Relying on the functional approach, Halliday's Functional Linguistics and the Visual Grammar of Kress and Leeuwan (2006), the present study examines two ekphrasis: William Carlos Williams' verbal efrasis from " Landscape with the Fall of Icarus " and visual ekphrasis of Mehdi Zamni from a poem by Ali Akbar Rashidi entitled "Habit". In the first ekphrasis, there was a reversal from visual (painting) to verbal (poem), and in another from verbal (poem) to painting (visual). At the interactional layer, painting expresses the inattention of represented participants to the fall and drowning of Icarus through a nontransitive gaze; That is, through the non-interactional perspective of the represented participants (farmer, shepherd, man on the shore, the inhabitants of the ship) that no vector has connected them to each other and to the side which Icarus is sinking. There is no exchange of views between the represented participants, otherwise there should have been a commotion. The relationship between farmer, the shepherd, and the man on the shore is non-transitive so that everyone is doing his own job, in connected with his own particular subject matter (the farmer looks to the miner, the shepherd to nature, and the man on the shore is bent over the water on the beach). In fact, their figure in the painting is merely representational; something is represented for information and thinking. Painter has located the place the Icarus is sinking in the background of the image and has minimized the Icarus foot so that the viewer hardly can see it, and perhaps only with the help of the title. Nontransitive perspective is dominant in both interactional layers (represented participants' interaction with each other and the viewer's interaction with the represented participants). Since the represented participants do not look at each other and to the place which Icarus is drowning, the beach space can be read according as this: Everyone was doing their own job. Lack of interaction is expressed in the verbal text with the mental process, with adjective "unnoticed". Therefore, what the image represents in the form of an interactional layer is expressed by the verbal text in the ideational metafunction and mental process. In the verbal text, the constraint of time, the relative clause, and the constraint of quality are the three structural elements that have made interctional representation in the verses "when Icarus fell", "a splash quite unnoticed this was Icarus drowning" and "unsignificantly off the coast there were". These elements have indicated the fall of Icarus, its insignificance, his drowning, and the ignorance of others. The painting indicates the concept of falling through the layer of title, otherwise no one might attend to the side of Icarus just through his eyes (vector of looking). Also the painting has indicated the insignificance of Icarus' drowning through placing Icarus in the background. Thus, the visual text to represent verbal words "insignificance" and "inattention" the elements of composition (perspective and background); In other words, it represents insignificance by placing Icarus's sinking in the background and inattention through the represented participants not looking at each other and not looking at Icarus's sinking. The comparative analysis showed that the verbal text can generalize different elements within the verbal text because it has the capacity for generalization and abstract expression; another words, verbal syntax causes less representational elements to be reflected in the text. For example, it expresses different objects as water, rocks, ships, water space, etc. only by the word "beach", at the same time, the verbal text provides more detailed details than the visual text at interactional layer. The present study showed that ekphrasis occurs in two forms (visual-verbal and verbal-visual), and in each of them, part of the meaning is represented in target text (ekphrastic text) and part remains in the source text. In the painting "Landscape with the Fall of Icarus", there are many representational elements that are not reflected in the verbal text (ekphrastic text). In this way, what is represented in the image through representational layer, in the verbal text it is done in the form of ideational and interpersonal metafunction. This result shows that what is represented in each ekphrasis is a metafunctional Translation. Thus, metafunctions and layers of meaning, despite being tools of analysis, should not be considered as stereotypes, because all three metafunctions can do representation and make meaning, and at the level upper than the clause, logical metafunction also makes representation in both verbal and visual representations. Logical meaning in the image is obtained by adding the meaning of different layers. Examining Mehdi Zamani's Ekphrasis entitled "Habit", the informative structure is changed, as what is "given" in the verbal text appears "new" or the "canon" in the painting and vis versa.  For example, sparrow is an adjective in the verbal text and represents "I am a sparrow" but in the painting, the sparrow is represented as an actor which represents the concept of "the sparrow is waiting". In the verbal text (poem) the sparrow is at the beginning of the clause (theme) and represents the mental process but in the painting it represents an interactional meaning.

Having a more extensive view of Translation as an Intersemiotic, intertextual, and intercultural practice, the present paper studies film adaptation – a kind of Intersemiotic Translation – of Iranian screenplay and film -‘Canaan’- from a Canadian short story -‘Post and Beam’. In fact, based on the intertextuality theory and its expansion using the approaches of cultural semiotics and Intersemiotic Translation, it seeks to examine how the Canadian short story passes from one sign system to another one, and from the other culture to the self culture, and how it is represented in the stratificational and multimedia structure of cinema.By examining the intertextual relations between the Canadian short story(as prototext) and its corresponding Iranian adapted screenplay and film (as metatexts), it is found that the filmmaker/adapter repeats some universally unmarked events or actions of the prototext but transforms and appropriates them both at the story and cultural levels, and creates some other parts which are divided into universally unmarked, culturally marked, and sign function creations. Finally, the results indicate that film adaptation is a transformational creative process in which there is no absolute repeatition since culturally marked and universally unmarked repeatitions with transformations in a hierarchical order of markedness affect the intertextual relations in the process of film adaptation and break their dichotomous nature of repetition and creation.

The present study was an attempt to find out whether there were any exclusive strategies regarding illustration in the rendition of children’s illustrated books. Further, it investigated whether the existing Intersemiotic models were sufficiently responsive to the demands of Iranian translators and children.Cases of the study included three children’s illustrated story books for age groups B and C (Group B-children in the first grades of primary school/ Group C- children in the last grades of primary school) in two formats (the first one the original book, the second one the translated book). The utilized method for conducting this qualitative research was Grounded Theory. The research instruments were semi-structured interview and content analysis. The Intersemiotic model of Translation propounded by Aguiar and Quieroz and the hermeneutic approach of Steiner were chosen as the study framework. The interviewees were among stakeholders of children’s literature; illustrators, translators and publishers. The findings revealed that there are no exclusive strategies as regards illustration.In addition, although the existing Intersemiotic models are acceptable as foundational models, these models do not provide sufficient utility to decode every interfering factor in Translation of children’s illustrated books. Ultimately, the research resulted in a novel model for rendition of the children’s illustrated books.

Following the shifts of views on text, communication and exchange of messages between various media, there have been refinements in views towards Translation and its impacts. Given such shifts of ideas, the present paper aims at examining the significance of communication and Intersemiotic Translation in book cover designs, for they are seen as an important part of every book that can play a role in persuading readers to select and read a specific book. Besides offering a fresh look at the idea of Intersemiotic Translation, this paper adopts an interdisciplinary approach by borrowing some concepts and definitions from semiotics and incorporating them for its own purposes. Moreover, the main framework of this study is Kress and van Leeuwen's Social Semiotics. The results show interesting semiotic changes in the cover of translated books which in turn could have important socio-semiotic implications in the target culture.

Literature has always inspired Iranian artists, and there is an undeniable connection between them. This research has explored the connection between Iranian poetry and painting in the intertextual and Intersemiotic Translation of the paintings of Sultan Ibrahim Mirza and Haft Orang Jami. Prince Ibrahim Mirza (April 1540-23 February 1577) was a Persian prince of the Safavid dynasty, He brought together a group of talented artists to illustrate the Haft Awrang, including seven Masnavi of Jami’ s most enduring poetic poems, which led to the creation of a collection of twenty-eight magnificent Masnavi paintings. In this study, the author intends to examine the story of the prophet Muhammad Miʿ raj in kerad nameh eskandary by drawing it from the Haft Awrang of Sultan Ibrahim Mirza Examine from the perspective of intertextual studies and relying of Genette Hypertextuality. A critique of the issues of similarity and convergence in poetry and drawing, and accuracy in substitutions, shows that the painter did not oblige herself to illustrate all the verses. According to a comparative study between the painting and Muhammad Miʿ raj Mostly dominant from the perspective of Genette is variation, And among the moving cases, Decreasing and increasing is the most reliance on increasing that is based on the painter’ s imagination.

Intersemiotic Translation, which can happen in the process of the Translation of drama for theatre, can turn more complicated when the verbal sign system of drama has already undergone interlingual Translation. The purpose of this study is to find the Intersemiotic changes of Translation from page to stage and to show the changes of indexical, iconic, and symbolic signs in the process of Intersemiotic Translation of the already interlingually translated verbal signs. In this regard, Shakespeareʼ s Macbeth (1606) and its theatrical performance directed by Reza Servati (2010) were selected as the corpus and Peirceʼ s model was chosen as the theoretical framework. The findings of this research demonstrate that all levels of iconical, indexical, and symbolic signs are applicable to the semiotic analysis of the performance. However, there should be a cautious generalization regarding the transfer of iconic signs. The theoretical model of this study can be used to study verbal sign variations of other literary works and other literary genres once they are Intersemiotically translated to and adapted for other sign systems such as audio (like music), visual (like painting), and audio-visual (like film).

Following new developments in Translation research, Intersemiotic Translation has opened a new perspective in Translation studies and research for examining paratextual elements. The present study was designed to extendprior works on Intersemiotic Translations of book covers, which can be considered a paratext of a book. The corpus of the study included 42 book covers of two sets of novels translated before the Islamic Revolution of Iran and their retranslated and/or reprinted versions after the Islamic Revolution by the same or different translators. These book covers were analyzed based on Farahzad's model of Translation criticism (2011) and the 10 criteria proposed by Kress and Van Leeuwen's (1996 and 2001) and Van Leeuwen's (2005) semiotic analysis. The criteria were reclassified by the researchers into three subclasses: graphic features, content-related features and linguistic information. The results of the study showed that the cover design of these novels changed before and after the Revolution and that these changes were subject to the ideological settings of the country, rather than the translators' or publishers' tastes.

Understanding the connection between verbal texts and the visual artworks based on them, is important in interpreting, explaining, and understanding these works of art. The concept of Intersemiotic Translation, which means the interpretation of verbal signs using signs of non-verbal sign systems, can be an efficient solution in studying the mentioned connection. This study, seeks to achieve the mechanisms of the Intersemiotic Translation process and the influencing factors in the creation of visual artwork from verbal text. Hence based on a descriptive-analytical method, with the comparative study of two visual artworks based on the same story, the main mechanisms in the process of Intersemiotic Translation are proposed. By comparing the painting of Joseph and Potiphar's Wife by Kamaluddin Behzad and the sequence of the Youssef Prophet TV series with the same story, in response to the question of what are the common mechanisms in the Intersemiotic Translation process, The four mechanisms are presented: repetition, creative reproduction, creative innovation, and deletion. In addition, in response to the question of what are the influencing factors on the Intersemiotic Translation process, Intertextual relations, the artist's creativity, and the medium of the created artwork are considered as the most important factors influencing the above four mechanisms. The two artworks in this study, which have been analyzed based on library information, are based on the same story, but they are very different in terms of artistic type and historical period. This selection helped to understand the visible and hidden aspects of the problem. Finally, it is necessary to mention that the results of this study and the proposed mechanisms can be used as a method in similar studies.

Nowadays “Design” is considered as an independent discipline which is neither a science, nor an art, but an interdiscipline with strong relations with both art and science. Therefore, this new understanding demands reidentifying all design sub-disciplines. “Space” as one of this sub-disciplines, has a pivotal role in shaping form in both design and architecture. While concrete understanding of Space is of vital importance in the field of design, architecture and interior design, yet there are not ample scientific analyses about the relation between form and space. This understanding depends on having efficient scientific critique methods. Nowadays, new criticisms are used to analyze and read different kinds of text and shows acceptable results. “Intertextualism” and “Intersemiotics” are two of them. Julia Kristva and her associates in Tel Quel group popularized the intertextualism since 1960s and nowadays, there are many different schools under this approach. Beginning form literature criticism, intertextualism is utilized in different fields of art, for reading different kinds of text. Usinfg intertextualism in different art forms evoked the need to undertsand the interaction between different semiotic systems in a text. Not just in arts (arts except literature), even Roland Barthes determined five parallel code systems in a literary text. According to Intersemiotics, we are faced to a text, not a messeage and every text is shaped by interaction between different code systems. There are many parallel cod systems that convey the meaning. The interaction between cod systems generates a new cod system. Hence, Intersemiotics is a new effective branch of intertextualism which, despite its capability, has not been developed in design and architectural N studies yet. The so-called space is a text by many different Intersemiotic cod systems, thus, the aim of this research is studying the relation between form and space through Intersemiotics analyses. In order to achive this goal, at first in literature review, the literature of intertextualism and intersemitics have been studied. Then, the terminology and diverse identifications and concepts of form and space have been reviewed. Based on literature review, there are two type of approach toward relation between form and space: the architectural approach and the designerly approach. Based on the first one, space dominates form, Space as a whole shapes form, as a detail. In contrary, the designerly approach is on the opinion that space is shaped by the relation between forms. This research is based on the second one. In the second phase, according to excavated concepts, factors and designerly strategy, the cod systems that are ambient in form were identified, then the Intersemiotic relations between forms in the space were analyzed. According to conclusions there are four (visual) code systems which are efficient in understanding the space: physical dimension codes, visual codes, significant codes and hidden dimension codes. Each of them have its sub-codes. According to these codes the spatial relations of form with other forms are classified into two classes: the relation with forms of other products and the relation with form of architectural framework. Finally according to the codes, a framework has been developed.

Semiotics, which in its basic definition means the systematic study of sign processes (semiosis) and meaning-making, It includes sciences that consist of signs, so that it can deal with the original meaning as well as the semantic relationships between different signs while deciphering. According to this definition, we can place language and image under the set of semiotics, what they both have in common is their "sign". on the other hand, photos as a subset of visual signs are included in our semiotics definition. as a result, language or pictures can be examined and analyzed in the science of semiotics.but if we want to advance in this study and examine the relationship between these two semiotic sciences, we need an analysis beyond their semiotics examination, because the science of semiotics examines the relationship between different signs only under the condition that their signs are defined within a single sign system. on the other hand Interdisciplinary studies have a special place and importance due to the comprehensiveness of the study community and also the connection it establishes between different sciences to realize a single goal. The result of this type of study is more reliable than its one-dimensional investigation and has a higher reference value, because by researching various aspects of a work, seeking to prove or reject an approach, obtaining deep and detailed information about the subject or even in some cases, we seek to ensure the result of its one-dimensional studies. For this reason, in this research, in order to achieve a correct and comprehensive analysis of the photo, we go beyond the sign system that has been the focus of photo reading for years to achievea precise linguistic analysis simultaneously studying the written text alongside visual text. Examination the relationship between two different semiotic systems (provided that both systems consist of signs) is the responsibility of “Intersemiotic” analysis. cognitive Intersemiotic Translation as the circulation of meaning between different systems is a method of communication between semiotic resources, including language and image. In this type of Translation, we deal with the meaning making and connection between these two systems by examining the signs in the language and the picture at the same time. this topic has a special place in interdisciplinarity studies. this research intends to analyze texts by relying on Intersemiotic Translation, where photos and text are presented simultaneously to present a specific approach. The aim of this research is the linguistic analysis of photographs, and the approach we have taken to study between systems in this research is "Intersemiotic Translation". using Intersemiotic studies, we analyze photography from the perspective of linguistics, and finally present the relationships that exist between written and visual signs in the work and give meaning to it. In order to make the subject more understandable, after a complete review of Intersemiotic Translation and introduction of its uses, we will analyze a sample of the book Looking at Photos by John Szarkowski. This book has been chosen as a reviewable example for several reasons: the most important reason is that in this book, text and photos are equally important, which is the best choice for a correct Intersemiotic analysis; In this book, Szarkowski analyzes and examines the works of photographers from all over the world, the remarkable thing is that this book contains selected works exhibited in the Museum of Modern Art in New York and all the works are worth analyzing and studying. On the other hand, Sarkovsky has not only used the photos of well-known photographers to select these works, but he has put together a workable collection of works by photographers from all over the world, through which we see valuable photos of different genres. All these and other points that we discuss in detail in the text are the reason for choosing this book as an analyzable example for Intersemiotic Translation. In order to provide Intersemiotic Translation, it is necessary to introduce indicators for correct analysis. The point that is relevant in the selection of these indicators and it was mentioned before is that these indicators simultaneously examine textual and visual signs and even side signs outside of the text and image and a review Comprehensive to provide an insightful analysis. In general, this article deals with Intersemiotic analysis between text and photo, but this is only a part of the application of Intersemiotic Translation. Intersemiotic analysis is possible in any field and has a comprehensive function, even in daily life and improving teaching methods. And all these points are the reason for examining Intersemiotic Translation, which we discuss in detail in the text.