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Language teaching literature shows an isolation and independency between pronunciation and writing.  In this paper, focusing on the pronunciation errors of Persian language learners, we test the hypothesis if there is a significant relationship between Pronunciation and writing errors of the same learners. In this regard, it is emphasized that these two categories have a lot in common, and reinforcing of one leads to the reinforcing of the other. First, the data collected from oral speech of the learners are listed. Then the repeated errors in vowels, consonants and phonetic processes are extracted and presented along with some examples. Next, the subjects are asked to compose writings in different topics. Errors extracted from these data are presented in charts and tables, along with the frequencies of each. Formal comparison and statistical analysis of t-student showed that writing errors in the pronunciation field are not simply a performance error in language production; rather they are resulted from competence of the learner. Proving our hypothesis, it is emphasized that pronunciation and writing are two sides of the same coin; therefore, it is suggested that using communicative approach, a kind of complementary attitude in teaching pronunciation and writing, is taken in the teaching methods and the composing styles of Persian language teaching textbooks.

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Although Ghazals of Hafez have been researched on in different poetic and linguistic approaches, there is always a new finding when diving in this endless ocean. In this paper discourse of signature verses (Takhallus) of Hafez are analyzed using one of the most authorized and referred theories today but ignored for some times that of Bakhtin. The Russian philosopher who claims that the author is not the only speaker but along with “other voices” in an active interaction take part in the creation of the truth. Considering this view point, it was found  that in spite of the fact that in most verses Hafez addresses himself, there is no “one” speaker. In other words he takes different varieties of viewpoints. In this way he sometimes agrees with Hafez, sometimes praises him, sometimes takes care of him, and still in other cases he opposes him, blames him, disagrees with him, or even outrages against him. Hafez is not alone, there are other voices in different layers of the discourse in a dialogic interaction. What makes this signature verses distinct is that here Hafez explicitly says that “I is an other”, “I must become the other of myself”, “I am my other self”. In this research, characteristics of polyphonic discourse are proposed as practical Models in three patterns for structural polyphony and three patterns for content or viewpoint polyphony with all the related sub-patterns.  

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In this paper, we aim to analyze the difference between classical Persian and new Persian poems using the current cognitive linguistics theories. The study aims to recognize the differences and similarities of the image schemas of two styles of poetry; namely, classical and modern poem. The research question is that what kinds of different image schemas are used in classical and modern poems. The hypothesis is that there are different kinds of image schemas in classical and modern poem. To this end, we analyze the image schemas of Hafiz's poems as sample of classical poetry and Sohrab Sepehri's poems as modern one. We have chosen 13 poems of Hafiz Divan as classical poems and 8 poems of Sohrab Sepehri's Hasht Ketab as modern Persian poems. We have identified the image schemas of the poems based on cognitive linguistics theoretical framework.  
In the review of literature, there were some researches which focused on the comparison of the poetry of classical poets or comparison of the poetry of contemporary poets, but there was no research which compares image schemas of classical poetry with modern poem. Thus, the present study focuses on a new aspect.
In conclusion, we noticed similarities and differences in the usage of image schemas of two styles of poems. The similarity is that in both styles containment and locomotion schemas are most used. But the difference is that in Hafiz's poems there was no significant difference between the number of locomotion and the number of containment schemas. However, there is significant difference between the number of containment schemas and all other schemas including locomotion schema in Sepehri's poems. It indicates the difference between a sample of classical poem and a sample of modern poem along with the usage of image schemas. Due to their mystic worldview both of poets have used containment and locomotion schemas.
 

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In this Paper, the authors aim at understanding either the inmportance of the origin (the original features) of the brand logo or its audience's experience acts to be more effective. The purpose of the present study is the semiotic review of the 14 best-brand logos of automobile luxury goods through analysis of data and questionnaire which the authors can reach the rules governing on the brand logo with a focus on the two terms of the origin of the luxury brand's logo and its audience experience, and based on the indicators defined for each, within the framework of Barthes's visual semiotics and Van Leeuwen's social semiotics. The findings reveal that what is important to attract the attention of the customers of luxury automobiles in Iran is the audience's experience of the logo, which has tangibly got a head of the role of the origins and the identity of the goods. Accordingly, the difference in the perceived meanings of every brand logo by the audience indicates that the meanings received from every logo are not uniform and it is based on culture, so that individuals, based on their individual experience and their socio-cultural insights, understand the different implied meanings from a similar logo; it means the meanings received from every logo are not universal and regardless of audiences culture. This affects the success of the goods and maybe leads to different results in business.