گفتمان

Family is known as one of the most important and powerful institutions, especially in relation to children and adolescents. Meanwhile, artistic and literary works can reflect some of these changes, especially children’s and adolescent fiction works, in most of which there are family relationships as a definite theme, and they were influenced by the dominant ideologies of the era. This case study is the result of a larger research on teenage fiction from the 1970s until now, but exclusively, it is limited to two novels from the two periods before and after the revolution: “Olduz and Crows” by Samad Behrangi and “Children and Storm” from Hossein Fatahi, both of them belong to a certain ideology. This research has been formed with the aim of investigating the semantic change of family in ideological works in two historical periods; in fact, regardless of the type of ideology, the discourse of the family in these works, has undergone a semantic transformation and has been drawn in ideological goals. The main approach of this research, according to the metaphorical structure of the family discourse in these periods, is to use a critical approach to metaphor, and for this purpose, we have used the metaphor discourse analysis method. Investigations show that the main structure of these novels is based on the macro metaphor “family is society” and the family is the representative of society and an objective manifestation of abstract ideologies in society at the heart of the ideological structure.

Semiotic signs in the discourse process lead to the reconstruction of semantic operations. From semiotics point of view, signs are in interaction, opposition, adaptation and competition with each other, and during that, they form performance, state, tensive and existential discourse systems. Relying on semiotics approach, the present study tries to analyze existential signs in Ashbah sermon. Existence or the existential object is in the position between Dasein and Transcendence, and according to the context of the sermon, it achieves its perfection by passing through different Daseins. The goal of this research is to achieve the process of transferring meaning and passing semiotic signs from a negative state to a positive one. The results of this research are as follows: Simultaneously with the operation of discursive attachment or connection, the "I of the speaker" is placed in opposition between imperfection and perfection with the phenomenal presence of " انتت = God" and semantic transformation occurs; Borders and distances between Creator and creature are eliminated, and as a result, the negative state reaches the positive one, namely the transcendence of presence. In this discourse, the subject passes through tension-oriented semiotic signs in order to pass from the negative state to the positive state of Dasein. In the discourses related to the creation of the heavens, angels, and the earth, the intense and extent dimensions of meaning fluctuate and form increasing, decreasing, and ascending schemas that lead to semantic operations. Therefore; The functions of discursive detachment and connection and tension-centered signs in the Ashbah sermon, provide the process of transferring meaning to a positive state.

Characterization in the stories from Classic to postmodern course has been faced with many changes, entering postmodern, the theories of great- philosophers such as Foko has affected deeply the manner of anolysing personals of the stories. Since action and reaction of personals from the Story, forms the story.   So the Kind of Studying a Personal helps us to have a better understanding of the story. Each concept is a function of speech that comes from power and knowledge. Studying the kind of speech and the power coming from knowledge, we can knows these actions and reactions and even we can predict them. Provides fixed power for thinking of personalities and their operant. What foco puts forward as power does not have a negative meaning. this article from Foko’s point of view studied personalities and so studied the kind of power coming from speech and forces, we have studied his way of personalogy. So, the personals of the story have been studied to get more carefully their reactions. In this study, they resulted that personals won’t accept dominant speech or help it in some way or will be changed to a subject unconsciously. Subject is infact placing personalities in speech position

Michel Foucault was born in France in 1926 and in his middle age he proposed the theory of discourse and power. In his view, there is a relationship between power, knowledge and truth and how power can arise from language and be effective in writing, how to write and what to write. This essay explores the elements of power and discourse based on Michel Foucault’s theory and first discusses feminism and the theoretical foundations of power and discourse, then explains Foucault’s ideas and power and discourse in literary writings, and then analyzes three short stories, “A City Like Heaven” by Simin Daneshvar, “The Stones of Satan” by Moniro Ravanipour and “The Daughter of Haji Agha” by Zahra Kadkhodayan based on Foucault’s discourse. In this study, we will use a summary of these three stories to explain the latent elements of power within the discourses in order to determine the atmosphere that governs these stories and how they were formed based on social and cultural powers, patriarchal and class, geographical, traditional, superstitious, family, etc. In the meantime, the traditional atmosphere, far from modernist ideas, is the most important characteristic of such stories.

Dialogue logic, especially polyphonic, is the main essence of Bakhtin's thought in all her intellectual levels. He considers the logic of conversation to be the basis of human life which causes it to open new windows of conversation-based worldview in the audience's mind. This research is based on the analytical descriptive method through library note-taking, and its main purpose is to explain polyphony in Forough Farrokhzad's poetry, based on Mikhail Bakhtin's theory. The results indicate that: In order to make her voice heard better, Forough has used multiple voices in her poetry and by acknowledging the plurality of consciousnesses, she has been able to artistically bring the audience into the discourse space with her. She uses interrogative, imperative and imperative sentences in her poetry to create an interactive atmosphere. In addition, by creating contradictions and contrasts in his words, he has been able to create a unique polyphony at the level of words, in such a way that he simultaneously uses lyrical, epic, hopeful and desperate, pacifist and belligerent sounds. Next to the elements in nature, clearly observed. Also, in his poem, Forough puts a lot of emphasis on "speaking", which shows the suffocation that governs the society and the seal that prevailed on women's mouths in the patriarchal and misogynistic society of that day, and the poet intends to create this space. turn it into an interactive and conversation-oriented environment.

Criticism of new historicism has been formed in opposition to traditional historicism. Contrary to traditional historicism, which speaks of the one-sided influence of history on literature, new historicism believes in the mutual influence of literature and history on each other. The story of Bahram and Golandam is one of the remarkable poems in Kurdish literature, which are called "Beit". Beits are syllable-weighted folktales recited by beit readers. It can be said that there are some similarities between the stories of Bahram and Golandam and Zal and Rudabeh. Therefore, it is possible to measure these two stories with each other. In this research, relying on library and documentary studies and with an analytical-comparative approach, we have tried to give a reading of the two stories in question based on the concepts of new historicism. The findings show that although both stories are apparently romantic and the conflicts are about love and marriage; But inside the story, power and discourse interests are fundamental issues. Every discourse tries to maintain its political and social interests.

This study endeavors to show the dominant values, ideology and modality of “The Pear Tree”. Values, ideology and modality within the discourse is interrelated, and modality can be useful to analyze the production of values. Value analysis in this short story is related to three distinctive fields. First, social reality representation within discourse is value laden. That is, each conceptual system is full of values which implicitly affect people. Second, speakers with positive identities can create values. Third, implicit values in context evoke emotions. These values are identified within discourse of the narrative. Moreover, values, attitudes and power relationships beyond them are depicted within this short story. Therefore, contextual analysis is combined with intertextual forms to analyze values. Then the related motivational values are illustrated as binary counterparts.

The current research is a historical and linguistic study of the first women publications in the post-constitutional era. Examining the demands of women in these publications can be a way to understand the nature of women''s movements until today. In this regard, and to answer how women''s voices are expressed in their published works, all the available issues of the two magazines "Shokofeh" and "Zaban Zannan" in the National Library, of Iran as well as a number of books and articles related to the historiography of women''s movements, were used as the corpus of the research. Based on Lacla and Mouffe''s discourse theory, articulations of the dominant discourses of these publications were examined. By taking into account the historical and social conditions the study showed that the confrontation between tradition and modernity played an essential role in the emergence of these discourses. Perhaps it can be concluded that the main signifiers of the discourse of modernity, with the help of the signifiers of the discourse of tradition, led to the formation of empty signifiers, some of which did not enter the social imagination, and emerged as suppressed concepts in other historical periods and in other forms, also brought social movements.

Agents and social actors play an important role in the formation of discourse, hegemony of power, thinking in society and consequently a literary work, and the author can refer to their role in the work in two ways: omission and statement. The methods that depend on the social conditions of the society and the level of power of the agents are fluctuating. In the light of van Leeuwen's discourse theory and relying on the representation and non-representation of social agents in the literary work, this article looks for the functions and social themes and the underlying themes of the text, and to achieve this goal, it examines the novel Al-Qandus by the Saudi writer "Mohammed Hassan Alwan". , to criticize and evaluate the context of the emergence of social agents in this work. Literary works produced in authoritarian and suffocating conditions are very important in terms of analysis and processing based on the theories of discourse analysis, and it is possible to discover the technical features and the underlying but efficient foundations of the work. The result shows that Alwan has used the element of omission more than expression, considering the same atmosphere of tyranny in Saudi society, and these omissions are done consciously but with the assumption that the intelligent audience will understand the author's intention. Also, the methods of declaring identity or naming in accordance with the culture have been used for more irony and criticism.

Throughout the first chapter of Marzbaname, a tense discourse takes place between Malekzadeh and Dastoor with the aim of discovering the truth and the support of a different kind of power. Each of them seeks to remove the other from the field by pressuring him and by influencing Malek, to establish his own position. Dastoor enters the discourse from a position of political power with clear and sophistic expressions and in a rhetoric and power-oriented mood so as to defend the present status. Malekzadeh, relying on the support of a specific social class, uses ironic language and allegory to raise the existing problems and bottlenecks that have caused the crisis in society and tries to give Malek the motivation to change them. Consequently, two discourses are formed on the addressed topic and each of them is a reflection of truth and power. This chapter has been described and analyzed in a documentary and library manner and using the approach of Michel Foucault, has established a strong and coherent link between discourse, truth, and power in various works. The style of speech, the type of argument, and the discursive position of each party are in a way that they impress the audience, arouse their emotions, and attract their attention to their position. Malekzadeh's strategy in his style of speech and discursive position causes the audience to lean towards him and see him as on the side of truth and, as a result, the owner of real power.

A ballad is a type of poetry that is presented with music. This type of literature has always existed throughout history; But before the constitutional revolution, its theme was love and inner emotions. With the emergence of the constitutional movement and along with the changes in various aspects of the society, the poem also took on a social theme and served to express the thoughts of intellectuals. Speech analysis or discourse analysis is a type of interdisciplinary study that analyzes speech and leads to a deep reading of literary works. This research, based on its critical discourse analysis, tries to investigate and analyze the national patriotic works of Malek al-Shoarai Bahar and his criticisms and clarifications during the constitutional movement. With the components of liberalism, socialism, nationalism, parliamentarism and democracy, this discourse finds its political subject and challenges the hegemony of the ruling discourse. The discourse of naturalism and liberalism covers the centrality of all works. The method of this research is descriptive-analytical, and the data of the research has been examined using the method of content analysis and the method of library and document analysis.

A branch of disability studies, rather than the biological aspect of the body, illness and disability, is concerned with disability representations, the politics of care and body care, symptomatic reading (understanding, interpretation and evaluation) and its medical, moral, social and cultural models. In ableism discourse, disability is generally characterized by negative stereotypes. Most of the proverbs, ironies, folklore, stories contain negative schemas and metaphors about disability. In ableism discursive systems, disability is influenced by moral and religious (punishment, sin), political, cultural and ideological concepts and is associated with concepts such as shame, othering, abjection and exclusion, evil, ugliness and sin. In the stories of One Thousand and One Nights, the identity of disabled people is generally associated with concepts such as evilness, fear, shame, pity, humiliation, mockery and inauspiciousness, touching the taboos, spells, and magic. In all over the book, we can recognize marked and Grotesque bodies. In most stories, positive characters and heroes are beautiful and physically healthy, while negative characters, anti-heroes, afārīt, and genies are described as having physical defects. The research method of this article is discourse analysis, although theories related to the body, illness and disability have also been used due to the text and the problem.

condensed Discourse in words or text causes the formation of a semantic process, and this semantic process seeks to discover the mutual foundations and intertwining of signs with each other. Semantics considers the word as a coherent and meaningful collection in which there is a directed flow. Language also has different semantic angles, only a part of which emerges in the form of discourse, and it is necessary to get close to elusive meanings to reach the evolutionary stages of dynamic discourse, which this article tries to do by examining some of the stages of language evolution in Chirag's novel. Zoya Pirzad's work evaluates the elusive meanings in this novel with a descriptive-analytical method based on the study and analysis of data.Zoya Pirzad tries to force the active factors in the novel to move and dynamism with a gentle movement and deduce the desired result from it. The descriptive form of the novel has become the slowness of dynamic discourse and discourse transformation.

Discourse semiotics is a discipline that carries out a process study of language. This discipline considers the sign as the source and meaning as the goal of its work. Semiotics chooses discourse as its field of work. Since literature is one of the examples of dynamic discourses, discourse semiotics aims to discover hidden semantic spaces by examining the elements involved in these discourses and the relationships between these elements. This research used the discourse-semiotic approach to investigate the process of meaning generation in the narrative elements of Zal and Rudabeh of Ferdowsi’s Shahnameh. The results indicated that the actional subject wants to have a child in order to gain value and eliminate the disadvantage. However, amending this shortcoming causes the first tension and challenge in the course of the narrative. The subject tries to solve the challenge by abandoning the albino baby, which is incompatible with social norms, but the abandonment of the child poses more challenges to the main character and even other narrative actors. The abandonment of the child in this narrative provides the possibility of the degeneration of meaning. In the meantime, what keeps the process of meaning-making going is the transformation of the actional subject into a sensible subject and the change of the narrative space into a sensory-perceptive space. Thus, Ferdowsi continues the meaning-making flow by using emotional solutions and applying semantic systems such as action, sensation, existence, imagination, and myth.

The emotional system is one of the discourses that is examined in the frameworkof the sign semantic model. in this system, the flow of means production is linked to perceptual sensory conditions of the passoniate and the signs- meanings are transformed into dynamic and muitydimensional forms. In this regard, the purpose of the present study is to explain the role of the mentioned process in the style of the passoniateˈs presence  and the evoluation of discours conditions, based on the method of the sign- semantic discourse ,while explaining the emotional process of the story “Al-less va  Al-kelb “. Findings show, in the story of Al-less and Al-kelab, the emotional system is based on passions. The emotions and passions in the novel, of which anger and despair are the most prominent, have created the emotional system of discourse based on a meaningful and logical flow. The occurrence of two events in a passionate life, betrayal of loved ones and failure to avenge betrayers, has played an important role in transforming the discourse by influencing emotions, as well as, fundamentally changing the text. In the initial partes of the text, the emotion of anger while causing a continuous and dynamic presence of passion, cause the value of revenge in the discourse. In the final partes, the feeling of despaire leads to isolation and passionate absence from the scene of events and the value funection of the text has changed from revenge to surrender.

Introduction:

The term “dystopia” was coined in 1868 in reference to authoritarian societies, and it often relates to totalitarian regimes (Vieira, 2010: 5&16; Baccolini & Moylan, 2013: 4-7). It was first used in English literature in 1747, albeit with the different spelling of “dustopia”, to describe an anti-utopia. In 1952, the word was used as the opposite of an ideal society, or utopia. The first half of the twentieth century saw the publication of books such as We, Brave New World, and 1984, all of which contained dystopian themes. Thus, the dystopian genre gained traction during the Cold War and went on to garner more popularity during the 1960s and the twenty-first century. While the European dystopias showed the negative impacts of totalitarian regimes, the modern Iranian and Arabic literature investigated the causes of apathetic societies. Dystopia as a genre exists sporadically in modern Iranian literature, but contemporary Arabic literature focuses on the genre more consistently (Claeys, 2022: 53–54; Elmeligi, 2023). 

Methodology:

This paper is qualitative, analytical, and exploratory, which means the implemented method is qualitative data analysis using the MaxQDA 2018 software. 

Discussion:

3.1. Socio-Political Discourse The novel Vaght-e Taghsir (2003), written by Mohammad Kateb, analyzes the intersection of cultural and socio-political elements with human consciousness and imagination. The story is set during the final days of Khatami's government and the rise of fundamentalism in Iran, which represents the decline of cultural freedom and progress and the beginning stages of Iran’s political isolation. Kateb creates a dystopia made up of both fact and fiction by combining real and mythological elements in his story. The main character, Hayat, plays a pivotal role in carrying out public executions and torture. He is in charge of the prison and torture center, slowly turning his show of power into a ritual. Other people also participate in these displays of violence, either as spectators, accomplices, or victims. Hayat himself seems to wear many different faces and fragmented identities, which represent the complexities of the society to which he belongs.Ahmed Saadawi’s novel Frankenstein in Baghdad (2013) takes place against the backdrop of the American attack on Iraq and the 2005 civil war. The book focuses on the concept of war as a surreal and futile reality for everyone involved, while blending dystopian and gothic elements. The main character, Hadi al-Attag, collects the body parts of the victims of war to create a creature called Shasmeh (whatsitsname), who seeks revenge on those responsible for his death. Saadawi paints a harsh and scathing picture of Middle Eastern sectarianism, as well as geopolitical and governance weaknesses. Saadawi focuses on the consequences of war and the presence of alien forces, which are considered undesirable elements of dystopia.Gottlieb describes the government as the main player in the dystopia (Gottlieb, 2001: 7, 16), while Agren believes that global power does not necessarily correspond to the government (Agren, 2014: 11). In Vaght-e Taghsir, the government acts as the main perpetrator, while in Frankenstein in Baghdad, ordinary citizens appear as the main players in the dystopian landscape. The government in Frankenstein in Baghdad, however, plays a main role in the formation and strengthening of Frankenstein by creating and supporting armed and religious forces and inciting hatred and division between different classes, castes, and religions.In Vaght-e Taghsir, the author examines the socio-political status quo by using symbolism. The name of the city, Hekmataneh/Hegmataneh, has both dystopian and utopian aspects, therefore serving double meanings (Kateb, 2009: 251-252). Frankenstein in Baghdad depicts the chaotic and violent situation that followed the overthrowing of Saddam Hussein in Baghdad and examines the historical and political events that have shaped Iraq’s recent history. 3.2. Dystopian discourse Bakhtin believed that novels are polyphonic phenomena and authors can use a variety of different points of view to create a coherent and integrated artistic system (Holquist, 1990: 261-262). On the contrary, Agren emphasizes the importance of the psychological experiences of the individual in creating dystopia (Agren, 2014: 34). In Vaght-e Taghsir, the characters are searching for their true identities, and this search and their conflicting feelings about their fragmented identity are reflected in both their internal and external dialogues. In Frankenstein in Baghdad, the dialogue gives the characters depth and identity. In both cases, rites and rituals play an important role in shaping dystopian society as well as helping promote obedience and subjugation (Torrisi, 2015: 55-57, 72, 80).3.3. Character Psychology In Frankenstein in Baghdad, fear and anxiety have become internalized elements in the story, creating an atmosphere filled with paranoia and terror that can be felt at all times and in all spaces, even inside homes and on deserted streets. This is while in Vaght-e Taghsir, an atmosphere of disgust and terror prevails in prisons, homes, and cemeteries. The main characters in both texts, such as Hayat and Abro in Vaght-e Taghsir and Hadi and Mahmoud in Frankenstein in Baghdad, play dynamic and proactive roles and move the story forward. Women also have a strong presence in these texts and take proactive roles and effective stances in the face of dystopian adversaries. These varying interactions and representations help form complex societies that include different and conflicting groups with their own goals and ambitions.3.4. Spatiality Space plays an important role beyond just the background for the events of the story in contemporary literature. It becomes an artistic element that can shape the themes and meanings of the story (Bahrawi, 1990). In Vaght-e Taghsir, the spaces are mostly unspecified and generic, which allows the reader to relate the story to real life (Kateb, 2009). Spaces like the square and the cemetery, however, find different meanings, taking on a new identity that represents power and resistance. In Frankenstein in Baghdad, Baghdad is not the only location in the story; there are other secondary locations that take on different meanings and play a role in the plot of the story (Saadawi, 2013).Foucault's heterotopias, which are conflicting, othered, or sacred spaces, act as spaces where conflicting characters, discourses, and identities are brought together in these two novels (Foucault & Miskowiec, 1968). In Frankenstein in Baghdad, for instance, the characters and spaces are both placed in a third space where the line between reality and fantasy is blurred. This surrealism improves the complexities of the story (Saadawi, 2013).3.5. EmbodimentPhilosophy views the body and the mind as connected entities through neurological and cognitive structures that form the basis of thought (Lakoff and Johnson, 2017). The body does not simply reflect the state of society; it is also a place for recording biological experiences and social supervision (Zarghani et al., 2018). In these texts, the body itself is used as a place to display power. In Vaght-e Taghsir, the body is the meeting place of conflicting thoughts and beliefs; it is a field for displays of power. This is whilst in Frankenstein in Baghdad, the body is the center of attention, and body parts become symbols of justice and revenge. Therefore, as can be seen in these texts, the body itself can represent social and cultural complexities (Hajizadeh and Hosseini, 2017). 

Conclusion:

Vaght-e Taghsir is a postmodern novel that employs self-referential metafiction and intertextuality as techniques to showcase alternative realities through various points of view and storylines that result in an open ending. Likewise, Frankenstein in Baghdad employs dystopian landscapes by relying on the repetition of history and the uncertainty of citizens.These two novels have some differences in their depiction of socio-political status: Vaght-e Taghsir paints the government as a dominant and oppressive institution, while Frankenstein in Baghdad depicts a powerless government. Both novels rewrite conflicting experiences in different time periods and showcase the constant efforts of characters and the overall society to escape the status quo. The heroes in these stories accept their fate head-on and without resistance. In conclusion, these stories combine the dystopian and utopian discourses and show how difficult it is for Middle Easterners to escape their status quo in the 21st century.

Modern historicism is one of the theories in the field of literary criticism and one of the sub-branches of post-structural criticism, which was founded by Steven Greenblatt in the late seventies and early eighties. Contrary to traditional historicism, which speaks of the one-sided influence of history on literature, modern historicism believes in the two-sided influence of literature and history on each other. In this research, relying on library and documentary studies and with an analytical-descriptive approach, we have tried to examine the story of Qubad Pirouz in Ferdowsi's Shahnameh based on the criticism of modern historicism, identify and analyze its discourses, and finally get a new meaning from it. Based on the obtained results, it can be said that there are five discourses in Qabad's story, whose conflict with each other forms the basis of the narrative and moves it forward. The identified discourses are: Qabad, Blash, Sokhrai, Mazdak and Mobdan discourses. Each of these discourses gain power in a period of time and are placed in the center; But the amount of friction is such that they are pushed from the center to the margins again. All in all, in this research, an effort has been made to get a new understanding of the story by analyzing the relationships between the discourses and shedding light on the dark corners of the story.

Comparative discourse analysis is a branch of linguistics focusing on comparative study of languages, cultures, and discourses in terms of similar linguistic and metalinguistic variables in the construction and monitoring of discourse (Linha, 2022). Monitoring discourse is the analysis of strategies in planning, distribution, production, and utilization of language to create coherence and relevance between units of discourse by the creative, innovative, and flexible way of application of discourse markers (DMs) in human communication (Mohammadi and Dehghan, 2021). This explorative, descriptive, and qualitative study analyzed coherence relations in “Modire Madreseh” by Jalal Aleahmad and “The Old Man and The Sea by Hemingway. DMs are the most frequent, complex, and creative meta-linguistic elements in human communication (Sayadkooh and Reisi, 2017). Their utilization in discourse is not random and they perform different cultural social and pragmatic functions facilitating human communication (Fraser, 2006). Theoretically, DMs are defined and analyzed from two perspectives: relevance theory by Sperber and Wilson (1995) and coherence theory by Glansberg (2018). And the assumptions include: all text possess coherence, there are different types of coherence relations in texts, and these coherence relations should be discovered by the people in discourse. Approaching DMs functionally, Redeker (2006) believes that DMs’ main function is establishing relationship between units of discourse. From a semantic perspective, Fraser (2006) analyzed DMs at sentence level and believes that they establish the relationship between messages in the former, present, and latter sentences. Aijmer (2013) concludes that DMs do not possess fixed lexical functions and their functions are contexts-dependent and context-sensitive resulting in different functions in discourse. Empirically, DMs are investigated in different languages skills such as writing, speaking, listening and translation by different investigators. This exploratory, descriptive, and qualitative study analyze coherence relations in two Persian and English literary works. Theoretically the study was supported by coherence theory in discourse analysis and the following analysis models established within this theoretical perspective: DMs inventory developed by Fraser (2006) and DMs functional inventory by Brinton (1996). Coherence theory centers around the appropriacy of concepts in terms of their relationship in the context of discourse. The corpus consisted of the following two Persian and English novels: “Modire Madreseh” by Jalal Aleahmad and “The Old Man and The Sea by Hemingway and these novels where selected due to the similar literary genre, similar readability levels, and close date of publication in two literary discourses. Moreover, to verify the reliability of the findings 20% the data were given to two raters to verify the researchers’ identification and classification of DMs and their functions. The results of the quantitative analysis revealed that the construction of coherence relations between units of discourse was substantiated based on a four plane framework established by four groups of inferential, elaborative, contrastive, and temporal DMs in monitoring discourse. And the most frequent DMs were elaborative DMs. The qualitative analysis of the pragmatic functions of DMs applied in these literary works resulted in the following seven plane spectrum of functions for DMs: information indication, temporality, topic switch, opening markers, closing markers, turn exchange, and reform markers. This creative, flexible, and innovative approach in the construction and interpretation of discourse is substantiated through the application of pragmaticalization. So, new, creative, and context sensitive inferences about functions are substantiated for DMs and they are always being renewed, modified, and innovated substantially. Different implications in different research and educational perspectives about teaching literature, language, and different languages skills are suggested and discussed.

In semiotic-semantic analysis, narrative discourse is one of the most important branches of discourse analysis, which has many theories. One of the most important theorists is Grams, who proposed two systems of superstructure and deep structure for the meaning creation process. According to this theory, in every narrative story, components such as discursive connection and disconnection, positioning, effective verbs, point of view, coexistence and substitution process, homogenous categories and types of discourses of action, shushi, aesthetic, shisha, semantic square and tension are achieved during a process that They study the discovery of the fundamental constructions of the meaning making process; The problem of the upcoming research is to explore how the process of creating meaning through the interaction of discourse systems in the superstructure system and the deep system of story construction. And also investigating the issue of what role do moral themes, characterization and mythology play in the depth of the story in the process of creating meaning in order to change the value function of the discourse and the flow of value that the actor and Shoshgar depend on? The assumption is that the role of the action process in changing the conditions of transformation of discourses by affecting the belief and changing the type of feeling of the actor, affects the process of discourse and transforms its value function. In such a way that the narration turns to the active discourse with Shushi's discourse, and again the Shushi system is transformed and its gender becomes aesthetic agnanimous