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.

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.

"Semantics" is the processing of text in the context of the signification of cultural codes (hermeneutic, semantic, symbolic, action and cultural narrative). . It should be noted that on one hand, the text is not limited to the literary text according to BARTHES, but also works of art have the ability to be textual and therefore can be interpreted as a text and on the other hand, cultural authorities play the role of sources of meanings. The text under review is Mansour Qandriz's "Linotrahi painting" in the field of hand-printing, the subject of which has been included in the works of Saqakhaneh due to its reference to ancient Iranian civilizations and mythological themes shared with other cultures, especially in terms of decoration. The aspect of decoration, on the one hand, is the dominant factor and, on the other hand, prevents the explicit understanding of the meanings, which, in addition to not understanding the cultural foundations of the designs, has provided challenges in reading the text under study. Accordingly, the author of the present study has sought to answer two major questions. First, what is the method of reading each text of Saqakhaneh and the text under study? Second, what are the meanings arising from the motifs of the text under study? For this purpose, in the present article, the library method are used to collect resources and considering ROLAND BARTHES' cultural codes from the semantic approach, major meanings such as ascension to the higher world, death, appeal to transcendental forces, belief in agents. The symbolism of fertility, the belief in human evolution and evolution, as well as the prominence of the matriarchal role in the diverse field of women, have been processed.

it is written text or closed text that transforms the reader into a consumer and the text is readable. It also explores the narrative functions, meanings and hidden meanings of the text. The method of this research is descriptive-analytical study with narrative approach. The research findings show that The text of Waiting for Godot is adaptable to Barth's theory of coding and follows the narrative analysis paradigm of BARTHES: It is important that in some cases Barth's critical patterns of over-saturation or immobility be cast It challenges the text in an aesthetic context, which leads to a better understanding of the work on the creation of two half-crazy and half-philosophical characters. In the dialogues of this text, Beckett has been able to convey his religious and philosophical implications by making connections between the characters of the play with a great deal of contrast and using the style of the instrument. This play is a written text and has a multiplication of meaning that is reproduced by the reader.

Semiotics transform the artist's work into a text full of symbols that can be reinterpreted through decoding. ROLAND BARTHES uses semiotics, in addition to explaining the meaning of the messages of these cultural creations, he also investigates the intention, the way of production, and the identity of their producers. BARTHES explains how signs are transformed into meaningful systems through the use of 'Five codes' (hermeneutics, symbolic, poetic, semantic, referential, or cultural). This research is aimed at analyzing the staged photographs of Jeff Wall, a Canadian contemporary artist, using Barth's five codes. The primary objective is to read Wall's works using BARTHES's approach. The type of research used in this study is semiotics and involves qualitative methods. Gathering information through a library method and viewing images. Analysis with qualitative method is based on BARTHES semiotics. Selective sampling is non-random. According to this research, Jeff Wall's privileged position in the world of fine art photography is achieved through the use of symbols and the reproduction of understated concepts from art history. After using Bart's five codes to examine the photos, it was discovered that the text was read by the photographer, Bart's codes, and the audience. In codes dedicated to reading text with studious and explicit meanings, the role of the reader is weak, and in codes dedicated to written text with punctuation and implied meanings of the image, the reader has the role of creating the text. Jeff Wall's photographs can be read, interpreted, and decoded based on Barth's five codes, because on the one hand, through visual narration of his work, the photographer takes the audience with him, and on the other hand, he leads the audience to new reading and interpretation based on punctum. He forces himself; in such a way that the meaning goes beyond the level of the staged image and causes the creation of a personal and new meaning by the audience facing the work. This study suggests that more research be done on the semiotic analysis of Jeff Wall's photos. By conducting this research, we can gain a deeper understanding of the concepts and connections in Jeff Wall's photographs and gain a better understanding of their significance in contemporary art. Also, the relationship of Jeff Wall's photographs with other works of art such as painting, cinema, and literature can be examined and help us to understand the impact and differences of Jeff Wall's photographs with other works of art. Additionally, it is important to consider the significance of Jeff Wall's photographs in shaping culture and society. By examining the impact of these works on the ideals, values, and attitudes of society, it is possible to understand how Jeff Wall's photographs affect the interaction with culture and society.

Dans le dernier cours de ROLAND BARTHES: La Préparation du roman I et II, nous voyons des pages sur le haïku japonais comme étant à l’origine du roman. BARTHES est initié à la littérature par cette forme «ultra- brève» et multiforme classée selon les saisons et assumant une renaissance romanesque. Chez BARTHES, tout comme dans À la Recherche du temps perdu de Proust, la lecture et l’écriture sont liées.L’oeuvre proustienne se développe à partir d’un souvenir, d’une sensation et ne cesse de proliférer à partir de cet éphémère. BARTHES confronte toutefois «l’instantané» du haïku court et protéiforme au «continu» du roman. Dans cet article nous voulons examiner comment BARTHES s'inspire de la forme poétique du haïku et propose une nouvelle romanesque.

This paper offers an analytical reading of Fariba Vafi's novel, My Bird. It utilizes the theoretical framework and methodological analysis introduced in ROLAND BARTHES's influential work, S/Z. Specifically, this study utilizes BARTHES's introduction of the five semiotic codes of proairetic, hermeneutic, semantic, symbolic, and cultural to analyze the novel through a semiotic/narratological approach. Through this approach, the study aims to define the 'Readerly and Writerly texts,’ to prepare the framework in order to specify whether this work is readerly or writerly, based on BARTHES evaluative typology. This study employs the concept of 'Mode of writing' introduced by BARTHES in Writing Degree Zero to conduct a narratological analysis of My Bird. Then, the text of the novel is divided into different lexias, which represent the significance of each chosen excerpt in relation to the question being explored. Finally, the paper applies a semiotic analysis to each selected lexia: the proairetic, hermeneutic, semantic, symbolic, and cultural codes to find which one or ones are the more dominant. By dividing the text into different units and analyzing them based on BARTHESian typology, the research found that the proairetic code dominates the text, making it a readerly text. While there are a few instances of other semiotic codes, the few semantic codes are mainly similes, meaning that they do not help the reader engage with the chain of signifiers. The scarce number of hermeneutic codes shows that the text lacks an element of mystery that might make the novel interesting for active readers. My Bird offers few examples of symbolic and cultural codes. My Bird can be grouped with feminist literature because it aims to highlight a woman's experience in a patriarchal society. Vafi examines the social, cultural, and political conditions that define gender inequalities in Iran, and My Bird can be seen as a critique of these conditions. The central protagonist of the novel, Roya, is a symbol of this feminist critique, and her story represents the voice of Iranian women. The character's depiction of physical, emotional, and psychological vulnerability is an indication of what many women experience in Iran. But all these are treated formulaically ending in few symbolic and cultural codes.In terms of narrative style, My Bird can be classified as a readerly text based on its proairetic code dominance. The proairetic code is characterized as the code of action, which mostly deals with narration about what happens, what is done or said. The overreliance on this code is a significant factor underlining My Bird's readerly character. The readerly text is easily accessible, traditionally structured, and can be easily understood. The writer's intention is usually to convey his or her message to the reader effortlessly. BARTHES's theory of the readerly text aligns with this idea, as the readerly text is designed for a passive reader.Although My Bird is categorically a readerly text, it does include writerly elements that allow for different interpretations. For instance, the limited use of hermeneutic codes in the novel means readers can actively engage in interpretation and potentially find new ways of understanding the text. However, this is not enough to overcome the readerly character of the novel, which is dominated by the proairetic code. Therefore, this research concludes that My Bird is predominantly a readerly text since the proairetic codes are noticeably dominant in the novel. Although the novel includes some writerly elements like hermeneutic codes, My Bird's overarching structure and linguistic devices serve to limit the reader's freedom in interpretation. The research also highlights that the lack of symbolic and cultural codes. The study's findings suggest that My Bird is an unsuccessful example of a readerly text due to its limited potential for active participation from the reader.

Where the structuralist semiotic model Ferdinand de Saussure developed addresses a text's linguistic style and aesthetics without analyzing its implicit meanings, the poststructuralist model propounded by ROLAND BARTHES examines various semantic implications of a text. This study aims to critically read the Surah of Quraysh by applying the two theorists' models on its textuality to examine the formation of meaning and implicit layers of meaning. Pinpointing the difference between the two models and reading the Surah of Quraysh based on the structuralist and poststructuralist semiotic models in order to decode the multiplicity of semantic layers according to BARTHES' theories constitute the significance of this study. Also, the linguistic contrasts of the Surah are examined based on Ferdinand de Saussure's model. The research finds that the main difference is between declarative sentences (solidarity among the Quraysh) and imperative sentences (the necessity of worshiping God), which are also manifested in other linguistic elements (lexical and syntactic). BARTHES' model examines narrative codes' semantic layers. The hermeneutic code highlights solidarity and unity for all societies and groups, which is reinforced by the repetition of Eilaf and Quraysh as semantic and cultural codes. While symbolic codes depict the consequences of the refusal to worship God, probiotic codes refer to the result of worshiping God in the past. While reading the Surah based on Ferdinand de Saussure's model shows that its literal meaning can be understood in syntagmatic structures, which refer to the invitation of the Quraysh to Islam during the time of the Prophet (PBUH) to make peace, a reading based on BARTHES' model indicates that the call to Islam and the promotion of monotheism is not limited to the Quraysh but addressed to different societies and groups throughout the ages.