فهرست مطالب morteza babak moin

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.

Contrairement au lyrisme traditionnel qui était l’épanchement des sentiments personnels, le nouveau lyrisme de Reverdy chante un moi sortant de soi qui entre en communication avec le monde qui l’altère. Au cours de ce travail, par le biais des pensées de Michel Collot sur l’alliance de la matière-émotion et ayant recours aux notions phénoménologiques husserliennes, on étudie comment est –ce que la nouvelle conception de l’émotion poétique et la nouvelle intimité chez Reverdy donne une acception différente du lyrisme. On démontre également comment les particularités stylistiques et linguistiques de Reverdy ont donné naissance à une poésie qui peut être considérée comme alliance du corps, de l’esprit et du monde; dans le recueil, intitulé «Les Ardoises du toit», auquel on se réfère particulièrement, se manifestent la majorité des particularités poétiques de Reverdy. Par ailleurs, l’article a pour son objectif final de montrer comment les tournures comme les formes impersonnelles et le jeu des pronoms personnels dans la poésie de Reverdy lui permettent de créer paradoxalement une poésie lyrique. Et c’est ainsi que la poésie reverdienne n’est plus l’exaltation des sentiments du poète, mais, c’est l’union du moi, du monde et du mot que la phénoménologie appelle l’ouverture au monde du sujet.

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.

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.

L’attention de la part des poètes à une nudité initiale du monde et des mots, est requise par la phénoménologie comme par la sémiotique. En poésie moderne et contemporaine, la formation du sens dans le poème serait donc intimement liée à la présence sensible. La poétique du corps caractérise la façon propre du poète de s’envisager lui-même, ainsi que d’envisager le monde. Le poète habite le monde par cette présence du corps, présence doublement signifiante car elle est un rapport par excellence à l’intimité tout autant qu’un rapport à l’altérité. Notre étude visera à expliciter la position d’un certain nombre de sémioticiens, de poètes et penseurs de la poésie qui, s’inspirant de la phénoménologie, analysent le travail poétique comme un effort vers la présence. Nous allons également prospecter comment la poésie, le langage poétique, est le produit de l’expérience sensible d’un corps esthétique, c’est-à-dire un corps qui a des relations sensibles avec son monde. Pour nous, la présence s’identifie dans un rapport intrinsèque avec le sens et le sensible.

This article aims to study and analyze the discourse regimes of conservatism and risk-taking. Conservatism is related to companionship, convergence, and alignment; while risk- taking is related to the challenging space, nonconformity and divergence. The main purpose of this article is to analyze the novel Nocturnal Harmony from the Wood Orchestra by Reza Ghasemi based on the semio-semantic approach to explain the factors and tools that influence the semiotic and sign process in these two regimes. The study not only analyzes the discourse narratives that are agentive, interactive or adjusted with existence, it also discusses how the two regimes of conservatism and risk- taking emerge in this novel. It is assumed that the conservative discourse regime is formed with respect to (considering the transitional aspect of the discourse) the alignment and harmony between the agent and the world, and the appeasement functions are the contributing factors in this regard. But in the risk –taking discourse regime, the resistance function of discourse is involved putting forth discontinuity, rejection of assertion conditions and the creation of negative conditions, that make meanings of eventful and unexpected feature. The intermediate regime, the intensity system, the extensity and the tension process are other important tools and factors in forming these two regimes. The main purpose of this article is to analyze the two conservative and risk-taking discourse regimes, from the perspective of semio-semantics, to explain the discourse challenges that move us from the limited and adjustable situations to open and eventual situations.

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.

Cultural posters like other posters, are applying different sign system in order to transfer their message to addressees. Basically posters that be selected in this article, applying different system of signs, in order to transfer massage to addressee. Senders, in frame of aesthetic discourses, so articulate signifiers of their massage that the time of understanding of these discourses is postponed and be showed hegemon cultural-political discourse. Posters that studied in this research, be selected from Tehran posters early at 1380s and is based on discourses that signifiers within them, in addition to play signifying role in its own system of signs, with attending to context, simultaneously playing different role in other system of signs. In other word, signifiers in these optical discourses will be connected to several signifying systems. In this article, along with considering to challenge between these system of signs, with a comparative-discursive analysis, hegemon discourse in Tehran posters early at 1380s, relation between selected posters and discourse, factors that effect on them and difference of these posters, will be known. We hold that who send message of these cultural posters, combine signifiers of their iconic text cleverly in order to be postponed the time of understanding of their message, because this understanding obtained with decoding of this sign systems through semiology. Posters that selected in this article, comes from in Tehran posters early at 1380s and are discourses that their signifiers in addition to their special signification, signifies in other sign systems. This article pays attention to challenge between these sign systems that located in written and iconic text and analyses relation between written and iconic sign systems. This analysis be done on the base the methodology that comes driven from Saussure`s and Peirce`s approach to semiology. In this research framework posters analyzed as pictorial texts that constructed from combination of symbolic, iconic and indexical sign. Signs in Peirce`s semiology will be symbol, icon and index. In iconic signs, the signifier is connected to the signified through the principle of resemblance, in indexical signs, the signifier makes you think of the signified because the two are frequently physically connected in the real world and in symbolic signs the signification is on the base of contract. The finding of this semiotic analysis of Tehran posters early at 1380s shows that the writing would be more prominence beside posters and sometimes has central function in these posters. Actually this characteristic of the period that is studied in this article, is result of a process that starts from 1370s. Application of typography in posters, starts from 1370s, and in 1380s develops. In this period, writing applied as pictorial signs beside posters, without regarding to this fact, that this writings maybe unreadable. Considering to this process in Tehran posters early at 1380s prompt that this writing regarded as iconic signs and system of writing transform to pictorial system and understanding of posters in the framework of semiology postponed. This transformation ma Although this transformation doesn’t remove signification of the written signifiers.

Eric Landowski a distingué les deux formes possibles de la quête du bonheur correspondant à deux formes différentes du goût, à savoir, «le goût de plaisir», et «le goût de plaire». Quant au «goût de plaisir» il faut distinguer deux conceptions du plaisir: la première fonde la jouissance du sujet sur le rapport unilatéral de la «possession» des éléments du monde et des gens, et la deuxième met l’accent sur la relation de réciprocité interactionnelle. En ce qui concerne la question du sens, qui n’est pour Landowski que la résultante ou le produit de l’interaction du sujet avec les éléments du monde et cela en en faisant «usage», il distingue deux formes d’interaction que l’une revoie à l’idée d’ «utilisation» et l’autre à celle de «pratique». Le premier objectif de cet article est de montrer que l’idée d’ «utilisation» correspond à la première conception du plaisir et celle de «pratique» à la deuxième. Le deuxième objectif de l’article est de montrer que les deux conceptions du mot d’usage, l’ «utilisation», et la «pratique», l’une fondée sur le rapport unilatéral, fonctionnel et utilitaire du sujet avec le monde, et l’autre basée sur l’interaction esthésique et dynamique avec le monde, servent à différencier les styles de vie et la manière d’agir de Marcel et de Swann, les deux protagonistes de Proust, face aux femmes et aux éléments du monde qui les entourent.

One of the main themes of Proust’s In Search of Lost Time is that of love and it can be claimed that other themes in the novel take on meaning in their relation to this central theme. Even though in the analysis of love that he presents in this work Proust has been influenced by Stendhal’s insights in his work On Love – and naturally there are common points between the two views – we should not ignore the basic difference that distinguishes them. This difference can be grasped through the difference between two conceptions of consciousness: first, a classical conception which is based on Descartes’ interpretation of consciousness, and the other a modern one which is connected to Merleau-Ponty’s understanding, among others. Presenting these two conceptions and introducing Proust’s analysis of love by comparing it with Stendhal’s insights, the present study will demonstrate the ways in which these different conceptions of consciousness can help us in analysing the essential and fundamental difference between Proust’s and Stendhal’s analyses of love.

Born in France thematic criticism is an area of criticism that opposes traditional criticism, based on the historiography and positivism, and has attracted the eyes of the younger generation even before structuralism; In thematic criticism theme has its own properties that separate it from its classic conception; This article citing sources of thematic criticism that favored the new conception of the word "theme", has the ultimate objective to define more clearly the new conception of the word, and also clarify to what extent it opposes its classic conception. The majority of academic research in this area corresponding pretend to thematic criticism, while their conception of the word "theme" is still classic, which put the dice the first steps on the wrong track; This article discussed pursuing the objectives, insists on this erroneous conception.

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 question of the modality is at the heart of narrative theories of Greimas. In fact, in the semiotic organization of discourse, the modal values of “want”, “have to”, “know” and “be able” modalise the verbs “to be” and “to do”. In order for the performance to be achieved, the subject must have these four modal values, at the beginning of his narrative path that leads him from “the lack of “to “the liquidation of the lack of”. But the progression of the narrative is often met with a modal scission which involves the absence of “to be able to do” and “to know to do”. In Maupassant’s “Fort comme la mort” the subject is facing the modal scission and it slows down the narrative course of which the final state is defined by the conjunction of the subject with his valuable object, Any. The aim of this article is to show how “to be able to do” which first defined negatively, turns into a positive “to be able to do”.