Pragmatics moves away from the word level and sentence level study of language towards the study of language in real-world context and at discourse level whereby two or more participants take part in conversation. There are moments when the speaker explicitly says something but the listener may have other interpretations and inferences from their statements. The aim of this study was to demonstrate that in some special situations or contexts, especially in comedy, conversational implicature is more likely to take place than others are. The researcher employed qualitative and quantitative con-tent analysis (mixed method) to do our research to increase the validity and lower the subjectivity of findings. The first and second series of a British situation comedy called „Blackadder‟, containing twelve episodes along with their Persian translations were selected as a source for our critical dis-course analysis. The results of this study suggested that in comical contexts we seem to witness more cases of the non-observance of Grice's Maxims than other settings. An implication of this is the possibility that the violation of the cooperative principle occurs mostly with the aim of creating the feeling of humor.

Present research titled analysiseont of the recent decade Hallywood movies is based In Inter personal communication, following analysis of indiridual, smybolique violence and dialog In Inter personal communication in Hallywood cinema. In this research we use analysis context method; statistical population is American movies from 2000 to 2009. Movies are classified and sampled according to genre and are selected with regard to under study subject, drama genre and drama subset and comedic genre and comedic subset. According the obtained results from the understudy movies, individualism and symbolic violence (main characters) were observed. Also, dialogue was observed as main foundation in conversations, discussions and arguments among persons.

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter.

The history of the genre theory dates back to the genre classificatory system of Plato and Aristotle that classified literary works–epic, lyric, and dramatic genres–according to enunciative modes; i.e. according to the enunciative modes that is represented in author or speaker’s discourse. In modern genre theory, “mode” denotes the thematic aspects of literary genres. When we say that this novel is tragic, it means that its genre is novel its mode is tragic. The modal terms–such as tragic, epic, heroic, gothic, lyrical, comic–are not dependent to the structural and formal aspects of the literary genres. This study aims to find out how some literary genres such as tragedy, comedy, epic, and lyric become so wide spread that their thematic features in adjective form are used to modify and describe other genres, while some other literary genres such as novel and short story cannot create their modes. Even though genres may disappear after some time, but their modes may survive in the longer run. The modes derive their life from genres, and their existence depends on genres. It should be noted, however, that there are some modes in English and Persian literature such as satire that is not derived from genres or literary forms.

In today’s visually driven market, book cover design plays a crucial role in conveying a work’s narrative and thematic essence. A book cover is a multimodal entity, consisting of various visual and textual elements. While conventional recommendation systems have often overlooked the semantic richness of cover imagery, prior work attempting to incorporate textual information relied on OCR to extract text from covers. However, these raw tokens capture only a fraction of the cover's meaning and often miss deeper thematic and narrative cues. Recognizing these limitations, we leverage the advanced knowledge accumulated in VLMs to derive a more comprehensive representation, using this knowledge to add it as an additional feature to the system. In this paper, we use VLM-generated descriptions and integrate these rich descriptions as a new textual feature. Our enhanced corpus comprises 57,000 book covers across 30 genres (1,900 per genre), each annotated with both raw imagery and VLM-generated narrative summaries. We fuse two state-of-the-art vision encoders (ViT and VisionMamba) with a text encoder that processes these VLM descriptions. Experimental results demonstrate a Top 1 accuracy of 63.31% and a Top 3 accuracy of 83.03%, marking a substantial improvement over the state-of-the-art variant and underscoring the value of VLM-derived context in multimodal genre classification.

Farzandnameh (letter to children) is one of the most frequent and universal instances in the didactic literature which has focused on how parents teach children ethical rules and advise them. Although it is a kind of recurring subspecies of the genre, it has not been academically addressed in typological discussions in literary research in Persian and perhaps in world literature. In this search, parent-child interaction in the letter-writings was analyzed quantitatively and descriptively, examining the most frequent cases including the in-text features (the title, author’ s motivation, dedication, chaptering, and text history) and the out-of-text features (emotional introduction, special attention towards boys, being worried about not applying advice, emphasis on applying advice, parents' experiences, being selfish and pride in the ancestors, expressing the writer's childhood memories, simplicity and conciseness). The results of this study show that the authors of letter to children, in general, aim to teach topics such as medicine, music, alien sciences, literary sciences, religion, ideological arguments, and practical wisdom (a program to refine personal morality, family, and politics or the true form of life), so they had written their books or treatises for their children (whether real or imaginary). Moreover, due to the high frequency of counseling topics and the special rhetorical style, letter to children can also be considered as a lived genre in the form of counseling writings that has a specific structure and content and is appropriate to the culture and requirements of the time and audience expectations. What is important in distinguishing a letter to children from other counseling letters is that the creator of the work clearly states that he is writing the letter or book for the children and that there are signs of the child being and preset’ s advisement.

Elegy in word is derived from Rasa-Yarso means weeping on dead people. It is also defined as enumerating deceased benefits and composing the poem about. Elegy is categorized into different parts as follows: 1. Courtier 2. Personal 3. Religious 4. Philosophical 5. Social 6. Fictional...