The discursive outlook, approached from a semio-semantics perspective, looks into language productions as a function of a set of complex processes in which many semio-semantic factors play an active role. The discursive presence is important because its dynamism leads us to a discursive orientation and fosters our relationships as well as the interaction between compatible and incompatible powers. What will help us to move from a structuralist system that is based on the signifier and the signified to a processional system? It seems that the processional system that is based on the relations between different layers of language (form and content) substitutes the relations between the signifier and the signified. What features will make the layers of language capable of expanding the borders of meaning and producing a semiotic process? In this article, besides answering these questions, we also intend to discuss those conditions which can lead us from a structural semiotics that is concerned with predetermined meanings to a processional semiotics in which meaning becomes an attribute of the dialogue and the conflict between different layers of language.

The Holy Quran is a text replete with signs and an infinite resource of meanings, which always provides the ground for using a variety of methods and approaches of text study and analysis. Meanwhile, the current article depends upon "discursive semiotics" approach, as followed in the Paris School; an approach which analyzes the mechanism of meaning making in the process of text production. Analyzing the textual structures of zann (suspicion) in the Holy Quran and using the model of "semiotic square", more specifically inspired by the "square of veridiction", this study attempts to explain the formation process of zann signification in the Quranic discourse. Studying the four kinds of zaan shows that based on the square of verdiction with regard to zann and elm (knowledge) in the Holy Quran, one gets involved with the four states of illusion, truth, falsehood and secret when dealing with different issues. Meanwhile, the knower's belief in and their denial of immaterial things such as the prophecy of prophets, God and His attributes along with the resurrection play a key role in the mechanism of making a meaning for zann.

Mu'ayyad fi'l-Din al-Shirazi, the Iranian Da’ i al-Daha of the Fatimid court, has been mentioned as a prominent literary, scholar and politician in Ismaili literature. His divine court is full of religious-political information, in which he, in addition to plotting the political and social conditions, sought to explain the legitimacy of the Fatimid Imams by reasoning and philosophical arguments. The present article intends to use the method of discursive semiotics to review the discourse of the Fatimid Imam in the opinion of Mu'ayyad fi'l-Din al-Shirazi. It seems that the poet of the Fatimid court, as the narrator and narrator of the discourse, with the indicators of the exchange of ideas and ideas, has explained the highlighting of the religious and secular legitimacy of the Fatimid Imamate in the middle ages and the marginalization of the oppositions.

The “discursive semiotics” of speech is proposed as a new method for the analysis of literary texts in which the production of meaning is directly linked with sensory conditions’ perceptive. In these circumstances, the meaning does not follow a logical plan, rather due to the presence of the perceptual subject that makes the sign phenomenal in discours, it is continuous, fluid, multi-dimensional and always being reborn. This study examines the discursive process in three dimensions (emotional, perceptual and aesthetic) in the poetry of Nima, and presents this approach as a new method of text analysis. The study also looks at the way in which the poet describes the world. This study not only creates a new reading of the poetry of Nima but also shows how the process of producing the dynamic sense in the poem is formed.

Emotions can cause discursive connection and disjunction. The mechanism of the emotive dimension of the tragic story of “Hasank the Vizier” inBeyhaqi’s Historyleads to discursive failure. Adopting a discourse analytical approach, informed by the phenomenology of senses and emotions, this article demonstrates that the determining and distinguishing emotive deep structure in the story derives from the “social and intersubjective humiliation” experienced by the negative emotive character, Busahl Zuzani. This leads to emotions such as “relief, prejudice and revenge”, and the relieving aspect continues even after revenge has been taken. The intensity of the emotive dimension relating to this negative actant is in line with the presentation of a general statement on rational political action. At the same time, the rationalistic dimension of the tale is based on its rational and complex character, Sultan Masoud Ghaznavi, who produces rationalistic statements in the text but, sharing subjective humiliation, is discursively connected with Busahl, and disconnected from Hasanak. Therefore, despite being the main source of power and having a key role in determining the destiny of the discourse, this rational character is relegated to the second layer of the plot.

Paternalism is a concept based on power, influence, authority and proof of a male in the context of family. Media is a way through which the system is reproduced in society. Identifying the type of masculinity depicted in the series Setayesh is one the objectives of the paper. First, 27 scenes were selected from scenes representing patriarchy and masculinity to determine their explicit and implicit implications after analyzing semiotics at the micro level. Then the symbols extracted at micro level were analyzed in relation to the overall context of Iranian society with regard to discursive semiotics approach. The most important result of the research shows that the masculinity represented in this series is of the punishment masculinity through which father's violence, domination and conscience are prioritized in the family structure. This series presents a kind of weakened masculinity by representing and disseminating new forms of masculinity that are in conflict with the suitable pattern with indigenous culture. In this way, it doubts the existence and ideology of the patriarchal system. The imagination in this series is that the media, with regard to other external and environmental factors, criticize the stability of patriarchal order and provide an unstable picture of the patriarchal system. On the succession, such a system is replaced by patriarchal order without replacing a desirable or conventional pattern.

One of the major arguments discussed in social and cultural semiotics is the question of norms and semiotic codes. In fact, the individual defines him/herself - in society to which he belongs - through the semiotic codes he produces. What the individual generates as his semiotic codes (behavioral, linguistic or clothing) not only tends to define him positively, but it also defines him negatively, for it shows how he fails to belong to other social groups.What is principally discussed in this article is to distinguish two types of norms: objective norm and evaluative norm. Afterwards, it aims to point to two forces - centrifugal and centripetal- that result in separation or fusion of the semiotic codes. Considering these two objective and evaluative norms, two social phenomena including security semiotics and insecurity semiotics will be explained.Eventually, this writing elaborates on the phenomena of silence, hypercorrection, compensation and semiotic confusion, that are raised as reactions to the phenomenon of insecurity semiotics. Clearly to make theses idioms more comprehensible, different examples will be presented from various fields, specifically literary field.

Attributing human traits to non-human entities is traditionally described as personification. In this article, we set out to go beyond the limits of this definition. We hypothesized that personification is a process which is formed by many factors in a context and without considering these factors, we can’ t draw an appropriate conclusion which matches with the real nature of discourse. A short-Persian story entitled” a bunch of flowers” , by Choobak, a famous Iranian writer, was chosen to be analyzed on the basis of discursive-semiotics, to show how the process of personification forms. It was estimated that manipulative and tensive-function, adversative process and protension factor affect the formation of the process of personification. At last, the results supported our hypothesis. Our findings revealed that the process has a minimal and a maximal side. This article tries to show that personification forms as a process within a text and there are many factors which help this formation happen. While the process of personification is taking place, an object can manipulate the subject in a way that leads the subject to become more and more passive and lose his abilities as a human. The object gradually puts the subject in a position that he has no humanistic trait such as the power to choose, the power to act or even think. We have to consider that there are many linguistic factors playing crucial roles in this process. In the story, we showed how a letter as an object gets personified and the reader of the letter as a human gets depersonified. This is why we considered this process as a two sided axis. The human whose humanistic traits decreases gets near to the minimum side of axis and the letter whose humanistic abilities increases gets closer to the maximum side. We also tried to go further than the traditional description of personification to show how it works and to prove that there are many linguistic factors which are important in forming the process of personification. In the story, the reader is threatened and he loses his ability to control and think just because of the words and sentences in the letter. Finally he finds himself in a situation that the letter has the power to control him and even it is able to kill him. It should once again be emphasized that personification cannot take place without a context.

The semiotics theory of Greimas is mainly introduced to Persian readers by Hamid Reza Sha'iri. This article attempts to prove that the presentation of this theory and the explanation of its foundational concepts and methodological bases, have only made it more complicated and difficult. This article examines Sha'iri's last book, namely The Semio-Semantics of Literature: Towards the Theory of Literary Discourse Analysis and some other writings of the author to show the causes of ambiguity which exist through them. The most important causes of ambiguity in what the author has written about Grimasian semiotics are: 1-The lack of historical approach to semiotics theory 2-Ambiguity of definitions, classifications and terms 3-using insufficient and sometimes wrong Persian substitutes for technical terms of Greimasian theory of semiotics. The article concludes that because of the aforementioned faults, the book cannot represent how the Greimasian semiotic concepts and methodology should be applied to the literary texts, and even the most elementary questions about the application of different methods in understanding and assessing literary texts, remain unanswered.

Ahmad Morshedloo is one of the most famous Iranian contemporary painters whose in his works, he has addressed social issues with a critical expression in a realistic manner. In Morshedloo's works, the human subject is represented, a subject that has resisted social action and is "non-subject". The dominant subject of Ahmad Morshedloo's paintings are human subjects, which occupy most of the space of the frame and are depicted in a muted, monochrome background. The human subjects in these works are lonely, sad and bored, and most of them hide their gaze. In this way, they look like people who are empty of life, ghostly and deformed, who have become passive in their social relations and in other words, " non-subjectivity ". The following article tries to analyze the visual discourse and the semiotic mechanisms of the "non-subject" subject in Ahmad Morshedloo's paintings by relying on the semio-discursive approach. discursive semiotics is an approach in which meaning is received through examining signs in relation to each other and other discourse elements. The manner of this communication and interaction creates various discourse systems, which include actional system, tension system, and sensible system. Action discourse is focused on the principle of action, action and possession of a valuable object. sensible discourse is based on the principle of presence and sensory-perceptual and emotional relationship of sensible person with the world, with himself and with others. The tension discourse is based on the principle of fluid and spectrum relationship between two streams of "extensity" (cognitive world and outside of me) and "intensity" (emotional and inner world). The purpose of writing this article is to show, relying on the visual discourse of Morshedloo's paintings and its unique visual expression, using the semiotic analysis method, how the concept of " non-subject" was formed in the visual discourse of the works and the process of production and It has affected the reception of meaning. "non-subject" define a human subject who has lost the ability to evaluate and judge and cannot  take voluntary action. Research methodology is descriptive-analytical, and five works of Ahmad Morshedloo's paintings are analyzed in this article. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “non-subject” in visual discourse? 2. What are the major semio-discursive functions of “non-subject” in the visual discursive system? The results showed that formation of discursive “non-subject” is as a result to negate components of action in the subject, and by creating a negative process through disrupting the order and creating chaos in modality verbs and through visual measures such as norm avoidance, repetition, and automaticity, faceless in subject, marginalization and threat of the subject by everyday objects are manifested in the works of Morshedloo. Also by using of the semio-discursive components of "non-subject", the tense and emotional atmosphere in the visual discourse of the paintings has peaked, and an emotional and modality subject has been formed with the characteristics of doubt and anxiety.