Young adult novels are the realm of adolescent encounters with situations, concepts, and themes Which is sometimes related to her age and sometimes untimely experiences. "Call me Ziba" is a novel written by Farhad Hassanzadeh, which shows a teenage girl trying to overcome an unwanted situation..In revolt theory, in textual action and social action, Kristova discusses the encounter of the semiotic and the symbolic in literary texts as well as in the entertainment society..This research interprets and analyzes the novel with a descriptive and interpretive approach based on Kristova's theory of revolt and other opinions that are related to this theory..In this novel, the semiotic and the symbolic are expressed in newspapers and stories, which have an intertextuality link, respectively.."Ziba", the novel's teenage character who lives in an orphanage, tries to revolt against the society of the entertainment, which has deprived her of her home and identity.Rebellion against the symbolic, but this rebellion is finally realized on another level with the author entering the story, breaking the symbolic and returning to the semiotic, in the literature as a house, identity and immortality .

By explaining the function of the semiotic and the symbolic, Julia Kristeva describes the simultaneous movement of the two to express the language of art. By describing the subjectivity as an element that influenced by culture, history, and language, she describes the subject process/on trial and places it in art. In her view, art is the discharge of driving energies in language, which uses the jouissance of creation in the symbolic superstructure to epiphany. Hence, what creates a work of art with the help of effect can have multiple meanings, and in this two-dimensional structure, the viewer stands on the other side to interpret. The viewer enters to the process of creating meaning and his/her action leads to the creation of various interpretations. What is taken from human s emotional life by the dominance of symbolic discourse is reflected by art, and this action in semiotic functions, to transgress of the symbolic goes on , and the various interpretations of the viewer of the work as reconstructive revive subjectivities emotional life. This descriptive-analytical research, with considering the transgressive mechanism of the semiotic that constantly disobeys the symbolic, analyzes the power of art in the reconstruction and revival of the subject and analyzes the works of leading Iranian artists in the nineties decade from this perspective. We will do and the possibility of aligning the ideas of Iranian artists of the nineties, from different ages and climates, in the presence of an action indicating a tendency to transgress the symbolic structure will be assessed. Julia Kristeva is a poststructuralist thinker, and her definition of "subjectivity" is effective in explaining her path to processive philosophy and her formulation of the subject in process/on trial. The distinction of his views from Lacan, while being based on Lacan's ideas, has made Kristeva a prominent thinker. To define the subjectivity, we have to give a brief description of the meaning of "subjectivity" and its difference from "self". The distinction between "self" and "subjectivity" must be considered in Kristeva's definition of the subject in the process, in which case one can distinguish between the essential philosophy of essence, that which considers "self" as an independent and self-static element, with subjectivity that is in an intersection of language, history and culture. Kristeva and other poststructuralist thinkers believe that changes in opinions, events, and history affect human beings. This dynamic being, created from the past and present, is not a creature that can determine its own destiny in a desirable way. For to Kristeva, language, which is a process in motion and benefits from the element of synchronic, is different from the language of dominant institutions and discourses. Her intentionality is to show qualities in the underlying layers of language, as distinguished from the structure of formal literature. What is explained in Lacan's description of the chain of signifiers and the absence of meaning, in Kristeva's interpretation, considering desire as absence, becomes a symbolic chain that in practice surrounds desire, and the chain of kristeva signs contain meaning and productivity. Kristeva's idea about semanalysis is different from the way it provides meaning in language. Her idea to an aspect of signification that actively directs the motility of signs in an infrastructure from the symbolic level to semantic significations. Reconstruction of the subject involves the creation of a new object. According to Kristeva, interpretive action, through semanalysis, leads to multiple processes and multiple interpretations, which, while the subject collapses, causes its revival and multiplicity of interpretations. The structure of exceed of meaning moves at a level of semiotic motility that puts the subject in the process of reconstruction as well as the object undergoes change and reproduction. The rupture of the object produced in the interpretive process is considered as the regeneration of another object. Going beyond the conventional interpretation to something superfluous, in a sense beyond visible composition, brings the viewer closer to what Kristeva calls semanalysis. What can be deduced from the symbolization of avant-garde art is its revolutionary expression in the birth of creation of meanings in the interpretation of the work of art and the attainment of meanings beyond the common meaning, which is transferred from sign motilities to the interpreter. The first sparks of semanalysis formation in Kristeva's thought are intertextuality. In his view, semanalysis can provide a wide range of words, and in this regard, a wide range of interpretation arises from its relation to the work of art, and it has borrowed this from Bakhtin. In semanalysis, the stability of meaning is shaken and the interpretive flow takes the work out of monotony. The works of artists who create art in one direction will firstly have multiple meanings in that concept (violence, discrimination, inequality, and a desire to dismiss symbolic discourse) and secondly, perception by a subject within the same symbolic structure. It lives and moves the flow of interpretation. So Exceed of meaning , is produced in the semiotic disposition with the help of multiple interpretations that take the work out of the one-dimensional realm. Kristeva's explanation of the symbolic order is the destruction of the symbolic and its reconstruction, through which multiple meanings emerge. A work that stagnates common practices, disrupts previous direct interpretations, and advances multiple interpretations, has gained new credibility. By breaking down common discourses, avant-garde art provides a multifaceted expression in interpretive structure. In this research, we first describe Kristeva's views on the definition of subjectivity and examine its function encounter to historical and cultural changes, and then, by defining the exceed of meaning with her idea of the semiotic disposition, we analyzed the works of some Iranian painters of the nineties decade in terms of their alignment In disrupting the symbolic order and described the subject encounter to the work of art as analysts encounter to psychoanalyst. Through the various interpretations that the viewer derives from the work, we explain his reconstruction and analyze the function of art in society in order to revive the subject and disrupt the symbolic order and rebuilt the dominant discourse that is beyond the usual discourse definitions. Through the various interpretations that the viewer subject perceives from the work, his/her reconstruction was explained and the function of art in society in order to revive the subject and disrupt the symbolic order and modernize the dominant discourse that is beyond the common discourse definitions was analyzed. In this approach, the idea of Iranian artists of the nineties decade, from different ages and lands, showed the alignment of artistic actions that from the discourse of each exclusively and specifically, the existence of an action indicating a tendency to transgress the symbolic. This approach According to Kristeva, the surplus of meaning is explored by the viewer and led to the interpretive flow is manifested in the works of each of them.

Semanalysis is a method composed of psychoanalysis and semiotics that Kristeva invented to study the subjectivity process. According to Kristeva, human is a divided subject made of two different dimensions of language: one is the masculine dimension of language, known as the symbolic, and the other is its feminine dimension, known as the semiotics. The process of signification (and, correspondingly, the process of subjectivity) begins with the abjection of the mother's body and the leaving of Chora. From the lexical point of view, Chora means the mother's womb, and from the conceptual point of view, it is the reservoir of semiotic matter and the physical place for the formation of the first signs. Language, as the embodiment of the symbolic, determines the boundaries of the subject's identity by withdrawing the semiotic; But the rejected semiotic does not disappear; Rather, in the form of "desire to return to Chora", it always keeps the boundaries of the speaking subject's constructed identity under threat. Kristeva considers the only channel to restore the feminine semiotic and return to the maternal Chora as "revolution in poetic language". Kristeva means this language revolution, defiance of the systems based on male symbolic. The picturebook "Celestial Stone" is one of the titles of the ten-volume series "The Bald Athlete and Her Horse Kori" written by Ms. Parirokh and illustrated by Ms. Keiqobadi (1400) for +8 age group. Based on this, I will use the qualitative content analysis method of comparative type, while re-reading the mentioned work on how the relationship between returning to maternal chora and relieving the depression of modern man. The result of the research shows that the modern subject, who is depressed due to the dominance of the symbolic dimension of language and the loss of maternal chora, can achieve balance by restoring the semiotic.

In the present research it is investigating two outstanding movies of Iranian cinema through the philosophical-psychological theories of Jacques Lacan. Pari and Hamoon are both made by the Iranian prominent filmmaker, Dariush Mehrjui. The protagonists of both movies are characters who represent psychological perplexity and disorderliness of the modern individual. In his theories, Lacan deeply analyzes these perplexities by introducing such concepts as “name of the father”, “object of desire”, “objet petit a”, “Other” and the famous theory about three stages of self-formation which are “imaginary order”, “symbolic order” and “real order.” The main objective of this study is to find out how Pari and Hamoon, two modern rebellious individuals, are able to find a way out of Lacanian symbolic order. Other minor points of this paper are first studying the solutions hired by these characters in achieving the real order and returning to imaginary order; second, comparing and contrasting their strategies in confronting the elements of name of the father in the society; and third, surveying their different methods of achieving their object of desire. In this research, first of all the Lacanian concepts and theories have been described and interpreted and consequently through text analysis, the deep implied meanings of the both texts along with the two main characters have been studied to test the applicability of Lacanian theories in cinema. Since there is no way out of symbolic order for human beings, as Lacan stated, Pari and Hamoon’s rebellions and deconstructions have been doomed to failure. They are able neither to confront the real order nor to return to the imaginary order. It can be said that although the type of failure of the two characters are different, they both are destined to live on in the symbolic order.

Psychoanalytic criticism is one of the most widly used approaches in contemporary literary theory. Using this approach in reading literary works can help in the exploration of their deep layers. This article draws on the major notions in Lacanian psychoanalysis, and traces them in Ahmad Shamlou’s well-known poem “Death of the Nazarene”. To do so, first the Lacanian psychoanalytic framework, which includes concepts like the Imaginary order, the Symbolic order, the Real order, object petit a, and the big Other, will be explained. These concepts will, then, be applied to Shamlou’s “Death of the Nazarene” in order to reveal complex layers and present relevant arguments. Jesus was born in Nazareth and, therefore, Shamlou calls him “the Nazarene”. He is a man who, extending his mercy, wants to save the society by orienting it toward the big Other. This characteristic occurs in the Symbolic, but mercy and love usually do not happen after the imaginary world. This study offers a textual analysis for a better understnading of the poem’s implied and hidden layers.

The significance theory posited by Kristeva may be assumed as influenced by two paradigms of phenomenology and psychoanalysis. In fact, Kristeva shows an evolutionary return to phenomenology and psychiatry by expressing function of significance or in other words exposure to signifying process, the semiotic and the symbolic. She referred to phenomenology to deepen interpretation of concept and description and interpretation of “the symbolic” and inherited “the semiotic” from Freudian psychoanalysis. Impressed by Husserl phenomenology, Kristeva relates phenomenology to psychoanalysis and tries thereby to propose a theory for signifying process. Confronting the phenomenological and psychoanalytical theories with each other prepares platform for Kristeva to develop her theory of meaning and subjectivity. In the age of dominance of the symbolic, she tries to set the possibility of refractoriness and reproducing of meaning to an arbitrary and continual process. By exploiting this dynamic concept, she is going to produce a different representation in language, a revolution in language and cultural structures. The present essay tends to examine effect of factors such as Freudian-Lacanian psychoanalysis and phenomenology in developing theory of meaning, after a review on the intervening elements in signifying process in Kristeva’s thought. In fact, Kristeva’s project is the other side of Derridean deconstructing of metaphysical language.

The purpose of the present study is to explain how a female designer uses visual elements and rules to produce meanings and messages in order to illuminate the creative aspects of women's existence. Clarifying the meaning and message of the poster relies on observing, describing, and interpreting visual qualities. To clarify the layers of meaning, we study it with the components of the semantic process in language theory of Julia Kristeva. The components of the theoretical framework of the research are symbolic, the semiotic, their exchange, and then intertextuality. The method is the analysis of qualitative content by hermeneutic approach.  This shows that both the symbolic and the semiotic in this poster are in constant conflict and exchange. They direct the meaning process. Female and flower`s replacement, flower petals and mouths, flower pot, water and clouds and materials for cultivation, usage of text with a curved font on the pot, and double reference of the text in theoretical defense of female voice show the symbolic and the semiotic exchange. In addition to them, the study of intertextuality like the benefit of embroidery technique to lost women's creativity implies the ultimate meaning. It is that today, just as much as we need to revive feminine traditions such as embroidery, we should pay as much attention to the female voice in different reproductive aspects of their existence. Also writing on the pots show the emphasis on other creative aspects in woman`s existence. Therefore, the poster`s designer pays deep attention to female reproductive aspects  of their existence.

The study is based on the assumption that the painting "Entry of Christ into Brussels" by "James Ensor" despite its title & theme of religious narration related to the holy book, unlike the orthodox Christian iconography, especially is a break or a kind of refusal. There is a revolution in the painting by which we translate it into a kind of modern icons. This research seeks to answer the question, despite the religious elements, whether we categorize it as a modern icon? The purpose of the research is to analyze the process of semananlysis according to kristeva`s ideas. The visual elements and their relations is required for highlighting the exchange of the semiotic and the symbolic? Types of Lines, colors, the degree of darkness/brightness or tonality, shapes, texture, and space will lead us to the threshold of semananalysis. The description of the visual components proceeds up to modal, representational & compositional functions. This focus leads to associative & successional and differential intertextual relationships. An outline of the relations governing the components leads to the levels of principles, that is, the implicit and explicit, cultural and social ones. The analysis of the visual characteristics and the relations between them will concentrate our attention to the exchange of the semiotic and the symbolic. The focus on the types of intertextual relationship will show "Entry of Christ into Brussels" does not follow the religious iconographical traditions. secondly, with regard to the aesthetic properties like forces of colors, artist leads the audience's mind to a deeper sociological interpretation. Ultimately, considering other artist`s artworks and studying para textual relationships all directly highlight the relationship between political issues associated with new governmentality and new branch of Christianity.

By separating the semiotic and the symbolic, Kristeva seeks to bring the semiotic chora back to the realm of politics. Chora includes the libidinal force belonging to the mother-child relationship, which at the same time that it has propagated the components of the symbolic realm, has always been suppressed. Kristeva regards this repression as the basis of all the repressions and wants to restrain the authority by returning to this suppressed affair. Here, the repressed affair itself does not return, but it should be backed up by profound psychoanalysis. Kristeva calls this a revolt and thus revealing the deep relationship between macropolitics and micropolitics by giving a political character to it. We will introduce this psychoanalytic understanding of the political affair as corpopolitics. As we will show, corpopolitics seeks to prevent matricide, and this is the most original political act; because, according to us, matricide is the root of all violence and repression. So we shall propose a new reading of Kristeva’s political thoughts.