With the development of visual communication in the present age, the analysis and reading of visual texts in order to decipher the meanings and express their meanings is of particular importance. Critical discourse analysis, as one of the approaches that considers both the context of the text and the social context of the text, has made it possible to study discourses in works of art. The purpose of this paper is to introduce visual discourse or visuality as a way to analyze images, and its theoretical framework is dedicated to reviewing the critical visual methodology, which is an integrated model of Rose and Fairclough methodology. In the process of analysis, the Mellat Bank's advertising campaign has been visually criticized in order to elucidate its visual discourse based on the textual components of the images and the fields of its representation. The structure of technology, the configuration of images, and the social effects of visual components are discussed in the sites of the text, discourse action, and social action. The findings of the research indicate that the discourse function of this campaign is to highlight the value of money as national and cultural capital and to promote empathy and patriotism in the audience, during which the Mellat Bank changes its identity from a financial institution to a cultural institution.

Introduction: Neurolinguistics is the science concerned with the neural mechanisms underlying the comprehension, production and abstract knowledge of language. Studies on language and communication Impairments after brain damage are perhaps the most common studies of this discipline. This study is concerned with the conversational cohesion patterns used by normal age Persian natives (NA) and those suffering from Alzheimer's disease (AD). Materials and Methods: Six Alzheimer’s patients participated in the research. The participants were matched for age, sex, and education to make six control subjects. Three main tasks were used to assess the impairments of cohesive ties in their discourse: One task of spontaneous speech and two tasks of picture description.Results: NA subjects produced 2.27% structural cohesion ties in 443 sentences while AD subjects used 1.89% of these devices in 235 produced sentences. NA subjects produced .01% of structural cohesive errors whereas AD subjects made 1% errors, especially “exophoric referent errors”, while doing the tasks. As for lexical ties, ADs produced more repetitions (17%) than NAs (10%).Conclusion: The results reveal a significantly greater use of cohesion errors by AD subjects than NAs. The occurrence of cohesive errors alone isn’t a differential diagnosis of such a disease; however, such investigations could provide information for studies on neurological disorders and linguistic theories.

About two years after the Iraq-Iran war, and at a time when Iraqi-Iranian relations were neither war nor peace, Saddam Hussein as Iraq's top political leader, wrote letters to high-ranking Iranian officials. In the correspondences, he sought to portray himself as a pacifist seeking a peaceful solution to the Iraq-Iran crisis. Iranian officials replied obsessively to all the letters. The role of these letters was very important because they were written after the war that incurred heavy human and material losses between the two countries. At that time, officials of both countries were very careful and cautious in what to say and how to say it. Probably, it could be said that the war between the two countries had gone from a physical battle to an attempt at verbal persuasion. Therefore, it is important and necessary to examine and analyze these messages through critical discourse analysis. After reviewing the correspondences, it became clear that there was a dialectical connection between their ideology, power, and texts. The more socially and politically powerful the actor is, the more opportunity he has for linguistics, and in turn, has an effect on his display of power. Officials of both countries – even perhaps unknowingly - used the discourse components to strengthen and direct their discourse; components such as: polarization, reference, lexical options, participant characteristics, implicit signification, distance, and fallacy.

Background: The visual turn is one of the most important features of contemporary culture. Therefore, in climate change communication, images can play a crucial role in conveying environmental messages. Environmental advocates use the potential of visuals to deliver part of their messages to their audience. However, only a limited number of studies have focused on the visualization of climate change communication. Given the characteristics of social media, free from the constraints of mainstream media, they can serve as a suitable platform for visualizing climate change messages.Aims: Despite Iran's role in greenhouse gas emissions and the engagement of environmental activists, no research has been conducted on the role of images in conveying climate change messages on Iranian social media. Therefore, the main question of this research is: How do Iranian users on social media platform X frame climate change through images, and within what discourses?Methodology: To answer the question of the research, a combination of quantitative and qualitative visual discourse analysis was applied to 500 images in 2023.Findings: Studies on the visualization of climate change messages have predominantly focused on developed countries. The findings reveal that Iranian users have addressed climate change through four key discourses: scientific, political, ecological, and protest. Furthermore, the results show that visual discourses have been seen globally in Persian X and it has addressed the present tense and the framework of the consequences.Conclusion: In general, the public's attention to climate change in Iranian society reflects the dynamism of the environmental movement in Iran and the growth of environmental literacy among Iranian social media users.

According to Sheridan and Gillett (2005), one fundamental form of inequality, being on the rise since 9.11, is religious discrimination. The main source of experiencing and being exposed to such inequalities and discriminations can be television which‘ is such an important source of information and entertainment that viewers cannot escape its gradual encroachment into their everyday lives’ (Laughey, 2007, p.20).American TV series are so major and worldly-known entertaining media that many of them have millions of viewers around the world. So, it will be of great importance to make sure if they want to keep and even worsen this picture of Islam and Islamophobia. Therefore, this paper investigates the role of American TV series in promoting Islamophobia in public view. To do so, one has to analyze two main aspects of the TV shows which are the conversations and the picture frames. For analyzing the former, we have chosen Norman Fairclough’s (1992a, 1995, 2001) approach to Critical Discourse Analysis, and for the latter, Kress and van Leeuwen’s (2006) Grammar of Visual Design. American TV series, named Homeland (2011-still on air in 2017), broadcasted by Showtime® in the U.S has been the corpus of the present study. Its story that is mainly connected to the Middle East with lots of Muslim characters explains our choice. Consequently, the present study seeks to answer the following research questions: 1. Do the analyzed sequences of Homeland have Islamophobic elements based on Fairclough’s (1992a, 1995, 2001) CDA framework? 2. Do the analyzed sequences of Homeland have Islamophobic elements based on Kress and van Leeuwen’s (2006) Grammar of Visual Design? 3. Are there any combinations of visual and discursive elements to promote Islamophobia in the analyzed sequences of Homeland which can be analyzed by an integration of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s (2006) Grammar of Visual Design. Our work has led us to the conclusion that many cases in Homeland TV series, either discursive (based on Fairclough’s CDA framework (1992a, 1995, 2001)) or visual (based on Kress and van Leeuwen’s Grammar of Visual Design (2006)), were Islamophobic. Furthermore, there were cases in which both visual anddiscursive (audio) elements were used to promote Islamophobia. As a result, all of the research questions receive a positive answer. Moreover, it can be concluded that a combination of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s Grammar of Visual Design (2006) can create a powerful approach in critical media analysis to expose the real policies of the media and power owners and decode the encrypted messages behind what is shown to the public. It is worth noting that analyzing a greater number of TV series could result in a higher generalization of our results.

Before invention of film and television, there was not any way for people, except listening to oral narratives of history or studying the written texts to understand history. But film and television brought new achievments for people: watching moving pictures as (live representation of history).Finally, after second World War, a group of historians recognized the documentary film footages for their investigations, explanations and interpretations of historical facts. The post-modernist historians recognized compilation documentary films as a new method for «visual historiography» while the tradition of compilation documentary film production had begun in the last years of silent films era and the international council of archives (ICA) had recognized the documentary film footage as an authentic document for historical researches in Moscow congress in 1972. But what is the definition of compilation film? Film assembled in the editing room, from pre-existing/archival film footages. Most compilation films are classified as documentaries since they drive their material form nonfiction sources. The main source for the compilation film has newsreel which by 1910 was being issued regulary in several European countries and in the United. States of America. This article through introducing and categorizing all types of compilation (documentary) films by using library and documental researches methods, also explains the history, methods of production and structural characteristics of this type of documentary.Besides, the article introduces and analyzes a group of Iranian and Western TV productions in all sub-genres of compilation documentary film, and finally comes to these conclusions:There are two basic methods in documentary film making for «visual historiography»:1.Recreation/reconstruction of history by re-enactment method (historical docudrama)2. Direct representation of visual documents by using documentary photographs and archival film footages. In condition of establishing a rich, well organized and modern film archive, as supporter and source of material for compilation film production, this type of documentary film making is one of the low cost productions for making historical films, for representing periods, events and historical figures through the last and current century.

Foucault introduces a new way of analysis of the social world while he does not make clear how to conduct research. However, it does not mean that Foucault did not leave any space to do a Foucauldian social research (or as he wishes, doing genealogies). Indeed, the manner of Foucauldian social research is an ongoing method (s) which is produced both by Foucault and a researcher. The researcher must read Foucault and then draw out some basic points on which she or he can establish a concrete research method. While he mainly focuses on the internal side of discourse and is uninterested in non-discursive elements in archaeology, he then shifts to an overall view in his genealogical works in which discursive and non-discursive elements lose their significant differences, and they are mingled in each other in a discourse. In this article I will map Foucault’s main theoretical and methodological points and articulate them in my own method of doing a research. In so doing, I touch on general aspects of discourse and discourse analysis, then I will describe Foucault’s method, next I will illuminate how practically to do a discourse analysis.

The present study investigates the effect of visual discourse analysis of literary plays on EFL language learners in English literature classes. A semi-experimental research method was used based on Creswell and Creswell (2017). Materials were two plays entitled, Hamletmachine by Heiner Muller and Present Laughter in the Moment by Noel Coward. 53 students who scored above one standard deviations from the average were selected and then they were divided into two equal control and experimental groups by regular random method. An achievement reading comprehension test which was designed based on these two plays was used to compare control and experimental groups after the teaching sessions. During 15 teaching sessions, the experimental group learned discourse analysis of literary works, while the control group was trained in the conventional method of reading comprehension methods. Finally, both groups took the test after the calculation of the reliability and validity of the test in a pilot study. The results showed that the experimental group had significant progress compared to the control group in understanding the questions with implied and discourse meanings. A significant difference can be seen in the five components between the experimental and control groups, except for the component of creating awareness, which does not show a significant difference as (0. 057) that showed the average score of the experimental group is greater than the control group, it is not significant enough.

Today, many works of art are formed by the combination of linguistic and visual modes, and this form of creation of artwork has also affected its reception. The writing language has become an inseparable layer from the title of exhibition and works, to a fundamental element in the creation of them, and forms a multimodal text. So, Language can be interlinked in two forms, connected to artworks or separated from them, with non-linguistic modes of the work. The relationship between language and image has always existed in art history, each time one is superior to the other. Contemporary art traveled to the linguistic world in contrast to modern art and this linguistic turn is represented in various forms. On the other hand, pictorial turn means the importance of image versus language. Given the long-standing relationship between language and image in art and the theory of linguistic and pictorial turns, the question that arises is which of these turns represents contemporary multimodal art more than the other? Given that each of these turns alone cannot cover the multimodal features of this section of works and contemporary art exhibitions,the term multimodal turn in art seems to be a more appropriate substitute. Thus, in order to explain the multimodal turn and discourse in contemporary art, this article intends to answer these two questions:-What is the meaning of multimodal discourse in contemporary art? And, what are the characteristics of this kind of discourse in this context? The present article is descriptive and analytical in terms of method, and research data is also collected using library methods, observation and reference to documents and exhibition archives. This article aims to explain multimodal discourse by defining van Dijk, s discourse in relation to contemporary art. In addition, it applies some of Gillian Rose>s theories in this regard. Discourse analysis, or preferably discourse studies have diverse approaches and branches that indicate differences in similarities. One of the new approaches is the multimodal discourse analysis, also known as MDA. The multimodal verbal / visual discourse studies the language in conjunction with another source, or in other words, the image and its special context. The answer to these questions in the form of research results is that multimodal discourse means the study of different semiotic sources, including language and image, in relation to each other. If Today, many works of art are formed by the combination of linguistic and visual modes, and this form of creation of artwork has also affected its reception. The writing language has become an inseparable layer from the title of exhibition and works, to a fundamental element in the creation of them, and forms a multimodal text. So, Language can be interlinked in two forms, connected to artworks or separated from them, with non-linguistic modes of the work. The relationship between language and image has always existed in art history, each time one is superior to the other. Contemporary art traveled to the linguistic world in contrast to modern art and this linguistic turn is represented in various forms. On the other hand, pictorial turn means the importance of image versus language. Given the long-standing relationship between language and image in art and the theory of linguistic and pictorial turns, the question that arises is which of these turns represents contemporary multimodal art more than the other? Given that each of these turns alone cannot cover the multimodal features of this section of works and contemporary art exhibitions,the term multimodal turn in art seems to be a more appropriate substitute. Thus, in order to explain the multimodal turn and discourse in contemporary art, this article intends to answer these two questions:-What is the meaning of multimodal discourse in contemporary art? And, what are the characteristics of this kind of discourse in this context? The present article is descriptive and analytical in terms of method, and research data is also collected using library methods, observation and reference to documents and exhibition archives. This article aims to explain multimodal discourse by defining van Dijk, s discourse in relation to contemporary art. In addition, it applies some of Gillian Rose>s theories in this regard. Discourse analysis, or preferably discourse studies have diverse approaches and branches that indicate differences in similarities. One of the new approaches is the multimodal discourse analysis, also known as MDA. The multimodal verbal / visual discourse studies the language in conjunction with another source, or in other words, the image and its special context. The answer to these questions in the form of research results is that multimodal discourse means the study of different semiotic sources, including language and image, in relation to each other. If we consider discourse based on van Dijk>s definition, a thinker in the field of discourse analysis, and the use of language in a particular context, we can say that in contemporary art we face a kind of linguistic and visual discourse, because this part of art, unlike the modern tradition, represents an inseparable relationship between language and image. In contemporary Iranian art, we see many examples of cooperation between language and image in a new form of expression in the creation and display of works as a multimodal discourse. Some of the artists drawing on this approach include Ali Ettehad, Barbad Golshiri, Farshid Azarang, Mahmoud Bakhshi, Nazgol Ansarinia, etc. In the contemporary period, this relationship and interaction in the form of multimodal discourse is a powerful tool for artists to express the new issues they face, and thus in this way, their separation has been questioned throughout the history of art. The use of textual and visual technologies such as catalogs as well as statements demonstrates this relationship and creates an interconnected network of modes and meanings. They are one of the types of technologies through which institutions (as well as artists) operate, and in this way, they put the single display object in a process. In the face of this discourse, the audience also changes from a mere viewer to a viewer / reader and forms a communicative and social event that is a functional aspect of discourse, since when it comes to the multimodal discourse in art, the social structures are constructed not merely through images, but also through all the modes and aspects which are involved in discourse, thus it certainly does not leave out language and text.

This study aims to investigate the mechanisms contributing to the effect of business ads on the social identity of Ianian women. 60 ads of the Iranian TV were analysed by quantitative and qualitative methods. Frequency analysis revealed that the image of a desired and successful woman is mainly affected by these factors; 1) Employers' benefit; 2) discourse type: 3) targer population; and 4) the semantic strategies used in ads. The analysis of verbal ad visual content in detail showed how characterization of women in this medium is inducing a certain metanarrative regarding success. These findings are further analyzed in a critical framework and their relationships with the machnisms of the formation of social beliefs in face of material development of the society are discussed. In conclusion, the signs of a slow and deep change in the attitude of both provate and state sectors involved in advertisement are clarified.