The art of COMICS is one of the artistic medium which illustrates a story with various concepts through frames of images. This kind of artistic expression, from its beginning time till now, has been passed various stages of developments in the aesthetic field of visual arts, and it has been achieved special and singular form and characteristic, and it has been gained a unique way of expression among various art forms. Although American temporary culture of visual arts has been had the most significant role in creation diverse COMICS genres and its propagation and popularity in the world, it has been circulated in different cultures as an independent artistic medium with different genres. In recent decades, COMICS like most of the other imported artistic forms - especially those that have origin in western culture- had been imported Iranian art field and produced and published in few limited major genres. Nevertheless, few numbers of COMICS genres that produced in Iran do not seem to be comparable with western COMICS genres diversity – especially in the United States-, this article is attempting to obtain a comparative examination between Iranian genres and American ones. For achieving this purpose, at first, is determined some indicators for comparing which are on the foundation of concepts and are taken from other media that have been arranged on the basis of several distinct categories, and is introduced some of the major American COMICS genres and is taken into account some of their main traits by use of mentioned indicators. On the other hand, this paper is analyzed Iranian COMICS genres and found out their features. Then, is recounted their corresponding features. It will indicate that despite of differences among Iranian COMICS and American 8 T COMICS forms, also cultural differences which are in the COMICS concept, it seems that some of the Iranian COMICS genres to be traceable - on the basis of their similar features with western COMICS- as equivalents for western COMICS genres and some of them to be followed as indigenous COMICS genres that in individual form belong to Iran. In other word, the comparison and detecting some analogies and differences aspects among common genres in these mentioned different cultural areas –American COMICS genres and Iranian COMICS genres- will lead to more recognition and introduction of what called Iranian COMICS genres. In a word, this article is trying to show that Iranian COMICS can classify systematically in four prevalent genres which are folk genre, war genre, religious genre and epic one. In comparison with American COMICS genres, some of Iranian ones have absolutely match in their features - war genre-, some of them are distinct in some aspects – super hero genre in American COMICS and epic genre in Iranian ones- and some of them –indigenous genres- are totally unique without any equivalent in western ones – folk genre-. It seems that such differences not only do come from artistic materials and concepts, but also come from concepts beyond them which belongs to others aspects of one special nation.

COMICS is created as a type of criticism literature from long ago in order to express complaints against the problems and to represent the obscenity and disadvantages and inefficiencies of the phenomena and relations dominating the social lives aiming at notifying, reforming, and removing the faults and chaos by the elite poets and writers and in order to express the suffocation and despotism using different literary tools. The climax of this literary tool could be observed in works of poets and writers in 7 th to th 9 centuries through which Mongolians and Teymori Kings ruled the country. Therefore, in the present study and using a descriptive-analytic method and with the help of observation of different texts composed and emphasizing at different literary tools such as simile, allegory, irony, paradox, … , we have tried to investigate about this type of literature in poems composed by Abdolrahman Jaami, who has been one of the most outstanding poets during the Teymori era. Findings showed that language techniques has had a great functional role in creating works of this poet. Regarding the content techniques utilized in poems by Jaami, we can observe the following items as the mostly used techniques: contradiction, stupidity, diligent and funny reasoning.

Introduction and the problematic of the research: The multicultural semi-autobiographic novel, Persepolis (2000-2003) by Iranian-French writer, Marjane Satrapi, is considered as the representative of prevalent discourse in historical context. This article examines Persepolis from an imagological perspective and theoretical reflections on the medium of COMICS or in its French expression, bande dessiné e. It elaborates on textual strategies of an imagological study on both the textual and pictorial levels. This study aims to examine the implications of verbal and visual representation in COMICS. It introduces the medium, basic rules of COMICS (bande dessiné e) and graphic novel (novel in the comic strip) as a different comic format. It further goes through the story of Persepolis to apply the theoretical framework of imagology to the corpus. Theoretical framework: As compared to cinema, Hö lter (2007) has looked at COMICS from an imagological frame that the narrative perspective on objects or persons allows the artist to be free in designing and arranging the panels (p. 306). COMICS known as the ninth art is a controversial subject in a different context from history and pedagogy to literature. In a worldwide context, COMICS or bande dessiné e (BD) as a hybrid form represents its potential application in cultural studies. The current study offers some details on the analyses of Satrapi’ s graphic novel Persepolis as a multicultural graphic novel. Here we link the theoretical reflections on the form and functions of panels, frames, gutters, and page layouts to our analysis become possible. The objective here is to show various aspects of representation and formation of the national image associated with the question of identity. The theoretical frameworks of this investigation include a textual and visual representation of sequential panels of COMICS. McCloud, Groensteen, and Miller discuss the central elements of the medium. McCloud (1994) has given a comprehensive definition of bande dessiné e as “ juxtapose pictorial and other images in deliberate sequence, intended to convey information and produce an aesthetic response in the viewer” (p. 9). Collection of separate icons and interdependent images, bande dessiné e creates “ meaning out of the articulation between discontinuous units, or panels” (Miller, 2007, p. 77). It has been mentioned a sequential and visual narrative art. “ Bande dessiné e produces meaning out of images which are in a sequential relationship, and which co-exist with each other spatially, with or without text” (Miller, 2007, p. 75). Thus, McCloud (1994) argued, “ Icons demand our participation to make them work” and further suggested, “ As the twenty-first century approaches visual iconography may finally help us to realize a form of universal communication” (pp. 58-59). Considering bande dessiné e as an art of iteration and transformation, Miller (2007) clarified the sequential links (Groensteen’ s ‘ restricted arthrology’ code) — along with stylistic variations of framing, angle of vision, composition, and color— and narrative process on ellipsis or gap through temporal and spatial transition which is called spatiotemporal relations in the inter-frame space (pp. 88-91). We have offered a judgmental function of bande dessiné e and autobiography in Persepolis so to examine and distinguish between representing and represented Self. Such a distinguishment relates to “ division between the linguistic and iconic elements of the medium, [… ] the immediacy of texts attributed to the autobiographical Self in speech balloons, and the retrospective effect of the ré citatifs, where dissociation between character and narrator is maximal” (Miller, 2007, p. 218). Methodology: In the production of a COMICS, it is significant to explore several influential arguments; 1. The nature, substance, mode, and formal characteristics of images 2. Mode of articulation in the process of communication (distribution and reception) (Groenteen, 2007, p. 18). Representation of alterity in different fields of study such as literature, sociology, psychology, etc. proves its encompassing nature that in turn leads to a more comprehensive examination of its origin, definition, and function. Persepolis uses the different medium of the graphic novel (COMICS or bande dessiné e) for representing the polarization of alterity in an exaggerated form. This study tries to show how the image of Self (both auto and meta) and Other, common stereotype of the polarized worldview are going to strengthen alternative outlook. Persepolis as representative of the myth of the Other who is trying to cement a universal view by showing a personal view and dividing the world into two oppositional polar of the East and the West by contrast between the color of black and white. These contrasting representations have been shown in both text and image. This study also shows how Satrapi uses an ironic representation of these auto/ hetero/ Meta images. Findings and discussions: The primary contribution embodied in this paper is the stereotypical representation of different images from varying angels. However, Persepolis as a multicultural medium for representing these images both in context and in the text (text and image) sometimes illustrated polarities of this controversial imageme. That is how images of origin and target countries are engaged in different narrative purposes. Therefore, in dealing with the representation of both sides of dichotomy (the East and the West), we studied auto, hetero, and meta-images from the opposing point of view to create the balance in interpreting their images. It is concluded that as a discursive manifestation of national identification pattern in literature, Persepolis illumines the mutual relationship between auto and hetero images in its context, which leads to clarify dynamic nature between identity and alterity. Thus, the idea of the inconsistency of representation in imageme and interpretation shows the tension between signification and reality in its social and historical context. In response to the ideological framing of Iran, Satrapi attempts to highlight the interaction of stereotypes in making signs of Otherness. By defining Imagined identity, it has been argued how looking at past is tangled with looking forward in the reconstruction and restoration of identity. Images of both expected for nationality represented and spectant for representing discourse give new insights to consider the relationship between auto-image, hetero-image, and meta-image. Thus, knowledge of the widespread stereotypes and misrepresentation of a nation like Iran in media as an old frame ideology would lead to a better understanding of an Iranian writer like Satrapi.

Mohammad Khoramshahi is one of the allegorists of the satire and contemporary poets and writers, who during the ninety years of activity, with more than ninety pseudonyms in this area, has made him one of the pioneers in Iran's press space. But with all this activity, researchers have been neglected. In this article, in addition to introducing and identifying This character, it has been tried to investigate why nickname of Mohammad Khoramshahi was? . Has the number of his nicknames been optional, or has there been compulsory modifications or alterations? The reasons why escaping the reputation, avoiding pride and arrogance, fear of killing, worrying about the consequences of criticism and. . . made Mohammad Khoramshahi Damascus turn into a phony narrative. In the abundance of his nicknames, should have said that there was a discretion on the part of himself, as well as emphasis and coercion by the authorities of the magazines

In this study, based on a work being fun and useful in language learning, so popular not only in the world but also in Iran., we analyze the translation of illustrated books of Tin tin. Our subject is twelve volumes of the collections "The Adventures of Tin tin and Snowy", also known as Comic Strip. The author of this twenty-two-volume series, Georges Prosper Remy, was renowned for Hergé , a Belgian writer and cartoonist, whose reputation is due to the adventures of Tin tin. The translator of these books is Khosrow Samiyi. In Iran, the permission of publication of this collection was given to Universal Publishing, which has printed only twelve volumes. In this study, we have reviewed the translation of this series of stories and put forward a few fundamental questions: Has the translator observed the author's points of view? Has the translator correctly interpreted cultural concepts and factors in an illustrated book? How did the translator translate the style of the author? In fact, our goal is to examine the important factors in translating an illustrated book. To this end, we have used semantic theory of viewpoints; and based on this theory, we have reviewed the translation of books. It is a new theory already used in linguistic studies but also in the field of translation studies, thanks to which the result will be more in-depth.

Since the beginning of 20th century, comic stories have been used as a powerful tool in shaping the identity of Japanese people. During WWII, comic stories and animations were specifically used for encouraging youth to participate in the war and strengthening the public mood. These two media acted as the most influential means in soothing the wounds of defeat after WWII. The research aims to investigate the presumed influence of these visual media in the Japanese society by conducting a historical survey. Accordingly, the article is conducted in a way to find an answer regarding the extent of involvement of the media of animation in the dialogue of national identity in Iran. Based on the results of this comparative study, it can be comprehended that the art of comic storytelling is the missing connection in facilitating the engagement of socio-political issues in Iranian animations as a link to relate the political cartoons and animations.

In Iran until now, COMICS have been mostly created in four major genres, which are: religious genre, epic genre, war genre and folk genre. Folk genre is one of the genres that pay attention to local culture. And it is always more important in children's comic strips, and since the arrival of COMICS in Iran, local and folk stories and legends, proverbs, proverbs and anecdotes have been narrated and illustrated in a special form of COMICS. The statistical population of the study is children's comic books, such as: Ehsan Mandezadi comic, Moshlab Abad comic, Mahname Ya Nabat comic from the works of Saeed Razaghi, the majority of COMICS in this genre belong to him. The results show that in the folk genre, moral and social issues are expressed in order to familiarize with the correct way of life. In folk genre stories, the goal is to learn and make children pay attention to Iranian proverbs.

Objective: Using image in educational texts for children can help to enhance their learning. Considering the importance of academic motivation and the role of enhancing reading andwriting skills and reading self-efficacy, as well as the comic book capabilities in this regard, thisstudy attempts to address this issue from the perspective of popular culture. Therefore, thepurpose of this research is to investigate the impact of comic proverb books on educational motivationand reading self-efficiency of elementary fourth and fifth grade students. Methodology: This is a causal-comparative study with post-test design with control group. This studyis applied one in terms of purpose, and quantitative in terms of type. Its data collection was done bydescriptive method of cause-comparison type via considering post-test for a control group. The studypopulation consisted of 4th and 5th grade female students in Alborz province. 100 girls of fourth andfifth grade students in Alborz province was selected by purposive judgment sampling, Samples wereselected through purposive judgment sampling and 50 individuals were selected as control group and50 as experimental group. The subjects in the experimental group were given comic books and bothgroups responded to the Hager reading self-efficacy questionnaire (2017) and the academic motivationquestionnaire by Guy, Marsh, and Dawson (2005). Data analysis was performed by descriptivestatistics (mean and standard deviation) and inferential statistics (independent t-test and the Mann– Whitney U test). Findings: Significant difference between educational motivation of two groups were showed. This means that reading the proverbial comic books could increase students' educational motivation. It was also found that reading these books did not affect their self-efficacy. Conclusion: The results show that proverb comic books create interest and motivation to read in students. It was also found that proverbial comic books increase students' sense of autonomy and autonomy in learning new material and institutionalize their interest in reading books. Readers were also aware of the fact that selecting and reading comic books in different contexts enables them to learn new and informative content, and in the future, they will be able to study broader topics of interest in comic books. Proverbs have been rarely used in education of the students in our country. Using this type of resources and folklore can increase their educational interest. Producing comic books in many scientific and educational fields can be considered as a good platform for better learning in education.

The Analects of Confucius is one of the representative works of traditional Chinese culture and has been translated into different versions. Tsai Chih-Chung's English comic version is one of the most popular among the different translated versions. It has a considerable potential to spread Chinese culture by multimodal means. A brief review shows that so far, there have been few studies on Tsai Chih-Chung's Chinese classic COMICS from the perspective of multimodality. This study applies the analytical framework based on Kress and van Leeuwen’, s “, Visual Grammar”,to Tsai Chih-Chung's English comic version of The Analects of Confucius, attempting to explore how the visual modes realize three meta-meanings in the English comic version. Through the analysis, it is found that the images in Tsai Chih-Chung's English comic version fully realize the representational meaning, interactive meaning and compositional meaning. Furthermore, most of the images in Tsai Chih-Chung's English comic version realize more than just one meta-meaning, and more frequently include all three meta-meanings. By combining the texts and images organically, Tsai Chih-Chung's English comic version has been successful in attracting readers to read the classic, deepening the readers’,understanding of the classic and finally making them accept the cultural essence embedded in it. This study provides a case reference for the analysis of multimodal discourse in Chinese classic COMICS, and also contributes to optimizing Chinese classic COMICS’,design and innovation.

In this article we try to show how, in French as a foreign language courses, the introduction of a grammatical concept issue of a modern grammar - narrative logic in the semantic grammar of P. Charaudeau - can be done through an educational process (didactic transposition) by using authentic documents. So here we draw the moment of encounter between two elements of two different fields: a grammatical concept –of a purely linguistic field- and didactic transposition.       French: Transposition didactique d’une notion grammaticale, Le cas de la logique narrative   Dans le présent article nous tentons de démontrer comment, en classe de F.L.E, l’introduction d’une notion grammaticale issue d’une grammaire moderne - à savoir la logique narrative dans la Grammaire du sens et de l’expression de P.Charaudeau - peut se faire par le biais d’un processus pédagogique: la transposition didactique et à l’aide des documents authentiques. Nous dressons donc ici le moment de rencontre entre deux éléments de deux domaines différents: une notion grammaticale du domaine purement linguistique et la transposition didactique, concept issu de la pédagogie des sciences.   Keywords: Classe de FLE, Notions sémantico-grammaticales, Transposition didactique, Logique narrative, Approche communicative, Bandes dessinées