The connotation (implicit meaning) is one of the approaches of semiotics that deals with the hidden and deep meanings of texts as systematic wholes and seeks to overcome the appearance of sign systems and reach the underlying layers of the text by relying on the context of the word and the characteristics of the audience. Due to its interpretable and nested structure, Masnavi is apt to be analyzed from this point of view. Through analyzing its implicit meanings, one can understand its cohesiveness and unity, as well as many hidden concepts. This study aims to explain how the implied meanings arise from the appropriateness of words in Masnavi. Therefore, in this study, some of the implicit meanings of Masnavi were investigated and analyzed from two perspectives. The findings of the study indicate that the connotations arising from the appropriateness of the words in Masnavi can be seen in two ways: Firstly, the combination and appropriateness of prominent words of a famous religious and historical event or story in the axis of the verse is reminiscent of that event for the audience and induces another implicit meaning that is also in harmony with the appearance of the verse and the main topic of discussion in the vertical axis of the poem. Secondly, from a famous and related story with his own words, these linguistic signs do not give a secondary meaning to the verse; rather, the presence of those words in several consecutive verses guides the audience to the implicit meaning in all the verses. Introduction implicit meaning is the second-order meaning that results from the applied context of the word and often has an emotional, situational, social, and cultural load. In some verses of Masnavi, although each of the words separately comes to the meaning of each verse, in proportion to other words and with a connotative meaning association, they connect the different parts of each story and give a body-like coherence to the text. The two research questions of the study are: In what ways are the implied meanings arising from the appropriateness of the words in Masnavi? What are their functions? This study aims to investigate the connotative meanings of Masnavi verses and to introduce and explain one of Rumi's artistic tricks in dealing with this great literary work, which proves more than ever the power of his mind and language for indirect references and presenting multiple meanings. Thus, the reader can understand the depth and layers of his words. Materials and Methods In this research, due to the study length, a number of verses of Masnavi were extracted in which the use of appropriate words in the horizontal and vertical axis, based on some evidence and documentation, instilled a connotative meaning into the writes’ mind. With the help of other internal textual and contextual pieces of evidence and using content analysis based on discourse semiotics, their implicit meanings were explained. Research FindingsThe multi-layeredness and interpretability of Masnavi and its nested structure, clusters, external discreteness, and internal continuity, which are influenced by the language, style, and context of the Qur'an, have kept this wonderful book alive and dynamic, and receiving the indirect meanings and hidden layers of the text, always has opened up new research in this field. The evolution of semiotics has progressed from Saussure's two-dimensional perspective to a multifaceted perspective and a process in which they understand the hidden meanings and deep structures of literary or artistic works beyond the apparent dimensions of symbolic systems. This topic is introduced under the title of connotative meaning. Due to his extensive knowledge and deep understanding and comprehensive coverage of the events, stories, and biographies of prominent religious and historical figures, Molavi associates another similar character or story in the audience's mind and implicitly establishes a similar relationship between those two characters. This method can be considered one of the hidden artistic techniques of Rumi in writing poetry, which has been effective in deepening it, expanding the meaning, and connecting the concepts. This has made Rumi's poems scrutinized from the discourse semiotic point of view, and their implicit meanings can be deduced at different levels. In this way, evaluating and justifying the difference between Masnavi versions regarding some words is also possible. Discussion of Results and Conclusions The connotative meanings of words are one of Rumi's hidden artistic tricks in creating brevity, internal order, and coherence in the text, expanding the meaning and connecting concepts. The dynamics of the text lead to the intellectual participation of the audience and a better understanding of Rumi's thoughts. In all these cases, the words chosen by the poet are in harmony with the atmosphere of his poetry and confirm and complete the views expressed by Molavi. Sometimes, the coincidence and appropriateness of some words in the axis of companionship, along with clues such as the semantic context of the discussion, as well as other views and opinions of Molavi in ​​Masnavi, guide the audience to the implied meanings. According to the apparent meaning of the verses and the topic of the speech, the words "ascetic", "six hundred thousand" and "calf" refer to the story of the Samaritan calf. The words "cow", "calf", and "God" refer to the calf worship of Moses' people. "Yar" and "cave" refer to the story of Laila Al-Ambit and the divine protection and concealment of the Prophet (PBUH) and Abu Bakr. Finally, "cow", "color", "red", and "yellow" refer to the story of the yellow cow of the Israelites and inject an implicit meaning into the verse. Rumi sometimes uses important passages from famous stories that somehow have something in common with the subject of his speech in the service of harmonizing verses and choosing words and processing his images. Although these signs often have the same vocabulary and are different in terms of function or example in consecutive verses, in proportion to each other, they evoke another similar story for the audience. An example of the connotation can be seen in the story of Jafar bin Abi Talib. He, who in Masnavi, is an example of the saints of truth and perfect human beings, enjoys divine approval and special strength and steadfastness due to his death in the truth. Based on the idea of ​​repeating the truth of the nature of people, in Maulavi's opinion, like Iskandar Zulqarnain, another manifestation of the perfect man is shown in Masnavi, which, after reaching the knowledge of the sun of truth, shines everywhere like the sun. Inspired by the words and interpretations related to the story of Iskandar, Rumi created various themes and beautiful images in the story of Jafar bin Abi Talib and sometimes made mystical use of those interpretations.

Holy Quran is the only plan of life. Guaranteeing prosperity and happiness for each person. In this statute, set by the wise God, His great needs and needs for achieving happiness and happiness have been raised. Islam, with all the enthusiasm of scientific and industrial progress and material life, Along with Allah, piety, truth and righteousness, ethics and omnipotence, good deeds are first and foremost In fact, one of the features of the Holy Qur'an is its appearance and its backwardness. Which extends to several inner layers, is an appropriate and scientific research method for the discovery of the inner layers of Quranic verses, the analysis of quality content of the Word. In light of the extensive research carried out in the field of Qur'anic sciences. Qur'anic commentators and scholars often categorize the Qur'anic verses in three divine, individual and social axes. Accordingly, for the purpose of this research, the third axis, the social ethics verses, was selected and content content tables were created based on the content analysis technique and on the basis of unit verses, quantitatively and qualitatively. Then the categories and subcategories of each verse were extracted along with the frequency of the verses and the literal and literal keywords. The scope of the research is 427 verses of the verses of social ethics, which after dividing it from the divine ethic verses with 521 verses and individual morals with 345 content analysis ayas. The research tool in the verbal meanings of the Holy Qur'an was translated by Professor Mohammad Mehdi Fouladvand and in the qualitative section of the translated al-Mizan Was used. The results of the research showed that the verses of social ethics have 10 categories and 89 sub categories. The category of Islamic values on property is 18%, the moral values of dialogue are 13%, members' rights are 11%, 10%, 7%, 7% and 6% justice and oppression. Most of the Holy Qur'an is dedicated to the donation, the provision of food for the poor, the protection of orphans, the payment of zakat and the prohibition of the sale of goods, the rape of orphans and rabbits as a sign of the attention of the theologian of this divine word to the preservation and consolidation of social relations in the Islamic society.

چکیدهبا توجه به پیوستگی دین و رسانه در ایران و نیز توجهات گسترده نظری به مبحث رسانه دینی در سال های اخیر و نیز با در نظر گرفتن اهمیت فهم و ایضاح مفهومی«رسانه دینی» در این پژوهش به تحلیل مقالات ایرانی درباره رسانه دینی پرداخته شده است.در این مرور نظام-مند دلالت های ضمنی و بعضا صریح نویسندگان درباره رسانه دینی مورد نظر بوده و چگونگی فضای مفهومی و فکری این مقالات و نویسندگان شانرمورد توجه قرار گرفته است.بنابر این سوال اساسی این تحقیق آن است که به لحاظ مفهومی چه تلقی از مفهوم رسانه دینی در میان تحقیقات ایرانی و میان صاحبنظران عرصه دین و رسانه وجود دارد؟ به همین منظور پس از مروری بر نظریه های سه گانه دین و رسانه با استفاده از نگاهی فراتحلیلی،همه مقالات ایرانی مرتبط با موضوع و در حیطه جستجوی نویسنده مبنای کار قرار گرفته است.یافته های تحقیق در چهار محور شامل مسایل و موضوعات پژوهش ها،وجود/امکان رسانه دینی،تعریف رسانه دینی،نوع رسانه مورد نظر پژوهش ها،و نوع دین مورد توجه پژوهش ها ارایه شده است.نتایج تحقیق نشان می دهد که نگاه کلی حاکم بر تحقیقات ایرانی در حیطه رسانه دینی،نگاهی هنجاری با رویکرد و مبنای نظری ابزارگرایانه است.این نگاه در همه حیطه های مسایل و موضوعات،وجود و امکان رسانه دینی،تعریف رسانه دینی،مصداق و مفهوم رسانه و نیز دین،و همچنین در مبناها و رویکردهای نظری پژوهش ها خود را نشان می دهد.

The concept of subject of metaphysics (i.e being qua being) has not usually been analyzed successfully throughout the history due to claim of its self- evidence. Nonetheless, the existence is regarded as the opposite of nonexistence. But since nonexistence has several meanings, the problem is: which sense of existence has been considered as opposite of nonexistence? We must, therefore, at first, grasp the different meanings nonexistence in order to obtain those of existence. Moreover, we will compare the acquired different meaning of being recognizing the several meaning of nonexistence in order to achieve the sheer existence targeted in metaphysics. Accordingly, that leads us to guarantee the possibility of metaphysics against skepticism and idealism as well. The particular being (not being qua being, or existent qua existent) is an objective in its widest sense which containing the mental one as well. It is actual not potential, realized contingency not non realized one, it is in the present not in the past or future, positive not negative, and it with these conditions, will be the object of the absolute reality.

implicit or sentimental meaning is the one that is hidden within the word and affects its addressee and everyone receives it through personal feelings. According to this issue, this paper tries to focus on external music of some Koran words and consider implicit meanings resulted from letter coherence and its special phonic effect on human's inner relying on Kashshaf Zamakhshari's interpretation such that this phonic coherence pictures the meaning included in it according to its sonic features and is effective on inner sentiments and also leads the receiver to the implicit meaning to which Zamakhshari pointed in his work "Kashshaf". This paper explained how there is appropriateness and coordination between coherence of letters and implicit meaning following descriptive-analytical method and analyzed kashshaf based on Zamakhshari's interpretation. This study also unveiled affection of sonic features of letterson implicit meanings implication being appropriate to it and showed Zamakhshari's points to implicit meanings and proved that Zamakhshari has literary and rhetorical view about meanings related tocoherence of the letters.

Attachment to the qualitative concepts associated with the past of any contexts leads to a stronger connection with their emotional concepts. In architecture, communication with the background can significantly overcome the disruptions caused by the lack of psychological connection with places. Therefore, the emergence of some nostalgic feelings in the architectural space is one of its qualitative concerns in terms of a conceptual design, so it refreshes the user’ s mood and emotions because of the remembrance of some enjoyable and qualitative components in place. Nostalgia focuses on the emotional experience of concepts in the architectural space. Feeling a strong sense of nostalgia or weak sense also related to the difference in human schema and variation in human genotype. In the field of architecture, those who reflect on their memories and strive to value and revive them seek to find signs of a favorable context of their memories in another place and time. This research has interpreted some analysis by focusing on library and documentary studies of nostalgia, including literature, psychology and environmental psychology, to understand this phenomenon. According to the major purpose of the research, which is leading to the feel of nostalgia by remembering some of the implications of place, in field research the technique of interviewing and semi-structured questionnaires were used. Paying attention to nostalgia in places leads to awakening the human’ s collective psyche, and it keeps the connection string to the past and ancient roots in a new format. So the most important consequence of the manifestation of this feeling in architecture is “ the emergence of an experience of an intimate, tangible and influential architectural space from the cultural-social context” . It is an attempt for emotional meaning and enriches the architectural space with its attachment to the past. Accordingly, the meaning must first be elevated from the visual meaning level to the reactionary level; secondly, it encourages the audience to a positive emotional response (by seeking to connect with the past). Therefore, meaning layers must be operationalized to evoke emotional meanings related to the environment, which are turned to the past.

In his various works, Ibn Sina has referred to different meanings of "All J is B", which his followers have called "ḥaqīqī" and "khārijī" propositions. Ibn Sina's examples for "khārijī proposition" are sometimes only related to the present time, sometimes related to past and present times, and his followers have extended these meanings to all three tenses: past, present, and future. To distinguish these three meanings, which have arranged from specific to general, I call them "specific," "intermediate," and "general" khārijī propositions. In this article, I show that for each meaning of khārijī proposition, its relation to a more general meaning of khārijī is similar to its relation to ḥaqīqī propositions, in that mixed khārijī-khārijī syllogisms (mixed of two kinds of khārijīs) have exactly the same rules as mixed khārijī-ḥaqīqī syllogisms.