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This study attempts to analyze the representation of the female subject in the narrative and visual content of home theater in the Mannequin series. For this purpose, by applying the constructivist approach of Richard Dyer and Stuart Hall's theory of representation as the theoretical framework and Fisk's semiotic analysis method in three levels of codes of reality, representation, and ideology, Mannequin series has been examined and evaluated. The research method of this study is a qualitative analysis with an inductive approach. According to the topic and the research problem, deploying qualitative and semiotic methods is the best technique to analyze this topic. The results indicate that the ideological codes of the series are a combination of several codes that together show the class of the woman character in the series. The upper-class female characters in Mannequin series look for fashion, extravagance, variety, and luxury life. On the other hand, the middle or lower-class women in the series are representations of the lone women's turmoil in society who are not able to find the correct and upright ways to achieve their desires and thus go astray. For the single women in the family, who are full of selfishness and self-interest, the Mannequin series leaves no choice but to prostitute themselves and trust in the criminals of society. In summarizing the contents, the following can be mentioned about the Mannequin series: home cinema, which could have been a qualitative alternative to the national television, causes serious damage to the cinema and the culture of our Iranian-Islamic society by turning to such low-quality and worthless series in terms of technical structure and moral themes. [ABSTRACT FROM AUTHOR]

Nowadays, use of new technologies in creating artworks lead to the expansion of interactive approaches in art. Interactive art as a new art that influenced by technology is a suitable platform to be able to study it based on the thoughts of contemporary philosopher Jean Baudrillard. In interactive art, the presence and role of the audience in the completion of artwork, creates a common sense between the audience and the artwork Jean Baudrillard, one of the postmodernism theorists, considers simulation in the contemporary world as a main factor in the disappearance of reality. According to Baudrillard's belief, signs and codes have dominated all aspects of life, including art, in the postmodern society, and he has repeatedly expressed his concern that the reality of the world is being forgotten in the midst of pretense and signs. The aim of research is by relying on the key concepts of Baudrillard's theories such as simulation and sign value and by examining two examples of Team Lab designer's interactive artworks, answers this question: how reproduction of signs and Baudrillard's simulation does occur in interactive art? To achieve this goal, a descriptive-analytical method was used to collect information using written and digital sources. The results of the research show that the presence and action of the audience in interactive art and the difference in their point of view and the way the audience communicates with the interactive work, have created new signs. This reproduction of signs along with factors such as interaction, imagination, subject and object and sense of audience leads to the blurring of the distinction between simulation and reality and the creation of signs without reference to the real world. In these interactive artworks, the role of the audience in completing the work is planned and limited according to the creator's wishes and is more close to the artist's ideas and desires. Since the creation of a hyperreal space requires requirements such as believability, computeralness, explorability, interactivity and immersion, by meeting these requirements in digital interactive art by the creator of the work and its designers, in addition to preserving the artist's idea, attractiveness for the audience of the work is also created. The lack of reference to the real world in these works demonstrates Baudrillard's creation of the hyper reality in interactive art. The interactive art invites the audience to participate and consume images and produce new signs and traps the subject and directs his thought to the subject, to create an imaginary world. The audience considers this world as their main goal and is exposed to responding and expressing the work rather than trying to understand and judge, and the audience becomes a part of artwork and becomes an art object. The results of the investigation of digital interactive art installations of water painting and the nature of graffiti are an example of the domination of signs and the control of the audience by the codes and machine algorithms considered by Baudrillard, and a manifestation of the role of modern technology. [ABSTRACT FROM AUTHOR]

Verbal discourse of the modern prose is formed by interconnected structure from a conscious mind in a way that the play of the signs in the text along with the personal mentality and memory of the character can become so fluid and elusive that ambiguity becomes a particular component of modern narrative. But semiotic layers with a detailed and systematic reading deal with the interaction of the text layers in the story to investigate implicit and explicit implications of signs in a semantic process through multiple codes and according to the context of the texture. "Abolhol" is a short story by Fereshte Sari written in the eighties. Narrator's diegesis that as if it is the symbolic narrative of the visualization of his subconscious mind and body about the fate of women, shows such semantic capacity of the places such as caravanserai and darkroom so fertile with human and inhuman activists that the phenomenology of reading with a layered semiotic approach, in addition to the interference of the paratext elements in the implications, the layers of time, space, aesthetics, and actors in codes are considered to show their semantic capacity in the semantic process of the story. But in the "sequence" the semantic process of the modern subject is on the path of "becoming" which led to the narrator's transcendental "Stative subject "in addition to the obvious role of "effective verbs" the narrator's "disjunction" was also considered in "meaning manqué" to show the difference between the character of traditional and modern stories in search of objects.

From the point of view of semioticians, we live in a world of verbal and non-verbal signs that are effective in conveying and representing human intentions. In semiotics, these signs, which are made meaningful by the existence of cryptocurrencies and causal relations, are examined. Daniel Chandler was able to explain new aspects of this science with his theory of the five cryptocurrencies. In contemporary Persian poetry, Ahmad Shamloo has used many verbal and non-verbal cues in his collection of Fresh Air to explain various concepts, including love. In his poetry, love is not just a physical phenomenon related to human biological characteristics and has various semantic clusters. In Kurdish literature, too, Sherko Bekas uses love precisely as a cryptic concept in his poems, which, beyond its symbolic dimensions, recreates a whole of human, social and even political relations. The reinterpretation of these meanings and the semantics of Shamloo and Bekas intentions is possible through the application of Chandler's theory. The results of the present study show that Shamloo and Bekas, by mentioning explicit and implicit signs in the text of the poems, have introduced love as a multidimensional phenomenon and have linked social, political and cultural issues with it. This innovation, achieved by each of these poets, has been effective in interpreting their love poems in fresh air collections and small mirrors.

Narratology is a discipline that undertakes the task of analyzing the techniques and narrative structures of a narrative text which is presented as a report of interconnected incidents in an artistic form. Narratological study of a narrative text such as Samuel Beckett's Waiting for Godot, with its different religious, mythological, philosophical and psychological aspects, provides new perspectives for the readers. Also, with a structural analysis of this play and understanding its narrative functions, one can reach a better understanding of its themes. The uncertainty of meaning in Waiting for Godot is one of the significant characteristics of this play which makes various readings possible for the reader. Therefore, by using a descriptive analytical methodology and drawing upon Roland Barthes' theory of narrative codes, this study tries to analyze the play in order to show the open and manifold quality of different meanings in this play; in other words, it examines whether the text of Waiting for Godot is a scriptible ("writerly") text or a lisible ("readerly") text a closed text, turning the reader into a mere consumer. Also, the narrative functions of the text as well as its implications and hidden meanings are analyzed to gain a better understanding of the hidden concepts. The findings of this research reveal that, 1) the text of the play Waiting for Godot has an adaptable structure to Barthes' theory of narrative codes; as such, in some occasions, Barthes' critical patterns about the excessive stillness or lack of movement of the actors challenge the text of the play on its aesthetic foundation and provide a deeper understanding of the two characters, the "half crazy" and the "half philosopher". 2) By creating multiple oppositions and by using the genre of absurd theater, Beckett has managed to create relationships between the characters in their dialogues, through which he successfully conveys his religious and philosophical ideas to the readers. 3) This play is a writerly text and has multiple meanings which are reproduced by the reader and eventually lead the readers toward a better understanding of its hidden themes and beauties. [ABSTRACT FROM AUTHOR]

Mysticism, Sufism, terminologies, and codes related to them have always been present in classical Persian poetry and have been deployed by numerous poets. However, this connection has become quite limited in contemporary poetry. Bearing in mind that these codes offer the possibility of producing, receiving, and interpreting texts, in this article, we attempt to examine the mystical codes in Seyyed Hassan Hosseini's poetry so that we can understand the role and influence of mysticism and Sufism on creation of poetic imageries and themes in his work. This article examines the linguistic, mental and rhetorical layers of Hosseini's poems via descriptive-analytical approach to show the quality of the influence of these codes. The results show that although with the developments in the modern world and the change in the taste of the new generation, mystical and Sufi elements and codes are no longer the focus of attention of contemporary poets, especially modern poets, Seyyed Hassan Hosseini has deployed these codes in three linguistic, literal and mental fields. In the field of rhetoric, he has used these codes to create various poetic imageries such as similes, metaphors, and all kinds of allusions and symmetries. In the mental field, he has used many of these codes to fight hypocrisy and its manifestations. In this way, he has been able to deploy these codes to enrich contemporary literature and reduce the chasm between modern poetry and classical Persian poetry, to some extent.

Cultural semiotic is a concept which counts as an earlier matter for analyzing which always have been created by semioticians in order to choosing cultural elements. This science analyzes the mental and material methods which have created for better realize from own culture and other cultures, so they are not face to just single culture and mostly engaged with relations among the cultures, therefore, one of usage of this science is to analyzing texts that hosts one or several cultures. writing text of Nafsatolmasdoor book by Zeydari-ye Nasavi is such text that have written because of reporting chaos made by presence of Mongolian in Iran which counts as a multi-cultural text. So in this essay we try to analyze Nafsatolmasdoor’s text from Cultural semiotic point of view by descriptive and analyzing method. For this goal after definition of theorical concepts related to cultural semiotic and Tartu school pattern we try to positioning own and others culture’s place in mentioned book’s text and then how to representing language codes, quantity, act, religion, means and architecture in relation with own and others will be analyzing under this essay. The results of research suggest that majority rioted on system and this majority mostly related to codes with literature imaginary structure and much more tangible in this section.

Layer semiotics with sign substructure, langue, parole, codes, context and so on aims to provide an exact reading of text. In this procedure, the sign in discourse interaction will change to text. In fact in this process, the contextual reading has resulted the signs in form of codes which turn to textural layers. Although inter-text and inter-discourse reading of addressee will direct these layers. Khosrow and Shirin poem had the potential of this reading, so due to current research, some signs such as water, milk, blood, tree, stone, sun and so on are seen as the main actors of a story around three characters including Farhad, Khosrow, and Shirin so that phenomenological reading considers the above-mentioned signs in parallel to every character in semantic process in proportion with the implicit significations. Descriptive–analytic method of Layer Semiotics indicated how a poet can use the story economy in form of signs to make the volume of semantic-content structure of a literal work. So, some analysts with structuralism view in addition to purgatory view of all signs in reading different codes caused to the semantic reproduction, for example when the companion actors with Shirin such as water, milk and blood are placed due to the signs processing in different codes of mysticism, myth, psychology and so on. Finally, Shirin is placed in a way confronting different implicit significations such as Gnosticism Early death when she was punished.

Seeking to expand communication technologies, new diversified ‎architecture of the process of ‎transferring meaning is evolving ‎media in the world. One of these methods, conveying the fabric ‎in ‎virtual games. Virtual games as a text, concepts to transmit ‎users. One of the implications of the media ‎in the field of work ‎on it has been less, individualism. The notions that in terms of ‎sociological ‎significance is also due to sign method cognitive ‎Barrett, mobile phone Games were investigated. Five ‎codes on ‎the basis of the five Barrett, four five codes concept of cultural ‎field as individualism, ‎summing up the findings provided urban ‎space, alone, relying on the individual capabilities, ‎human ‎challenge with human.‎

The narration of ‘the King and the Maid’ as the first anecdote of Rumi's Masnavi after the section of Ney Name is one of the most serious stories of this poem and the most basic ideas of the poet are included in it. The high importance of this anecdote has caused many Masnavi scholars to interpret the meanings and explain its symbols. This issue leads to the emergence of multiple and often conflicting views. A group of commentators have considered the story of ‘the king and the maid’ as a symbolic story focusing on its symbols while another group, though emphasizing the importance of the anecdote, considered this kind of symbolism inappropriate to Rumi's taste and ingenuity. Having a correct judgment about such different views requires the use of framed methods of reading literary and artistic texts. Using Roland Barthes's method, thus, can be helpful. While distinguishing between a ‘readable text’ and ‘written text’, Barthes considered a written text to be a system of different codes that, in conjunction with each other, give rise to multiple meanings. Accordingly, he suggests analyzing the meaning in the text using the five hermeneutic, action, semantic, symbolic, and cultural codes. The purpose of the present study is to investigate the main discourses reinforced by different semantic levels of the text using a descriptive-analytical method. In this way, a scientific position was reached on resolving conflicts between commentators over the meaning of the symbols and the basic concepts of this story. The results of the study of text cryptography show that the three discourses of ‘sheikh, seeker’, ‘top side, bottom side’ and ‘trust, pride’ are the main discourses of the text and all cryptographies and semantic levels reinforce these discourses. In the context of the meaning of the symbols of the story, the focus on the main dualities of the text shows that this story symbolically represents the connection between the dimensions of human existence. According to Ibn Sina's views on how the soul belongs to the earthly body, the symbols of the anecdote can be interpreted as follows: the king is the symbol of the soul, the maid is the symbol of the body, and the goldsmith is the symbol of the world. [ABSTRACT FROM AUTHOR]

Ferdowsi’s Shahnameh is among the texts in Persian literature that can be explored based on the semiotic systems as it has a mythical substructure and has many symbols. In many parts of this book, the reader faces a variety of events which are manifested in the form of a semiotic system. The Mourning ceremonies are among the events of Shahnameh that could be investigated from a semiotic perspective. The present study aims at investigating these mourning ceremonies from a semiotic perspective. Relying on some evidence from other classic texts, the authors wants to show that the actions during the ceremonies have mythological substructures and are symbolically reflected. Each of these actions refer to a meaning which once was functional but today is only reflected in tribal and nomadic life and in general culture. Examples of these actions are wearing black, doffing the hat from head, pulling hair, pouring soil on head and pulling mane and tail of heroes’ horses during mourning. When studied together, these actions indicate certain meanings. These meanings are hidden and are not explicitly manifested in the appearance of the texts.

In Baudrillard’s view, the post-modern approach - with the dominance of codes, signs and replacing production with consumption in people’s daily life - has started a new process, which has not only resulted in the failure of contemporary man’s motto of individuality and developing opportunities for presenting his demands, but also, in this atmosphere, which is saturated with signs from media; art, politics, religion and economics, as separate and concrete areas, have lost their outer reality and have disappeared in the horizon of media’s dominance together with the concept of subject. According to Baudrillard, this approach is in the shape of game and is made up of general concept of art. With this difference, that art is no longer defined as a realm separate from politics, religion and economics, art is, in a general sense, transmuted into a style and method, in light of which, ugly and beautiful, good and bad, right and wrong are departed from their references (authorities) such as ethics, religion, economics and work of art and pass out in the end of the route together with the concept of subject.

Layer semiotics with sign substructure, langue, parole, codes, context and so on aims to provide an exact reading of text. In this procedure, the sign in discourse interaction will change to text. In fact in this process, the contextual reading has resulted the signs in form of codes which turn to textural layers. Although inter-text and inter-discourse reading of addressee will direct these layers. Khosrow and Shirin poem had the potential of this reading, so due to current research, some signs such as water, milk, blood, tree, stone, sun and so on are seen as the main actors of a story around three characters including Farhad, Khosrow, and Shirin so that phenomenological reading considers the above-mentioned signs in parallel to every character in semantic process in proportion with the implicit significations. Descriptive–analytic method of Layer Semiotics indicated how a poet can use the story economy in form of signs to make the volume of semantic-content structure of a literal work. So, some analysts with structuralism view in addition to purgatory view of all signs in reading different codes caused to the semantic reproduction, for example when the companion actors with Shirin such as water, milk and blood are placed due to the signs processing in different codes of mysticism, myth, psychology and so on. Finally, Shirin is placed in a way confronting different implicit significations such as Gnosticism Early death when she was punished. [ABSTRACT FROM AUTHOR]

Semiology is a new science and its history returns to several decades ago. This science has a great capacity for reading and criticism of literary works. If this science approaches to literary analysis and critism, it will provide a great deal of precise scientific possibilities for the critics. Semiology classifies signs and codes into distinguished frameworks and this classification is the raw material for structural criticism of literary works. Although Nima Youshijâs âAfsanehâ is not the first non-traditional Iranian poem and has a long way to its original structure, but because of some innovations (especially in content), it can be considered as the first Persian Free Verse. Indeed, "Afsaneh" is one of the narrative poems of Nima that comprises two narratives and some partial narratives. In this study, the narrative aspects of this epopee will be considered. At first, two main narratives are analyzed semiologically, i.e. the type of signs and codes are recognized and, then, according to this distinction, their frequency and functions, the narrative state of poem will be analyzed.

In the framework of stylistic discourse analysis, literature is a container to express ideas and concepts which are not only relevant to their creator, but also they are in connection with the context in which the text is produced. Yet, literature is the product of discourse where it is developed and all factors like environment, context, cultural issues and dominant ideology of the period in which the specific text is generated affect the growth and visibility of it. In Persian literature, Khorasani style is the product of discourse that its dominant face is full of philosophical thoughts and particularly rationality. This period is influenced by rational thoughts and intellectuality and NaserKhosro's poems, as one of wellknown and effective poets and one of the most noticeable representatives of 5th century literature, is regarded as a dominant sample of this conceptual indicators. Notable point in his poems is the influence of philosophical and religious thoughts, so that a large part of his odes court was devoted to this subject matter. In stylistic layered analysis of this poet's odes, dominant and cultural discourse of Khorasani period in which frequency of philosophical and logical subjects are notable shows specific style of the poet. In this study, based on stylistic layer analysis, in order to specify appearance of dominant- intellectual and cultural discourse of the period in the light of lexical and syntactic style, two layers of vocabulary and syntax of a number of his odes' court are analyzed. [ABSTRACT FROM AUTHOR]