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Ayat al-ahkam of prayer are verses in which divine commands about prayer are in the form of prescriptive discourse; But the point that is raised about such verses is that despite the rule of prescriptive discourse on them, in many of these verses, the actor is one of the components of inductive discourse (encouragement, threat, etc.) has also used; For this reason, in this research, it is the question of what function the inductive discourses have in these verses, and despite them, what kind of discourse structure does this category of commandment verses have? In this research, which was carried out with the analytical and applied method and based on the semiotic-semantics approach of Garmes, an attempt has been made to examine the 17 verses of the Qur'an, which are known as the commandments of prayer, from the point of view of prescriptive and inductive discourse, in order to determine how their discourse structure is. And the function of inductive discourses should also be clarified in these verses; The findings of this research show that the inductive discourses used in addition to the prescriptive discourse are anti-discourses that have provided semantic support to the performance of the prescriptive action by the actors in two ways, and their presence has created a unified system of prescription and induction in these verses. Is.

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The theme of animal farm story by George Orwell is political- social in which, the collaboration among main characters in the path of formation a same and unique aim (independent animal society), is clear completely. This type collaboration, in the following, leads to appear a revolution and create an independent animal society in the bounds of some obligatory paradigms. But, in the following of narration, each of the characters indicates a special marked actions towards the independent animal society which challenges the expectation for integrity in life styles and also how it is approached in this story.
The aim of this research which is an analytic- comparative research, is analyzing and considering the life style in Animal Farm story, based on the Eric Landowski’s life style pattern (French social Semioticion), while determining the integrity or differences in life style discourse in this story, also explaining how it is approached, that includes some items: stationary, dynamic, repetirion oriented and processing or non-processing.
The results of this research show that according to author’s prediction, life style discourse in this story, is shown in a different form. In between, the life style of cameleon and central group and life style of ours have the most and the least frequency, respectively ands also in the most cases, the approach of life style in this story is stationary and non- processing .

1. Introduction
Animal Farm story by  George Orwell has a political- social theme in which there are relatively abundant characters. This story narrates the history of those animals in the form “fable”, which get together for a same goal and create a revolution in a farm to form a civil society with specific and obligatory principles. But each of animals , gradually indicates meaningful actions towards this created society and because of repetition of these actions, can be considered as a life style. That’s why this research aims to recognizes and analyzes how life style is shown in this story according to Landowski’s pattern which presents the pattern of four life styles.
Research Question(s)
With regard to mentioned items, this research aims to answer the following questions:

1. according to the grouping the life styles in Landowski’s pattern, what is the approach of subjet’s life style in terms of being unique or different, in Animal Farm story?
2. Is the process of formation of life style in Animal Farm story dynamic or a kind of  repetition oriented or stationary and non- processual?
3. Is subjects’ life style different in this story and  which life style do subjects select among Landowski’s life style pattern?

2. Literature Review
This research has been carried out  based on Eric Landowski’s four life styles pattern that defines four life styles: Dandy, Snob, Cameleon, bear , in relatin to a central group. With regard to searching different scientific websites, no similar research has been done in this case.
 
3. Methodology
The methodology of this research is analytic- comparative, based on Eric Landowski’s life style pattern. This research aims to study main 14 characters in Animal Farm story in terms of their life style.

4. Results
The results of this research show that according to author’s prediction, life style discourse in this story, is shown in a different form.Among them, the life style of cameleon and central group and life style of bear have the most and the least frequency, respectively and also in the most cases, the approach of life style in this story is stationary and non- processual .     

Table 1
Frequency of lifestyle(s) of subjects in their narrative and lifestyle approach 

subject	Arrangement of life styles of subjects in narrative	The approach of life styles  of subjects
Snowball	Central group	Non-processual- stationary
Napoleon	Cameleon- Dandy	Processual- dunamic
Ship	Snob	Non-processual- stationary
Boxer	Central group	Non-processual- stationary
Molli	bear- Cameleon- bear	Processual- repetition oriented
Squealer	Cameleon- Dandy	Processual- dynamic
Benjamin	Cameleon	Non-processual- stationary
Major	Central group	Non-processual- stationary
Clover	Central group	Non-processual- stationary
Farm cat	Cameleon	Non-processual- stationary
Moses	Cameleon- Dandy- Cameleon	Processual- repetition oriented
Dogs	Snob	Non-processual- stationary
Moriel	Central group	Non-processual- stationary
Other animals	Central group	Non-processual- stationary

 

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Lyrical literature and hence romantic poetry is a collection of feelings, emotions and representations of human relationships which has been widely used in different eras and discourses with various even conflicting functions and manifestations. Romantic poetry, distancing from political poetry, discusses politics of literature rather than political literature. However, modern Iranian poetry, deeply connected with politics and protest literature, establishes a different relation between dramatic poetry and political poetry. Shamlou is one of the prominent poets of political poetry whose antagonism and political conflicts are sources of metaphors and constructions in romance. This paper, based on critical discourse analysis, emphasizing the concept of "antagonism" as a key concept in politics, shows that politics is related to romance in two ways. First, such romances are new experiences to represent human relationships. Second, they are against traditional literature, since Shamlou by changing the rhetoric of romantic poetry created a type of literature that is romance in surface but resistance literature in depth.
Extended Abstract
Iranian modern literature is fundamentally different from pre-modern literature; although the way modern literature uses the theological source of pre-modern literature is not its logical continuation. Political orders and the concepts are the most important elements of the distinction between two periods. Usually, romantic poetry is distinguished from political poetry, but Iranian modern poetry, which is connected to protest literature and political matters, has established a good relationship between romantic and political poetry. Studying he relationship between political literature and the politics of the literature is the main goal of this manuscript. The concept of “antagonism" is emphasized here as the key word in Shamlou's poetry, showing how politics is connected to romances. Firstly, these romances are new representations of human experience, and secondly it is a rhetorical change in romantic poetry, which is against the traditional literature. The most important principle that connects the concept of "articulation" to the political issues is discursive conflict; thus, for a better understanding of the conflict, political literature, and the politics of literature discourse, the concept of politics must be separated from the political orders. Any action which is beyond the realm of the individual, can influence the decisions of the society, especially the political power, and in some way modify or oppose it, and it is called a political action. Political poetry promotes the idea of anti-reading, and a political poet as an anti-reading thinks about the "enemy other". After a huge break of the Persian Constitutional Revolution, social movements and the libertarianism language took an explicit form. Literature migrated from traditional lyrical to a new space. Revealing the name of "Aida" with the poet not as a Platonic lover but as a better half living with Shamlou is a kind of conflict with the tradition of romance-writing in one hand and "Literature of resistance" from the other. In political poetry, enemy is the other, and in the romantic poem, the other is the friend. The poet of political poetry thinks about resistance; in this view, the enemy has become a focal point; because the enemy has captured a part of his unconscious like a "central metaphor". The confrontational mentality of the political poet turns the other, such as the enemy, into an object, and turns the other, such as friend and love, into a praiseworthy subject. Contemporary poetry, unlike pre-modern poetry with a negative aspect, brought the private into the domain of the public, and by highlighting the other friend in romantic poetry, created a kind of resistance and negation tool. In his poem, Shamlou clearly says that love is an epic and he sees this reversal from the eyes of the enemy. The link between love and struggle in Shamlou's poems is the internal link between the practice of personal experience and the most external political behaviors. In a general classification, historically, his life can be divided into three parts:
A: The period in which the search for love gives way to experience; the experience of life and poetry, which, according to him, are "not impressions of life, but life itself". This period can be referred to as the period "before the appearance of Aida". B: The period when the poet, tired of the bitter experiences he has acquired in his personal and social life, finds another love and he moves to the house so that love becomes a refuge and a bastion where he can relieve the outside fatigue and find new strength to fight. This period starts from 1962 "Aida's appearance". C: In the third part of his life, although he still has Aida's presence, Shamlou thinks more about death and "struggle with silence" and he remembers his friends. In fact, this same love and social commitment in Shamlou's poetry makes him not distinguish between individual love and public love.
From the perspective of love, three types of love can be distinguished in Shamlou's poem: 1. Romantic love without social pains.2. Personal love with social representations, and 3. General love or love of freedom and man:
1. Although romantic love is not the general indicator of the concept of love in Shamlou's poems; Shamlou has been involved with this type of love in a negative way. He considered individual and public love as opposed to romantic love, which always has the suspicion of eroticism. Romantic love can be found in Shamlou's first poetry collection, "Āhang-hāye Farāmush Shodeh (Forgotten Songs)".
2. Keeping distance from his romantic love, Shamlou discovers love in another dimension: the shadow of resistance; as it can be a strength for fighters who return to fight again.
3. By rejecting romantic love, Shamlou arrived at a special definition of man; a person who can have the courage to deny the disturbing facts and reveal himself as a fighting person.
The convergence of the meanings of the two fields of politics and love has turned Samlou's poem into a different poem. From this point of view, finding the signs and codes of his romantic poetry is not compelling only in purely lyrical spaces. The enemy as a threatening other has caused Shamlou to experience new ways, because the discourse of his poetry is against the discourse of domination; whether we seek this dominance in aesthetics or in the discourse of power. It is in this situation that Shamlou glorifies the beloved as another and brings love into his poem in the atmosphere of resistance to discover a new truth. In individual romances, he uses the same signs and symbols that used before in public love. The same lover with a revolutionary face and the same revolutionary faces with the beloved cause him to not see a difference between public love and personal love.