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Iranian culture and literature originate from religious beliefs that deeply connect with Iranian people’s emotions toward innocent fellows especially Imam Reza as well as Iranian culture and folklore literature. The analysis of symbolic customs and Imam Reza’s literature custom in parallel with his personality enrich our beliefs. The symbolic customs and Razavi folklore literature result in; following, identification, coherence, cohesion, decrease in the extent of routine life, the production of hope and happiness in the contemporary age due to educational factors as well as self-confidence, because these factors play an important role in the young ages .This essay is based on context analysis, it examines the symbolic customs including heroic poems to set up flag, to tie scarf, oblation, setting off, souvenir besides folklore literature which includes Lullaby, premium, mourning, sound, people’s tools which are influenced by Razavi culture. It has shown Imam Reza’s personality, his well-known features in Iranian culture and folklore literature.  

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Lullabies are popular children's songs that are full of maternal femininity and express the mother's goals, aspirations, sufferings, sorrows and mourning, based on cultural systems and social behaviors that stimulate children's emotions. The present study examines Persian lullabies through textual signs based on critical theory of Norman Fairclough analysis at lexical level using descriptive-analytic research methodology. The corpus of study consists of 1000 hemistich whose application frequency is the basis of this selection. The results of the current research showed that different kinds of lexical classification have been used in this type of song, but the frequency of use in colloquial language is higher than that of other varieties. While the mother's speech has come to express social realities such as patriarchy, gender superiority, spouse disloyalty, poverty and critical economic conditions of the time, they are presented in the form of plaintive and linguistic words with amorphous linguistic language. Accordingly, lexical items of lullabies have an effective role in creating the poetic sense and transferring the maternal sense (fear of the future, hope for the future, repugnance, solitude, and ultimately acceptance of the audience). As the expression of the reality of society in the form of folk words, the child's full understanding of the social, cultural and political realities, as well as the influence of the word of the mother on his mind (the child), have been completely described.

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The current research investigates the role of Action in “Ahle Gharq”- the novel by Moniro Ravanipour. In this respect the authors tries to show how the cognitive process engages in producing value and meaning which is influential in manipulating the reader’s mind. The results of the research suggest that an innovative discourse, due to the influence of the parameters of magical realism, could lead the reader to expect a central discourse; belief in the conditions governing the creation of the object of value compels the subject to act and induces a central discourse. Throughout the process of conjunction and disjunction from the object of value and in order to remedy the loss of meaning that is happiness and the fulfillment of happiness what changes the negative status of actantial regime of discourse into affirmative one and vice versa. Sometimes the disjunction of the object of value and the temporal transformation changes the value of the components of the changing conditions from disorganized to organize during the action-oriented discourse, and changes the prescriptive regime of action that was at the beginning of history to the virtual regime of action. The psychoanalyst has created the contractual process of action between the actors and the actant to reach the object of value and identify the actor of his position and detach himself from the object of value in an induction operation to provide the main action of the discourse and to provide a semiotic analysis of the so- called novel narrative.
 

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The advent of meaning follows cognitive functions in active discourses of exteroception, enteroception, and Physical sense and perception in discourse. Accordingly, intellectual and perceptual-cognitive dimensions, which lead to the advent of meaning by cognitive functions, emotion and perception, have a significant role in creating and continuing meaning. These functions are considered effective to understand and perceive the meaning of signs and continuation of discourse. The current study aims to explain the techniques of meaning continuation and the interaction of sings and meaning in the novel to the Lighthouse by Virginia Woolf.  Applying a descriptive-analytical approach, the present study aims to figure out the techniques of meaning continuation in the aforesaid novel according to functions of cognitive, sensory-perceptual, emotional, and aesthetic discourse. The findings reveal that the techniques like the angle of view in cognitive dimension, sensory-visual in emotion demission and external perception, object-perception in emotional dimension, and the relationship between time and aesthetic discourse have created some signs whose interaction gets meanings continued through the discourses of to the lighthouse.

1. Introduction
Signs, in the breadth of narratives and within unique discourses, can reconstruct and transform the experiences of characters from various angles, thus contributing to the continuity of meaning. The discovery patterns of these signs in interaction with meaning in the narrative process result in the reconstruction and continuity of meaning. "The generative grammar model, originating from the studies of Vladimir Propp, is a dynamic model that illustrates the process of meaning renewal in a story. Based on this, it can be said that grammar successfully establishes a narrative discourse system or, in other words, standard semiotics" (Grami, 1987, translated by Shairi, 1389; 5). Therefore, meaning is not examined as a separate entity but is explored generatively throughout the narrative and story. Coexistence, parallelism, mutual divergence, transformation, and challenging of signs in interaction with each other in a generative process lead to the continuity of meaning. Based on this, signs always interpret meaning, and meaning manifests in signs.

2. Literature Review
The present research aims to elucidate the patterns of continuity of meaning and the interaction between signs and meaning in Virginia Woolf's novel "To the Lighthouse" using a descriptive-analytical approach. It seeks to answer which functions cognitive, sensory-perceptual, emotional, and aesthetic discourse serve in the studied novel and how they contribute to the continuity of discourse meaning.

3. Methodology
This research demonstrates that meaning is reproduced and sustained in shared yet different experiences of characters. Signs expand discourses in a dynamic chain of interaction with meaning, creating complex discourses by crossing temporal-spatial components from the mother's (initial) situation, which transform with aesthetic understanding governing discourse into a new positive situation, changing the discourse for movement towards a new positive situation. The dominant perspective in this narrative is the fluidity of the mind's stream. Woolf selects her subjects and gives direction to them, and this directionality connects her view with signs. Woolf's perspective promotes the diversity in creating different signs from one character to another, as if they all align in one direction but give meaning independently through different mental streams.

4. Results
Woolf broadens linguistic uses within various semantic ranges and, by creating understanding in narrative agents and comprehending the emotions and affections of characters, brings about the presence of the story's prominent figure (Mrs. Ramsay) in the discourse of different sign-semiotics functions. The clarity of the lighthouse's meaning, through the signs of maturity in the character of Lily, is continuously woven into the experiences of the two central female characters, granting a new lease of life to the different experiences of the story's central axis. Understanding meaning in the personal thoughts of characters and creating different codes for children and adults in the narrative process shows that various interactions in various social contexts do not limit and restrict the display of meaning in discourse. Instead, the narrative can impact the reconstruction of meaning solely in the hands of the interpreter beyond the recipient's interpretation. The research findings reveal that the continuity of meaning in the novel "To the Lighthouse" is subject to the cognitive, sensory-perceptual, emotional, and aesthetic functions in the cognitive dimension, the sensory-visual dimension, the physical-perceptual dimension, and the emotional discourse, and the relationship between time and aesthetics leads to the extraction of signs that, in interaction with each other, contribute to the continuity of meaning in the narrative.
 

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The signs that direct the discourse of a narrative to create a core action in the central core and to reproduce intelligent and program-oriented meanings constitute the pattern of Greimas’ action discourse in the context of the narrative. The preface of Persian classics reflects the author's feelings in creating the work. This essay has examined the narrator's reasons for creating the narrative by exploring the discourse in the process of creating the narrative and the reception of the verbal signs in the prefaces of the verses of Nizāmi Ganjavi ‘s Makhzan-ol-Asrār and Iskandernāme. This essay explained the manner of discourse action in the opening of these Masnavies using a descriptive-analytical approach to illustrate the composition of these poems based on Greimas’s discourse and relying on the study of the signs that refer to the conditions of the Nizāmi in the preface during the creation of the works. This study investigated the evolution of Nizmi's states using Greimas' action discourse theory and extracted and analyzed the pattern of action-value and action-prescriptive discourses in the central core of the preface of the ethical and didactic works of this narrative poet by extracting discourse signs.
Extended Abstract
Lithuanian narratologist A. J. Greimas has presented a coherent model of modern sign- semantics for the study of narrative, arguing that the recognition of literary texts is no longer based on structural analysis and recognition of sender and receiver, but that the process of meaning production in the text, from transmission to reception, is based on functional elements. The elements of meaning production in discourse are intelligent and program-oriented, ultimately leading to actions in narratives. Discursive studies emerged after structuralism and semiotics, and accordingly, the best literary field is the extraction of signs and reaching the sequence of meaning in the creation of narrative. The indirect discourse, the representation of the discourse of the other and the language of the other in the lyrical quotation marks have long been known in the discourse- novel form, as found in the earliest periods of theological culture.
Many of the works of the Iranian classical literature have the ability to narrate and extract discursive theories. Hakim Nizāmi Ganjavi composed his own systems when stylistic and linguistic changes began in relation to the previous style of Persian poetry. During this period in northwestern Iran, in the Azerbaijan region, a group of poets emerged whose style was new. They were able to renew the Persian poetry style. Nizāmi's works are in the depths of content creation, forms, characters, and the purpose of a unique morality. The elaborate presentation of human personhood, human emotions, happiness and sorrow, natural desires and aspirations have been discussed and analyzed in these works to the extent that it is intertwined with the social ideals of the poet and the exploration of the psychology of the spiritual world of mankind, concerns his experiences, turmoil and goals are in Nizāmi's poetry a philosophical and moral concept.
Action discourse is a narrative-based method in which action is motivated by an inductive, prescriptive or value motive; the actor does not act according to his own emotions or will and feeling, a relationship of command is dominant in this system and the expression of meaning is subject to predetermined goals. According to Greimas, in this kind of cognitive systems, the process governing the text in most of the story starts with a shortcoming and leads to a contract. This research analyzes the state of the Nizāmi spirit by extracting the forms of action in introducing of his moral works during the creation of each of these Masnavis, to show that Nizāmi wrote the Makhzan-ol-Asrār and Iskandarnāme by which factor or factors of action he wrote. This essay does not examine narratives, but addresses the premise of these systems. Introduction of a narrative reveals the subject in a discourse form and knowledge of the state of the spoken processor at processing time so that the reader with a better understanding of the utterances explores the models of dynamic linguistic production processes in the creation of the main narrative discourses. Nizāmi, in his composition, narrates the sequence of events in the lives of the heroes, but the introduction of each Masnavi includes the present poet. At the beginning of each system, he explains the reason for the creation. Therefore, the essay is not concerned with the personalities of the narrative of the systems, but rather explains the signs by examining the poet's state when he created the work, leading to the action of each work.
The writing of the Masnavis of the Makhzan-ol-Asrār and Iskandarnāme as the first and last Nizāmi’s masnavis has been done in twenty years and in different phases of the poet's soul. We begin with a young poet seeking to create a work to make his reputation known to the world of literature. Therefore, in composing an Ethical-philosophical Masnavi, he attempts to express human complexities and a functional-value discursive variant; and it depicts a prescriptive action in the introduction. Here, the poet is an activist working to achieve the object of value and willing to reward him for creating this action. So, the young man is looking for wealth and fame. Nizāmi writes his love masnavis after Makhzan-ol-Asrār. Composing each work creates a new perspective as well as insight into the poet's affairs.  The poet, who has created human landscapes in his masnavis, considers himself in the need of composing a masnavi which, apart from attaching to the object of value, is for quantitative evaluations, in order to solve ontological crises with the aim of finding himself and reaching wisdom. The discourse of Sharaf-Nāmeh and Eghbal- Nāme from Iskandar-Nāme masnavi is an action-value discourse that motivates the poet to create an Ethical Masnavi in line with experiences Iskandar's rationalism shows that, though these experiences are legends attributed to Iskandar, they represent a wise recognition of the scholarly and ancient poet demonstrating the value of wisdom in the symbolic language of these masnavis.