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Rhetorical questions are those that, according to time and local condition, have a function, beyond rhe gaining awareness and information. In addition to having an interrogative structure, these sentences imply another meaning as the secondary meaning. But in some cases, according to a special textual context, the existence of one or more weak implicit meaning or meanings between the semantic superstructure in rhetorical questions and main implicit meaning, can be proved and caught. These weak implicit meanings can neither be ignored nor be considered as the main secondary meaning. Based upon that, the problem which is stated in this research is that, with regarding to the possibility of catching such implicit meaning(s) from rhetorical questions , what is the nature and statuse of these additional implicit questions? And assuming acceptance of their existence, whether the production of meaning in rhetorical questions is still instantly? or according to the proposed theory in this research, the production meaning approach in rhetorical questions includes some processes and levels?
The approach of this research is analytic-applied approach and case study in some poems of prominant persian poets that there is a positinal stop in the structure of these poems. The results of this research reveals that , based on the author's prediction, the production of meaning in rhetorical questions has a process approach with three levels, in which, a second meaning layer is produced between superstructure and main implicit meaning (third semantic layer), that can be named as mediator semantic layer.

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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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On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.