Some scholars in the field of Semiotics believe that the Semiotic square of Greimas, in certain texts, has a mechanical and solid structure and does not successfully represent meaning in a discourse. They believe that the tensive model is a more appropriate approach since it has fluid and dynamic applications. However, fluid and dynamic deep structure of narrative can be illustrated through “consecutive Semiotic square;” in other words, it can be shown through the processes of the meaning production in a narrative from the primary meaning to the ultimate meaning. This study proposes a new model, namely, “Semiotic ladder” to analyze narratives in the lyrical genre, to discover their inner and deep structure meanings, and to prove the dynamic characteristic of meaning in the Semiotic square. We argue that the process of the Semiotic ladder, thanks to consecutive Semiotic squares, represents the displacement and fluidity of meanings in narratives and reject the mechanical and solid feature of squares. This model is applicable to all narrative forms.

As a new method in literary criticism, Semiotics is applied in terms of various processes one of which is tension process. In such process, a relationship is made between Semiotic elements in which meaning plays the role of an element fluctuating between periphery and center. Accordingly, in sensual-perceptual activity a kind of process can be identified in which all the elements of tension are dynamically present. By the aid of these elements and in a discursive process, the rebel is placed at the center of sensual tensions. Then, relative to the depth of tension, it triggers the formation of signifieds. Such presence leads discourse to a kind of value system on which discursive content is based and confronts us with created meaning. While explaining the Semiotic characteristics of Daghughi tale of Mathnavi, this article tries to analyze the transition from Semiotic square to tension square and the formation of tension process in this tale by using analytical-descriptive method in order to provide an answer for this important question that how tension process can change discursive conditions and produce floating meanings. In fact, this article aims to show how an approximated mystic, as the rational Self, is disintegrated from himself via an emotional-tensional relationship. Then, in a mystical journey and via a transcendental process, he can see the Substitutes and, in a higher stage, achieve the status of Unity with God.

Semiotics is an approach that studies the signs and their hidden meanings. This article is a social semiology of Bivatan-amodern novelwritten by Reza Amirkhani. The novel struggles with fundamental issues such as identity, culture, and social traditions. Like most other postmodern novels, Bivatan is a combination of reality and imagination. Most parts of the story happen outside of Iran and show the conflict between Islamic-Persian culture and the Western culture. The conflict between humans and their surrounding is another major aspect of this novel. This article elaborates on the identity-related signs such as religion, food, costume, job, social relations, and so forth. The fundamental role of religion, drawing on Quranicverses, identity crisis, and differences in social class are among the other subjects which will be discussed in this paper.

Since the late 1960s, a pioneering design approach gradually emerged that is referred to now as the postmodern approach. Design, architecture and in general terms, post-modern art (similar to other cultural forms of post-modernism) have so many complexities that it is actually quite difficult to define a set criteria for recognition, classification and differentiation of post-modern from modern art.This paper, using Semiotic theories as analytical tools, attempts to define various concepts and indicators which it then uses to study famous works designed by well-known designers and architects with a post-modern approach. The findings suggest that the signs in post-modern works have gone through major changes compared to their modern counterparts. The best example is the reemployment of iconic signs in post-modern designs.Post-modern works have enormous connotations and their process of semiosis and signification are endless. Moreover, the post-modern designer employs syntagmatic and paradigmatic approaches, allowing viewers to interact with the artwork.Finally, post-modern designs address sensual perceptions. In fact, the greatest function of postmodern designs in terms of communication is their ability to relate emotionally with viewers.

If we consider clothing as a meaningful social act rather than a means of protecting the body, we have to interpret it by means of analytical frameworks associated with social meaning. Considering clothing as a symbolic matter and trying to unravel its symbols and meanings help us to look at this controversial issue from a new angle. Paying attention of the “regularities” of social acts and conventionality of symbols in Semiotics can partly explain both the historical changes of clothing and the differences of viewpoints to clothing in different groups and various subcultures of a society. If cultural policy makers bring into consideration the “regularity” of clothing and its symbolic and conventional characteristic, cultural policy making can be correctly directed.

Unlike ordinary language, signs or elements of a literary language tend to develop a loose connection with their innate meanings and conceptions, and there appears to be no logical and natural tie between the words and their possible meanings. This fundamental gap or difference pushes a literary language further to be dynamic and brings along various vistas for reading. What is important in dealing with this language is studying its linguistic aspects closely and getting acquainted with aspects that create literature. Semiotics and its applications help remarkably to understand this specific language and hues of its underlying meanings deeply and more sensibly. The present study, aims to evaluate Shanfari’s Lamiyyatul Arab through a Semiotic-based scrutiny. The result is that studying a work of in the light of Semiotics uncovers aesthetic and mysterious and symbolic implications such as tribe, journey, beast, desert, wolf, endurance, and cry against oppression in this ode.

The principle scientific basis of this paper is the Semiotics. Semiotics is a new approach in the literature which has been launched for the first time in France in late 1980s ‘.This newly settled notion, studies sign and meaning in a reciprocal relation and as many approaches in linguistics and litera­ture, could be used as a tool for analyzing subjects in various disciplines like science, philosophy, and sociology. For this exact reason, planning and urban design could borrow it as a method of analy­sis in the sign-meaning domains of the city. Language is a coherent system and its subsystems or subordinate levels are reciprocally connected either in their form and content. Content needs two different structures to become tangible: syntactic and semantic. Syntax and semantics are very close and their confrontation is nothing but a kind of inter­ relation. Syntax is an objective process through which meaning comes into reality and semantics is a searching procedure that seeks the meaning where the signs are mutually related and woven together. Cities are full of signs and meanings that indicate to them. The main feature of sign-meaning system is its flexibility and fluidity. This feature is visible through the time and continuous metamor­ phoses of urban structure. Therefore, it’s quite pos­sible to recognise series of production, reconstruction, omission, alteration and variation of signs and meanings by an analysis based on Semiotics prin­ciples. In other words, the city, like the dialogue in linguistics, could generate a flexible sign-meaning system that because of its flexibility produce new sign-meaning structures at their turn. A Semantic field, whatever its scale might be, shows degrees of meaningfulness which has been influenced by a variety of economic, social and political issues dominating the urban text and context. Each semantic field changes in form and content by the change, omission and addition of its words and subsidiary elements. So by occurring changes in form and content of semantic fields, meanings may change considerably or new meanings may appear. This form-content analysis methodology is tested in a case study work. The case chosen for this reason is the ‘Canon Square’ (Maydan-e­ Tupkhaneh) of Tehran, a historic urban space of Iran’s capital. This space has been chosen just for testing the ability of this methodology and the aim was not to explore the whole or partial historical evolution of a city. This field also could be studied in bigger or smaller scales going from some blocks as a main structure or even an small urban space. As the evolution of Maydan-e-Tupkhaneh has been the subject of some researches, it helps to avoid the explanations not necessary for the paper and lets the methodology, taking into account the results of those previous researches, go directly to the form-content analysis of the space by synchronic and diachronic dual approach. This paper is an initiative for the author to find a methodology proper to similar analyses. Further and broader research may establish a complementary method to those of form-content analysis.

The Semiotic can produce and interpret the effect of a topic and it will reveal all the angles. The television advertisements with religious seem superficial. This article will provide an opportunity to be recognized and ad content based on its overall structure is designed message. Semprini spot four section: missions, planing, happiness and awareness for the time being.Time can show the magnificence of the historic period, be imaginary and promise the bright day in future. Depend on past and vitalize pleasant memories and mention person ability to manage and control matters. We can naturalization these sections and shape original form of religious advertising during Ramadan. This four section are just introduction, but they play an important role in guiding and organizing promotion. The ad is presented to the audiencelike description, promotion or sentences short story. There are a variety of tricks to draw the viewer to the advertiser. Message sender portray actors, time or place with cinematic techniques, and dress his words with emblazoned tropes, rhythmic and melodic arguments or statements.

The lifestyle is a sign-semantic process, with four phases necessary for its realization. First, we are confronted with communities which are identifiable via their identity structures. These identity structures are one of the important components of the sign sys­tems. They are the general situations for the formation of the lifestyle process. Secondly, we are faced with the modes of social existence. These modes are the same Bushy forms of existence functioning based on a set of values and beliefs. Beliefs and values are realized on the basis of the process of verbalization and discursive legitimacy. This is the same which is accounted as a prerequisite for the lifestyle. In the third phase, the style of life is formed based on syntagmatic relations (continuity, anchoring and fixing a form), associative relations (the selection of a form, its preference due to its adjacency with another form) and valuable structures. These lifestyles relying on the modes of social existence are similar to the language recorded in collective memory, which can be used and also they cause the longevity of lifestyle. In the fourth phase, we face with a lifestyle formed at intersection with the modes of social existence. In fact, the role-playing of social actors and the insistence on these roles is based on the same belief and value via anchoring within the style. Here the important hint is that in these four phases, human beings act as the main axis of passing a very general and unstable status to a particular and contingent one, and also it is in a challenge to beliefs and values as a sign or part of the sign-semantic process. The key question here is that how can a person change a lifestyle with another one in locating the stratification process and the constant challenge with beliefs?