Life style is a concept which is defined choosing the daily life; in a way that unlike traditional societies in which people has few replacements and similar among their life programs, in the contemporary society, the power of choice has increased due to the importance of self and personal responsibility as well as the advent of consumer society in life. The importance of choice in the society of Iran in the field of material and consumption of goods is already happening, and the variety of the number and change of the form and content of popular media in recent years along with the change in the appearance of big cities in Iran and the increasing attention paid to the process of consumption, states this matter very well. Here, consumption-oriented lifestyle is the result of choices and preferences, associated with the culture of consumption, and also expressive and dramatic.The aim of this article is descriptive studies using the semiotic analysis of Roland Barth and discovering the meaning of the chain of direct and indirect indications in the case study of 9 samples of advertisements in lifestyle magazines (Zendegi Ideal, Zendegi Armani, Zendegi Iran, fall, 1391 volume).The obtained results introduce a set of symbolic values that generally just in the appearance denote the emphasis on and verification of independence and the unique nature of person's identity and character as preferred values resulting from the model of consumption in the modern society, but the underlying message of the producers is in contrast with the freedom of choice and free subjectivism of people in the modern society, especially those addressing in the third world countries that could just be the passive consumer of goods and values created by the west.The end result of the analysis focuses on the formation of a grouped society the according to the economic and status layering.

Lexical profiling has yielded fruitful results for language description and pedagogy (Liu, 2014), and particularly highlighted the significance of academic vocabulary for EFL learners in this process. This investigation, likewise, attempts to comparatively profile the vocabulary, more particularly the academic vocabulary, in the ‘abstract’ section of scholarly articles in Iranian and Anglo-American refereed journals in psychology. Iranian journals under study publish articles in Persian but also include an English abstract whereas the latter publish papers in English. For this purpose, a corpus (consisting of 307, 126 words), with two sub-corpora of almost similar size and characteristics, was collected from Iranian and Anglo-American journals and analyzed through the software Range. The analyses conducted show a coverage of over 15 percent and the use of over 500 words of the Academic Word List (AWL) in both Iranian and Anglo-American sub-corpora. However, there are variations in academic and nonacademic vocabulary use in abstracts across the two sub-corpora above. Most of the academic words used belong to the beginning AWL sub-lists. Pedagogical implications are made for reading and writing, particularly in EAP contexts.

One major feature of English scientific language is grammatical metaphor (GM) which helps promote the conciseness and preciseness of the texts. The present study aimed to investigate if Iranian writers of medical research articles (RAs) have employed the types of ideational GM appropriately and adequately. Therefore, the ideational GM types used in three information units (including Stating a specific outcome, Interpreting the outcome, and Contrasting present and previous outcome) of the Discussion Sections of two groups of randomly selected Iranian as well as British and American RAs (32 articles each), published between January 2008 to February 2009 in the journals of ISI web of science, have been compared/contrasted. The differences between the two groups’ uses of all the GMs were calculated using Independent t-tests. The results showed that although Iranian articles were shown to employ significantly (p<0. 05) fewer proportions of the two types of ideational GM in general as well as fewer individual uses of the adjective-making GMs compared to British and American ones, the two groups employed similar proportions of nominalization. To help medical writers develop more efficient use of different types of GMs, particularly adjective-making ones, materials writers or medical educators should provide consciousness-raising trainings for the interested scholars. The findings can be employed in article evaluation as well.

Introduction: Indexing of a country’s scientific journals in international citation indexes helps the promotion of that country’s academic rank in the world and increases their contributions to global knowledge production. The present study aimed to assess the conformity of Iranian medical journals written in English that are not indexed in Scopus database with its objective acceptance criteria.Methods: The current applied descriptive study assessed the latest issues of 52 Iranian medical journals written in English that were not indexed in Scopus database. Data were collected through observing the journals’ websites and using a checklist. The collected data were analyzed in Excel software.Results: The results showed that 32.7% of the journals did not have foreign editors and 59.6% did not have foreign authors. According to the results, 77.6% of abstracts were structured. In addition, the amount of self-citations was low and more than 70% of journals were being published regularly. The findings also showed that 49% of journals had EndNote output.Conclusion: The studied journals were favorable in terms of most of the criteria, but required cooperation with foreign editors and writers and more EndNote outputs.

In its simplest definition, literacy means obtaining the ability to read and write in official language. Although most students try to get mastery on the two mentioned language arts, however, for students of non-Farsi speaking districts, education of Farsi as an official language has more limitations and difficulties. In the process of learning a second or foreign language, errors are considered as natural phenomena. Error Analysis (EA) is a method for indentifying educational needs in order to improve the quality of materials and techniques of education. Error Analysis means the comparison of sentences (written or oral) produced by learners with the sentences of native speakers according to their adjustment/non-adjustment with rules of language under study. In this research, written errors of non-Persian speaking students (Turk students learning Farsi as a second Language) of the intermediate and advanced levels have been analyzed. The body of the data were gathered from the letters and manuscripts of Iranian students writing to Roshd magazines and they were described and analyzed using descriptive method. They contained 100 error items which were categorized in four groups: orthographic (spelling), morphological (Lexical), structural and pragmatic errors. The aim of this research was finding the most frequent errors in the writing of non-Persian speaking Iranian students. The results showed that the most frequent type of errors is structural one (containing 72% of all the errors). In other words, Iranian non-Persian speaking students generally do have more problems and deficiencies in application of Persian grammatical rules in their writings.Consequently material developers and textbook authors should pay more attention to this finding especially while developing textbooks and educational aids for this group of students.

The purpose of this research is to show how the lifestyle of women is being represented in family magazines though advertising the beauty products. To this aim, we used Barthes's semiotic approach and the Giddens lifestyle theory to provide an answer to the question of whether advertising for beauty products, represent family-style magazines based on an erotic system of lifestyle. It should be noted that according to the research question, the indicators of lifestyle used in the explanation of advertisements are: social identity, individual identity and body management. The research unit of observation include current family magazines,such as Sib-e-Sabz, Zendegi-e-Ideal, Zendegi-e-Irani, Zendegi-e-Mosabat. Someofthe research findings show that advertisements for beauty products represent a female body as a sexual object, in which the narrative of sexual skills is presented to the audience. Thus, the woman’, s body becomes an identity-maker, in which the sexual component becomes more and more objective.

 After the triumph of Islamic revolution, the paradigm of modernism, which had previously dominated the Iranian art scene under the Pahlavi regime, underwent a radical shift. Traditional Iranian arts, including Iranian painting (Miniature), were now regarded as emblematic of contemporary Iranian art. The discursive signifiers of revolutionary art were the challenge between Traditional Iranian art and the Western art, as well as the intricate interplay between artistic form and meaning. This revolutionary art endeavored to craft a new form of contemporary Iranian art aligned with Iranian-Islamic culture. Amidst the ongoing discourse between modernist and traditional art, the terms "modernism," "traditionalism," and "neo-traditionalism" surfaced. Simultaneously, the fundamentals of religious arts were elucidated and articulated for artists in response to the exigencies of the contemporary era. Thus, this positioning of religious arts laid the groundworks for art journals and institutions to consider painting as the means of investigating the identity of contemporary art.The concept of "modernism" in traditional painting, miniature in particular, was so legitimized during the post-revolution traditionalism paradigm that it implied the adoption of a contemporary lexicon to interact with the audience of revolutionary art in Iran and the world.Traditionalist publications, conscious of revitalizing Iranian artistic traditions, directed a special spotlight on Iranian painting (miniature). By referencing Islamic painting's cultural and artistic heritage, these magazines sought to formulate a novel language of expression rooted in the revolutionary art movement. Conversely, magazines aligned with "modernism" paradigm considered traditional arts, including Iranian painting, belonging to the glorious past, and not to the contemporary era.This paper aims to describe the concept of contemporary Iranian painting in the contents of 12 specialized artistic or cultural-literary journals: Faslname Honar, Keyhane Farhangi, Soure, Honare Moaser, Honarhaye ‎Tajassomi, Binab, ‎Tandis, Golstane Honar, Adabestane Farhang & Honar, Kelk, ‎Adineh & Donyaye Sokhan. The research endeavors to address the following query: How has the portrayal of contemporary Iranian painting been constructed within post-Islamic revolution cultural-artistic journals?  Reviewing the ‎data from selected texts, this study extracts and analyzes the recurring themes related to Iranian painting across these twelve journals published over approximately three decades (1981-2013) post the Islamic revolution.This issue is important for understanding the current situation of the Iranian painting as a cultural asset and to achieve its contemporary language.In this research, the data has been purposefully collected and analyzed by thematic analysis method through the study of documents that have played a role in the construction of the image of miniature in the Iranian post-revolution art.The theoretical framework of this research draws from theories concerning the contemporaneity of art.  "Contemporary" is a concept contingent upon temporal definitions, each shaping a unique interpretation of contemporaneity. Philosophical perspectives on "contemporaneity" inform the understanding of contemporary miniature painting within the modernity and postmodernity intellectual paradigms.According to Kandinsky, every art work is a child of its "time" and every cultural era creates its own special art which is unrepeatable. From his viewpoint, time and place are considered two outstanding factors in determining the artist's relationship with contemporaneity, which ends to a structure in artistic style to distinguish any art era from other eras, based on the "artist's point of view".The findings of this research underscore that the concern for "identity and contemporaneity" within post-Islamic revolution Iranian painting engaged intellectual discussions in cultural-artistic journals, resulting in a spectrum of perspectives. These viewpoints range from considering contemporary miniature as an eternal art rooted in historical truths to perceiving it as belonging to a bygone civilization incongruent with the "modern" epoch.These Diverse ideas fluctuate from the two points of view; one concerning this art eternal, and the other considering it as dedicated to a vanished civilization. The study unveils the existence of diverse constructions of contemporary Iranian painting across three paradigms: "traditionalism," "neo-traditionalism," and "modernism." The prevalent global language of art and the prevailing zeitgeist influenced the distinct images crafted within each paradigm. While modernism and neo-traditionalism conceive contemporary arts as reflective of the modern era, traditionalist magazines position contemporary miniature painting within the context of globalized contemporary art.The analysis of themes in this article showed that the nature and identity of Iran's contemporary painting and its perspective in 6 specialized art magazines " Faslname Honar, Honare Moaser, Honarhaye ‎Tajassomi, Tandis Golstane Honar,and Adabestane Farhang & Honar" and 6 art-cultural magazines "Keyhane Farhangi, Soure, Binab, Kelk, ‎Adineh and Donyaye Sokhan " is ambiguous.As a result, different ideas of contemporary Iranian painting were constructed out of 3 paradigms: "traditionalism, neo-traditionalism and modernism", which are different in each paradigm according to its view to universal language of art, era and time.In the modernism and neo-traditionalism paradigms, which contemporary arts are "modern-day" arts, it seems that the idea of ​​contemporary miniature was embodied in an image that became homogenous with the dominant art of this era - that is, the modern and postmodern art of the West.Honare Moaser, Honarhaye ‎Tajassomi, Tandis, Adabestane Farhang & Honar, Kelk, ‎Adineh & Donyaye Sokhan journals, by considering the traditional principles of this art, described its contemporaneity in accordance with globalized contemporary art.On the other hand, by adopting a theoretical approach, the magazines inclined to the traditionalism paradigm, based on the belief in eternal time and the stream of the remaining time in various historical eras, including the current era, formed the concept of contemporary miniature in a distinct image. By referring to the trans- temporal truth of miniature and the discovery of its forgotten language, it is possible to create a language could communicate to art of the world based on the "trans temporal-eternal" nature of this art.Faslname Honar, Keyhane Farhangi, Golstane Honar, Soure and Binab journals have been more aligned with this theoretical approach.In a general view, constructing a coherent image of contemporary miniature was not formed in any of the two mentioned approaches. The clash of opinions in this regard did not approach to a specific direction. one reason is the gradual decrease in the publication of specialized non-academic cultural-artistic journals, as a mean for elite thinking to raise fundamental questions concerning the identity of Iranian contemporary art and exploring to find their answers.