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Proverbs are particular types of discourse that function similar to phrases and despite of polylexicality, they possess certain rigidity where the concept, semantically, is stable and has been restructured. However, the most remarkable and considerable aspect is that how proverbs produce the time of experience once addressee listen or read them? And how proverbs create different temporal conditions? Since the process of statement is dynamic and dynamism inevitably has a temporal dimension, how addressee of proverbs, in this interaction, arrives at a new situation? To respond to the above research questions, the current paper has used the semiotic-semantic approach that was propounded by semioticians of the Paris School as "Temporality in Discourses". Relying on this approach as well as using philosophical phenomenology, the temporal system in proverbs would be analyzed.   The research intends to show as how addressee of proverbs could transform from the existing stage of suspension to the stage of connection that is an agent of the experience and similarly reaches to the consciousness level so that he could understand the moment. Finally, how the grammatical time where speeches are in "present form" intervenes this process.

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The public sphere is place for discussion and criticism of powers that Habermas, for first times has introduced theoretically and connected its history the to European saloons and coffee houses.  This notion that the formation of the public sphere is special to the West does not look quite right because there was the same experience in the Safavid period. However the main point is that the continuation of the trend in the West and Iran is varied historically, politically and socially. This historical and descriptive-analytical study would attempt to prove that the West's public sphere or criticism of power started in the royal court and then spread to the community, but in contrast to the West, criticism of power and dialogue on general issues in Iran Were especially formed in coffee houses and later transferred to the royal court. Coinciding with the Safavid rule power, the religion (Shiism) could be the official state religion and spread in different ways, such as by Shi'ite ceremonies and rituals as a form of public discussion and criticism. Thus the public sphere from Safavid Iran to the Pahlavi had religious and public from which found a political and religious public from since 1960s.

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In this paper, we intend to study the enunciation characteristics in Yasns 9 and 10 of the Avesta. Yasns have three important chapters. Their language is one of the most featured and oldest parts of the Avesta. The Yasns are divided into 72 parts or Ha. One of the features of enunciation is the use of pronouns and verb endings as grammatical morphemes being differently applied. First-person singular, first person plural, third person plural etc. This change is constant and cause the conjunctive and disjunctive features (shifters) that contribute to meaning process. On the other hand, modal verbs such as want, Can, Must, etc play an important role in the production of meaning of the speech. The method used is the semiotics of the Paris school. The objective of this research is to show how meaning occurs and what are the modes of enunciation in Yasns 9 and 10 of the Avesta.

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Forough Farrokhzad, Persian contemporary poet, was born and grown up in a society where the female poets were less rebellious against the values, the values which were rooted in the cultural background and beliefs of Iranians. In 20^th and early 30^th , Forough decided to escape the contracts and norms. Her first reactions were rebellious. The demand for emancipation in her first three poems, "captive", "wall" and "rebellion" represents this issue against the beloved and the values of the male-dominated society. In the "Other Birth", she criticized the patriarchal domination of society and began to explicit all the dominant values of society. In most of her poems, the poet wants to leave everything that she throws at her and always sees the obstacle to this emancipation; this barrier can be man, law, society, or human. But in the "Let's believe in the beginning of the cold season," she rather criticizes the modern Man. In her latest work, the poet portrays the themes such as rebellion and emancipation in abstract and in some cases multi-dimensional manner. Specially in the poem " Let's believe in the beginning of the cold
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season", which is also the title of the collection, the poet expresses her desire to rebel and then to liberation in various ways.
            Therefore, it can be said that this rebellion is, in the first poems of the Forough, has obviously two senses, first of all, the love that comes from the feminine passion and then the rebellion against the beloved-woman contracts in his contemporary society. Moving through the first poems of Forough and following her poetic path, we find that the poet faces a number of ups and downs in expressing the concepts in her poem, most of them follow the same form. But what we see in the books after the "captive" and "the wall", is the expression of these two concepts with more poetic images and other poetic arrangements. In fact, the poet has never ignored the rebellion during the stages of maturity, but rather propagated it with new ways of expression.
Our hypothesis is that the theme of rebellion in these works is personal most often unidimensional or bi-dimensional, but what is said in the poems of her two latest works, it is very important to go beyond the personality of the poet and, therefore, to move from personal revenge and to reach “the social self” for “the collective rebellion”.
From the beginning to her final poems , the poets seeks to express this rebuke, which include expressions, images, metaphors, analogies and poetic arrangements. Of course, it should be pointed that this measures are not conscious, rather it would be her won worldview. In addition to the rebellion, another important issue is the belief of liberation from persecution. In fact, for Forough Farrokhzad, the liberation is a kind of attempt to find a solution to the breakthrough, and that liberation is expressed with various poetic forms.
By adopting a semiotic approach to literary discourse analysis, the authors tried to analyzed the visual dimension of Forough's poetry in the representation of the concept of liberation and rebellion. Thus the main objective of the current research  was to show that the visual dimension was one of the main structures of the meaning of the text. Our hypothesis was that the figurative dimension in Forough's poetry is  the concept of rebellion and emancipation, and sometimes the abstraction of this dimension makes it difficult for the reader to understand the meaning. This paper consisted of three parts. Following the research background, which focused mostly on sources that analyze Forough's poem from thematic-structural perspective,the authors have discussed the methods, and approaches of semiotic theories of Paris school to text analysis, which defines the figurative dimension.
In the end, the authors have shown some Forough’s poetry characteristics that are remarkable. First, the negation of all social and poetic constraints, in relation to the man, the beloved, the nature and the love. The next step has been attributed to the liberation theme. The love has different aspects in Forough's poetry and is not valued, the only thing that gives hope to the poet is the season that is cold. This image of the cold that was from the beginning continues throughout the poem with the changes of comparison and metaphor and in the end, it is again the center of the poet's interest. Thus Forough's poetry has a spatio-temporal isotopy and at the end the first picture appears, which is due to the uniqueness of the image of rebellion and liberation. In the case we want to show the figurative dimension on the basis of model proposed by  Denis Bertrand, we must say the figurativity goes in the negative direction, towards the conceptualization and not on a clear and explicit direction.
 
 

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One of the most notable emperors in history of nations is Nimrod who is known as a symbol of cruelty. What he did has now become a source for many representations in historical and literary texts. Therefore, we can see many different stories based on his life and character, for example, we can have a look at Kashf-Al Asrar written by Rashid-Aldin Meybodi in the 520 Ah. He depicted Nimrod based on the holy Quran and also some legendry tales. We can also have a look at a work by French poet Victor Hugo. Hugo depicted Nimrod in The legend of ages based on the epics and different religious books. Therefore, the aim of this research is to study the process of the characterization of Nimrod and his dynamic character in Victor Hugo’s The legend of ages and Rashid-Aldin Meybodi’s Kashf-Al Asrar exegesis base on thematology of heroic and legendry characters represented in literary works. The methodology of this study is based on narratology, especially representation of one character from one source in two different texts. This research answers the difference in the writer’s idea about the society in which he lives there and his aims to representations of ideas in society cause to rise a story in different cultural context and make directional changes in parts of story. These methods used to answer how Nimrod's character is developed in the rewriting of the story.                                                          
 
 
              Keywords: Nimrod, thematology, Narratology, Victor Hugo, Rashid-Aldin Meybodi          

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The Covid-19 pandemic has been with us, for almost a year now. It has affected our lives in multiple ways and challenged our achievements as well. Daily life has changed in aspects we never would have imagined. We had to change our habits and behaviors quickly in order to assure the health of our family, our neighbors and the rest of the world. While facing this “unprecedented” situation, there are terms that appear to describe the health crisis and its consequences. This planetary pandemic has also changed human behavior.
In this article, we will see how the word Covid-19, a real agent of change in our existence, initiated changes in language and our behavior. Indeed, within the generative process of meaning as envisioned by semiotics, Covid-19 is an actant that crosses the different stages of process, from denomination to discourse. The discursive effervescence of Covid-19 is narrative. It appears as the prototype of the anti-subject. Perfect and absolute embodiment of evil. A single narrative program motivates it: propagation. We also see also that Covid-19 is no longer just the anti-subject of this story. It truly becomes the Anti-Sender, leading in the shadows an army of villains, capable of reinventing themselves at one’s leisure. This is a spectacular example of actantial cumulation.

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Hafez, le grand poète persan, utilise des allusions, des histoires et des récits dans ses poèmes. Le contenu de ses récits est la matière première et un plan d’expression pour transmettre des sens profonds qu'il utilise pour créer un concept important. En fait, en changeant l'allusion, Hafez fournit une analogie pour que les lecteurs n'interprètent pas sa poésie à son niveau littéral et superficiel. Pour ce faire, il choisit souvent ces analogies dans son époque même avant son temps qui sont communes entre l’énonciateur et l’énonciataire. L’objectif de cet article est de montrer que Hafez a créé un nouveau type de l’énonciation et du discours.
Cet article, en s’appuyant sur les théories sémiotiques, examine les vers narratifs de Hafez qui ont des propriétés élastiques et créent un espace cognitif condensé. L’histoire est implicitement et secrètement raconté. L'élasticité et de la condensation des énoncés en sémiotique est pour montrer les différentes dimensions qui dérivent du discours. Par exemple, l'élaboration ou le métalangage est le résultat de la largeur du discours, tandis que la nomination est le résultat de sa condensation. Les vers narratifs ont également cette dimension. À travers eux, le monde du passé et les événements historiques, diverses réalités significatives, sont représentées avec des éléments culturels. Le poète réduit la dimension du temps, reliant le passé au présent, et récite constamment des histoires du passé pour que l’énonciataire acquière une meilleure connaissance de lui-même et du monde