is more common among retired employees. Economically the lower strata have the highest use of non-standard varieties. 83.54 percent of the speakers of language varieties in Tehran prefer to use the standard language variety in daily conversation in the society. Considering the migration variable, using non-standard language varieties of first-generation immigrants is more common than the second-generation immigrants.

Mahmoud Darwish is one of the contemporary poets of Arabic literature whose poems reflect the hopes and pains of the land of Palestine. "Woman" and "homeland" are among the most frequent concepts that have played a role in his poems. This essay has tried to investigate the duality "woman/homeland" based on the emotional system of discourse in a descriptive-analytical approach in some of his poems. Emotional system of discourse is one of the types of discourse in signsemantics that focuses on the relationship between the set of surficial signs (signifiers) and content (signifieds) because it is in the context of the very sign and signified relations that the perceptive presence of the statives takes place and the creation of themes becomes possible. The present research aims to answer this question: How can the creation and overflow of themes be interpreted and explained based on the emotional system of discourse in the poems by Mahmoud Darwish where "woman/homeland" is the main focus of the theme? In other words, how can the creation of themes in the poet's works of this sort be explained and described based on the emotional system of discourse? The ultimate results of the discussion indicate that the emotional system of the discourse in these poems is based on perceptual, corporal, and intensive mechanism which mainly the poet uses the two concepts of "woman" and "homeland" as an artistic tool to convey the suffering and sorrow among Palestinian people through which he would Stimulate the sympathy of the audience about these tragic images i.e. through transcending the concept of woman to the concept of homeland, he seeks to negate this duality in better words.

This study investigates the speakers’attitudes and their language security considering ethnic identities towards the framework of the lectal variation theory. A researcher-constructed survey questionnaire and interview were used in this study. Linguistic data were collected from 314 participants selected semi-randomly from among the language community of immigrants living in Tehran with ten different varieties of Iranian languages. The Likert scale was used to measure the questionnaire items. Cronbach’s alpha was used to measure the reliability. Besides, the Chi-square test was used to receive statistical results. In terms of language attitudes, speakers of languages have the sense of proud, sincerity, belonging, sense of being more melodious and real identity, however the speakers of dialects have the sense of proud toward standard variety of Iranian language. In terms of language security, Laki’s speakers shows the most and Mazandarani’s speakers shows the least measure in the home environment and out of home environment. In terms of language identity, in languages, Laki’s speakers and in dialects, Hamedani’s speakers demonstrated the most sense of language identity toward their non-standard varieties of Iranian languages.

Learning vocabulary and its memorization represent crucial challenges in language education. With the evolution of educational methodologies, contemporary techniques aim to streamline this process. Mind maps have emerged as a recent educational aid, offering effective learning strategies.Background of the Study: This study examines how the application of mind mapping, directed at fostering reasoning and enhancing language skills (reading and writing) among French-learning children and teenagers, influences the acquisition of fictional texts vocabulary. The investigation seeks to gauge the impact of employing the mental mapping model to develop reasoning prowess and fortify language aptitude in children and teenagers. By emulating the brain's structure, the utilization of mind maps facilitates connecting the brain's left hemisphere (associated with reasoning and logic) to the right hemisphere (linked to literature and language).

To test the hypothesis regarding the impact of mind mapping on fictional texts vocabulary acquisition and the enhancement of reasoning and language skills (reading and writing), 50 Iranian children and teenagers learning French in the sixth grade were selectively chosen through a clustered and randomized approach. These students were then divided into two groups of 25 individuals each, identified as the control group and the experimental group. Both cohorts underwent preliminary testing through a semi-experimental method before the training phase, with their scores meticulously recorded in group-specific tables.Subsequently, the control group received conventional education, involving storytelling sessions where new words were presented on the blackboard, accompanied by synonyms, with students tasked to write and remember them. Post-sessions, a vocabulary post-test was conducted for the control group, and their scores were documented. In parallel, the experimental group, comprising 25 language learners, engaged in sessions where a page from the William Poire stories by Jean-Claude Lumet was read. These learners were taught words extracted from the text utilizing the mind map technique. Each session involved selecting a key word, establishing it as the central idea within the mind map, and subsequently connecting related words as sub-branches to the central concept, thereby introducing new vocabulary. A research questionnaire was designed for the experimental group's post-test to assess their acquired knowledge.

The analysis of the test results substantiates the hypothesis, demonstrating that the experimental group outperformed the control group in the post-vocabulary test. This confirms the significant impact of mind mapping on the acquisition of fictional texts vocabulary, fostering reasoning ability, and fortifying language skills (reading and writing) in French language learners. The experimental group showcased remarkable progress in the vocabulary post-test.

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.

Semiotic-semantic discourse analysis, as a suitable model for religious text analysis, particularly Nahj al-Balagha, utilizes the tensive semiotics model introduced by Jacques Fontanille and Claude Zilberberg. This model delves into the intricate interplay between intensive (emotional, internal) and expansive (cognitive, external) valencies, offering valuable insights into the dynamic structure of the text, emphasizing the tensive-active and sensory-perceptive relationships. This article explores how meaning is intricately woven in the enunciation, bridging the gap between quantitative and qualitative dimensions, thus shedding light on the production of meaning in the discourse processes within the Imam's letters to Mu’awiyah. The study transcends a mere analysis of the fixed letter structure, focusing on the fluid and adaptable nature of the letters' production process and the interactive dimension between the agent and the actor in the enunciation space.

Fashion is a global industry that pollutes the environment by using natural resources. Sustainable fashion is a solution to deal with the environmental risks of the fashion industry, with the aim of preventing the waste of resources in the production and consumption sectors. The data of applied and descriptive-analytical study are collected through library research, are analyzed based on semantic semiotic approach of discourse in light of Jacques Fontaine's theory of transparency and prosthesis and Landowski’s adaptation system. The main issue is to see how fashion can create the conditions for a discourse that allows the transition from a system of destruction to an ideal system of the environment. Based on this, seven examples of brand activities have been purposefully selected and examined in terms of environmental sustainability and transparency. The results show that stimuli such as celebrities and environmentalists with their actions are able to create a desirable discourse system. It is suggested that governments and the private sectors establish companies to collect old textiles using the theory of transparency and adaptation and explanation of fashion prostheses and their relationship in the sustainable fashion industry, and  protect the environment as well as contribute to job creation.

Upstream narratives are those that penetrate the main narrative for several reasons and cause the narrative to deviate from its original path or, in some cases, cause it to stop. There are four main reasons for this kind of narratives: a) they are related to an institution of power or a system of capitalism and can penetrate the action process and block its passage or put it in a bottleneck; b) they benefit from a kind of discourse legitimacy that is either rooted in tradition and ideology or rooted in false beliefs; c) they use referential components that cannot be dealt with due to their anchoring in discourses or language and media structures; d) They have the possibility of simulating with multiple perceptual systems and can therefore have a direct and immediate impact on social groups. What mechanism do these upstream narratives have? How and on what basis do they disrupt the action process? In this essay, we will try to focus on the literary and artistic discourse and show how the upstream narratives prevent it from moving or cause its movement to deviate by interfering with the path of the main narrative.

Narration mostly occurs in the form of place, so narrative and place are two integrated concepts. Place has an important discourse function because it causes semantic clarity of discourse factors, better and clearer interpretation of the narrative space, deeper understanding of the behavior and action of narrative elements, and finally the transcendence of meaning in the narrative.

The present article tries to use an inductive method to study the type, extent and frequency of different places in the narrative discourse of Azerbaijani folk narratives, based on the semiotic approach of the Paris school. The selected narrations are Mahi Siyahe Koochooloo, Kachal Mam Siyah, Koroghloo, Pesarake Labuforush, and Yek holoo Hezar holoo.

Findings indicate that most places in Azerbaijani folklore have features of continuous placeless, objectivity and directness. Among the triple places, the “source” has the lowest frequency and the “destination” and “fixed place” are almost equal and there is no significant difference between them.

The predominant approach in these narratives is maximal use of concrete place compared to abstract place. Continuous places also have the highest percentage of presence. However, metaphorical places have only 7% of the total, which indicates the explicit and non-metaphorical use of the narrative text and its distance from the literature. 15% of the places used in these narrations are of the transcendental type, which shows the place in the thought of the actors. Other used places, such as “spiral” or “network” locations, are very limited. It should be noted that so far such a comprehensive study of place has not been done not only in Azerbaijani folklore, but also in other existing literature, and this is one of the distinguishing points of the present work from other studies.

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.

By classifying translation into three types of intralingual, interlingual and intersémiotique, Jakobson considers adaptation as a type of intersemiotic translation. Eco also considers intersemiotic translation to be an example of interpretation which means that the adaptor, as an experimental reader, transforms what he felt in the novel into the images, so he becomes a kind of interpreter. Therefore, the adapter is a kind of interpreter who, based on his lived experience, converts the meaning received from the novel into the images in the film. Although; intersemiotic translation can be considered a type of interpretation. The purpose of this article is to examine the intersemiotic translation of the characters of the novel "Crime and Punishment" (Dostoevsky, 1866), as one of the most frequently adapted stories in cinema, and the Iranian film "Pole Khab" (Barahani, 2014) in the aspect of the characters and actors of both works, to show the critical interpretation of the adapter from the source of the adaptation. For the first time, Victor Derély translated the novel "Crime and Punishment" from Russian to French in 1884, and since then the novel has been the subject of numerous French literary criticisms in terms of structure and content.The main issue of this research includes examining the changes formed from one continuum (novel) to another continuum (film), the adaptive critical view of the previous text and the social context of the new story- purely in terms of personality traits. The comparison of the character traits of the characters, the metamorphosis of the main character and the study of the stages of the hero's journey in both works show that the adapter's interpretation of the novel text, in addition to changing the nature of the characters and the stages of the hero in the content of the later text, brings other changes. In addition, the social context of the story is new, and these changes, in turn, are the result of the adapter's intentions and his critical view of his time.

The ritual ceremony of Cheleh Havin has a historical background and is related to the Zardui village, one of the environs of Kermanshah Province. This ritual is held every year in Mordad (beginning in July and ending in August) and on the longest day of summer. The celebration of Cheleh Havin (Summer's 40th days on) is held for four days from the end of fourteenth day of the summer. This ceremony is being meaningful with the presence of activists. The ceremony always emphasizes and relies on a part of the past and creates the present presence of people according to the connection and disconnection with this past. The important part of this ceremony is made up of people and farmers and the purpose of holding it during the action to change the time of paying the annual tribute and giving thanks for the harvest is to create a mind-oriented process for the transition from a habitual body society to an unrested and idealistic system, also, it is an action against the rulers of the time and against everyday life and an attempt to produce a social and ideal-oriented process. In fact, activists display their awakening, and this awakening is a metaphor that takes them away from rationality and makes a mythical and idealistic process by passing through negative and positive functions and daily dos and don'ts. The official situation is the product of human experience and class history, and the carnival situation is the product of reaction to the official situation and at its opposite point. Ridicule and mockery in opposition to seriousness, giving importance to the individual in opposition to the domination of the church, etc., mocking the formality and its values, connecting death with life, giving importance to plurality and polyphony are among these oppositions. The age of celebrations is the same as the collective life of people, and the celebration is a cognate of the rituals and mythological beliefs of ancient times. Despite the fact that the identity and reason for the existence of carnival or celebrations, especially in the recent era, has undergone many changes, but the common spirit binds them together; which is on the one hand, the product of the desire for a collective and common life of humans, and on the other hand, it is the importance of the body-pleasure and the creation of happiness.From Bakhtin's point of view, carnival gives more importance to life and its physical and material dimensions and to joy, relationship and pleasures, and although the participants in a celebration and carnival know each other in advance, in the text it is joy and happiness, which is more comfortable and unharmed. They are connected with each other. Bakhtin considers carnival to be the most obvious manifestation of popular culture and considers the most important achievement of carnival to cheer and not being taken seriously.Although the background and main thought of this ceremony is in highlighting the concept of happiness and laughter and making fun of the existing situation, and on the other hand, from the utopian view-like the utopia that Plato also refers to- people are being placed next to each other in equality, freedom and same power, regardless of their social status, age, and gender difference.But in that collective voices, the voice of inferior people can be heard as a single voice. This movement from "me" to "us" and from "body-habit" to "unrested body" and towards collective ideals, the actor always judges and evaluates himself based on the time he is in. Activists abandon their daily life and use the process of carnival and celebration in order to reach their goal through a kind of metamorphosis. This transformation takes place in three stages: 1- Being broke from everyday life and body habit system. 2- Appealing to the system of unrested and being another person. 3- Combination with music and foot stomping to create an ideal function. Which means, at the first step, the participants stop repeating their daily routines and body habits which can be called an inner chaos ceremony. A chaos that restores the presence of the activist in a metaphorical way and finally, by means of gestures, prosthetics, new clothing, scarecrows, movements and removing gender, social, age, class contrasts, etc. which leads to an ideal presence and manifests itself and which is different from the everyday body. In this article, we try to provide a semiotic-semantic analysis of this ceremony by emphasizing Bakhtin's carnival theory.The atmosphere of the ritual ceremony has been opened by relying on the format of the discourse, and this conscious facet of the discourse has paved the way for the symbolic-semantic analysis of this ceremony. Discourse is a thoughtful, intentional and conscious action. Ritual ceremonies are examined from three aspects, which include: 1- Ritual ceremonies as fantasy and chaos. 2- Ritual ceremonies as external reality. 3- Ritual ceremonies as energy and power. The existence of social, gender and age contrasts in this ceremony, and this conscious aspect of the discourse has also paved the way for the symbolic-semantic analysis of this ceremony. On the other hand, according to the characteristics of the carnival, which include: laughter, utopianism, grotesque, coronation/dethroning we will raise the three questions of this research, which are:a) What are the most important symbolic-semantic features of the Cheleh Havin ceremony? b) What characteristics of this ceremony can be adapted to Bakhtin's carnival theory? c) What are the ideal functions of this ceremony in the examination of its carnival? This semiotic-semantic research and analysis has been carried out using a descriptive-descriptive and case study method and the collection of data and images is based on library, field studies, interviews and the use of relevant image archives. The results of the investigation, emphasizing Bakhtin's carnival theory, show a sign-semantic process and the fact that in this ceremony, people making the use of masks and dolls, laughter and grotesque bodies, while moving from self-centeredness to collectivism and passing from a completely general and unstable situation to a stable and defined situation, they are confronted and challenged with beliefs, convictions and value standards, and they try to find their identity from informal discourses against official discourses while trying to find their own identities. Identity is always a shared and common phenomena. It is moving and has a dynamic and process cycle. Rather than being formed based on similarity or identically, identity is subject to difference and heterogeneity by breaking up the system of repetition and habitual body are in the pursuit of a kind of metamorphosis towards idealism and changing it towards the unrested system. Finally, the identity leads to an ideal presence. The ceremony is a process that is always moving from rationality to fantasy.

Receiving the Qur’an as a literary text is one of the epistemological responses of scholars to this text in the twentieth century. This kind of reception has a long history in the Islamic heritage, especially in the studies of Qur’anic commentators and scholars, but there are fundamental differences between the literary reading of the Qur’an in the past and in the present. These differences arise from the methods used to analyze and study the literary text. If we look at the Qur’an as a literary text from the perspective of modern theories, we encounter with challenges because the literary text, under in this view, is considered an open and pluralistic text in terms of meaning, during its formation and reception. This article examines the challenges raised by receiving the Qur’an as a literary text in light of "Reception Theory". In this regard, it is observed that the principle of coherence provides us with a criterion for distinguishing interpretations close and far from the truth of the Qur’an and contributes to framing the reader's participation in the process of reading the Qur'an as a literary text from the perspective of modern theories.

Dans cet article, nous avons essayé d'inspecter l’impact de la formation en ligne sur l'acquisition de la compétence de production orale des apprenants iraniens. L’hypothèse de cette recherche est qu’étant donné que l’environnement de l'enseignement/apprentissage virtuel est souvent visuel et auditif, les apprenants sont moins motivés à participer à des conversations orales. Par conséquent leur compétence production orale est plus affaibli que les autres compétences langagières. Nous aurons recours à une méthode d’enquête basée à la fois sur une auto-évaluation des apprenants et aussi par les évaluations sommatives. Pour analyser des données de recherche, une méthodologie mixte comprenant des analyses qualitatives et quantitatives a été menée. Selon les résultats de notre recherche, le manque d'esprit participatif à cause de l’éloignement physique et social est la raison la plus forte d’évitement de participer aux discours. L’autocensure et peur de l'erreur est l’une des raisons remarquables. On peut remarquer que le manque d'interaction face-à-face conduit les apprenants à être des auditeurs, plutôt que des locuteurs. Le but de cette recherche vise à faciliter un processus visant à fournir une structure d’analyse afin d’examiner l’impact du numérique sur l’acquisition des compétences langagières des apprenants iraniens à l’aide d’un environnement d’enseignement/apprentissage en ligne.