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.

The present writing has as its aim to examine Semiotics from the Purse' viewpoint.Purse' Semiotics is a multifaceted theory applicable in the fields of epistemology.Philosophy of mind, philosophy of language and metaphysics. For Purse, idea is itself a sign that becomes meaningful through interpretation by another idea or conception. Purse believes that each sign has a triple relation including the sign itself, its object and the interpretant. On this basis, Purse suggests three divisions of the sign which indicate his triple ontological system. He called the three categories firstness, secondness, and thirdness.

This paper presents a method for literature critics known as Semiotics. First we introduce the difference between semantics and Semiotics and then we present the smallest narrative elements. In the same direction we define the basic and useful narrative programs. Then in a general point of view we present the narrative canonic schema.

Purpose: The purpose of this study is answering to the question whether FRBR have a semiotic structure? Can FRBR model Be evaluated on the basis of Semiotics? Method: conceptual analysis. Concepts of models by two prominent theorist Semiotics field, Saussure and Pierce has been studied and the comparative study of the concepts discussed in these models with FRBR's entities and relationships. Results: Study the principles and concepts of Saussure and Pierce in FRBR Revealed that work and expression entities can be considered as a sign. Based on the dyadic model of Saussure has two aspects, mental content as the signifier and meaning as the signified which together make. The work as a sign can influence other signs and produce a new meaning. FRBR's entities also have capabilities matching to Pierce's triad model. When person show their mental ideas, work entity is created. The work created in the face of different people creates different expression. Similarly, expression entity when presented in different formats is held as items. FRBR's entities have the same function as the signs.

Semiotics is the science of studying signs and signs systems (such as language, codes, etc), and a research tools to understand the underling facts in cultural signs, codes, signals and symbols. In the realm of political research, this science studies the referential essence of political propositions and the relation of these propositions to the trutht. In other words, focusing on the functions of signs, a political semiologist would discuss meaning production and the process of meaningfulness of the human being’s political living world through their system (signs). In this point of view, there is no doubt that political phenomenon alone would be meaningless, they are situated in a network of meanings and posses a cultural framework. Semiotics helps to study politics by studying this framework and cultural background.

The word sign as well as Semiotics are considered as one of the important topics in social psychology, linguistics and literature today, which were used and discussed by Charles Sanders Pierce and Ferdinand Desoseur in late nineteenth and early twentieth century. Then it was Jacques Derrida, the French philosoper, who made some criticism towards its outlooks. The present article does not intend to review and criticize all these opinions, rather it tries to clarify that how Semiotics can be employed in literary critique and stylization; and the main question of this article is how we can investigate and classify the literary works through Semiotics, and how it is possible to find out the evaluation and application of signs in the literary texts.

This text is an attempt to show how semiotic study can be used to understand aspects of product design. I will bring up some of the most common concepts and ideas in Semiotics and see how they can be understood in a design context. I will also use these theories to analyse some underlying values and concepts in design theory like the complex interplay between meaning and form.. I do not use Semiotics to inform other designers of how they should do better products, but rather as a tool for criticising and reflecting about seemingly natural ways of designing. To apply Semiotics on product design has provided me with a set of invaluable tools for analysing issues like identity, metaphors and visibility inartefacts. Semiotics became a popular approach to cultural studies in the late 1960s, partly as a result of the work of Roland Barthes. In his book Mythologies he analysed advertisement and media and showed how seemingly familiar things signify all kinds of ideas about the world. Product Semantics was a theory developed by Reinhardt Butter and Klaus Krippendorf in the eighties and was influenced by contemporary continental philosophy. The good design approach is strong in Sweden where Rune Mon. His book Design for product understanding attempts to develop a language of form for product designers mainly based on Pierce and the German linguist Karl Baler. Tools for designing and analysing products based on the concepts icon, index and symbol. Studying Semiotics can assist us to become more aware of reality as a construction and of the roles played by ourselves constructing or designing it. The relation between content, form and technology in contemporary product design is highly complex. The aesthetical theories of modernism are still very much alive, not the least in the very tangible form of buildings, products and art that constitutes our material culture. This text wants to show how we can understand and analyse these phenomenas using methods from Semiotics. By doing so we will be better equipped to design the products and information technology of the future. A lot of very useful semiotic has been done in the past decades; I just want to mention the works of Roland Barthes, Jean Baudrillard, Umberto Eco, Claude Levi-Strauss and many others. They are all operating on the same idea, that first and second functions (connotations and denotations) are both important for the worlds of products. Product semantics was developed and introduced by Krippendorff and Butter and is defined as the study of symbolic qualities of man-made shapes, in the cognitive and social context of their use. According to this definition, product semantics is concerned with the relationship between the user and the product on one hand, and the importance that objects assume in an operational and social context on the other hand. This text is an attempt to show how we can understand and analyse these phenomenas using methods from Semiotics. By doing so we will be better equipped to design the products and information technology of the future.

Like adult poetry, the main characteristic of child poetry is in its special language and structure. What distinguishes child poetry from adult poetry is the abundant rhythm and music along with a fast linguistic rhythm, the use of happy language, high pictorial function, the use of external environment in personification, integration, lack of space and omission in the narrative line of the poem, the monophthong nature of the poetic language at a paradigmatic level, the shortness of language at a syntagmatic level, and the priority of language over message.The musical richness of child poetry is much more complex and difficult than the correct use of other linguistic elements, because the correct and informed employment of musical elements in child poetry requires attention, patience, and more importantly a good command and right comprehension of childish language. This article tries to analyze and clarify the most important linguistic features of child poetry.

Social Semiotics is a branch of Semiotics that examines institutions and signs within the context of society and culture. The story of Leily and Majnoon, regarded as one of the most significant lyrical works of Persian literature, explores Arab tribal culture and its social systems. This research focuses on the social Semiotics of the character Majnoon, aiming to analyze his moral and behavioral traits within the cultural and situational context of Arab society by examining the signifiers and signified. The poem of Leily and Majnoon is analyzed from both a semiotic and a social perspective, categorized according to the semiotic effects it presents. Majnoon embodies a social and cultural persona; thus, understanding his character necessitates an examination of the role of culture. He possesses distinct and unique characteristics from a social standpoint, fundamentally representing a conflict between madness and social abnormality. Majnoon's interactions with various phenomena, such as death, as well as certain habits like eating and his overall lifestyle, contribute to his unique traits. The social dimension of the hero's character in different narratives is invariably influenced by the culture of a society.Introduction:Leili and Majnun, authored by Nezami, narrates a love story set within Arab tribal culture and its social system. It is regarded as one of the most significant lyrical works of Persian literature. This research focuses on a social semiotic analysis of the character Majnun. Social Semiotics is a branch of Semiotics that examines institutions and signs within the context of society and culture. In essence, Semiotics serves as a method for uncovering the underlying logic of social functions.Regarding the methodology of this article, it is important to note that Semiotics has been used both as a method and as a theory. However, the position of the theoretical dimensions of Semiotics, and especially the social dimension of this thought and method in Persian literature are naturally discussed. In the methodology section, we are dealing with a continuous text, which is Leili and Majnun by Hakim Nezami Ganjaei. It is necessary that the story is explored from a semiotic perspective, also from a social aspect. Followed by that, the aspects related to the discussion are categorized. Therefore, in the report of the work and the main discussion, we are faced with categories that are witnessed by semiotic manifestations; therefore, first these categories are carefully extracted and then arranged and written.Social Semiotics is a distinct branch of Semiotics that integrates the cultural dimensions of social life and the narratives of its protagonists, diverging somewhat from the traditional Semiotics of Saussure and Peirce. Nevertheless, it operates within the same framework of signifier, signified, and the sign itself, as the characteristics of a text and the behaviors of a protagonist extend beyond mere symbolism and are a result of signifiers. In this study, the traits of Majnun effectively lead us to the signifiers; however, addressing these features is approached through cultural and social interpretations. The primary hypothesis of this research posits that Majnun is perceived as an abnormal individual through the lens of Semiotics. The authors aim to explore the moral and behavioral characteristics of Majnun within the cultural and situational context of Arab society by analyzing both signifiers and their corresponding signified ones.Majnun is recognized as a distinctive social and cultural figure, characterized by his unique experiences and challenges. His name signifies a departure from conventional cultural vocabulary, and understanding his character necessitates a focus on the role of culture. To this end, the intricate Semiotics of Majnun's character within the cultural context, along with its relationship to societal culture and its cultural influences, are examined. Fundamentally, Majnun is portrayed as an introverted and nearly antisocial individual.He has avoided his classmates from the very beginning, has few friends, and his friendships are typically formed through chance encounters and coincidences. He possesses a one-dimensional personality and exhibits signs of depression and isolation. In fact, he is someone who does not fit in with the crowd; even among friends, he prefers to retreat to the mountains and deserts, avoiding human interaction. In Nezami's work, Majnun shares a profound connection with madness. The poet asserts that she had no flaws at the time of her birth and until she turned ten, and her beauty was so renowned in the city that prayers were offered to protect her from the evil eye. The story of Majnun's madness truly begins after he encounters Laila, and initially, he pretends to be insane.Majnun considers himself crazy and on the one hand he considers it impossible to reach Leili; therefore, he lives with Leili's sadness and not with the hope of her reunion. This issue expresses the characteristic of Majnun's self-harm. On the other hand, he is fatalistic and considers the issue of Laila's reunion impossible. We know very well that a lover should seek reunion and basically, even if the connection to the beloved is far from the mind and illogical, the lover will still seek this connection and try to make it seem logical. But here Majnun easily accepts the lack of reunion, considers himself crazy, and has a tendency to depression and self-harm, as well as to act crazy.For readers of a work by Schacht, the protagonist of the story is of great importance, and in fact, the protagonist of the story of Leili and Majnun is an abnormal human being. Although this somewhat diminishes the divinity of Majnun's love and may not be to the taste of the readers of the work, the reality is that the author of the work considers Majnun to be so crazy and abnormal that he does not distinguish good from bad, and this is a characteristic of someone who is definitely not worthy of independence or even marriage. According to modern psychology, Majnun is suffering from masochism and self-harm. In the pilgrimage to the Kaaba, Majnun asks God for nothing but to increase his suffering, because he enjoys this suffering, and the main issue here is that the cause of this suffering is love, meaning that in fact, the cause of Majnun's self-harm is the problem and concept of love.In examining Majnun's relationship with animals, it is important to note that he does not possess an animalistic nature; rather, he attributes human qualities to animals. This suggests that although Majnun is perceived as mad, he remains fundamentally human and cultured. He carries this culture with him and even imparts it to the animals. According to labeling theory, we can analyze that Majnun is not inherently insane; instead, he is labeled as such due to societal perceptions. This societal view has led to Leili's father rejecting him. Furthermore, Majnun becomes so immersed in his role that he loses the ability to distinguish between sanity and madness, ultimately embodying the behaviors of a madman. Based on semiotic principles and the analyses presented in the text, it is evident that Majnun is considered abnormal. Nezami intentionally portrays Majnun's behavior as erratic within this love fraught with suffering. If we analyze the work through the lens of traditional semiotic theory and the author's perspective, we can conclude that Majnun may indeed be genuinely mad, as evidenced by his actions.

Tragedy and Ta' ziyeh are considered as classical dramatic forms that due to their roots in ritual and their dependence on religion, culture, myth and tone can be studied in a comparative manner. The aim of the present paper is to study the dramatic aspects and capacities of these two dramatic forms in comparison with each other. To achieve this goal, different parameters such as narrative or representation, alike and character, performance style, verbal effects, catharsis and audience impact are compared. In this study, we seek answer to the following questions; how the dramatic capacities of tragedy can be preferred over the Ta' ziyeh or vice versa. It seems that in the light of a semiotic approach and one of its sub branches, the digital and analog Semiotics of Louis-Jean Calvet, the extent of dramatic similarities and differences between these two forms can be better investigated. Another objective of this research is to challenge the existing comparative studies in the context of Ta' ziyeh and tragic or epic plays that seems to have ignored the performance style, the most important element of Ta' ziyeh and have assessed its values than other types.