Introduction: Taraneh ROLAN and Yadegar Zariran are two epic works from distinct cultural traditions. These symbolic narratives, rooted in their respective historical and cultural contexts, recount tales of bravery, sacrifice, and heroism. They share commonalities through their epic literary genre and universal themes. Given the limited comparative research on these epics, this study examines their lexical and grammatical-rhetorical features to identify differences and similarities. The research questions are: What core concepts dominate the vocabulary of each epic? What rhetorical features characterize both works? What conclusions emerge from their rhetorical comparison? Research Objectives: Identify high-frequency concepts central to each narrative. Categorize lexical items expressing religious/ideological beliefs. Compare rhetorical features to determine stylistic distinctions. Research MethodThe methodology involves summarizing both narratives. Analyzing lexical frequency of core concepts (loyalty, patriotism, moral values). In the first part, we have discussed the themes and content of the work, which include words used for a concept and with high frequency, and in the second part, we have examined the work from a grammatical and rhetorical perspective. DiscussionWe have identified and determined the words and concepts used in both works in line with their concepts. Concepts such as fatalism, magic, and prophecy, and from a grammatical and rhetorical point of view, exaggeration, description, recognition, and archaism of words can be mentioned. Conclusion In this study, two epic works, Taraneh ROLAN and Yadegar Zariran, which have many conceptual similarities and come from two different cultures, were examined and researched. The following results were obtained in this study: Despite their cultural and national differences, these two stories adhere to their honor and religious values in terms of universal concepts such as love for one's homeland and its protection. In Taraneh ROLAN, there are many words and concepts that emphasize the mission of ROLAN and his people, the concepts that have the highest frequency include words that deal with the issue and spiritual state and even the ritual of the warriors. The second most frequent concept is religious concepts, which are manifestations of belief in the supernatural. In the fourth part of the article, we examined the grammatical and rhetorical aspects of these works in terms of exaggeration, allusions, ironic expressions, prioritizing the verb over the subject and object, etc. In a rhetorical comparison between these two works, we came to the conclusion that Yadgar Zariran is more rhetorically rich. Due to its unwritten (oral) origin, Tarane Relan has less literary richness. It is also translated from French, which has reduced its literary beauty.

In this article, the writers make a distinction between two types of text, open text and closed text. While the latter has a fixed and limited meaning, fixed signifiers and signifieds, with the signs always referring the reader to a fixed world, the former has the potential to be loaded with various meanings. To explicate the two types of text and the factors that make a text open, the writers draw on the views of great thinkers such as ROLAN BARTHES, Wolfgang Izer, Jacques Derrida and Carl Gustav Yung. The purpose of the article is to show how a familiarity with the western interpretations of Hermeneutics can affect our appreciation of Persian literature.

Ferdowsi's Shahnameh is one of the literary works in which the narratives of the heroes' assassination and mourning for them are expressed, and in some of its visual versions, images with the theme of mourning have been depicted. ­ The painters of Ilkhani's Shahnameh, one of the masterpieces of the Mongol epoch and the first school of Tabriz, have frequently portrayed images of assassination and mourning in this masterpiece. In terms of studying paintings with these themes in Ilkhani's Shahnameh, a correct understanding of the signs and visual concepts of the paintings is not achieved by only relying on the text and poems of the Shahnameh. Thus, in this research, the images of assassination and mourning in Ilkhani's Shahnameh have been analyzed based on ROLAN BARTHES' semiotics. The consequences show that the paintings in Ilkhani's Shahnameh, this worthwhile masterpiece, whose creators had more elevated dreams than just creating a work of art, not only reflects on the procedure of creation and evolution of Iranian art but also mirrors creeds, beliefs, socio-political currents and signs of Iran in the Mongol epoch. Selected images from this Shahname with the theme of assassination and mourning have been subjected to structural and content analysis with a different viewpoint based on "ROLAN BARTHES semiotics". By explaining and revealing the relationship between the explicit and implicit implications of the text and the imagery, it was stated that the explicit implication of the mourning paintings refers to the original and written text (songs of the Shahname). Upon analyzing the implied implications, the connection of the mourning images implies the situation of the Iranian people after the Mongol attack and massacre. In the analysis of the second implied implication, it can be said that the images of assassination, mourning, and funeral in Shahnameh, emphasizing the position of the current minister, Khwaja Ghiyath al-Din Muhammad, imply the immortality the memory of the assassination of his father, Sheikh Fazlullah Hamedani.

In the year 1975, and the later years, ROLANd BARTHES publicly declared the influence of André Gide on his works which made his readers' speculative about this announcement. This announcement in later years became more pronounced, especially in his interviews. However what remained concealed from readers was the deep influence of Andre Gide on the primary works of BARTHES, especially his first work. BARTHES, acknowledged that Gide had a great influence on his youth, and especially on the readings of those years which corresponded to the years of the second world war when French soil was occupied by the Germans, and a time when ROLANd BARTHES was going through treatment at a sanatorium. It was here that ROLANd BARTHES wrote his first series of essays under the influence of Gide and published these works in imitation of Gide. This paper focuses on the impact of Gide upon the authorship of several literary works of BARTHES. In conclusion to his works, and as his last few words, BARTHES once again acknowledged Gide's deep influence which has been discussed and evaluated.

During his second career, ROLANd BARTHES concentrates mainly on the criticism of the ‎Evident. He believes what pretends to be natural, universal and evident is in fact an outcome of ‎a naturalization process; a process through which the ideological is finally configured as the ‎Evident. Accordingly, the final result of the naturalization process, according to BARTHES is a ‎Doxa which embodies the Evident. Therefore, on his way to criticize the Evident and also ‎reveal the ideological implications of Doxa, BARTHES proposes Paradox as the antithesis of Doxa. ‎Paradox is actually a weapon against the intrigues of language, on the basis of which it would be ‎possible to experience a different reading of the text. However, BARTHES never provides a clear-‎cut explanation of the semiotic mechanism of Doxa and Paradox. As a result, it may be ‎assumed that BARTHES' theoretical reorientation involves with the denial of his former doctrines ‎regarding sign. This article, then, tries not only to analyze the semiotic functions of Doxa and ‎Paradox, but also explain the logical outcome of this viewpoint. It will be finally revealed that ‎BARTHES' second approach is basically influenced by the criticism of the hierarchical relationship ‎between connotative and denotative meanings. ‎

The objective of this paper is to offer a study on the mechanism of representing Irano-Islamic discoursive elements in the Iranian TV commercial advertising. The problem dealt with in this paper pertains to the Iranian constitutional law that urges the national media to contribute to the development of Irano-Islamic cultural codes. We treat the commercial advertisements as cultural texts and then we study and analyze them based on ROLAN BARTHES’s semilogic approach. The primary findings of our analysis indicated that although these advertisements used religious and cultural symbols in their content in order to advertise commodities, they in fact used these symbols as an instrument to instigate the buying motif of their audience and did not contribute to development of religious teachings. The advertisements also used national symbols to construct motivating advertisements but these they were only used as slogans and clishe and not as a tools to improve national identity. Generally speaking, Iranian TV advertisements have not been successful in representing Irano-Islamic discourse and have not reached the targeted objectives made clear in constitution.

Introduction: Urban symbols and signs are an integral part of analyzing and reading of the morphology and meaning and the different layers of the city, but reading urban signs without taking into account the context and context in which the sign is located and the interaction of this sign with other signs outside and have their own content; Both residents and citizens who consume the urban symbol, the history of the events that the urban symbol experiences is impossible. The analysis of the semiotics of the Milad Tower is consistent with the study of the events and developments that have taken place in recent years and decades in the country’s politics and administration and manifested in the urban context and in a symbolic format. Methods: This research uses the semiotic method of ROLANd BARTHES to re-read and reinterpret the Milad Tower in order to understand and recognize these changes and developments. ROLANd BARTHES clarifies the relationship between primary meaning and secondary meaning or myth in two parts. He insists that he makes his mythic signifier ambiguous: The signifier is synonymous with the same form; it is full on one side and empty on the other. The significance of this statement is that the military salute of a young black man is a tangible reality and, more importantly, it belongs to history. The young black man had a special life before he joined the military, and unless myth takes hold of him and turns him into a parasite, he is completely self-sufficient and has meaning. BARTHES suggests that the mythological signifier is full of meaning and points to that historicity, but when the meaning is transformed into a form, it becomes empty. Finding: If we want to consider the mythology of Milad Tower in terms of meaning and form, and consider the mythological signifier consisting of meaning and form as a cohesive whole, then we consider Milad Tower as a telecommunication tower serving the development of urban communication and telecommunication infrastructures. Let us assume that it is to respond to the communication services of Tehran citizens. This meaning of the tower was the primary goal and also something that was included in the goals of the tower and the intentions of its builders. But this meaning has undergone distortion in the process of taking shape and subsequent myth-making. It has become a commercial, entertainment, and restaurant center, and in some ways a base for consumption and luxury that has become a form. It is this packaging that forms the myth of Milad Tower and shows consumption and luxury in this myth. This meaning and form does not hide or conceal itself in any way, but it is the appearance and interior of consumption that make up the ideological aspect of this myth. As a myth of consumption, Milad Tower, in addition to the ideological dimension of consumption, requires supervision and diligence to advance the project for which it is responsible. The height of this tower is like a nose that watches over the consumption behavior of citizens. Surveillance in the form of eyes and looks and waiting for more consumption and the display of this luxury is always demanded and desired by society and the tower as a whole between all these behaviors. This is a terrible control system in the form of consumption and trying to keep up with the caravan that dominates and monitors society. Conclusion: The results of this research show that consumption and luxury are the orders that adorn the myth of Milad Tower, and like the omniscient who has the power to control and inject norms from above, consumption has ruled over society and led the people of society to this value, and those who do not follow this rule are held accountable. Urban identity in Tehran is thus shaped by consumption and myth-making around the Milad Tower and by becoming a part of it, which drives many people out of this sense of belonging.

Problem statement: In the present era, with the advancement of technology in design and construction, the toy industry has entered a new phase of mass production with a significant profit for the owners of this industry. In addition, branding and advertising Barbie dolls among the different toys have caused them to stand at the top of the supply and demand chain in the world market. The repetition of Barbie characters over several generations has made it a collective memory for users, especially girls. Therefore, most children and adults know this character and have used it in their games and plays during their growth time. Research objective: This research investigates the functional effect of this best-selling toy in the formation of modern myths and the strengthening of the bourgeoisie around the world. In this regard, emphasizing ROLANd BARTHES’,theory of mythologies, the human-object relationship is studied in the case of Barbie dolls. The objectives of the present research are to identify the signs related to the Barbie doll myth based on ROLANd BARTHES’,theory and to find how the Barbie doll myth has been formed. Research method: The research method used is descriptive-analytical. The bibliographic and Internet data were used as the research sample. In the first phase of the research, Barbie’, s implications were mythologized to recognize the mythological language of the dolls as a meta-language. In the next phase, according to BARTHES’,mythological criticism, meta-meta-language layers were identified and introduced. Conclusion: The research results show that mythologies have been used in the design, production, and sale of Barbie dolls. There are common implicit messages in the advertising and branding of Barbie dolls. They have hidden layers that affect the consumers’,subconscious and temporarily lead them to meta-Barbie consumption. Moreover, in the demythologization process, Barbie’, s domination turned out to include a wave of political and commercial services as well as the film industry and multimedia.

According to ROLANd BARTHES, every narrative is interwoven with multiple codes and the reader has a central role in decoding signs and creating meaning. This article deals with the semiotics of fashion theories using BARTHES' layered analysis approach. In this approach, textual analysis is done by using five codes, that is, hermeneutic code or question code, proairetic or action code, semantic code, symbolic code, and cultural code. The present research is developmental and applied in its goal and descriptive-analytical in methodology. The research aims at decoding the meaning hidden in fashion theories to provide a clearer view of fashion products, especially clothes to researchers, producers, designers, and fashion consumers. The findings show that the fashion system is a writerly text and all five types of codes are in it. The connection of these codes leads to the formation of economic, social, and environmental harmful effects, and therefore, this research emphasizes the necessity of the formation of a sustainable fashion system.

By textual critic, one can access to a greater knowledge of the subject matter. Among the types of criticism, Semiotics and through different theoretical views, BARTHES’ Semiology points of view have been selected. BARTHES continues Saussure Semiotics and promotes his univocal vision. He explicitly indicates three levels of meaning; denotation, connotation and myth. Concerning the development of Post-modern, attempts by designers to utilize metaphors and metonymies in product design, some designers achieved more success and got more attention to their designed products. Among those designers, Philippe Starck has been selected as an index designer. The question in this research is that which semiotic traits of Philippe Starck’ s works had made them special all around the world and different from other products? So this paper is an attempt to review and analysis of the Starck’ s works based on BARTHES point of view. This study is a descriptive, analytical and comparative research whose data were collected through library and documentary. Part of the design selected and analyzed from the perspective of Semiotics BARTHES said; the results shows that Starck tries to create new and innovative situations for his users and activate their minds to be creative and have some new experiments with his products. To get this purpose, he displaces BARTHES’ levels of meaning. Typically, diverse products first start with Denotation, then Connotation and ultimately myths, but Starck experiences different ways in his works and uses these semantic levels in another way. This will challenge the minds of the audience and thus make the product lasting.