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<!DOCTYPE ArticleSet PUBLIC "-//NLM//DTD PubMed 2.7//EN" "https://dtd.nlm.nih.gov/ncbi/pubmed/in/PubMed.dtd">
<ArticleSet>
<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Boosting a Language Skill by Employing Translation in Task-based Language Teaching: News- Story Writing in Focus</ArticleTitle>
<VernacularTitle>تقویت مهارت زبانی با به ‌کارگیری ترجمه درآموزش تکلیف‌محور: نگارش داستان خبری در کانون بررسی</VernacularTitle>
			<FirstPage>1</FirstPage>
			<LastPage>36</LastPage>
			<ELocationID EIdType="pii">7399</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.1</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>نگار</FirstName>
					<LastName>نوروززاده</LastName>
<Affiliation>استادیار گروه زبان انگلیسی، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران</Affiliation>

</Author>
<Author>
					<FirstName>عباس</FirstName>
					<LastName>بیات</LastName>
<Affiliation>استادیار، گروه آموزش زبان انگلیسی، واحد ملایر، دانشگاه آزاد اسلامی، ملایر، ایران</Affiliation>

</Author>
<Author>
					<FirstName>عباس</FirstName>
					<LastName>مهرپویا</LastName>
<Affiliation>استادیار، گروه زبان انگلیسی، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;This study aims to examine the effects of employing a mere Task-Based Approach (TB) and a Translation-Assisted Task-Based Approach (TATB) in promoting EFL learners’ news-story writing skill. The subjects who participated in this study were 82 Iranian BA sophomores majoring in translation at Islamic Azad University, Hamedan Branch. To this aim, the participants were homogeneously assigned to two groups, i.e. control group (TB) and the experimental group (TATB). Both groups passed through the different phases of Willis’ TBL framework and the translation task was given only to the experimental or the TATB group. In other words, both groups were exposed to a 6-week TB intervention with only the experimental group benefiting from the translation practice at the end of the third phase. To obtain the related data, the researchers administered an evaluation exam on news-story writing at the pre- and post-task evaluation phases, prepared by the researchers and put to the test of expert judgment. The results showed that TATB group outperformed the mere TB group which indicates that applying translation-assisted task-based approach in teaching news-story writing could significantly improve both the experimental group’s overall performance on news-story writing and some of its different aspects such as the use of Wh/H data, word choice, context, consistency, structure, and simple language.    &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; present study is in pursuit of investigating the question of whether a translation-assisted approach to task-based language teaching can boost the development of English news writing skills in comparison with the application of a mere task-based language teaching approach that is lacking the translational side. As such, &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;aiming to investigate the influence of incorporating translation into a task-based approach to teaching news-story writing, the present study has compared two groups of subjects, i.e. an experimental group, Translation-Assisted Task-Based Approach (TATB) and a control group, Task-Based Approach (TB), both receiving pre- and post-task evaluations and a six-week interventional treatment in between. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Accordingly, this study works under the premise that an amalgamation of a task-based approach to teaching English news writing with translation practice can reinforce news-story writing and its sub-skills. In so doing, it has been assumed that, on the one hand, the task engagement, via authentically involving the learners with the due material, can help institutionalize the technical knowledge or the know-how related to the skill or its related sub-skills; and on the other hand, it is hypothesized that the translational practice can promote the learners’ intake of the covered material through raising the learners’ awareness or consciousness of the teaching activity at hand as well as elevating their ability in favor of a more efficient development of the skill at hand, i.e. news-story writing.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.2. Research Question(s)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The present study has planned to examine both experimental (TATB) and control (TB) groups’ performance on news-story writing by addressing the following research questions:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;RQ1: How significant is the difference between the OVERALL performance of the translation-assisted task-based group and that of the mere task-based group before and after the treatment?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;RQ2: How significant is the difference between the performance of the translation-assisted task-based group and that of the mere task-based group regarding each of the nine SUBSKILLS under study before and after the treatment?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In line with the growing interest in the social constructivist approach to second/foreign language learning, task-based language teaching (TBLT) emerged as a reaction against the shortcomings of the conventional approach. Extensive research advocates the advantages of TBLT over conventional ones (Long, 1985; Prabhu, 1987; Nunan, 1989, 2004; Willis, 1996; Skehan, 1998a; Lee, 2000; Bygate, 2001; Willis &amp; Willis, 2001; Carless, 2003; Ellis, 2003, 2009; Frost, 2006; Bowen, 2018; to name a few). In this regard, Bowen (2018) states:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The main advantages of TBL are that language is used for a genuine purpose meaning that real communication should take place and that at the stage where the learners are preparing their report for the whole class, they are forced to consider form in general rather than concentrating on a single form (as in the PPP model). (Bowen, 2018, p. 2)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In trying to give a hint at what a task is, Ellis (2018) writes, “the ‘task’ is a work plan and should be specified solely in terms of its design features” (p. 179). Accordingly, he also notes that as a ‘workplan’, a ‘task’ typically involves the following: (1) some input (i.e., information that learners are required to process and use); and (2) some instructions relating to what outcome the learners are supposed to achieve (Ellis, 2018, p. 23). This is while Prabhu (1987) has seen the learners as occupied with “understanding, extending (through reasoning) or conveying meaning”, which indicates a task as a meaning-centered activity (p. 27). In the same vein, Nunan (1989) has confirmed that a task makes the learners center primarily on meaning rather than form. With a view to the centrality of meaning in the act of translating texts of different languages, Duff (1994) underlines the role of ‘translation’ by stating that “translation helps us to understand better the influence of the one language on the other, and to correct errors of habit that creep in unnoticed” (p.6). Pedagogically speaking, one can also pinpoint the idea proposed by Izumi (1995) where he points to the fact that the role of translation in second language learning is noticeably minimized or even overlooked with no clear reason. This is while Danechev’s (1983), as cited in Randaccio (2012), speaks in favor of incorporating translation in language teaching classes by highlighting the benefits it will offer. In the same vein, one can refer to Sheen (1993) where he points to translation as a rich pedagogical tool for promoting the learners’ accuracy and precision of understanding. Looking through the lens of ‘bilingual teaching’, Hammerly (1994), too, maintains that bilingual education is more productive in second language learning classrooms. Having these in mind, the present study has attempted to comparatively examine the effects of employing a TATB versus a mere TB in an attempt to promote EFL learners’ news-story writing skill.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;According to the objectives of the study and the stated research questions, the researchers employed a quantitative method to investigate the performance of several sophomore students as participating subjects. The subjects who participated in this study were 82 Iranian BA sophomores majoring in translation at Islamic Azad University, Hamedan Branch. To this end, the Oxford Quick Placement Test (OQPT) has been administered to gain an estimation of the participants’ language ability. Both groups passed through the different phases of Willis’ TBL framework, i.e. pre-task, main task, post-task stages, while the translation task was given only to the TATB group as the experimental group. Both groups went through the pre and post-test evaluation exams and the evaluation exam itself was developed on the basis of an English-written news-story passage provided online. The evaluation exam that was put to the test of expert judgment to ensure its intra- and inter-rater reliability, was employed to measure the subjects’ ability on the news-story writing before and after the treatment. The exam contained two parts, a headline section to be written (64 characters at most) and a news-story section (100 words at most); the exam sections and their size were determined based on Thomson Reuters Handbook of Journalism (2020). B&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;etween&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; the evaluation phases, both groups were exposed to a 6-week TBLT intervention with only the experimental group being provided with the translation task at the end of the third phase. In the ‘pre-task’ stage, the participants in both groups were provided with an introduction to the topic and the task at hand. Then, the participants in both groups were engaged in the ‘main-task’ stage which includes ‘task planning’. However, the ‘post-task’ stage, which involved ‘focus on form’, or simply put the practice on language, was organized in such a way that the task implementation for the experimental group in all treatment sessions could be joined with the translation practice. As such, the participants, having completed the task, were to translate a text on a related topic. To provide for a learner-centered setting, the teacher only observed and provided consultations, if necessary, to ensure the learners’ active involvement. It was hypothesized that the subjects in the experimental group, i.e. translation-assisted task-based treatment, would benefit from a learning situation where the skill of news-story writing and its essential sub-skills can be gained via a two-way exchange between writing and translation. This is while the mere-task-based group as the control group did not receive the translational practice of any sort. Upon the completion of the experiment and the pre- and post-test evaluation, two raters scored the test takers’ news-story writing products belonging to the two evaluation stages using a scoring rubric. The scoring rubric itself was designed based on a combination of two sets of criteria, one set of criteria was extracted from the Thomson Reuters Handbook of Journalism (2020), i.e. spelling and punctuation, context, consistency, structure, simple language, length, and headline, and the other including two more objective measures as an add-on, i.e. use of Wh/H data provided and vocabulary given. The quantitative data belonging to both groups were then analyzed using the proper statistical tools, i.e. descriptive and inferential statistical tests provided by SPSS, to be able to compare the experimental and control groups’ performance at pre- and post-test evaluation phases.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As previously stated, the OQPT has been administered to gain an estimation of the participants’ language ability. The results showed the sophomores’ mean score and standard deviation to be 39.78 and 6.46, respectively; as such, the participating subjects whose scores were between 33.32 (M-1SD) and 46.24 (M+1SD) were chosen as the homogeneous sample (82 out of the total number of 107), who were then assigned to translation-assisted task-based group (N = 39) and mere task-based group (N = 43) within the university classroom enrolment requirements. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Taking into account the results of the due assumptions, both parametric (one-way ANCOVA) and non-parametric tests (Mann-Whitney) were run to make sure about the validity of the findings and the results went hand in hand. As such, the independent variable (i.e. treatment) consisted of two categorical independent predictors for two groups, i.e. TATB and mere TB. Observations were independent; that is, there was no relationship between the observations in each group or between groups. Comparing the effects of the methods of TATB teaching and mere TB teaching on the subjects’ overall ability of news-story writing and its nine subcomponents at pre- and post-task evaluation stages, the following results were obtained (Table 1):&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Descriptive Statistics&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

	
		
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			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;WH Words&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
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			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Given Words&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
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			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;34&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.72&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Spelling and Punctuation&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.47&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.51&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.61&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.57&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.67&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.62&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.77&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.54&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Context&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.42&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.70&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.87&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.65&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;29&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2.01&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.74&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.08&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.38&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;29&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;5&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Consistency&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.88&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.57&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.74&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.59&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;32&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.70&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.74&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.39&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.32&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;32&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;6&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Structure, Language,&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Context and Color &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.76&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.48&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.59&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.49&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;34&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.46&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.72&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.47&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.39&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;34&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Simple Language&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.67&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.38&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.43&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.37&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;31&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.01&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.44&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.30&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;31&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;8&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Length&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.23&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.10&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.25&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.11&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.25&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.04&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.25&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.11&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;9&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Headline&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.18&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.16&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.25&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.19&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.31&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.17&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;35&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.25&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.17&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;36&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;10&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Overall Performance&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pretest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7.25&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2.34&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;34&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;5.72&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;31&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Posttest&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TATB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;10.02&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2.62&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;34&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;TB&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;5.54&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.49&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;31&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;It was found that there was a significant difference between the two groups, i.e. TATB and TB, in terms of news-story writing post-test and most of its sub-skills including (1) Wh/H data, (2) Given Words, (4) Context, (5) textual Consistency, (6) texual Structure, and (7) Simple Language. More importantly, the overall performance score in TBTA group was statistically significantly higher than the mere TB group (F = 57.20, P = .00; U = 68, P = .00). However, the results indicated that TBTA group and the mere TB group did not significantly differ in terms of (3) Spelling and Punctuation, (8) Length, and (9) Headline scores (Table 2).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 2&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;One-way ANCOVA and Mann-Whitney&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;No&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Skills&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Sum of&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Squares&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;df&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Mean&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Square&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;F&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Sig.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Mann-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Whitney U&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Sig.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;WH Words&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.22&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.22&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7.43&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;371.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.01&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Given Words&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.32&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.32&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7.15&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;335.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Spelling &amp; Punctuation&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.11&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.11&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.33&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.56&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;558.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.40&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Context&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7.26&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7.26&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;23.27&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;142.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;5&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Consistency&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;26.65&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;26.65&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;85.19&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;44.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;6&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Structure &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;14.54&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;14.54&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;46.02&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;127.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;7&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Simple Language&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4.27&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4.27&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;39.98&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;129.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;8&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Length&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.05&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.81&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;629.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.98&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;9&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Headline&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.12&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.12&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4.24&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.04&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;508.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.12&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;10&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Overall Performance &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;229.15&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;229.15&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;57.20&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;68.50&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.00&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The graphic representation (Figure 1), as it can be seen, more expressively depicts the significance of the difference between the TATB group’s performance on news-story writing in terms of the overall score and its sub-scores as compared with those of the mere TB group after the treatment. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; News-Story Writing Posttest Between TATB &amp; TB (Overall Peformance &amp;Sub-skills)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;5. Discussion &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;occurrence&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; of such marked improvements in the performance of the TATB group on the news-story writing skill and the majority of its sub-skills gives objective evidence in favor of fostering the inclusion of translation practice in the language writing plans specifically when teaching writing for specific purposes is in perspective. It should be noted that the participants taking part in this study have been chosen via convenience sampling that is they “possess certain key characteristics that are related to the purpose of the investigation” (Dörnyei 2010, p. 99), which might impose its own limitations in regard to the generalizability of the results; however, the mere fact that the conclusive results have been obtained via experimenting with university subjects in an authentic learning situation is itself a positive experimental fact that cannot be ignored in pedagogical terms, where the preferability of a learning environment with communicative purposes duly matters. The main findings of the present study are in line with the positive view towards incorporating a practice of ‘translating’ via the native tongue in a language learning environment as expressed in the related literature (see Ferreira, 1999); this in itself supports the findings of other studies which have been carried out with the same objevtive in mind, that is the positive role of ‘translation’ in language teaching/learning (Navidinia et al., 2019; Lee et al., 2015; Koletnik Korosec, 2013; Lee, 2013; Chang, 2011; Cianflone, 2009; Vaezi &amp; Mirzaei, 2007; etc.). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;6. Conclusion&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;Though&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;the use of a translation-pro approach to language teaching and learning has been notoriously criticized in some language teaching and learning scenarios, the employment of TATB approach showed that the practice of translation when aligned with a related writing task could enhance the news-story writing ability of the Iranian EFL learners as compared with those learners who were taught via the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;task-based&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; approach only&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;. T&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;he results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; of this study&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; showed that TATB had significantly outperformed the mere TB, which indicates that applying a TATB approach in teaching news-story writing could improve both the experimental group’s overall performance on news-story writing and some of its different aspects such as the use of Wh/H data, word choice, context, consistency, structure, and simple language. As such, t&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;he rational justification for the translation-pro improvement can be sought in the students’ active engagement in the task of writing while translating a text that is related to the aimed-for product. This in itself confirms the advantage of using the native language in a foreign language learning situation&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;پژوهش حاضر&lt;/span&gt; &lt;span&gt;به مسئلۀ ‌‌‌‌‌&lt;/span&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;‌‌مقایسه تأثیر دو رویکرد آموزشی «تکلیف‌محور محض» و «تکلیف‌محور ترجمه‌یار» بر تقویت و ارتقای توانایی نگارش داستان خبری به زبان انگلیسی در زبان‌آموزان ایرانی&lt;sup&gt; &lt;/sup&gt;می‌&lt;/span&gt;&lt;span&gt;پردازد&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;.&lt;/span&gt;&lt;span&gt; شرکت‌کنندگان در این پژوهش ۸۲ دانشجوی ایرانی سال دوم کارشناسی رشته ترجمه انگلیسی‌‌ در دانشگاه آزاد اسلامی واحد همدان بودند. در راستای رسیدن به هدف پژوهشی مذکور، شرکت‌کنندگان در ابتدا به شیوه‌ای همگن به دو گروه گواه و آزمون تقسیم شدند. اگرچه هردو گروه از مداخلۀ آموزشی تکلیف‌محور&lt;/span&gt; &lt;span&gt;برپایۀ طرح سه‌مرحله‌ای پیشنهادی از سوی ویلیس &lt;/span&gt;&lt;span&gt;(&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;Willis, 1996&lt;/span&gt;&lt;span&gt;)&lt;/span&gt; &lt;span&gt;ــ&lt;/span&gt;&lt;span&gt; پیش از تکلیف، تکلیف اصلی، و پس از تکلیف &lt;/span&gt;&lt;span&gt;ــ&lt;/span&gt;&lt;span&gt; به مدت شش هفته برخوردار شدند، تنها گروه آزمون یا گروه تکلیف‌محور ترجمه‌یار بود که در پایان مرحلۀ سوم از کنش ترجمه بهره برد. با هدف آزمایش و سنجش دو گروه، آزمونی برای ارزش‌یابی توانایی نگارش داستان خبری پیش و پس از مداخلۀ آموزشی تکلیف‌گرا به هردو گروه از شرکت‌کنندگان داده شد. نتایج این دو آزمون نشان داد که گروه آزمون یا همان گروه تکلیف‌محور ترجمه‌یار، در عملکرد نهایی خود از گروه گواه پیشی گرفت، که این خود گویای آنست که آموزش با رویکرد تکلیف‌محور ترجمه‌یار در نگارش داستان خبری &lt;/span&gt;&lt;span&gt;ــ&lt;/span&gt;&lt;span&gt; در سنجش با رویکرد تکلیف‌محور محض ــ توانسته است به گونه‌ای معنادار کارکرد کلی گروه آزمون و نیز برخی زیرمهارت‌های آن، ازجمله به‌کارگیری داده‌های پرسشی‌گزارشی، گزینش واژگان، هم‌بافت، یکپارچگی بافت، ساختار بافت و زبان ساده را بهبود ببخشد.      &lt;/span&gt;&lt;br&gt;</OtherAbstract>
		<ObjectList>
			<Object Type="keyword">
			<Param Name="value">آموزش نگارش داستان خبری</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">رویکرد تکلیف‌محور محض</Param>
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			<Object Type="keyword">
			<Param Name="value">رویکرد تکلیف‌محور ترجمه‌یار</Param>
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			<Param Name="value">تکلیف</Param>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7399_614594c34e0c9dc796cb21d5e806768b.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Application of conceptual blending theory in the analysis of economic, political and sports news headlines</ArticleTitle>
<VernacularTitle>کاربست نظریۀ آمیختگی مفهومی در تحلیل عناوین خبرهای اقتصادی، سیاسی و ورزشی</VernacularTitle>
			<FirstPage>37</FirstPage>
			<LastPage>76</LastPage>
			<ELocationID EIdType="pii">7400</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.2</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>سپیده</FirstName>
					<LastName>کیا</LastName>
<Affiliation>کارشناس ارشد زبانشناسی همگانی، دانشگاه سمنان، سمنان، ایران</Affiliation>

</Author>
<Author>
					<FirstName>حسین</FirstName>
					<LastName>رضویان</LastName>
<Affiliation>دانشیار زبانشناسی همگانی، دانشگاه سمنان، سمنان، ایران</Affiliation>
<Identifier Source="ORCID">0000-0002-2441-1299</Identifier>

</Author>
<Author>
					<FirstName>سحر</FirstName>
					<LastName>بهرامی خورشید</LastName>
<Affiliation>دانشیار زبانشناسی همگانی، دانشگاه تربیت مدرس، تهران، ایران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;Conceptual blending is a creative application to explain concepts that go beyond simply combining structures and raw data. The present article tries to examine its effectiveness in news headlines of newspapers in different genres by referring to the theory of conceptual blending. For this purpose, 1000 news headlines from the Donyaye Eghtesad newspaper in the economic genre, 1000 news headlines from the Ebtekar newspaper in the political genre, as well as 1000 headlines from the Hadaf Varzeshi newspaper have been examined. The headlines with conceptual blending were identified in them and also their type and number were explained and drawn by drawing a grid. Out of 1000 news headlines examined in each genre, 240 in the economic genre, 160 in the political headline and 80 in the sports headline are in line with the theory of blending. According to the results, it seems that due to the intertwining of people&#039;s daily lives with the economy, the use of blending in the economic genre is more than the other two genres, and among the blending types, the single-scope type has a higher frequency than the other types in all three genres. Double-scope type blending has been observed due to its more complex structure than the lower frequency single-scope blending. It was also found that simple type blending has very low frequencies in all three genres. In the study of news headlines, due to the association-orientation mechanism of the type of mirrors, there are very few of them in each genre. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Fauconnier and Turner (1998) elaborated &lt;span&gt;Conceptual Blending&lt;/span&gt; Theory by using the theories of conceptual metaphor and mental space as tools to show the imaginative nature of conceptualization. They believe that the role of imagination in the meaning-making process, especially the creative aspects of meaning-making, is undeniable. In this way, it can be said that the news headline is one of the categories that creativity in creating meaning is one of its characteristics due to its specific coordinates, and perhaps it can be considered that the theory of conceptual blending can be a suitable platform for imagination and expression of this creativity. In this research, how this concept works as an efficient theory in analyzing linguistic data and explaining the emerging meaning in it is discussed. To achieve this goal, the authors intend to describe and analyze the news headlines of economic, political, and sports newspapers as popular topics based on the &lt;span&gt;Conceptual Blending&lt;/span&gt; Theory to determine which genre has the least and most use of conceptual blending in the headlines. What is the reason for this little and increasing use of blending in making titles? Also, the comparison of the types of conceptual blending, the frequency of their occurrence, and the reason for the existence of different frequencies of these types in the studied genres will be discussed by presenting sufficient examples. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Fauconie and Turner proposed the theory of conceptual blending in 1998, and in 2002, they fully introduced this theory in the book The Way We Think. Other linguists and researchers presented research in linguistic and non-linguistic conceptualization of this theory. Coulson et al. (2000) studied the basics of conceptual blending as a theory for constructing meaning online and examined this theory from the perspective of linguistics, psychology, computer science, and neurobiology. Grady and Coulson (1999) introduced the mechanism of two theories of conceptual metaphor and conceptual blending. They also listed the similarities and differences of these two theories. Hedblom et al. (2016) state that image schemas are considered as fundamental cognitive patterns and the combination of two theories of conceptual blending and image schemas has a significant impact on creative thinking in humans. In the Persian language, researchers have examined the data of this language in the field of conceptual blending, including Sadeghi (2012) in his article entitled &quot;Integration of writing and image in literary texts based on the theory of conceptual blending&quot; and how meaning is formed in literary works. Pardel et al. (2016) in their article, which was published in the Journal of Language Inquiry, discussed how the author and the reader produce and understand emergent meanings in the white poem from the perspective of conceptual blending. In his analytical and descriptive review of a poem by Groos Abdulmalikian, he has shown that this theory is well suited to the cognitive description and explanation of how to create and read poetry.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In this research, a total of 3000 economic, political, and sports titles from the newspapers of the world of economy, initiative, and sports purpose were analyzed in the summer and autumn of 2016. Of these, 240 economic titles, 160 political titles, and 80 sports titles have blended and can be described and analyzed with the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Conceptual Blending&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Theory&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;. After determining the presence of blending in the titles of each genre, the researchers investigated the type of blending in each title and after that, they examined the frequency of occurrence of each type to determine which is the most type of blending used in the titles and the reason for the high frequency of that type. Also, in order to be clearer and better understand the mechanism of this theory, we chose one title from each type of blending in each genre and then explained how the blending was formed. After explaining each title, we have drawn the networks related to them along with interstitial mappings.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results and Conclusion&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Newspaper titles in the economic genre have the highest frequency of conceptual blending compared to the political and sports genres. The reason for this should be considered in the wide range of the audience of this genre, as we know that the economy is one of the main pillars of society and is tied to people&#039;s livelihood and covers a huge part of our daily life, so it can be said that readers with interest, follow economic issues and are understandable to the general public. Another reason is that in the last decade, we have witnessed more instability in the field of economy, which provides a suitable platform for journalists to create creative titles, and journalists encourage the reader to read and follow economic issues by using blending.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the political genre, there is less conceptual blending observed in the construction of titles compared to the economic genre. The reason for this can be found in the fact that political issues involve different individuals, parties, and factions. Journalists, to maintain job security, have limitations in using conceptual blending in title construction, which may include more figurative meaning, and prefer to use clearer titles to prevent multiple interpretations. Another reason is that political subjects require more explicitness in speech, and journalists prefer to prioritize transparency. Perhaps the use of conceptual blending in titles may distract the reader&#039;s mind from the main message, so they try to construct titles with fewer conceptual blendings.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the analysis of data, sports genre titles have the least amount of conceptual blending. This can be attributed to the relative clarity of sports events, which do not provide much room for interpretation and critique. Additionally, a sports news article focuses more on reporting the news or presenting the outcome of a sports event, and the audience, which consists of a narrower spectrum, is mostly interested in the results of the competition rather than the details. They can even get informed about the results through other media outlets. Therefore, the sports genre includes fewer audiences compared to the political and economic genres, where the audience seeks interpretation and analysis of the news by experts.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Conceptual blending of the &lt;span&gt;&lt;span&gt;single-scope&lt;/span&gt;&lt;/span&gt; type has the highest frequency in all three genres because one of the rules that journalists consider for writing proper headlines is the quadrilateral rule, which includes factors such as relevance, simplicity, clarity, and attractiveness. It seems that &lt;span&gt;&lt;span&gt;single-scope&lt;/span&gt;&lt;/span&gt; blending has all four factors of this rule, so the writer, through creative headline construction, aims not only to convey information but also to highlight the headline and attract the reader to follow the article. Since &lt;span&gt;&lt;span&gt;single-scope&lt;/span&gt;&lt;/span&gt; blending only involves one of the inputs in shaping the blending, and that input is represented in the form of a concrete domain and has physical characteristics, it is easier for the reader to understand. Single-scope blending does not have the simplicity of simple blending type that only focuses on conveying information and does not have the complexity of &lt;span&gt;&lt;span&gt;double-scope&lt;/span&gt;&lt;/span&gt; blending type. Therefore, this type of blending has the highest frequency. &lt;span&gt;&lt;span&gt;Double-scope&lt;/span&gt;&lt;/span&gt; conceptual blending has a very low frequency in the headlines of all three genres. This type of blending has the highest creativity and complexity. Since both inputs play a role in shaping the blending, i.e., both the concrete or experiential domain and the abstract domain, as well as the emergent meaning that arises in the blending space, it makes the headline more complex and harder to understand, and perhaps analyzing it is beyond the patience of the reader. Therefore, journalists prefer to use this type of blending less.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;According to the tables, simple concept blending has very few frequency of occurrence in news headlines. This low frequency is due to the structure of this type of blending, which includes two forms of role and value. Often in news headlines because journalists assume that the reader is aware of the roles and values of the people who are at the top of political, economic, and sports affairs, there is no need to mention both formats in the headline. Pay attention to these news headlines: a. All the president&#039;s men (in this news title, only the role format is mentioned); b) Biden&#039;s plan for regional partners (in this news headline, only the value format is mentioned). Observing these titles is proof of the claim that in many titles either the role format or the value format is used. The conceptual blending of the mirror type has rarely been observed in the titles.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;آمیختگی ‌مفهومی کاربستی خلاقانه برای تبیین مفاهیمی است که چیزی فراتر از ترکیب صرف ساختارها و داده‌های اولیه است. به عبارت دیگر تأکید این نظریۀ مطرح در معنی‌شناسی‌ شناختی بر تبیین معنای پیدایشی یا ساختار نوظهور است . مقالۀ حاضر سعی دارد با استناد به نظریۀ آمیختگی مفهومی کارآمدی آن را در عناوین خبری ژانر اقتصادی، سیاسی و ورزشی روزنامه‌ها بررسی کند. به این منظور، هزار  عنوان خبری از روزنامۀ دنیای اقتصاد در ژانر اقتصادی، هزار عنوان خبری از روزنامۀ ابتکار در ژانر سیاسی و همچنین هزار عنوان از روزنامۀ هدف ورزشی مورد بررسی قرار گرفته است. عناوین دارای آمیختگی&lt;/span&gt; &lt;span&gt;‌مفهومی در آن‌ها مشخص و همچنین نوع و تعداد آن‌ها با رسم شبکه، توضیح و ترسیم شد. یافته‌های این پژوهش نشان می‌دهند که کاربست نظریۀ آمیختگی مفهومی در تحلیل عناوین خبری می‌تواند راهگشا باشد. از هزار عنوان خبری بررسی‌شده در هر ژانر، در ژانر اقتصادی 240 عنوان، در عناوین سیاسی 160 و عناوین ورزشی 80 عنوان با نظریۀ آمیختگی انطباق دارند. با توجه به نتایج به‌دست آمده به نظر می‌رسد به‌دلیل گره خوردن زندگی روزمرۀ مردم با اقتصاد، کاربرد آمیختگی در ژانر اقتصادی بیشتر از دو ژانر دیگر است و از میان انواع آمیختگی، نوع تک‌حوزه‌ای نسبت به انواع دیگر در هر سه ژانر از بسامد بیشتری برخوردار است. دلیل متداول بودن این نوع آمیختگی را می‌توان این گونه توجیه کرد که آمیختگی تک‌حوزه‌ای سازوکار استعاره را داراست و از آنجا که بنیان فکری انسان ماهیتی استعاری دارد و استعاره در زبان روزمرۀ انسان جاری است، همین امر موجب می‌شود مخاطبان با سهولت بیشتری معنا را درک کنند. آمیختگی نوع دو‌حوزه‌ای به‌دلیل ساختار پیچیده‌تر آن نسبت به تک‌حوزه‌ای با بسامد کم‌تری مشاهده شده است. همچنین مشخص شد آمیختگی نوع ساده بسامد بسیار کمی در هر سه ژانر دارد. در بررسی‌ عناوین به‌دلیل سازوکار تداعی‌محور آمیختگی نوع آینه‌ای تعدادی بسیار کمی از آن‌ها را در هر ژانر به خود اختصاص داده است. &lt;/span&gt;&lt;br&gt;</OtherAbstract>
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			<Param Name="value">معنی‌شناسی شناختی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">آمیختگی مفهومی</Param>
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			<Param Name="value">عناوین خبری روزنامۀ اقتصادی</Param>
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			<Param Name="value">روزنامۀ سیاسی</Param>
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			<Param Name="value">روزنامۀ ورزشی</Param>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7400_76f1cfd7754a6e4fc3281bcccb3d0902.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Methods of Continuing the Meaning in Virginia Woolf&#039;s &quot;To the Lighthouse&quot; Novel</ArticleTitle>
<VernacularTitle>شگردهای تداوم معنا در رمان به سوی فانوس دریایی ویرجینیا وولف</VernacularTitle>
			<FirstPage>77</FirstPage>
			<LastPage>104</LastPage>
			<ELocationID EIdType="pii">7401</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.3</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>لیلا</FirstName>
					<LastName>رحمتیان</LastName>
<Affiliation>دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی</Affiliation>
<Identifier Source="ORCID">0000-0001-6485-2294</Identifier>

</Author>
<Author>
					<FirstName>خلیل</FirstName>
					<LastName>بیگ‌زاده</LastName>
<Affiliation>دانشیارگروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی</Affiliation>

</Author>
<Author>
					<FirstName>غلامرضا</FirstName>
					<LastName>سالمیان</LastName>
<Affiliation>3.	دانشیار گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه رازی.</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;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.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;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. &quot;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&quot; (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&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The present research aims to elucidate the patterns of continuity of meaning and the interaction between signs and meaning in Virginia Woolf&#039;s novel &quot;To the Lighthouse&quot; 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. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;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&#039;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&#039;s stream. Woolf selects her subjects and gives direction to them, and this directionality connects her view with signs. Woolf&#039;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. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;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&#039;s prominent figure (Mrs. Ramsay) in the discourse of different sign-semiotics functions. The clarity of the lighthouse&#039;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&#039;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&#039;s interpretation. The research findings reveal that the continuity of meaning in the novel &quot;To the Lighthouse&quot; 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.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;بروز معنا تابع کارکردهای شناختی در گفتمان‌های کُنِشی و احساس و ادراک برونه‌ای، درونه‌ای و جسمانه‌ای در گفتمان‌های شوشی است. ابعاد هوشمندی و حسی ـ ادراکی که براساس کارکردهای شناختی و احساس و ادراک سبب بروز معنا هستند، در آفرینش نشانه‌ها و تداوم معنا نقشی ارزنده دارند و این کارکردها برای درک نشانه‌ها و تداوم معنای گفتمان مؤثر هستند. پژوهش پیش روی با هدف تبیین شگردهای تداوم معنا و نیز تعامل میان نشانه و معنا در رمان به سوی فانوس دریای از ویرجینیا وولف با رویکردی توصیفی ـ تحلیلی انجام شده است تا پاسخ به این پرسش باشد که شگردهای تداوم معنا براساس کارکردهای گفتمانیِ شناختی، حسی ـ ادراکی، عاطفی و زیبایی‌شناختی در رمان مورد مطالعه کدام هستند و چگونه سبب تداوم معنای گفتمان در این رمان شده‌اند؟ دستاورد پژوهش نشان می‌دهد، تداوم معنا در رمان به سوی فانوس دریایی تابع کارکردهای زاویۀ دید در بُعد شناختی، بُعد حسی ـ دیداری، جسم ـ ادراکی در بُعد عاطفی گفتمان است و رابطۀ زمان و زیبایی‌شناختی به استخراج نشانه‌هایی منجر شد که در تعامل با یکدیگر معنا را در روایت تداوم می‌بخشند.&lt;/span&gt;&lt;br&gt;</OtherAbstract>
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			<Param Name="value">نشانه- معناشناسی گفتمان</Param>
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			<Object Type="keyword">
			<Param Name="value">کارکردهای گفتمانی</Param>
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			<Object Type="keyword">
			<Param Name="value">تداوم معنا</Param>
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			<Param Name="value">رمان به سوی فانوس دریایی</Param>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7401_9b91d245c953f54a7f10aba72a4d0022.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Linguistic Analysis of Translation Problems in Banking Texts: A Comparative Study from Structural Semantics in Linguistics and Equivalence in Translation Studiesâ Viewpoints</ArticleTitle>
<VernacularTitle>تحلیل زبان‌شناختی مشکلات (نارسایی‌های) ترجمه در متون بانکی: یک بررسی تطبیقی از دیدگاه زبان‌شناختی معنی‌‌شناسی ساختارگرا و معادل‌یابی در ترجمه</VernacularTitle>
			<FirstPage>105</FirstPage>
			<LastPage>141</LastPage>
			<ELocationID EIdType="pii">7402</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.4</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>محمد</FirstName>
					<LastName>نصری</LastName>
<Affiliation>دانشجوی دکترای تخصصی زبان‌شناسی،گروه زبان انگلیسی، واحد تهران جنوب، دانشگاه آزاد اسلامی،تهران، ایران.</Affiliation>

</Author>
<Author>
					<FirstName>حیدر</FirstName>
					<LastName>نصرت زاده</LastName>
<Affiliation>استادیار گروه زبان انگلیسی، واحد دماوند، دانشگاه آزاد اسلامی، دماوند، ایران (نویسنده‌ی مسئول).</Affiliation>

</Author>
<Author>
					<FirstName>شهرام</FirstName>
					<LastName>مدرس خیابانی</LastName>
<Affiliation>استادیار گروه آموزش و مترجمی زبان انگلیسی، واحد کرج، دانشگاه آزاد اسلامی، کرج، ایران.</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;T&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;h&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;is study tries to analyze the Persian translations of, banking texts, in documentary credit section of international banking by selecting five translated books and having a linguistic view. As semantics is one of the main principles studied in linguistics and on the other hand, transfer of the meaning is one of the main issues in translation studies, therefore, some equivalents in these texts were analyzed by a mixed linguistic and translation view with descriptive-analytic method based on library resources. Findings show that applying three approaches of, structural semantics, in linguistics including units of the same field, componential analysis, and sense (conceptual) relations, by specifying conceptual relationships as well as subtle componential differences among different units of the same field, lead to the appropriate and accurate equivalent selection (making)s related to different types of documentary credits (according to the different meaning components including contractual, documentary, guarantee and commercial nature), different insurance documents (according to the different meaning components including certificate, contractual, with no time and monetary limit and declaration nature), different charges (according to the different meaning components including percentage calculation, services or advices, all kinds of charges and imposed nature), different sendings (according to the different meaning components including electronic and non- electronic nature), different drawings and shipments (according to the different meaning components including with or without previously timetabled nature), as well as different receivings (according to the different meaning components including in courier place or sender place nature). In conclusion, these three approaches of, structural semantics, by helping the realization of meanings, lead to the accurate and correct selection (making) of equivalents and in some cases prevent the Persian language from&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;the influence(s) of other languages in translations of these texts.&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Banks, as one of the most important economic pillars which need relations and transactions in international sections, used the international banking rules and customs and practices as one of the ways for establishing such relations and transactions. Many translations (English-Persian) in international banking texts were made by those who were experts in banking and trade fields (without linguistic or translation concerns) and consequently, some failures were found in linguistics and translation studies’ sections of these translations. As &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;&quot;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;meaning&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;&quot;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; is one of the most important issues which is studied in linguistics and from other side, transfer of it, is the main concern of translation studies, so by use of structural semantics in linguistics and also equivalence in translation studies’ viewpoints, the Persian translations of the banking texts related to documentary credit in international banking were analyzed with a descriptive-analytic method based on library resources.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;             &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Literature review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Kodirova (2021) in a paper entitled “The issue of problem translating English banking terms into Uzbek in linguistics” attempted to investigate the issues related to rendering banking terms in order to have a good translation as for banking texts, by recognizing their pragmatics, classifications and structures as well as their specific distinctive features. Based on his findings, lexical, morphological-syntactical differences of banking terms between English and Uzbek may cause a percent of mismatching of the English banking terms with Uzbek. Of course, it is noteworthy that in spite of their mismatch, no interference in semantic transfer of terms and their acceptable renderings into target language can be regarded a strong possibility of applied translation procedure. &lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;In another study, Ahmad Mukhtar Imam et al. (2020) in their paper entitled “Problems in translating economic terminology from English into Arabic and vice versa” tried to investigate problems in rendering economic terminology from English into Arabic and vice versa. In their paper, linguistic features of the texts, including technical terms, collocations, fixed terms, utilization of formal variety of language, collocational and metaphorical expressions in the discourse of commercial media were regarded vital to be investigated in order to scrutinize translators’ problems in lexical issues and their impact on rendering economic terms, selecting acceptable equivalents with same register and also common use of terms and collocations in the discourse of commercial media. Hariyanto (2019) delivered a lecture on “Problems and solutions of translating unique banking terms from English into Indonesian” (published by Atlantis Press) in which banking terms were classified into two groups (i.e., a category related to traditional services and another one to modern services). Hariyanto reckoned that the first step of rendering banking texts is to understand them and their applied terms. In line with the findings of him, the translators should not use synonyms as a proper translation method, because it may have some legal consequences. It is noteworthy that word for word translation is another translation method by which the translators try to find a counterpart when they cannot recognize target equivalents or synonyms for the source ones. As regards word for word translation, if any possibility of misunderstanding occurs, loan words can be used in the translation. Fathi-Alishah et al. (2019) in a paper entitled “English to Persian translation accuracy of rules and regulations of international banking system” undertook to scrutinize the accuracy of Persian translation of customs and practices of international banking system. According to their findings, the economic positive impact of utilizing a language as a medium for international relations in banking industry is indispensable. In addition, an improper understanding of banking documents may lead to a financial chaos in a country and its other authorized sections. &lt;span&gt;Doherty (2016) and Zralka (2007) also declare that the translation of banking texts is of great importance and professional translators should know that these types of texts are different from other texts regarding their types and aims and because of these facts, professional translators should be sensitive to these translations regarding to the way their aims and intentions are transferred.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Selection of the texts (four books) &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;was&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; mostly done among the books which were written by International Chamber of Commerce about the rules and customs and practices of documentary credit and translated to the Persian by translators of Iran International Chamber of Commerce and also were highly referred and used by those who deal with international banking and trading affairs. These books include: Incoterms 2020 (with two Persian translations), Uniform Customs and Practice for Documentary Credits (UCP600), International Standard Banking Practice (ISBP), and the last; The Guide to Documentary Credits which is a comprehensive book about documentary credit definitions, descriptions, rules, etc.). After selection of the texts, comparative analyses were done between the original texts and their translations by use of componential analysis, units of the same fields, and sense relations views of structural semantics. Before starting the description of these three views, first the necessary and suf&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;ficient conditions and prototype concepts should be defined.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Necessary condition, the condition that must be considered &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;when&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; “something” conveys its meaning and the condition that distinguishes one concept from other concepts, is considered to be the sufficient condition (Putnam, 1975). Prototypes, as central or typical member of a category according to which the rest of the members are compared, were proposed to solve some problems of necessary and sufficient conditions (Safavi, 2016, p.71-74).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Units of the same fields: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;This theory, which &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;was first introduced by Trier (1931) by other names &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;such as lexical field, semantic field and word field was finally proposed by&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Westerberg (1954) (as founder)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;and &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Trier by the names of lexical fields theory or field theory. Necessary and sufficient conditions show the similarities and differences between the words and this (these) similarity(ies) makes (-) some words to become the member of the same semantic field. These members of the same semantic field which have some components in common, are different in some other components which make them to be different from each other in the same semantic filed &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(Safavi, 2016, p.190)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Componential analysis: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Hjelmslev (1953) (by following Saussure idea that the language is as a system of interrelations) was the person who took the first step for introducing componential analysis (also introducing content figures and distinctive features). Componential analysis, provides a model for describing meaning contents of the words. For using this model, we should believe that meaning of the words consist of limited sets of units called semantic (meaning) components or features which are in contrast and different with each other in the same semantic field and make the words of the same semantic field to be different (Gandomkar, 2017, p.240)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Sense or conceptual relations: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;which was first introduced by Lyons (1968) and he had the belief that; the semantics should also describe the oppositional relations and the meaning of a word can be recognized by its meaning (sense) relations with other words. These relations include Hyponymy, Meronymy, Semantic Opposition, Portion-Mass, Member-Collection, Semantic Contrast, Polysemy, and Synonymy.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Results and Discussion&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;A&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;: Four Expressions: Letter of credit, Documentary Credit, Commercial Credit, and Standby letter of Credit which belong to the same semantic field and have some meaning components in common, but are distinguished from each other regarding the components of letter, documentary, guarantee, and commercial nature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 1&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types and Names for Documentary Credit in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br clear=&quot;all&quot;&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt; &lt;span&gt;&lt;span&gt;Table 1&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Different Meaning Components Existing in Different Yypes and Names for Documentary Credit in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Component 4: with commercial nature&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Component 3: with guarantee nature&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Component 2: with documentary nature&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Component 1: with contractual or letter nature&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Different Recognized Names for Documentary Credit&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Letter of Credit&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Documentary Credit&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Commercial Credit&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;Standby Letter of Credit&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;B:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Three Expressions: Insurance Certificate, Insurance Policy, and Declaration under an open cover belong to the same semantic field and have some components in common, but are distinguished from each other regarding the components of certificate, letter, guarantee, timeless and declaration nature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 2&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Different Types of Insurance Documents in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 2&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Meaning Components Existing in Different Types of Insurance Documents in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component4: without declarative nature&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 3: without time and space limitation nature &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 2: with contractual nature&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 1: with documentary nature&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Insurance Documents&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Insurance Certificate&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Insurance Policy&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Declaration under an Open Cover&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;C: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Four Words: Commissions, Fees, Charges, and Expenses belong to the same semantic field and have some components in common, but are distinguished from each other regarding the components of cash (receipt, payment, and transfer) (with percentage calculation), service or advice, all kinds of charges, and imposed nature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 3&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Charges in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 3&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Meaning Components Existing in Different Types of Charges in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component4: imposed expenses nature&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 3: all -inclusive charges &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 2: with service and consultant nature&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 1: with percentage nature &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Banking Charges&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Commission&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Fee&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Charge&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Expense&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;D:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Two Words: Transit and Teletransmission belong to the same semantic field and have some components in common, but are distinguished from each other regarding the component of electronic and non- electronic nature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 4&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Sendings in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 4&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Meaning Components Existing in Different Types of Charges in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 2: with electronic and internet devices&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 1: with non-electronic and non-internet devices&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Sendings in Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Transit&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Teletransmission&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;E:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Two Words: Partial and Instalment (drawing or shipment) belong to the same semantic field and have some components in common, but are distinguished from each other regarding the component of with or without previously timetabled nature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 5&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Drawings and Shipments in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br clear=&quot;ALL&quot;&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 5&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Meaning Components Existing in Different Types of Drawings and Shipments in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 2: without predetermined timetable&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 1: with predetermined timetable&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Two Different Types of Drawing and Shipment&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Partial&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Instalment&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;F: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Two words: Receipt and Pickup belong to the same semantic field and have some components in common, but are distinguished from each other regarding the component of in courier place or sender place nature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 6&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Meaning Components Existing in Different Types of Receipts in Selected Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 2: delivery in sender’s location&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Component 1:  delivery in posting center&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Different Types of Receipts in Banking Texts&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Receipt&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;+&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;-&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Pickup&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;این پژوهش &lt;/span&gt;&lt;span&gt;سعی در تحلیل ترجمه‏های فارسی متون بانکی در بخش اعتبار اسنادی از بانکداری بین‏الملل با انتخاب پنج کتاب ترجمه‌شده با نگاهی زبان‏شناختی داشته و ازآنجاکه معنی‌‌شناسی یکی از اصول اصلی &lt;/span&gt;&lt;span&gt;مورد مطالعه&lt;/span&gt;&lt;span&gt; در زبان‏شناسی است و از سوی دیگر نیز انتقال معنا و مفهوم از اصلی‏ترین موضوعات مطرح در ترجمه است، لذا با استفاده از دیدگاه معنی‌‌شناسی ساختارگرا و استفاده از نگرش‏های تحلیل مؤلفه‏ای، واحدهای هم‏حوزه و روابط مفهومی و از سوی دیگر&lt;/span&gt; &lt;span&gt;معادل‏یابی در ترجمه و با روشی توصیفی ـ تحلیلی و تکیه بر منابع &lt;span&gt;کتابخانه‏ای، برخی معادل‏یابی‌(سازی)‏های موجود در ترجمه‏های این متون مورد تحلیل قرار گرفتند. یافته‏های پژوهش نشان می‏دهد که به‌کارگیری این سه نگرش با مشخص&lt;/span&gt; &lt;span&gt;ساختن روابط مفهومی و همچنین تفاوت‏های ظریف مؤلفه‏ای در میان واحدهای هم‏حوزه سبب معادل‏گزینی‌(سازی)‏های مناسب و دقیق &lt;/span&gt;&lt;span&gt;برای&lt;/span&gt; &lt;span&gt;انواع اعتبار اسنادی (با توجه به مؤلفه‏های &lt;/span&gt;&lt;span&gt;با &lt;/span&gt;&lt;span&gt;ماهیت قراردادی یا نامه‏ای، اسنادی، ضمانتی و تجاری)&lt;/span&gt;&lt;span&gt;؛ انواع سند بیمه (با توجه به مؤلفه‏های &lt;/span&gt;&lt;span&gt;با ماهیت گواهی و سند استدلالی، قراردادنامه‏ای، بدون محدودیت زمانی و مبلغ و اظهارگونه)&lt;/span&gt;&lt;span&gt;؛ انواع کارمزدهای بانکی (با توجه به ماهیت‏های &lt;/span&gt;&lt;span&gt;کارمزد با محاسبۀ درصدی، ارائۀ امکانات&lt;/span&gt; &lt;span&gt;و مشاوره، تمامی هزینه‏های در جریان اجرای یک دستور و مخارج تحمیلی)؛ انواع&lt;/span&gt;&lt;span&gt; ارسال &lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;)&lt;/span&gt;&lt;span&gt;با توجه به &lt;/span&gt;&lt;span&gt;مؤلفه‏های ارسال با استفاده از وسایل غیرالکترونیکی و غیراینترنتی و ارسال با استفاده از آن‏ها)؛&lt;/span&gt;&lt;span&gt; انواع شیوه‏های پرداخت و حمل (با توجه به مؤلفه‏های &lt;/span&gt;&lt;span&gt;با جدول زمان‏بندی ازپیش‌تعیین‌شده و بدون آن)؛&lt;/span&gt;&lt;span&gt; و انواع دریافت (با توجه به مؤلفه‏های&lt;/span&gt; &lt;span&gt;دریافت در محل شرکت پیک و در محل فرستنده) در ترجمه‏های این متون &lt;/span&gt;&lt;span&gt;می‏گردند. به‏طور کلی این نگرش‏ها با کمک به تشخیص معنا، سبب گزینش (ساخت) معادل‏های مناسب و دقیق در ترجمه‏ها و در برخی موارد نیز سبب حفظ زبان فارسی از ورود و تأثیر زبان‏های بیگانه در این‏گونه از متون می‏شوند.&lt;/span&gt;&lt;br&gt;</OtherAbstract>
		<ObjectList>
			<Object Type="keyword">
			<Param Name="value">تحلیل مؤلفه‌ای</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">متون بانکی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">معنی‌‌شناسی ساختارگرا</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">دانش ترجمه‌ای</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">معادل‌یابی در ترجمه</Param>
			</Object>
		</ObjectList>
<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7402_b6846b0186a035fcc76b1b1d26fd42fa.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>The Semantic Interpretation of Idiomatic Compound Verbs in Farsi</ArticleTitle>
<VernacularTitle>خوانش معنایی افعال مرکب اصطلاحی در زبان فارسی</VernacularTitle>
			<FirstPage>143</FirstPage>
			<LastPage>176</LastPage>
			<ELocationID EIdType="pii">7403</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.5</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>مهدی</FirstName>
					<LastName>سبزواری</LastName>
<Affiliation>استادیار گروه زبان‌شناسی دانشگاه پیام‌نور، واحد تهران، تهران، ایران</Affiliation>
<Identifier Source="ORCID">0000-0002-7471-7931</Identifier>

</Author>
<Author>
					<FirstName>ذلیخا</FirstName>
					<LastName>عظیم دخت</LastName>
<Affiliation>دکتری زبان‌شناسی، دانشگاه اصفهان، اصفهان، ایران</Affiliation>
<Identifier Source="ORCID">0000-0003-0008-5713</Identifier>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Compound verbs are among the important linguistic categories in different languages which have been the subject of many studies from different aspects of syntactic, semantic, and cognitive researches. &lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;A compound verb can be said that is a verb formed from two (or even more) parts: a verb, and mostly a noun, or an adverb or a preposition. &lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;A compound verb functions as a single verb. It has two components one of which is a light verb , which carries inflections&lt;span&gt;&lt;span&gt;,&lt;/span&gt;&lt;/span&gt; and it contributes to some extent to the whole meaning. The other part is typically a noun which bears the most of the semantics of a compound. In this paper, the semantic features of idiomatic compound verbs of the spoken Farsi are described and analyzed to reach out the possible explanation behind the semantic reading of those compound verbs in Farsi. This non-compositionality results in opacity and it is not easy for Farsi learners to guess the meanings. A new non-compositional hypothesis are proposed in this paper which explains the process of interpretation and reading of an idiomatic compound verb is essentially based on the non-verbal element of the compound and the figurative and idiomatic meaning is activated based on a marked collocation with a verb with which the non-verbal part has no semantic compositionality. This hypothesis is called Three-layered reading of idiomatic compounds.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Compound verb formation is a frequent and ongoing process in Farsi. It could be considered as a creative linguistic phenomenon. Persian compound verbs are the composition of a nonverbal element and a verbal element; the nonverbal elements include nouns, adjectives, adverbs, prepositional phrases, and particles. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As Wyatt describes it, phrasal verbs sometimes have meanings that you can easily guess (for example, sit down or look for). However, in most cases, their meanings are quite different from the meanings of the verb they are formed from. For example, hold up can mean &#039;to cause a delay&#039; or &#039;to try to rob someone&#039;. The original meaning of hold (for example, to hold something in your hands) no longer applies.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Verbal elements comprise some Persian simple verbs which are called light verbs according to Jespersen’s definition. The light verb is a simple verb that has undergone semantic bleaching (Vahedi langroodi, 1996; Karimi-Doostan, 1997; 2005). It can be said that a compound verb is a verb that is composed of one or more nonverbal components and a simple or compound verbal component. Compound verbs could be divided into two categories from a semantic point of view: composites and idiomatic (Karimi, 1997). In composite verbs, the meaning of the verb is somehow predictable from the meaning of its components; transparent, semi-transparent, or semi-ambiguous.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Despite many studies on morphologically complex and compound nouns, studies on morphologically complex and compound verbs are rare (e.g., Smolka et al., 2009; Smolka et al., 2010 for German; Feldman et al., 2002 for Serbian; among others). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Guevara and Scalise believe (2009: 125) that it is remarkable the literature has dedicated a great deal of attention to just one case in compounding [...] that is endocentric subordinate right-headed [N+N]N compounds. While this pattern is certainly the canonical instance of compounding in the world’s languages, it is by no means the only one. Future work on the typology and the theory of compounding will necessarily have to shift the tendency shown until now by concentrating on the analysis of the many remaining compound types.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;There is a considerable literature of study on compound verbs in Farsi by different scholars, namely, Lambton (1984), Bateni (1969), sadeghi(1970), khanlari (1976) ,windfuhr (1979), Mohammad and karimi (1992), Ghomeshi (1996), Vahedi langroodi ( 1996), Dabir Moghadam (1997), Karimi-Doostan (1997; 2005). Khanlary (2004) states that compound verbs will gradually replace simple verbs in modern Persian and this process started in the 13th century.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In this paper, the morpho-semantics features of compound verbs of Farsi are described and analyzed to reach out to the possible patterns behind the semantic complexity of those compound verbs in Farsi. Around 180 idiomatic verbs from spoken Persian in Tehran were collected and several sample verbs were analyzed individually to testify three-layered reading of idiomatic compounds which is the main hypothesis of this research.  &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Bagasheva (127) states clearly that among the problems of compounds and compounding (including CVs) which are still at the center of ongoing debates, we find the interpretation of compounds as syntactic or morphological objects (Bisetto &amp; Scalise, 1999; Neeleman &amp; Ackema 2004, etc.); their properties as lexicalized objects or as the products of fully productive morphology, i.e. are they lexicalized items or morphological objects? (Gaeta &amp; Ricca, 2009); issues over their headedness, is it as a unified concept or as a parameterized one (Lieber, 2004; Scalise &amp; Guevaram, 2006; Scalise et al., 2009, etc.); the nature of their basic onomasiological function – naming or descriptive; the nature of their processing as on a situation computation online or as retrieval of stored ready-made lexical units (Libben &amp; Jarema, 2006); the nature of their internal semantics in terms of compositionality (Benzces, 2006; Bundgaard et al., 2006; 2007); the status of their constituents as words or roots/stems or something else entirely (Trask, 1999; Bauer, 2005).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Dabir Moghadam (1997) intends to show there are two major types of compound verb formation in Persian: combination and incorporation. He supports his claim with different arguments. He mentions four major differences between compound verbs via incorporation and those formed by combination. He claims that semantically the verbs formed via combination and incorporation constitute conceptual wholes. He also suggests that compounds formed through direct-object incorporation and compounds that are the result of the combination of adjectives and auxiliaries do not need to be included as separate entries in Persian dictionaries since they are semantically transparent. The last feature suggests that compound–verb formation through incorporation is productive and the compound itself is referentially transparent, whereas compound-verb formation via combination is relative to incorporation, limited to productivity, and the compound usually involves metaphoric extension. There are hundreds of compound verbs in everyday usage of Farsi language among which one can find a large portion with idiomatic meaning. The most transparent compound verbs of Farsi are incorporated ones that are not completely lexicalized. The typical and most frequent compound verbs have lexical entries in the lexicon which means they do not have semantic compositionality and hence opaque in meaning. However, there are a lot of idiomatic compound verbs in Farsi which have figurative meaning. In this function, the usage of compound verbs is very high among Farsi speakers and the process of emerging idiomatic compound verbs is highly creative. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;There are different reports on the number of Persian simple verbs; Khanlary (2004), for instance, suggests 279 verbs, Sadeghi (1994) discusses 115 verbs and Family (2006) talks about 160 verbs and this shows that Persian native speakers intend to use the productive combination of compound verbs to express verbal concepts and the usage of simple verbs is decreasing intensively. The specific feature of Persian compound verbs which is rare in other languages has motivated the Iranian and non-Iranian linguists to provide different analyses of this structure from different approaches (Bagherbeigi &amp; Shamsfard ,2012).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Many compound verbs in Farsi have no literal or compositional meaning. This non-compositionality results in opacity, and it is not easy for Farsi learners to guess the meanings. To be non-compositional does not mean to have a figurative meaning, although we can find many compound verbs in Farsi with a metaphorical and figurative meaning. The examples below show compound verbs which are opaque and non-compositional:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Man zamin khordam.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;I       ate      ground&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;I fell down.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“Khordan” is a light verb meaning to eat but as a light verb here has no semantic content. In the following example, “khordan” is a light verb in the compound verb and it has figurative meaning and it is still opaque:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Harfamo kordam va chizi nagoftam.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;My speech ate and nothing was said.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;I kept from and said nothing.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Some Iranian linguists as Dabir Moghadam suggests ghaza khordan(to eat food) in the following example as a case of incorporation. It could be understood as transparent and compositional:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Zara diruz ghaza khord.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Zara yesterday food ate.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Zara ate food yesterday.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Regardless of discussions on this issue if these types of incorporating verbs as “Ghaza Khordan” could be considered a compound verb or not, it seems that as long as it has not been lexicalized as a single verb and untied concept in the minds of Farsi speakers it leaves many debates. In a typical compound verb, the light verb lacks its semantic base and adds some meaning and it bears inflection but in incorporation as “Ghaza khordan” as it was seen the light verb has the core meaning and determines the output of the compound.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As another example, we have the light verb “Zadan” which could be found in several compounds in Farsi. It has lexical meanings of &quot;to hit&quot; and &quot;to strike&quot;. Although the literal translation gives a figurative meaning, the intended meaning is not figurative. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Opaque and non-compositional:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;?U dor zad.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Transparent and compositional:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Doostam ra kotak zadand.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;My friend  OBJ-marker drub hit.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;They hit/drubbed my friend.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;A noun in the formation of a compound verb has a collocation with some light verbs. The process of compound verb formation follows some semantic restrictions. Hence, it is not general but rather it is a single lexical entry that has combinational meaning and complex form with its specific collocation. Compounding by itself is generative in Farsi. Many simple verbs in English have a compound equivalent in Farsi. For example:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;English verbs&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Farsi verbs&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	
	
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;organize &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;sazman dehi kardan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;invite            &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;davit kardan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;develop                              &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;tose dadan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;mobilize                     &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;harekat kardan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;call          &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;seda/zang zadan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;postpone          &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;be takhir andakhtan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;push                   &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;feshar dadan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;change&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;taghir dadan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;encounter                  &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;movajeh shodan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;discuss        &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;bahs kardan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;observe&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;moshahede kardan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
		
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;lie                                                                 &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
			&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;dorough goftan&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
		
	

&lt;span&gt;&lt;span&gt;&lt;span&gt;                                                    &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As it could be seen many concepts which are expressed by a simple verb in English have compound verbs equivalent in Farsi. The reason could be said to be the analytical tendency of Farsi language which moves toward more compounding while uses less derivation and inflection forms. Farsi had an inflectional tendency regarding morphological typology in the old and middle era of its history.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;A native language can easily realize that a compound has a figurative meaning though its form is far from being ambiguity. As an example in &quot; kolah gozashtan&quot; which means to cheat some and take his/her money, a Farsi speaker knows that it has nothing to do with its literal meaning that is &quot;to put hat on someone&#039;s head&quot;. If he/she hears the following sentence:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;U               sare     man(ra)   kolah gozasht.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;He/She      head     me(OBJ-marker)        hat     put. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;He/she cheated me.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;A Farsi speaker takes for granted its figurative meaning as its intentional meaning and he understands it just in the meaning of cheating. However, if the sentence is with the following structure there is no compounding involved and the primary meaning is lexical:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;U           kolah       ro                  sare      man    gozasht.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;He/she the OBJ+marker    head     my      put&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;He/She   put the hat on my head.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As it could be found from the examples if we could separate the noun from the vector, there is no compounding anymore and the result is a simple verb and its object. The non-separation in a compound verb is a key issue that results in a single entry with specific features and meanings. A typical compound could have a lexical or figurative meaning but its noun could not be regarded as its object.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Three-layered reading of idiomatic compounds was proved to work for the semantic analysis of idiomatic compound verbs in Persian. Regarding meaning transparency a cline could represent three different kinds of compound verbs from the transparent one to the opaque kind which could be represented as follows:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Incorporated compound verbs              metaphorical compound verbs                idiomatic compound verbs&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;  &lt;span&gt;&lt;span&gt;&lt;span&gt;(transparent)      (semi-transparent/opaque)          (opaque)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;پژوهش حاضر در تلاش است به تبیین خوانش معنایی افعال مرکب اصطلاحی در گونۀ گفتاری فارسی تهرانی بپردازد. در این راستا، ضمن معرفی اجمالی فرضیه‌های مطرح در مدل‌های غیرترکیبی، فرضیه‌ای جدید با عنوان فرضیۀ خوانش سه‌لایه‌ای پیشنهاد خواهد شد که فرایند خوانش افعال مرکب اصطلاحی را توصیف می کند. داده‌های پژوهش حاضر را 181 نمونه از افعال مرکب اصطلاحی در گونۀ گفتاری فارسی تهرانی تشکیل می‌دهند که از طریق ثبت میدانی و براساس شم زبانی پژوهشگران گردآوری شده‌اند. افعال مذکور تیره و ترکیب‌ناپذیرند و طبق فرضیۀ خوانش  سه‌لایه‌ای، در لایۀ اول معنی حقیقی جزء غیرفعلی، سپس، در لایۀ دوم معنی مجازی جزء غیرفعلی و در لایۀ سوم معنی حقیقی جزء فعلی در مواردی همراه با توسیع معنایی تجمیع می‌شوند و درنهایت معنی اصطلاحی فعل مرکب را شکل می‌دهند. نتایج این بررسی حاکی از آن است که هستۀ معنایی فعل مرکب اصطلاحی، همان مفهوم حقیقی و کانونی جزء غیرفعلی است که مفهوم مجازی آن براساس هم‌نشینی با جزء فعلی فعال می‌شود و با تجمیع معنایی این دو، معنای نهایی و تیره و ترکیب‌ناپذیر مرکب اصطلاحی شکل می‌گیرد. علاوه‌بر این، نکته‌ای که در بررسی این دسته از افعال مرکب در گونۀ گفتاری نمایان می‌شود این است که قرار گرفتن جزء فعلی که نوعی ترکیب‌پذیری یا  هم‌نشینی معنایی با جزء غیرفعلی ندارد، عامل فعال شدن معنای مجازی جزء غیرفعلی و درنهایت، شکل‌گیری معنی اصطلاحی می‌شود و این مسئله بیانگر اهمیت جزء فعلی در خوانش اصطلاحی این افعال است. ارائۀ فرضیۀ خوانش سه‌لایه‌ای برای افعال مرکب اصطلاحی دستاورد اصلی پژوهش حاضر است.&lt;/span&gt;&lt;br&gt;</OtherAbstract>
		<ObjectList>
			<Object Type="keyword">
			<Param Name="value">افعال مرکب اصطلاحی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">خوانش معنایی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">فرضیۀ خوانش سه‌لایه‌ای</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">فارسی گفتاری</Param>
			</Object>
		</ObjectList>
<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7403_84e8ce7870f0eecd843366582bb95a28.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Studentsâ Sapioemotionality and its Manifestation in Persian Language Textbooks in Junior High Schools</ArticleTitle>
<VernacularTitle>هیجان نخبه‌بینی دانش‌آموزان و بازتاب آن در کتاب‌های فارسی دورۀ متوسطۀ دوم</VernacularTitle>
			<FirstPage>177</FirstPage>
			<LastPage>209</LastPage>
			<ELocationID EIdType="pii">7404</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.6</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>شیما</FirstName>
					<LastName>ابراهیمی</LastName>
<Affiliation>استادیار آموزش زبان فارسی، دانشگاه فردوسی مشهد، مشهد، ایران</Affiliation>
<Identifier Source="ORCID">0000-0003-3528-1386</Identifier>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Education’s pivotal role in shaping cultural and identity elements is evident in its influence on both individuals and elites. This study explores sapioemotionality, referring to the emotional responses experienced by junior high school students when encountering elites. Persian language textbooks are considered crucial for cultural awareness. This study examines the portrayal of elites in these textbooks. Sapioemotionality, encompassing positive and negative convergence and divergence at individual and social levels, focuses on emotions elicited by elites’ presence. A total of 917 junior high students from various disciplines and levels participated in the study, completing the Sapioemotionality Questionnaire. The findings indicate significant gender disparities, with girls exhibiting higher sapioemotionality and a specific fascination with female elites. Tenth-grade students exhibited higher levels of sapioemotionality, which varied depending on their field of study. Mathematics-physics students demonstrated lower levels of sapioemotionality compared to literature and humanities, and experimental sciences students. A qualitative analysis of Persian Language textbooks, suggesting a shortfall in addressing sapioemotionality, with 76% of students perceiving a lack of attention to elites. These necessities textbook revisions that align with students’ emotional responses and cultural values, ensuring a more engaging and culturally relevant educational experience.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The Curriculum Development Council prioritizes integrating Iranian identity into language and Persian literature textbooks, viewing them as key tools for cultural communication and motivation. Improving these textbooks, particularly in terms of cultural and identity elements, is a top priority for educational authorities. Additionally, individuals’ attitudes toward elites and celebrities, integral to national identity, can be shaped through textbooks that highlight their achievements.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Acknowledging the significance of investigating attitudes towards elites, the concept of “sapioemotionality” assesses emotions at individual and societal levels. The challenge of identity formation during adolescence further highlights the significance of socialization in shaping attitudes, emphasizing the critical role of textbooks in this process.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;This study aims to examine Persian textbooks in grades ten to twelve as an effective tool for introducing Iranian culture, across various disciplines of literature and humanities, experimental sciences, and mathematics-physics. Initially, students’ sapioemotionality levels are assessed to gain insights into their emotional responses to elites. Additionally, students’ satisfaction with the portrayal of elites is evaluated. This is then compared with their sapioemotionality levels to assess the alignment between textbook content and students’ emotional responses. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.2. Research Questions&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Is there a significant difference in sapioemotionality between individual and societal levels among junior high school students?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Is there a significant difference in sapioemotionality between female and male junior high school students at individual and societal levels?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Is there a significant difference in sapioemotionality among junior high school students enrolled in different academic disciplines?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Is there a significant difference in sapioemoionality among junior high school students pursuing different academic disciplines?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;5-  How have elites and celebrities been portrayed in Persian textbooks (1) , (2), and (3) for junior high school?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2.1. Sapioemotionality &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Sapioemotionality, introduced by Pishghadam et al. (2021), focuses on individuals’ attitudes toward elites in shaping societal culture and national identity. This constructivist concept explores emotional responses to elites, considering positive/negative convergence and positive/negative divergence at individual and societal levels.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Positive Convergence: High sapioemotionality at both levels indicates high societal value and appreciation for elites.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Negative Convergence: Low sapioemotionality at both levels implies societal indifference or negativity toward elites.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Positive Divergence: High individual, low societal sapioemotionality suggests personal inclination toward elites not shared by society.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Negative Divergence: Low individual, high societal sapioemotionality indicates societal encouragement despite individual disinterest.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;These nuances provide insights into emotional responses to elites, especially in academic settings. The study aims to understand sapioemotionality convergence and divergence across different dimensions, illustrated in Figure 1 (Pishghadam et al., 2021).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 1&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Sapioemotionality Dimensions&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The results of the study by Pishghadam et al. (2021) indicate a positive divergence trend in Iranian society, where individuals aspire to interact with elites amidst a lack of societal support. This imbalance has contributed to a decline in the value placed on knowledge and academic achievement in the academic environment. If this persists, despite efforts to foster elitism, the study suggests a decline in possible elitism among adolescents, as evidenced in educational textbooks, particularly Persian ones. The content analysis of these books is critical for introducing Iranian culture to students, emphasizing the focus of the present research.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;This research adopts a mixed-methods approach, combining a qualitative analysis of Persian textbooks for the second year of secondary education alongside a concurrent quantitative investigation of sapioemotionality among tenth to twelfth-grade students across various disciplines of literature and humanities, experimental sciences, and mathematics-physics.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. 1. Participants&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The study encompasses 917 students (627 females, 290 males) aged 15 to 19, distributed across tenth (n = 413), eleventh (n = 257), and twelfth grades (n = 247) in literature and humanities (n = 509), experimental sciences (n = 309), and mathematics-physics (n = 99). Participants responded to the Sapioemotionality Questionnaire.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3.2. Research Tools&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The quantitative data were collected by Sapioemotionality Questionnaire, developed by Pishghadam et al. (2021), who established the validity and reliability of the scale (Cronbach&#039;s alpha 0.88). This 10-item questionnaire measures sapioemotionality at individual and social levels.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the qualitative phase, student satisfaction with how elites are portrayed in Persian textbooks for junior high schools is assessed. These textbooks, across various disciplines, contribute to the national identity of being elite. The content of the textbooks is subjected to a qualitative analysis, involving a comparison of different chapters and lessons.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3.3. Data Collection Procedures&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Quantitative data were collected online through the distribution of the Sapioemotionality Questionnaire to students nationwide. The data were analyzed in SPSS (Ver. 21) using a one-way ANOVA for statistical evaluation.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;                                                                                   4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The paired sample t-test revealed that among junior high school students, sapioemotionality at the individual level exceeded the social level (t(916) = 31.13, p = 0.00). An independent t-test showed that female students had higher sapioemotionality than males at the individual level (t(915) = 3.45, p = 0.001). In comparison, female students exhibited higher sapioemotionality than males at the social level (t (915) = 3.88, p = 0.00).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Regarding sapioemotionality across grades, a one-way ANOVA indicated a significant difference (F(2, 914) = 6.92,  p = 0.001). Pairwise comparisons revealed higher sapioemotionality in tenth-grade students (36.63), compared to eleventh-grade (35.55) and twelfth-grade students (35.07). No significant difference was found between eleventh and twelfth-grade students. One-way ANOVA showed significant differences among literature and humanities, experimental sciences, and mathematics-physics students (F(2, 914) = 6.92, p = 0.001). Pairwise comparisons revealed lower sapioemotionality in mathematics-physics students (34.21), compared to literature and humanities (35.87) and experimental sciences students (36.17). No significant difference was observed between students of literature and humanities and students of experimental sciences.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;After analyzing the textbooks, it was found that attention to elites was limited. This prompted a qualitative question in the Sapioemotionality Questionnaire. In fact, 76% of students believed that there was little attention, 19% felt there was moderate attention, and only 5% believed there was significant attention. This lack of attention raised concerns given the potential impact on students’ behavioral and performance models during the identity crisis period.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;Considering the emotional weight of language, it is crucial to align educational content with students’ interests. The research suggests tailoring attention to elites in textbooks based on gender characteristics and age to cultivate cultural values. The study emphasizes the need for future research on “emolings” related to elites in educational content, aiming for a more nuanced discourse and positive sapioemotionality.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;نهاد آموزش و پرورش نقش بسزایی در معرفی مؤلفه‌های فرهنگی دارد و کتاب‌های درسی در آگاهی‌بخشی نسبت به شخصیت‌ها و مشاهیر حائز اهمیت هستند. در پژوهش حاضر، میزان هیجان نخبه‌بینی دانش‌آموزان دورۀ متوسطۀ دوم و رضایتمندی آنان از چگونگی پرداختن به مشاهیر و نخبگان در کتاب‌های فارسی، مورد بررسی قرار گرفته است. این هیجان به میزان برانگیخته شدن هیجانات که هنگام دیدن یا شنیدن درمورد نخبگان در فرد ایجاد می‌شود، اشاره دارد و در دو سطح انفرادی و اجتماعی دارای ابعاد همگرایی و واگرایی مثبت/منفی است. از آن‌جایی‌که مشاهیر، شاعران و نویسندگان از عناصر تشکیل&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;دهندۀ زبان فارسی و هویت ایرانیان هستند، نگارنده در پژوهش حاضر آنان را به&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;عنوان شخصیت‌هایی برجسته درنظر گرفته و با استفاده از پرسش‌نامۀ هیجان‌ نخبه‌بینی  (&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;Pishghadam et al., 2021&lt;/span&gt;&lt;span&gt;)، به بررسی هیجان نخبه‌بینی 917 دانش‌آموز دختر و پسر (میانگین سنی 16.51 سال) دورۀ متوسطۀ دوم (پایه‌های دهم، یازدهم و دوازدهم) در رشته‌های ادبیات و علوم انسانی، علوم تجربی و ریاضی‌فیزیک پرداخته است. نتایج آزمون تی نشان داد که هیجان نخبه‌بینی دختران در سطوح انفرادی و اجتماعی بالاتر از پسران است و آنان تمایل بیشتری به نخبگان و مشاهیر به&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;ویژه مشاهیر خانم نشان دادند. آزمون تحلیل واریانس یک‌طرفه و مقایسۀ زوجی میان پایه‌های تحصیلی نشان داد که میزان هیجان‌ نخبه‌بینی دانش‌آموزان پایۀ دهم از دو پایۀ دیگر بیشتر است و دانش‌آموزان رشتۀ ریاضی‌فیزیک هیجان نخبه‌بینی کم&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;تری نسبت به دو رشتۀ دیگر دارند که به‌نظر می‌رسد به دلیل ماهیت رشتۀ تحصیلی آنان است.  بررسی کیفی کتاب‌های فارسی این دوره نشان می‌دهد که میزان توجه به نخبگان و مشاهیر در حد ارائۀ اثری کوتاه از شاعران است که این امر با نیازهای نخبه‌بینی دانش‌آموزان هم&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;راستا نیست و 76 درصد از دانش‌آموزان معتقدند توجهی به نخبگان و افراد برجسته در کتاب‌های فارسی نشده است و این مهم، لزوم بازنگری کتاب‌ها را بر مبنای نیازهای هیجان نخبه‌بینی دانش‌آموزان و زباهیجان‌های فرهنگی روشن می‌سازد.&lt;/span&gt;&lt;br&gt;</OtherAbstract>
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			<Param Name="value">دورۀ متوسطۀ دوم</Param>
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			<Param Name="value">همگرایی</Param>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7404_dcc5c249e15c211f21e1da0f3ba66169.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Differential Object Marking in Persian  A Typological Review of the Object Marker ârÄâ</ArticleTitle>
<VernacularTitle>مفعول‌نمایی افتراقی در زبان فارسی: بازنگری رده‌شناختی نشانۀ مفعول مستقیم</VernacularTitle>
			<FirstPage>211</FirstPage>
			<LastPage>244</LastPage>
			<ELocationID EIdType="pii">7405</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.7</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>ارسلان</FirstName>
					<LastName>گلفام</LastName>
<Affiliation>دانشگاه تربیت مدرس، دانشکدۀ علوم انسانی، گروه زبان شناسی</Affiliation>

</Author>
<Author>
					<FirstName>صالح</FirstName>
					<LastName>طباطبایی</LastName>
<Affiliation>دانشگاه تربیت مدرس، دانشکدۀ علوم انسانی، گروه زبان شناسی</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The linguistic phenomenon of differential object marking (DOM) has long been recognized as a basis for typological categorization of world languages in terms of how the direct object is case-marked. Yet, DOM in Farsi constitutes a source of contention among linguists. Some of them maintain that DOM actually exists in Farsi where they assert some types of the direct object are case-marked with “rā,” but, on the contrary, others give counterexamples for each instance to prove that is not the case. That is why some Iranian linguists have entirely abandoned the idea of DOM in Farsi and assigned “rā” a new functional role other than an object case-marker. By elucidating the theoretical bases of DOM in general, the present analytical review aims to apply a new approach to how “rā” is used in Farsi sentences with transitive verbs. The approach not only proposes explanations for the aforesaid counterexamples, but also attempts to restore its grammatical role as the case-marker of the direct object to “rā” by introducing a new viewpoint on DOM in Farsi. Thus, by establishing a grammatical role to “rā” as a marker of some kinds of direct objects, the present paper has attempted to redefine DOM in Persian. It is hoped that future corpus-based studies about the relative frequencies of “rā” occurrences in Persian sentences will lend evidential support to this theoretical approach.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Differential object marking (DOM) is a linguistic phenomenon in over 300 world languages where the object of a verb can be either case-marked or unmarked, depending on a number of factors. These factors usually have something to do with the prominence of the object, that is, characteristics such as its definiteness, specificity and/or animacy. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;But regarding the Persian language, there have been widespread disputes among linguists about the occurrence of DOM in this language thus far. Some linguists have focused on the use of &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;in Farsi, which sometimes comes after the direct object of a transitive verb and sometimes not, and claimed that only some direct objects are marked with &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;, providing evidence for the occurrence of DOM in Farsi. For instance, it has been asserted that &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; is associated only with definite and/or specific objects, and it does not necessarily come after the other types of objects. Other linguists, however, have promptly given counterexamples from Farsi to &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;refute such claims as lacking comprehensiveness. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The present paper attempts to answer the question whether it is possible to resolve all those counterexamples against the object-marking role of &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;by presenting a new theoretical basis, restoring the grammatical role to &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;in Persian sentences with transitive verbs. Thus, by applying a theoretical framework that was first used by Judith Aissen elsewhere, the present analytical review shows how it is possible to settle almost all the disputes over DOM in Farsi. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Therefore, as noted above, our main research question is as follows: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Is it theoretically possible to restore to &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; &lt;span&gt;its grammatical role as the case-marker of some direct objects &lt;/span&gt;in Farsi, resolving the counterexamples given so far in order to disprove claims about the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;occurrence of DOM&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;  in Farsi&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;? Our hypothesis is that with the help of a theoretical framework applied otherwise by Aissen, it is possible to do that. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The fact that whether DOM actually occurs in Farsi has long been the subject of discussions among linguists. Comrie (1989, pp. 132-133) associated the direct object&#039;s markedness in Farsi with the definiteness, and claimed that the Persian direct object is marked with &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;only if it is definite. However, this is a claim that many other linguists have disputed over (e.g. see: Browne, 1970; Dabir-Moghaddam, 1990; Lazard, 1982, 1984; Lambton, 1984; Karimi , 1989, 1990; Natal Khanlari, 1999; Shokouhi &amp; Kipka, 2003; Peterson, 1974; Roberts, 2005; Rahimian &amp; Hajiani, 2009; Rasekh Mahand, 2010; Sadeghi, 1999).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The American linguist Judith Aissen has &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;attempted &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(2003) &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;to explain DOM using the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;optimality theory,&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;based on the harmonious alignment of the grammatical relation between the subject and the object according to the dimensions of animacy and definiteness (see Fig. 1).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 1&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Relative Markedness on the Scales of Animacy and Definiteness&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;: (&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;a) Animacy Scale: Human &gt; Animate &gt; Inanimate; (b) Definiteness Scale: Personal Pronoun &gt; Proper Name &gt; Definite NP &gt; Indefinite Specific NP &gt; Non-Specific NP (Aissen, 2003).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
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&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br clear=&quot;ALL&quot;&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The purpose of tables and figures in documents is to enhance your the readers’ understanding of the information presented in the document. It is much lucid and efficient &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;According to Aissen, “It is those direct objects which are most in need of being distinguished from subjects that get overtly case-marked. This intuition is sometimes expressed as the idea that the function of DOM is to disambiguate subject from object” (Aissen, 2003, p. 437). In the present paper, the very theoretical framework is applied to the current issue of DOM in Farsi, though surprisingly Aissen&#039;s view of DOM in Farsi does not differ from a properly challenged view by Lazard in this regard &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Aissen, 2003, pp. 468-471). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As Aissen noted, the more prominent the direct object is, the more likely it is to be case-marked, because &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“the function of DOM is to disambiguate subject from object” &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Aissen, 2003&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;, p. 437). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Accordingly, if the prominence of the object is so much that it is not possible to clearly distinguish the subject from the object, the object must be marked compulsorily, and when the prominence of the object is less than this limit, the object can be marked optionally, and, finally, if there is no ambiguity in distinguishing the subject from the object, there is no need to mark the object (see the Table 1). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 1&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Differential Object Marking in Farsi, Based on the  Relative Prominence  of  Object/Subject: A definite object  with a definite subject (either specific or unspecific) must  be  marked with &quot;rā&quot; (the first column); An indefinite , specific object with an indefinite subject (either specific or unspecific) must  be  marked with &quot;rā, but with a definite subject, it can  optionally be marked with &quot;rā&quot; (the second column);  An indefinite, unspecific object with an indefinite, unspecific subject  must  be  marked with &quot;rā &quot;, but with an indefinite, specific subject, it can optionally be  marked with &quot;rā &quot;, while with a  definite subject, it is used either  with  or  without &quot;rā &quot;, depending on its dimension of  animacy (the third column).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
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&lt;br clear=&quot;ALL&quot;&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Differential object marking (DOM) is a linguistic phenomenon in over 300 world languages where the object of a verb can be either case-marked or unmarked, depending on a number of factors. These factors usually have something to do with the prominence of the object, that is, characteristics such as its definiteness, specificity and/or animacy. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;But regarding the Persian language, there have been widespread disputes among linguists about the occurrence of DOM in this language thus far. Some linguists have focused on the use of &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;in Farsi, which sometimes comes after the direct object of a transitive verb and sometimes not, and claimed that only some direct objects are marked with &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;, providing evidence for the occurrence of DOM in Farsi. For instance, it has been asserted that &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; is associated only with definite and/or specific objects, and it does not necessarily come after the other types of objects. Other linguists, however, have promptly given counterexamples from Farsi to &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;refute such claims as lacking comprehensiveness. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The present paper attempts to answer the question whether it is possible to resolve all those counterexamples against the object-marking role of &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;by presenting a new theoretical basis, restoring the grammatical role to &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;in Persian sentences with transitive verbs. Thus, by applying a theoretical framework that was first used by Judith Aissen elsewhere, the present analytical review shows how it is possible to settle almost all the disputes over DOM in Farsi. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Therefore, as noted above, our main research question is as follows: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Is it theoretically possible to restore to &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; &lt;span&gt;its grammatical role as the case-marker of some direct objects &lt;/span&gt;in Farsi, resolving the counterexamples given so far in order to disprove claims about the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;occurrence of DOM&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;  in Farsi&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;? Our hypothesis is that with the help of a theoretical framework applied otherwise by Aissen, it is possible to do that. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The fact that whether DOM actually occurs in Farsi has long been the subject of discussions among linguists. Comrie (1989, pp. 132-133) associated the direct object&#039;s markedness in Farsi with the definiteness, and claimed that the Persian direct object is marked with &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“rā”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;only if it is definite. However, this is a claim that many other linguists have disputed over (e.g. see: Browne, 1970; Dabir-Moghaddam, 1990; Lazard, 1982, 1984; Lambton, 1984; Karimi , 1989, 1990; Natal Khanlari, 1999; Shokouhi &amp; Kipka, 2003; Peterson, 1974; Roberts, 2005; Rahimian &amp; Hajiani, 2009; Rasekh Mahand, 2010; Sadeghi, 1999).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The American linguist Judith Aissen has &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;attempted &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(2003) &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;to explain DOM using the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;optimality theory,&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;”&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;&lt;span&gt;based on the harmonious alignment of the grammatical relation between the subject and the object according to the dimensions of animacy and definiteness (see Fig. 1).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Figure 1&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Relative Markedness on the Scales of Animacy and Definiteness&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;: (&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;a) Animacy Scale: Human &gt; Animate &gt; Inanimate; (b) Definiteness Scale: Personal Pronoun &gt; Proper Name &gt; Definite NP &gt; Indefinite Specific NP &gt; Non-Specific NP (Aissen, 2003).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br clear=&quot;ALL&quot;&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The purpose of tables and figures in documents is to enhance your the readers’ understanding of the information presented in the document. It is much lucid and efficient &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;According to Aissen, “It is those direct objects which are most in need of being distinguished from subjects that get overtly case-marked. This intuition is sometimes expressed as the idea that the function of DOM is to disambiguate subject from object” (Aissen, 2003, p. 437). In the present paper, the very theoretical framework is applied to the current issue of DOM in Farsi, though surprisingly Aissen&#039;s view of DOM in Farsi does not differ from a properly challenged view by Lazard in this regard &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Aissen, 2003, pp. 468-471). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;As Aissen noted, the more prominent the direct object is, the more likely it is to be case-marked, because &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;“the function of DOM is to disambiguate subject from object” &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;(&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Aissen, 2003&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;, p. 437). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Accordingly, if the prominence of the object is so much that it is not possible to clearly distinguish the subject from the object, the object must be marked compulsorily, and when the prominence of the object is less than this limit, the object can be marked optionally, and, finally, if there is no ambiguity in distinguishing the subject from the object, there is no need to mark the object (see the Table 1). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Table 1&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Differential Object Marking in Farsi, Based on the  Relative Prominence  of  Object/Subject: A definite object  with a definite subject (either specific or unspecific) must  be  marked with &quot;rā&quot; (the first column); An indefinite , specific object with an indefinite subject (either specific or unspecific) must  be  marked with &quot;rā, but with a definite subject, it can  optionally be marked with &quot;rā&quot; (the second column);  An indefinite, unspecific object with an indefinite, unspecific subject  must  be  marked with &quot;rā &quot;, but with an indefinite, specific subject, it can optionally be  marked with &quot;rā &quot;, while with a  definite subject, it is used either  with  or  without &quot;rā &quot;, depending on its dimension of  animacy (the third column).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt; دیری است که پدیدۀ زبان‏شناختی مفعول‏نمایی افتراقی، درخصوص چگونگی حالت‏نشانی مفعول مستقیم، همچون مبنایی برای دسته‏بندی‏های رده‏شناختی زبان‏های جهان شناخته شده است. با این همه، مفعول‏نمایی افتراقی در فارسی محل مناقشات میان زبان‏شناسان بوده است. برخی از آنان بر این رأی رفته‏اند که مفعول‏نمایی افتراقی به‏راستی در زبان فارسی وجود دارد، زیرا برخی از انواع مفعول مستقیم در جملات فارسی با «را» نشان‏دار می‏شوند، حال آن‏که زبان‏شناسان دیگری، در مقابل، مثال‏های نقضی را در هر مورد از فارسی آورده‏اند تا نشان دهند که چنین نیست. از این رو، برخی از زبان‏شناسان ایرانی ایدۀ مفعول‏نمایی افتراقی را در فارسی یکسره کنار نهاده‏ و برای «را» نقش کارکردی تازه‏ای تعریف کرده‏اند. مقالۀ حاضر با تبیین مبانی نظری کلی مفعول‏نمایی نمایی افتراقی، بر آن بوده است تا به شیوه‏ای مروری ـ تحلیلی به چگونگی کاربرد «را» در جمله‏های فارسیِ دارای فعل گذرا از منظر تازه‏ای بنگرد. این رویکرد نظری نه‏تنها مثال‏های نقض پیش‏گفته را توجیه می‏کند، بلکه همچنین با نگرش تازه‏ای به مفعول‏نمایی افتراقی در فارسی می‏کوشد تا نقش دستوری حالت‏نشانی مفعول مستقیم را به «را» در این جمله‏ها بازگرداند. بدین ترتیب، مقالۀ حاضر با تثبیت نقش «را» همچون نشانگر برخی از انواع مفعول مستقیم، مفعول‏نمایی افتراقی را در زبان فارسی بازتعریف کرده است. امید می‏رود با اجرای مطالعات پیکره‏بنیاد آینده رویکرد نظری حاضر به‏واسطۀ شواهد زبانی تقویت شود.  &lt;/span&gt;&lt;br&gt;</OtherAbstract>
		<ObjectList>
			<Object Type="keyword">
			<Param Name="value">مطالعۀ رده ‌شناختی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">مفعول ‌نمایی افتراقی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">«را» با افعال گذرای فارسی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">معرفگی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">مشخص ‌بودگی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">جان‌داری</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">رویکرد آیسن</Param>
			</Object>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7405_445e24b5f22cacb9d51a837c10e91a3f.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>An Approach Toward Periodization of Persian Literary History for Teaching Persian Literature to Non-Native Speakers</ArticleTitle>
<VernacularTitle>دوره‌بندی تاریخ ادبیات با هدف آموزش ادبیات فارسی به غیرفارسی‌زبانان</VernacularTitle>
			<FirstPage>245</FirstPage>
			<LastPage>275</LastPage>
			<ELocationID EIdType="pii">7406</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.8</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>ناصرقلی</FirstName>
					<LastName>سارلی</LastName>
<Affiliation>دانشیار گروه زبان و ادبیات فارسی دانشگاه خوارزمی، تهران، ایران</Affiliation>

</Author>
<Author>
					<FirstName>بهادر</FirstName>
					<LastName>باقری</LastName>
<Affiliation>دانشیار گروه زبان و ادبیات فارسی دانشگاه خوارزمی، تهران، ایران</Affiliation>

</Author>
<Author>
					<FirstName>مجید</FirstName>
					<LastName>شمس الدین نژاد</LastName>
<Affiliation>دانشجوی مقطع دکتری زبان و ادبیات فارسی، تهران، ایران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Preparing and compiling a comprehensive educational curriculum is closely related to the writing of textbooks. Following educational goals, the periodization of Persian literary history can provide a theoretical framework for Persian language training programs for non-natives. In this paper, we argue over a particular approach to this periodization. The periodization is based on the reverse historical order, literary genre, literary form, and figures. These criteria are moving in reverse historical arrangements from the contemporary period to the past and narrating the variety of literary forms and genres around prominent poets and writers of each period. To evaluate the function and the validity of this approach, the produced content (the book: The Living Tree) was taught to two groups of non-native students of the Persian language (intermediate and upper-intermediate levels) and the results of a survey on their learning were analyzed. The analysis showed that both levels are satisfied with the resulting educational content.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Preparing and compiling a comprehensive educational curriculum is closely related to the writing of textbooks. In the educational curriculum of the field of teaching Persian to non-Persian speakers, teaching literature has a fundamental importance. Many students start learning Persian because of their interest in Persian literature. On the other hand, the literary variety of the Persian language is considered the most prestigious variety of the Persian language, and the Persian standard language has also been greatly influenced by the literary variety. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt; Teaching Persian literature to non-Persian speakers requires paying attention to the history of Persian literature and presenting educational content in an appropriate kind of historical order. On the other hand, the periodization of Persian literary history, following educational goals, can provide a theoretical framework for Persian language learning programs for non-natives. In this paper, we argue over a particular approach to this periodization;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt; i&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;n such a way as to satisfy the language learners and facilitate the learning of educational content. In any given scheme, the level of language skills of the learners should be taken into account and a perspective should be drawn for them to get acquainted with the history, development, and evolution of Persian literature. Every new scheme needs a detailed and comprehensive evaluation to measure its effectiveness in terms of goals and educational content.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The purpose is to provide a new plan for teaching Persian literature to non-Persian speakers, taking into consideration the level of Persian language knowledge of learners and Persian literature courses, and the validity and reliability of this plan were tested by applying it in a group of non-Persian speakers. Before adding the proposed plan and concept to the educational curriculum, it is necessary to evaluate its effectiveness in teaching Persian literature to determine its sufficiency in teaching educational content and to evaluate the level of satisfaction of language learners with such a concept. The latter is important because Persian literature is the main reason and motivation for learning Persian language.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In this article, we have designed and proposed a special type of periodization that has the following criteria and features, taking into account the mentioned cases among the different approaches and methods of periodization of the history of literature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. This periodization is based on reverse historical order; That is, contrary to the conventional histories of literature, the educational content starts from the contemporary period and proceeds in the reverse order to earlier periods. The reason for adopting this historical order is the simplicity of the contemporary literary language and its proximity to the standard Persian language. The literary language of previous literary periods becomes more difficult for language learners as we move further away from the contemporary period.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literary genres: In this periodization, literary genres are distinguished from each other and each literary genre has its periods that can be different from other literary genres.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Literary form: In addition to literary genres, Persian literature includes various literary forms, each of which has its language. Therefore, it was necessary to consider this variable in the aforementioned periodization.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Prominent literary figures: Each period of Persian literature, its literary genres, and literary forms are associated with the great poets and writers. Dealing with these prominent men of letters can suggest outstanding examples of Persian literature in each period, genre and literary form to be included in the educational content, and introduce learners to the great poets and writers of Persian literature.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;​To evaluate the effectiveness and the validity of this approach, the produced content (the book: The Living Tree) was taught to two groups of non-native students of the Persian language (intermediate and upper-intermediate levels). First, the progress of language learners was evaluated based on the scores obtained, and then the learners were surveyed about the effectiveness of the proposed scheme and their level of satisfaction, and at the end, we analyzed the results of both sections. The analysis shows:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Language learners who learn Persian literature with this method and periodization have more progress in learning Persian literature than other language learners.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. At both intermediate and upper intermediate levels, the overwhelming majority of language learners are highly and very highly satisfied with the teaching of this content.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;تهیه و تدوین برنا&lt;/span&gt;&lt;span&gt;مۀ&lt;/span&gt;&lt;span&gt; آموزشی کلان&lt;span&gt;[1]&lt;/span&gt; به&lt;/span&gt;&lt;span&gt;‌نحوی بنیادین با&lt;/span&gt;&lt;span&gt; نگارش درس&lt;/span&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;نامه و کتاب آموزشی مرتبط است. بخش‌بندی ادواری تاریخ ادبیات فارسی، متناسب با اهداف آموزشی، می‌تواند بنیاد نظری برنامۀ آموزشی زبان فارسی به غیرفارسی‌زبانان را فراهم آورد.&lt;/span&gt; &lt;span&gt;مسئلۀ اصلی این پژوهش آن است که چگونه می‌توان از انگارۀ خاص و متفاوتی از دوره‌بندی در تاریخ ادبیات فارسی برای آموزش ادبیات فارسی به غیرفارسی‌زبانان بهره برد، به گونه‌ای که رضایت و یادگیری زبان‌آموزان را درپی داشته باشد. هدف آن است که با توجه به برنامۀ آموزشی کلان و درنظر داشتن وضعیت دانش زبانی فارسی‌آموزان و دوره‌های ادبیات فارسی، طرحی نو برای آموزش ادبیات فارسی به غیرفارسی‌زبانان به دست داده شود و روایی و اعتبار این طرح، با کاربست آن در میان گروهی از غیرفارسی‌زبانان آزموده شود. برای این منظور،&lt;/span&gt; &lt;span&gt;از میان رویکردها و شیوه‌های مختلف دوره‌‌بندی تاریخ ادبیات‌، نوعی دوره‌بندی براساس ترتیب تاریخی&lt;/span&gt;&lt;span&gt; معکوس&lt;/span&gt;&lt;span&gt;، نوع ادبی، فرم (قالب ادبی) و افراد شاخص پیشنهاد کرده‌ایم. این ملاک‌ها در ترکیبی که ازلحاظ ترتیب تاریخی از دورۀ معاصر به گذشته‌های دورتر پیش می‌رود سیر تاریخی معکوس انواع و قالب‌های ادبی گوناگون را با درنظر داشتن شاعران و نویسندگان برجستۀ هر دوره روایت می‌کند. برای آزمودن کارکرد این شیوه، محتوای تهیه‌شده (کتاب درخت زنده) را به فارسی‌آموزان سطح میانی و فوق‌میانی تدریس کرده و نتایج نظرسنجی دربارۀ یادگیری آن‌ها را تحلیل کردیم. تحلیل‌ها نشان می‌دهد که هر دو سطح، نسبت به تدریس این محتوا، رضایت زیادی دارند.&lt;/span&gt;
 

&lt;span&gt;[1]&lt;/span&gt; &lt;span&gt;curriculum&lt;/span&gt;


 

[1] curriculum</OtherAbstract>
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			<Object Type="keyword">
			<Param Name="value">دوره‌بندی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">آموزش ادبیات</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">غیرفارسی‌زبانان</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">تاریخ ادبیات</Param>
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			<Object Type="keyword">
			<Param Name="value">نوع و فرم (قالب) ادبی</Param>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7406_8252831b9fce7a49421e622c14ce0f65.pdf</ArchiveCopySource>
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<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Review and comparison of clitic in Russian and Persian languages</ArticleTitle>
<VernacularTitle>بررسی و مقایسه واژه‌بست در زبان‌های روسی و فارسی</VernacularTitle>
			<FirstPage>277</FirstPage>
			<LastPage>304</LastPage>
			<ELocationID EIdType="pii">7407</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.9</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>مهنوش</FirstName>
					<LastName>اسکندری</LastName>
<Affiliation>دانشیار گروه زبان و ادبیات روسی، دانشکده ادبیات فارسی و زبانهای خارجی، دانشگاه علامه طباطبائی(ره)</Affiliation>

</Author>
<Author>
					<FirstName>علی</FirstName>
					<LastName>سعیدی</LastName>
<Affiliation>دکتری آموزش زبان روسی، گروه زبان و ادبیات روسی، دانشکده زبانها و ادبیات خارجی، دانشگاه تهران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;The word &quot;clitic&quot; refers to the dependent unit, that depends phonologically on another word or phrase, which is the interface between bound and free morphemes, exists in all languages of the world, and can be divided into types of proclitic, enclitic and endoclitic. In this article, the types of clitic in Persian and Russian languages have been studied and compared with each other, and the similarities and differences between them have been expressed based on the analytical-descriptive method. According to the findings of Iranian linguists, nine enclitics and one proclitic are recognizable in Persian and there is no endoclitic in this language, but in addition to the existence of several endoclitics in Russian, the number of enclitics and proclitics in this language is more than their number in Persian. Many prepositions in Russian are proclitics, but none of the Persian prepositions are proclitics. The reason for this is the different types of stress in these two languages, because prepositions and conjunctions in Persian have stress, but many prepositions, especially monosyllabic prepositions, in Russian do not have stress or their stress depend on the nearby word and are considered a proclitic.&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The word &quot;clitic&quot; refers to the dependent unit, that depends phonologically on another word or phrase, which is the interface between bound and free morphemes, exists in all languages ​​of the world, and can be divided into types of proclitic, enclitic and endoclitic. In morphology and syntax, a clitic is a morpheme that has syntactic characteristics of a word, but depends phonologically on another word or phrase. In this sense, it is syntactically independent but phonologically dependent—always connected to a host. A clitic is pronounced like an affix, but plays a syntactic role at the phrase level. In other words, clitics have the form of affixes, but the distribution of function words. For example, the contracted forms of the auxiliary verbs in I&#039;m and we&#039;ve are clitics.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.2. Research Question(s)&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In this article we try to compare the types of clitics, i.e. enclitics, endoclitics and proclitics in Russian and Persian, and find the similarities and differences between them. The questions we seek to answer in this study are: What are the types of clitics in Russian and Persian languages? What are the differences and similarities between the use of clitics in these two languages? Is there endoclitic, as a clitic that exists in a small number of languages, in these two languages or not?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the Persian language, Kalbasi (1992, p.24-25), Shaghaghi (2013), Meshkatuddini (2005, p.18), Rasekh Mohand (2005, 2007, 2008, 2009, 2010), Sarahi and Alinejad (2013), Naghzguy Kohan (2014), Bahrami and Rezaei (2013), Mahmudi (2013) and ..., and in the Russian language, researchers such as Zaliznyak (2005), Mironova (2015), Zimmerling (2018), Valova (2016), Zimmerling and Liutikova (2016), Tamilina (2018), Duykina et al. have studied the clitics and have created works.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In this article, the types of clitic in Persian and Russian languages ​​have been studied and compared with each other, and the similarities and differences between them have been expressed based on the analytical-descriptive method.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;According to the findings of Iranian linguists, nine enclitics and one proclitic are recognized in Persian and there is no endoclitic in this language, but in addition to the existence of several endoclitics in Russian, the number of enclitics and proclitics in this language is more than their number in Persian. Many prepositions in Russian are proclitics, but none of the Persian prepositions are proclitics. The reason for this is the different types of stress in these two languages because prepositions and conjunctions in Persian have stress, but many prepositions, especially monosyllabic prepositions, in Russian, do not have stress or their stress depends on the nearby word and are considered a proclitic.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Although the enclitics and proclitics of Russian and Persian are different from each other, the existence and use of them in these two languages ​​have been proven. There is no endoclitic in Persian, but this type of clitics exists in Russian and is used.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The number of proclitics in Russian is much more than the number in Persian, and this is due to the lack of stress on many prepositions and conjunctions in Russian, as mentioned, lack of stress is the main characteristic of clitics.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Some conjunctions and prepositions in Russian can be used as clitic due to lack of stress, but this is not possible in Persian, because prepositions and conjunctions in Persian have stress and cannot be clitics.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the Persian language, clitics refer to structural and syntactic relations, for example, they can be possessive modifiers or direct objects, and so on. In the Russian language as well as the Persian language, clitics, which consist of conjunctions, prepositions, and particles, are used to express grammatical relationships at the sentence level. In other words, clitics are similar in terms of semantic function in Russian and Persian languages.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;واژه‌بست به واحد وابسته بدون تکیه‌ای اطلاق می‌شود که حد واسط تکواژ‌های وابسته و آزاد است، تقریباً در تمام زبان‌های دنیا وجود دارد&lt;/span&gt; &lt;span&gt;و به انواع پی‌بست، پیش‌بست و میان‌بست قابل تقسیم است. در این مقاله انواع واژه‌بست در زبان‌های فارسی و روسی بررسی و با یکدیگر مقایسه شده‌اند و شباهت‌ها و تفاوت‌های میان آن‌ها با تکیه بر روش تحلیلی ـ توصیفی بیان شده است. طبق یافته‌های زبان‌شناسان ایرانی، در زبان فارسی تعداد نه پی‌بست و یک پیش‌بست قابل تشخیص است و میان‌بست در این زبان به چشم نمی&lt;/span&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;خورد و لیکن، علاوه بر اینکه میان‌بست‌های متعددی در زبان روسی وجود دارد، تعداد پیش‌بست‌ها و پی‌بست‌ها نیز در این زبان بیش از تعداد آن‌ها در زبان فارسی است. تعداد زیادی از حروف اضافه در زبان روسی پیش‌بست به شمار می‌آیند، اما هیچ‌کدام از حروف اضافۀ فارسی، پیش‌بست نیستند. دلیل این امر در تفاوت «تکیه» در این دو زبان نهفته است، چراکه حروف اضافه و حروف ربط در زبان فارسی دارای تکیه هستند اما بسیاری از حروف اضافه،  به‌خصوص حروف اضافۀ تک‌هجایی، در زبان روسی فاقد تکیه و یا وابسته به کلمۀ مجاور خود هستند و پیش‌بست به شمار می‌آیند. &lt;/span&gt;&lt;br&gt;</OtherAbstract>
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			<Object Type="keyword">
			<Param Name="value">واژه‌بست</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">پی‌بست</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">میان‌بست</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">پیش‌بست</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">زبان روسی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">زبان فارسی</Param>
			</Object>
		</ObjectList>
<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7407_99a401435dcb65c4008d3ad22c8cdad0.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>The Semantics of âÅ¡aÊaraâ (to realize) As a Quranic Word and Its Status in the Semantic Field of Cognition</ArticleTitle>
<VernacularTitle>معناشناسی واژۀ «شَعَرَ» در قرآن و جایگاه آن در حوزۀ معنایی ادراک و معرفت</VernacularTitle>
			<FirstPage>305</FirstPage>
			<LastPage>337</LastPage>
			<ELocationID EIdType="pii">7408</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.10</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>علی</FirstName>
					<LastName>دهقان</LastName>
<Affiliation>دانش آموخته دکتری، گروه علوم قرآن و حدیث، دانشگاه تربیت مدرس و استادیار دانشگاه فرهنگیان</Affiliation>

</Author>
<Author>
					<FirstName>کاوس</FirstName>
					<LastName>روحی برندق</LastName>
<Affiliation>گروه علوم قرآن و حدیث دانشگاه تربیت مدرس تهران- ایران</Affiliation>

</Author>
<Author>
					<FirstName>خلیل</FirstName>
					<LastName>پروینی</LastName>
<Affiliation>گروه زبان و ادبیات عرب دانشگاه تربیت مدرس تهران- ایران</Affiliation>
<Identifier Source="ORCID">0000-0002-8039-7903</Identifier>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;In the holy Quran, several words have been used for the meaning of perception and knowledge. The verb &quot;šaʕara&quot; as one of the words in Persian translations more often is equated with words ‘know’ and ‘understand’; but its more detailed component is the issue of this essay that is devoted to two sections of etymological and contextual study. Etymology based on the methods of historical linguistics and sources of Semitic languages, a comprehensive contextual study of all applications alongside each other, content analysis of verses and use of the anthropological achievements in discourse analysis of Quranic verses are the methods used in this article. Etymological evidences suggest that this word dates back to the ancient Semitic language and is made up of the hypothetical root of the &quot;šʕr&quot; (to divide, break open) in the same language and this root is also derived from the Afro-Asian root (ĉaʕ), meaning &quot;cut&quot; but in the Pre-Islamic Arabic discourse it is influenced by the word šiʕr (poetry) by semantic contamination. Negative application, no application in descriptive phrases, devotion to the perception of hidden affairs are the functional features of the term šaʕara that make the definition of the Qur&#039;anic meaning of šaʕara as a &quot;non-process perception&quot; justifiable. Non-process perception entails an increase in the role of imagination and reducing the role of time-consuming rational processes.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the Holy Qur&#039;an, many words are used for the meaning of understanding and knowledge, &quot;ʕalima&quot;, &quot;šaʕara&quot;, &quot;ʕaqala&quot;, &quot;faqiha&quot;, &quot;daraya&quot;, &quot;ʕarafa&quot; are verbs that specifically indicate the meaning of &quot;understanding&quot;. In the translation of these words, words such as &quot;understand, know, percept, feel, recognize&quot; are equated, which are covered under the general title of perception and cognition, but what are the more detailed components and characteristics of each of these words, is the place of questioning and each of them requires a separate research, so the purpose of this paper is exclusively to research about the root of &quot;šaʕara&quot;.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the end, it is expected that this article can open a way to clarify the topics related to cognition and knowledge in the Holy Qur&#039;an, topics that, in addition to being important for the intrinsic value of understanding the Holy Qur&#039;an, also have double importance in some ways, and that is the ever-increasing effort about the question of &quot;cognition&quot; in the current era. In recent decades, a branch of science under the title of &quot;&lt;span&gt;cognitive interdisciplinary studies&lt;/span&gt;&quot; has also emerged, which brings together the different fields of human knowledge around the issue of &quot;cognition&quot; and tries to solve the problems of this issue through the synergy of different fields of knowledge (Afrashi, 2015, p. 22).&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.2. Research Questions:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The two questions of this research are:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. What is the meaning of the root of &quot;šʕr&quot; and the relationship between the different meanings derived from the three-letter root of &quot;šʕr&quot; based on historical linguistic methods and Semitic language sources?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. What is the meaning of &quot;šaʕara&quot; in Quranic applications according to the context of the verses and the analysis of the content of the verses and using anthropological achievements in the discursive analysis of the verses of the Quran?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;There are some efforts have been made in the Arabic dictionary and Quran commentary sources to clarify the meaning of this root. These efforts can be divided into two parts: a) etymology, which examines the relationship between different meanings derived from the three-letter root of the &quot;šʕr&quot;; and b) examining the meaning of &quot;šaʕara&quot; in the Qur&#039;anic usage, which has been done according to the context of the verses and specifically the object of the verb &quot;šaʕara&quot;. In the continuation of the article, this background will be quoted, examined, and criticized in detail. In today&#039;s studies, there is no background for this research, although it can be considered as a similar background to the research organized about words related to the semantic field of perception and knowledge, such as: &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Barooti, M., Akbarian, R., &amp; Saidimehr, M. (2018). Tabatabaie on semantics of divine attributes. Contemporary Wisdom, 9(2), 23-45. doi: 10.30465/cw.2018.3448 &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Hajikhani A, Roohi K, Dehqan A. “Etymology of “Ilm” (knowledge) as a Quranic word in the Semitic languages”. LRR, 7(5), 27-47; URL: http://lrr.modares.ac.ir/article-14-6733-fa.html&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Dehqan, A., Roohi, K., Pakatchi, A., &amp; Parvini, K. (2018). Research on Components of Universal Concept of Wisdom in its Quranic Concept. Ketab-E-Qayyem, 8(18), 7-30.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Tayyeb Hosseini, S. M., &amp; Sharifinasab, H. (2015). Semantic analysis of &quot;Poetry&quot; and &quot;Poet&quot; in the Quran. Journal of Quranic Theological Exegesis, 2(4), 595-618.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Falahpour, M. (2013). The semantics of science in the Holy Quran and human schools. Scientific Journal of Islamic Education, 21(20). &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;However, in this article, an attempt is made to pursue these efforts with a more scientific approach and with a more comprehensive view, and to obtain a comprehensive meaning for the word &quot;šaʕara&quot; (understand) and its semantic differences with other words in the field of perception. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Therefore, the current research is organized in two directions: 1) the etymology of the word &quot;šaʕara&quot; based on historical linguistic methods and Semitic language sources, and 2) the study of the context of the word &quot;šaʕara&quot; in the Qur&#039;an, with a comprehensive look at all the uses together, analyzing the content of the verses and usage among the anthropological achievements in discursive analysis of Quranic verses. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The main research approach is linguistics (specifically lexical semantics), which is possible regarding Quranic words in two ways: diachronic and historical research (etymology) and synchronic research of word usages (in the context of Quranic verses). In this article, to provide a comprehensive and reassuring judgment about the meaning of the word, both historical and synchronic paths have been followed.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;However, the innovation of this paper compared to the interpretive-lexical tradition is: 1. in the etymology section, relying on historical linguistics methods and Semitic language sources, and 2. in the context study section, a comprehensive look at all the uses of the word in the Qur&#039;an, and an attempt to categorize them based on the common and different connotations of the word and finally a discursive analysis of the content of the verses, using anthropological achievements. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The achievement of the present research in the field of two research questions can be expressed as follows:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In terms of etymology, the word &quot;šaʕara&quot; (to perceive) is not very clear. The most probable analysis is that this word dates back to the ancient Semitic language, although there is little evidence of its presence in non-Arabic Semitic languages, and the Semitic word &quot;šaʕara&quot; (to know) is also from the supposed root &quot;šaʕara&quot; (to divide, &lt;/span&gt;&lt;span&gt;&lt;span&gt;‎&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;break &lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;‎&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;open&lt;/span&gt;&lt;/span&gt;&lt;span&gt;) in the same language and that also is derived from the Afro-Asiatic root (ĉaʕ) meaning &quot;to cut&quot;. In the pre-Islamic period, this word was influenced by the word &quot;šiʕr&quot;(poem) in the discursive atmosphere of the Arabs (by semantic contamination) and assigned to a special type of perception and knowledge, the characteristics of which can be seen in the Qur&#039;anic usages.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. &quot;šaʕara&quot; in the Qur&#039;an indicates a valuable and special perception that is used to understand secret and unseen things. In terms of defining the Qur&#039;anic meaning of &quot;šaʕara&quot; (beyond the practical features), it seems that the view of the commentators and linguists who defined &quot;šaʕara&quot; as understanding the result of sense (material sense) is more compatible with the Qur&#039;anic usage, but a more accurate interpretation is the definition of the Qur&#039;anic meaning of &quot;šaʕara&quot; as &quot;non-process perception&quot;. The non-processual nature of perception requires increasing the role of imagination and reducing the role of time-consuming processes of intellectual and verbal assessment.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;در قرآن کریم واژگان متعددی برای معنای ادراک و دانایی به‌کار رفته است و واژۀ «شعر» به‌عنوان یکی از پیچیده‌ترین این واژگان است که در ترجمه‌های فارسی بیشتر با واژگان دانستن و فهمیدن معادل‌گذاری می‌شود. اما هدف از این نوشتار ریشه‌شناسی و بررسی سیاقی واژۀ «شعر» برای نشان دادن مؤلفه‌ها و ویژگی‌های جزئی‌تر این واژه است. بر این اساس جستار حاضر ریشۀ «شعر» را با تکیه‌بر روش‌های زبان‌شناسی تاریخی و منابع زبان‌های سامی، ریشه‌شناسی کرده و با نگاه جامع به تمام کاربردها در کنار یکدیگر، تحلیل محتوای آیات و استفاده از دستاوردهای مردم‌شناختی در تحلیل گفتمانی آیات قرآن، مورد مطالعۀ سیاقی قرار داده و به این نتیجه دست یافته است که شواهد ریشه‌شناختی نشان‌دهندۀ بازگشت قدمت این واژه به زبان سامی باستان است که از ریشۀ فرضی شعر (شکافتن و جدا کردن) در همان زبان و آن نیز از ریشۀ آفروآسیایی (&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;ĉaʕ&lt;/span&gt;&lt;span&gt;) به معنای «بریدن» ساخته‌شده است، اما در فضای گفتمانی عرب جاهلی به نحو سرایت معنایی تحت تأثیر واژۀ شِعر (سروده) قرار گرفته است. کاربرد منفی، عدم کاربرد در جملۀ وصفیه و اختصاص به ادراک امور مخفی و غیبی از ویژگی‌های کاربردی واژۀ شعرَ است که تعریف معنای قرآنی شعرَ به‌مثابۀ «ادراک غیرفرایندی» را توجیه‌پذیر می‌سازد؛ غیرفرایندی بودن ادراک مستلزم افزایش نقش خیال و کاهش نقش فرایندهای زمان‌بر سنجش عقلی است.&lt;/span&gt;&lt;br&gt;</OtherAbstract>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7408_545e91a14706478dc240764245cd4bd1.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>From Peircian Metaphor To Symbol: A Different Pattern In Interpreting The Signs Of The Language Of Mysticism</ArticleTitle>
<VernacularTitle>از استعارۀ پیرسی تا نماد عرفانی: الگویی متفاوت در تفسیر نشانه‌های زبان عرفان</VernacularTitle>
			<FirstPage>339</FirstPage>
			<LastPage>371</LastPage>
			<ELocationID EIdType="pii">7409</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.11</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>راضیه</FirstName>
					<LastName>حجتی زاده</LastName>
<Affiliation>استادیار گروه زبان و ادبیات فارسی، دانشگاه اصفهان، اصفهان، ایران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;This article seeks to explicate the interpretive model of symbolic expressions, termed &quot;the evolutionary-oriented pattern&quot;, relying on the semiotic foundations of Charles Sanders Peirce, an American pragmatist philosopher and semiotician. Inspired by the ideas of Robert Neville (1996), who initiated the adaptation of Peirce&#039;s framework to the realm of religious language, the article adopts a descriptive-critical approach. In the first section, it delves into defining the position of metaphor among various types of signs according to Peirce&#039;s classification. Subsequently, it discusses the structure and mechanism of interpreting symbolic expressions within the framework of two semiotic processes, and finally, it elucidates the formation of the semantic network of symbols-metaphors by combining both aforementioned processes. In this article, for the first time, two distinct processes in Peircean semiosis, namely, transcendental and non- transcendental processes, have been identified. The roles of each in creating a semantic chain among signs on one hand and between a sign and its interpretant on the other hand have been elucidated. Among the other achievements of this research are the introduction of conceptual frameworks such as interpretive aspect, semantic context, and the referential scope, each playing a role in the systematic interpretation of a sign.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the mystical worldview, existence and the world are considered a &quot;symbolic system,&quot; involving a semiotic function, as words serve as signs to unfold the beauty and divine grace. Mystical teachings guide us to understand the signs and metaphysical manifestations. Language acts as an intermediary to reveal the truth of the existence and being of things and as Umberto Eco puts it, &quot;truth is nothing but the disclosure of existence through the intermediary of language&quot; (Eco, 2018, p.168). The notion that &quot;language is the voice of existence&quot; leads us from the theories of semiotic conventions to the rules of interpretation or hermeneutics. Mystics, through intuitive insights, discover symbols in their inner visions, manifesting in their imagination. Through these symbols, they find their &quot;profound unity with things&quot; and discover the truth of existence. In this context, language becomes an &quot;unconscious metaphor&quot; that makes us aware of the inner essence of things.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Research Questions&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.    What is Peirce&#039;s definition of metaphor?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2.    Is Peircean semiotics equipped with a transcendental function besides its non-transcendental function? if yes;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3.    What is the role of both transcendental and non-transcendental processes in the Interpretation?&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Anderson (1984) is the first study that compiles Pierce&#039;s definition of metaphor through his scattered and ambiguous notes. Furthermore, it elucidates the distinction between metaphor and metonymy to better explain this concept. Colapietro and Olshewsky (1996), in the fifth chapter of their book, have gathered four significant articles on this subject. Among them is Houseman&#039;s article, which compares Pierce&#039;s perspective on metaphor with the interactive approach of Richards and Max Black&#039;s theory.&lt;/span&gt; &lt;span&gt;Neville (1996) endeavors to adapt Peirce&#039;s semiotic model in the realm of religious signs, aiming to present a conceptual framework for how meaning and interpretation occur. Oehler (1987) explores the possibility of a transcendental interpretation of Peircean semiotics. By referring to the concept of transcendentalism in Kantian philosophy and highlighting the differences between Peirce&#039;s pragmatic and experiential philosophy, fundamentally, he does not accept such a possibility.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Metaphor and Semantic Networks&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Now on, our discussion centers on the interpretive mechanism of metaphor as a crucial component of the language of mysticism. To achieve this, we must first highlight the distinction between two types of sign processes: the non-transcendental process and the transcendental one. Hwan Lee (2018, p.57) refers to non-transcendental sign processes as a horizontal process involving the pursuit of an &quot;ultimate rational interpretation.&quot; This is achieved by following a probable interpretive path and relying on a guiding principle or rule, although reaching this final interpretation is consistently delayed.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Conclusion&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Peircean semiotics provides us the opportunity to overcome many of the issues that have arisen from linguistic analysis within traditional structural or deconstructive semiotics. By defining metaphor from Peirce&#039;s perspective and his interpreters, and by identifying two distinct and complementary sign processes, namely non-transcendental and transcendental ones, it becomes evident that interpretations are always ready to return to the dynamics of interpretation and transform into another sign&#039;s interpretant. This is because, as Peirce states, a sign represents its interpretation from certain aspects.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;However, the interpretive hermeneutics of metaphor and its &lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&quot;evolutionary-oriented pattern&quot;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;, through the aggregation and completion of sequential (temporal and simultaneous) interpretations, attempts to compensate for these semantic shortcomings, bringing the direct interpretant as close or aligned as possible to the dynamic and ultimate referent of the metaphor (the meaning of which is Allah). Yet, complete alignment with the meaning implies the cessation of the evolutionary process of the metaphor and the end of the interpretive journey, which is only possible with the conclusion of the ascending path to God (sufi&#039;s self-enrichment process). Therefore, each interpretation itself serves as another metaphorical sign, and one must navigate through it with the help of interpretation. In this context, paying attention to the interpretive aspect, the semantic context, and the interpretive scope are of crucial importance in delineating the systematic pattern of the cyclical process of accumulative-transcendental and reinterpreted-non-transcendental interpretations of the symbol.&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;این مقاله درصدد است با تکیه بر مبانی نشانه‌شناسی چارلز سندرس پیرس، فیلسوف پراگماتیست و نشانه‌شناس آمریکایی، و با الهام از آرای رابرت نویل (1996)، که به مناسب‌سازی الگوی پیرس در ساحت زبان دین مبادرت کرده است، با رویکردی توصیفی ـ انتقادی الگوی تفسیری نمادهای عرفانی را، که در این نوشتار «الگوی عاطف به تکامل» نامیده‌ شده است، تبیین کند. به این منظور، در بخش اول، به تعریف جایگاه استعاره در میان انواع نشانه‌ها در طبقه‌بندی پیرس می‌پردازد. سپس، دربارۀ سازوکار تفسیر نمادهای عرفانی در قالب دو فرایند نشانه‌پردازی گفت‌وگو می‌کند و در پایان، نحوۀ شکل‌گیری شبکۀ معنایی نماد ـ استعاره‌ها را با تلفیق هر دو فرایند یادشده توضیح می‌دهد. در این مقاله، برای نخستین بار، دو فرایند متمایز در نشانه‌پردازی (سمیوزیس) پیرسی شامل: استعلایی و غیراستعلایی شناسایی و تعریف و نقش هریک در ایجاد زنجیرۀ معنایی میان نشانه‌ها از یک سو؛ و میان نشانه با مصداق یا مدلول آن از دیگر سوی، تبیین شده است. از دیگر دستاوردهای این پژوهش، طرح مفاهیمی چون حیث تفسیری، بافت معنایی و دامنۀ ارجاعی و نقش هریک در تفسیر نظام‌مند یک نشانه است.&lt;/span&gt;&lt;br&gt;</OtherAbstract>
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			<Param Name="value">پیرس</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">استعاره</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">نشانه‌پردازی</Param>
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			<Param Name="value">استعلا</Param>
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			<Param Name="value">تفسیر</Param>
			</Object>
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			<Param Name="value">زبان عرفان</Param>
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			<Param Name="value">خیال خلاق</Param>
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<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7409_06cdc05791b8af29eed72084f39143c7.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Aspectual interpretation of achievement and accomplishment predicates in the presence of durative phrase: A minimalist approach</ArticleTitle>
<VernacularTitle>خوانش نمودی محمول‌های حصولی و غایتمند در حضور عبارت تداومی؛ رویکردی کمینه‌گرا</VernacularTitle>
			<FirstPage>373</FirstPage>
			<LastPage>403</LastPage>
			<ELocationID EIdType="pii">7410</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.12</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>معصومه</FirstName>
					<LastName>امینی‌فر</LastName>
<Affiliation>دانشجوی دکتری زبان‌شناسی، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران</Affiliation>

</Author>
<Author>
					<FirstName>زهرا</FirstName>
					<LastName>ابوالحسنی چیمه</LastName>
<Affiliation>دانشیار زبانشناسی دانشگاه تهران، تهران، ایران</Affiliation>

</Author>
<Author>
					<FirstName>بهرام</FirstName>
					<LastName>مدرسی</LastName>
<Affiliation>استادیار زبان‌شناسی، دانشگاه آزاد اسلامی، واحد تهران مرکز، تهران، ایران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;Aspect is one of the most important structural and semantic features of the verbs. the ‘durative phrase’ and its effect on the aspectual interpretation of different verbs is amongst important issues in surveying lexical aspect too. In order to determine the effect of durative phrase on the aspectual interpretation of sentences which include achievement and accomplishment, the present research aims to analyze aspectual interpretation of telic predicates (achievement and accomplishment) in the presence of the durative phrase in Persian. The results of the analysis based on MacDonald’s (2008) approach and within the Minimalist Program framework showed that appending durative phrase to reversible achievements and cyclic achievements leads to end-time interpretation while its presence in overthrowing irreversible achievement leads to atelic single event interpretation. The analyzing of accomplishment predicates showed that, like achievement predicates, the effect of the presence of durative phrase not only depends on the quantitative and non-quantitative feature of the object but also it depends on the nature in terms of reversibility or irreversibility.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1. Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In different languages of the world, aspect is one of the most important structural and semantic features of the verb which encodes in different ways. In domain studies of aspects, linguists distinguish between grammatical and lexical aspects. The lexical aspect which is the intrinsic and semantic feature of the verb refers to the time structure of the event but the grammatical aspect appears in the surface sentence and shows the viewpoint of the speaker toward the sentence time structure. According to lexical aspect, verbs are divided into four groups. State and activity predicate which are telic and achievement and accomplishment predicate which are atelic. “Durative phrase” and its effect on aspectual interpretation is one of the topics which are mentioned in surveying the verb aspectual interpretations. The main goal of the current research is surveying the aspectual interpretation of achievement and accomplishment which are telic predicates in the presence of a durative phrase and what is the effect of adding a durative phrase on the sentence which contains achievement and accomplishment predicates. Surveying this topic will be done according to Mac Donald&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;’&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;s approach (2008) which has been mentioned in the Minimalist Program General Framework.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;1.2 Research Questions and Hypotheses&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The main question that this research tries to answer is what is the effect of adding a durative phrase on the achievement and accomplishment predicates? The primary hypothesis is the durative phrase is compatible with both achievement and accomplishment telic predicates.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;2. Literature Review&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Non–Iranian researchers like Alsina (1999), Ramchand (2003), borer (2005), Thompson (2006) and MacDonald (2008) have presented different syntactic and semantic analyses of lexical aspects. Mainly Iranian researchers have classified verbs based on their event and aspectual structure in Persian.  According to reviewed research, research about &lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;aspectual interpretation of achievement and accomplishment predicates in the presence of durative phrases hasn’t been surveyed in Persian yet.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt; &lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;3. Methodology&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The methodology of this research is analytic-descriptive. For this purpose, in this research, we scrutinized the effect of durative phrases in Persian sentences that contain achievement and accomplishment predicates in the Minimalist Approach Framework.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;4. Results&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The result of this research shows that appending durative phrase to reversible achievements and cyclic achievements leads to end-time interpretation while its presence in overthrowing irreversible achievement leads to atelic single event interpretation. However, destructive irreversible achievements and some overthrowing irreversible achievements that have momentary nature aren’t compatible with durative phrases. The analysis of accomplishment predicates shows that, like achievement predicates, the effect of the presence of a durative phrase not only depends on the quantitative and non-quantitative features of the object, but also depends on the nature in terms of reversibility or irreversibility.  Against Mac Donald&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;’&lt;/span&gt;&lt;/span&gt;&lt;span&gt;&lt;span&gt;s overgeneralization, there are some exceptions and violation cases about the aspectual interpretation of accomplishment predicates in the Persian language.  Finally, according to the impact of internal arguments and the nature of predicates, the presence of a durative phrase is effective on the aspectual interpretation of achievement and accomplishment predicates.&lt;/span&gt;&lt;/span&gt;&lt;span dir=&quot;RTL&quot;&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;مقولۀ نمود یکی از مهم&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;‌&lt;/span&gt;&lt;span&gt;ترین ویژگی‌های ساختاری و معنایی فعل‌هاست. بحث عبارت تداومی و تأثیر آن بر خوانش نمودی انواع افعال نیز ازجمله مباحث مهم در بررسی نمود واژگانی به‌شمار می‌رود. هدف پژوهش حاضر این است که به بررسی خوانش نمودی محمول‌های حصولی و غایتمند، که هردو از نوع نهایت‌پذیرند، در حضور عبارت تداومی در زبان فارسی بپردازد تا مشخص شود که افزودن یک عبارت تداومی به جملۀ حاوی محمول حصولی یا غایتمند چه تأثیری بر خوانش نمودی آن خواهد داشت. نتایج این تحلیل که براساس رویکرد &lt;/span&gt;&lt;span&gt;مک‌دونالد (&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;span&gt;2008&lt;/span&gt;&lt;span&gt;) و در چارچوب برنامۀ کمینه‌گرا انجام شده است نشان داد که &lt;/span&gt;&lt;span&gt;افزودن عبارت تداومی به محمول‌های حصولی تکرارشدنی و چرخه‌ای به خوانش «پایان زمان» منجر می‌شود، اما در کنار محمول‌های حصولی تکرارنشدنی اضمحلالی خوانش نهایت‌ناپذیر تک‌رویدادی به‌دست می‌دهد. بررسی تأثیر حضور عبارت تداومی بر خوانش نمودی محمول‌های غایتمند نیز نشان داد که خوانش نمودیِ این محمول‌ها  هم مانند محمول‌های حصولی در حضور عبارت تداومی نه‌تنها به نوع مفعول (از لحاظ کمیت‌دار بودن یا نبودن) بستگی دارد، بلکه به ماهیت خود رویداد نیز بستگی دارد که آیا تکرارپذیر است یا تکرارناپذیر.&lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;br&gt;</OtherAbstract>
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			<Param Name="value">نمود</Param>
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			<Object Type="keyword">
			<Param Name="value">نمود واژگانی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">خوانش نمودی</Param>
			</Object>
			<Object Type="keyword">
			<Param Name="value">عبارت تداومی</Param>
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			<Object Type="keyword">
			<Param Name="value">برنامۀ کمینه‌گرا</Param>
			</Object>
		</ObjectList>
<ArchiveCopySource DocType="pdf">https://lrr.modares.ac.ir/article_7410_0c12278389532e91c601af4c8adef7fc.pdf</ArchiveCopySource>
</Article>

<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Statistical Literacy: A Point of Contention in L2 Teacher Education</ArticleTitle>
<VernacularTitle>سواد آماری: نکته قابل تأمل در تربیت مدرس زبان انگلیسی</VernacularTitle>
			<FirstPage>405</FirstPage>
			<LastPage>421</LastPage>
			<ELocationID EIdType="pii">7411</ELocationID>
			
<ELocationID EIdType="doi">10.29252/LRR.14.6.13</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>امید</FirstName>
					<LastName>مازندرانی</LastName>
<Affiliation>گروه آموزش زبان انگلیسی، واحد علی‌آباد کتول، دانشگاه آزاد اسلامی، علی‌آباد کتول، ایران.</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;There has been mounting pressure on L2 academic staff to take on the role of researchers, thereby contributing to the knowledge economy in higher education. To this end, they have been required to acquire different types of literacies including digital, assessment, and feedback literacies, to name but a few. More recently, statistical literacy has been proposed as an important asset to researchers. Yet, what remains rather unnoticed and unclear is the nature and status of statistical literacy as an important dimension of literacy in teacher education, development, and appraisal research, inasmuch as the existing body of knowledge on statistical literacy is more focused on students rather than teachers. Informed by the relevant literature, this paper brings to attention academic staff’s lack of statistical literacy, as one of the possible driving forces behind their disinclination to do research and calls for further attention to L2 ـ specific statistical literacy as an appraisal tool in faculty evaluation schemes in higher education sector. The implications are discussed in the light of the literature.  &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Introduction&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In line with the internationalisation movement in higher education coupled with the ever ـ increasing demands enjoined by policymakers has constantly brought forth unexampled pressure on university teachers to assume greater responsibility in their career. In addition to their traditional role of teaching, university teachers have found themselves cast in the role of mentor, guide, pastoral carer, counselor, and more recently teacherpreneur. Encouraged by several initiatives and pressured by external forces, university teachers have been drawn into all these new roles save one, teacher as researcher. And herein lies a concern as to whether university teachers are able to serve new responsibilities. Such a paradoxical situation continues to bring to bear mounting pressure on academics. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;In the context of the competitive milieu, universities have been obsessed with acquiring more international reputation and prestige, as a consequence of which world rankings have become a major concern in higher education contexts around the world. In view of the very nature of university rankings which is more directed towards research, the burning question herein is whether university teachers are prepared and inclined to play an active role in the researcher to fulfil their knowledge production mission. In addition, as suggested by the literature, much of what is known about statistical literacy and statistics anxiety comes from research on students with little room for teachers. Although there are different reasons as to why teachers tend to shy away from involvement in research, it is widely accepted in academia that statistics is an important ingredient of research, in particular quantitative research, and it could, therefore, be possibly a source of inhibition for teacher ـ researchers. With this end in view, this paper is an attempt to situate statistical literacy in a broader domain of language teachers’ multiple literacies.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The enigmatic nature of statistical language&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Statistics tends to be an important course in many academic curricula and in particular in the field of education. In the domain of applied linguistics and TESOL, statistics is also of great significance not only in BA programme, where students need to acquaint themselves with core statistical concepts introduced in testing and assessment modules, but also in masters and doctoral programmes, where students are often required to submit a compulsory dissertation/thesis to graduate. One reason for teachers&#039; and students’ apprehension and inhibition tends to be perhaps the language of statistics which is less straightforward in humanities and social sciences, compared to other academic fields such as STEM and medical education. Such a demand for statistics education in the field of language education, has risen the need for statistically literate teachers. Nonetheless, literature has shown that statistics remains enigmatic for researchers across different academic fields.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;


	&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Teacher statistical literacy&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;There are various definitions of statistical literacy in the literature. There is a general tendency across academic fields which treats research as a demanding task for which rarely do university teachers have the minimum specialist knowledge required to conduct research on their own. This concern tends to be aggravated in quantitative and mixed methods research, in the event that university teachers’ unawareness of statistical concepts can potentially make research a daunting experience, leading to statistics anxiety. The literature is replete with numerous studies on statistics anxiety in different academic fields. It is, therefore, not uncommon to expect academic procrastination among students whose teachers themselves are of insufficient statistical knowledge. The solution to the challenge of statistics anxiety lies with identifying and removing the underlying factors contributing to statistics anxiety. Further research, however, is needed to understand the direction of the association between statistical literacy and statistics anxiety, if any. There has long been a common stereotype in the academic world, which absolves university teachers of all responsibility for statistical data analysis in their research projects. Not only is such a mentality generally reinforced by masters and doctoral students, but it is also propagated by some academic staff. The advocates are under the impression that statistics, similar to other academic fields, is a specialty and a distinct academic discipline and hence needs to be left to those with expert knowledge of the field, i.e., statisticians. And this is why some L2 university teachers as researchers simply ask statisticians to help them with data analysis. There is an opposite view, however, which tends to hold researchers accountable for every aspect of research including data analysis.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;

&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Concluding Remarks&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;
&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Informed by a constructivist dimension of learning, university teachers should be, therefore, encouraged to not only believe in, but also exercise agency, that is playing an active role in their knowledge production mission, for which they need to be both competent producers and consumers of (statistical) knowledge. They should be convinced of the indispensableness of statistical knowledge as a professional and pedagogical asset. In conclusion, this paper calls for statistical literacy appraisal as a needs analysis and professional development tool to evaluate L2 university teachers’ both knowledge of and attitude towards statistical reasoning. Minimising statistics anxiety and academic procrastination, statistical literacy would then make lecturer ـ researcher transition smooth&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;در سال‌های اخیر اعضای هیئت علمی رشتۀ آموزش زبان انگلیسی در جهت ایفای نقش و رسالت‌های پژوهشی و تحقیقاتی خویش و در راستای کمک به اقتصاد دانش‌بنیان در دانشگاه‌ها و مراکز آموزش عالی فشارهای فزاینده‌ای را تجربه کرده‌اند. برای این منظور، از اعضای هیئت علمی همواره این انتظار می‌رود که در جهت کسب انواع گوناگون سواد و دانش نظیر سواد رایانه‌ای و سواد سنجش و ارزشیابی گام‌های مؤثری بردارند. به تازگی از سواد آماری به‌عنوان یکی از دارایی‌های مهم و ارزشمند برای محققان یاد می‌شود. با این حال، آنچه که نسبتاً کم‌تر مورد توجه قرار گرفته و تا حدی مبهم باقی می‌ماند، ماهیت و وضعیت سواد آماری به‌عنوان یک بعد مهم از سواد در حیطۀ تربیت مدرس زبان انگلیسی (آموزش بدو ورود، ضمن خدمت و ارزشیابی از معلمان) است. چراکه مجموعۀ دانش کنونی از این حوزه و ادبیات پژوهش مربوطه بیشتر معطوف به سواد آماری نزد دانشجویان و نه مدرسان است. بنابراین، این مقاله سعی بر آن دارد تا با توجه به پیشینۀ تحقیقات موجود و شناسایی خلأ دانشی و شناختی، فقدان سواد آماری مطلوب را به‌عنوان یکی از مجموعه عوامل بالقوه تأثیرگذار بر بی‌میلی برخی از اعضای هیئت علمی دانشگاه به انجام تحقیق و پژوهش مورد بررسی و کنکاش قرار دهد و درنهایت خواستار توجه بیشتر به سواد آماری نزد اعضای هیئت علمی آموزش زبان انگلیسی به‌عنوان یکی از شاخص‌های ارزیابی عملکرد در طرح‌های ارزشیابی استادان شود. &lt;/span&gt;&lt;span&gt;نتایج و پیشنهادات با توجه به ادبیات موضوع مورد بحث و بررسی قرار خواهد گرفت. &lt;/span&gt;&lt;br&gt;</OtherAbstract>
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			<Param Name="value">آموزش عالی</Param>
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			<Param Name="value">زبان انگلیسی به‌عنوان زبان دوم/خارجی</Param>
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<Article>
<Journal>
				<PublisherName>دانشگاه تربیت مدرس</PublisherName>
				<JournalTitle>جستارهای زبانی</JournalTitle>
				<Issn>2322-3081</Issn>
				<Volume>14</Volume>
				<Issue>6</Issue>
				<PubDate PubStatus="epublish">
					<Year>2023</Year>
					<Month>03</Month>
					<Day>21</Day>
				</PubDate>
			</Journal>
<ArticleTitle>Analysis of ideological discourse and semantic transformation (A Case Study of the Cannibale Novel by Didier Daeninckx)</ArticleTitle>
<VernacularTitle>تحلیل گفتمان ایدئولوژیک و دگرگونی معنایی، مطالعۀ موردی رمان آدمخوار اثر دیدیه دننکس</VernacularTitle>
			<FirstPage>421</FirstPage>
			<LastPage>455</LastPage>
			<ELocationID EIdType="pii">7412</ELocationID>
			
<ELocationID EIdType="doi">10.48311/LRR.14.6.14</ELocationID>
			
			<Language>FA</Language>
<AuthorList>
<Author>
					<FirstName>فریده</FirstName>
					<LastName>علوی</LastName>
<Affiliation>گروه زبان و ادبیات فرانسه، دانشکده زبانها و ادبیات خارجی، دانشگاه تهران، تهران، ایران</Affiliation>

</Author>
<Author>
					<FirstName>مهدی</FirstName>
					<LastName>فاضلی خوش</LastName>
<Affiliation>گروه زبان و ادبیات فرانسه، دانشکده زبانها و ادبیات خارجی، دانشگاه تهران، تهران، ایران</Affiliation>

</Author>
</AuthorList>
				<PublicationType>Journal Article</PublicationType>
		<Abstract>&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;The ideological discourse always challenges individuals and seeks to use the multi-meaning nature of language to overcome languages and other discourses. Zima believes that a message conveyed through deliberate and conscious use of language can not only convey a specific meaning to the message recipient, but can also create changes in the type and level of linguistic data comprehension in a way that changes the message in favor of the speaker and convinces the listener despite its reversed meaning. This study attempts to answer the question of how ideological discourse can transform meaning at the level of discourse and, consequently, at the level of the transmitted message, and how political institutions can take advantage of linguistic structures and tools that allow them to legitimize their superiority from a schematic and structured perspective. To achieve this goal, relying on Pierre Bourdieu&#039;s sociocognitive theories, the authors of this article have tried to demonstrate the relationship between linguistic elements and power and dominance by analyzing the discourse of the subjects and the characters in the novel &quot;Les Cannibales&quot; by the contemporary French writer Didier Daeninckx. The writer of this novel, in most of his detective novels and short stories, adopts a socio-political critical approach to narrate events that are considered dark moments in contemporary or past French history. He, who advocates against the denial of history, racism, colonialism, corruption of political societies, etc., wrote &quot;Les Cannibales&quot; in 1998, in memory of the &quot;human zoos&quot; of the Third Republic of France, and tells the story of the Kanak natives who were exhibited like animals at the &quot;Colonial Exhibition of 1931&quot;. Based on this, the authors of this article examine how the ideological discourse is created and how it changes meaning through narratives and dialogues that take place throughout the book and leads to a change in ideological connotations. Additionally, by portraying and interpreting the nature of the Kanak natives from the perspective of the dominant ideological discourse, it is shown that the dominant discourse, using the multi-meaning and multidimensional nature of language and having the power to organize linguistic structures, defines a nature other than the original nature of the Kanak natives for them, which they accept and lose their human identity.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br&gt;</Abstract>
			<OtherAbstract Language="FA">&lt;span&gt;گفتمان ایدئولوژیک همواره افراد را به‌عنوان سوژه به چالش&lt;/span&gt; &lt;span&gt;می‌کشاند و بر آن است تا از خصلت چندمعنایی زبان برای غلبه بر زبان‌ها و گفتمان‏های دیگر استفاده کند. زیما معتقد است پیامی که از طریق استفادۀ سنجیده و آگاهانه از زبان منتقل می‏شود، نه‌تنها قادر است بار معنایی خاصی را به مخاطب پیام منتقل کند، بلکه می‏تواند در نوع و میزان درک داده&lt;/span&gt;&lt;span&gt;‏های زبانی&lt;/span&gt;&lt;span&gt;‏ تغییراتی ایجاد نماید به گونه‏ای که پیام را به نفع گوینده تغییر دهد و مخاطب را نیز علی‌رغم معنای وارونۀ آن متقاعد سازد. پژوهش حاضر تلاشی است برای پاسخ به این پرسش که چگونه &lt;/span&gt;&lt;span&gt;گفتمان ایدئولوژیک قادر است در سطح گفتمان و درنتیجه در سطح پیام منتقل شده، تحول معنایی ایجاد کند و اینکه چگونه نهادهای سیاسی از ساختارهای زبانی و ابزاری که زبان و تعدیل معنایی زبان به آن‌ها اجازه می‏دهد بهره ‏برند تا برتری خود را از دیدگاهی شماتیک و ساختارمند مشروعیت بخشند. برای نیل به این هدف، &lt;/span&gt;&lt;span&gt;با تکیه بر نظریه‏های جامعه شناختی پیر زیما، نویسندگان مقاله حاضر کوشیده‏اند تا رابطۀ بین عناصر زبانی با قدرت و سلطه‏گری را با تحلیل گفتمان سوژه‏های رمان آدمخوار اثر دیدیه دننکس نویسندۀ معاصر فرانسوی نشان دهند. نویسندۀ این رمان در بیشتر رمان‌های پلیسی و داستان‌های کوتاه خود با اتخاذ رویکرد انتقادی اجتماعی ـ سیاسی به روایت رویدادهایی می‏پردازد که نقاط تاریکی در تاریخ معاصر یا گذشته فرانسه به شمار می‏آیند. او که از مدعیان مبارزه با نفی‏گرایی تاریخ، نژادپرستی، استعمارگری، فساد جوامع سیاسی و غیره است، در سال 1998 رمان آدمخوار را به یاد «باغ‏وحش‏های انسانی» در دوران جمهوری سوم فرانسه به نگارش درمی‏آورد و به روایت داستان بومیان کاناک می‏پردازد که در «نمایشگاه استعمار سال 1931» مانند حیوانات در معرض دید دیگران قرار گرفته بودند. بر این اساس، نگارندگان مقالۀ حاضر به بررسی نحوۀ ایجاد گفتمان &lt;/span&gt;&lt;span&gt;ایدئولوژیک و دگرگونی معنایی از طریق روایت‏ها و گفت‌وگوهایی که در سراسر کتاب اتفاق می‏افتد و به دگرگونی دلالت‏های ایدئولوژیک منجر می‏شود می‏پردازند. همچنین، به‌واسطۀ به تصویر کشیدن و تفسیر ماهیت بومیان کاناک از نظر گفتمان &lt;/span&gt;&lt;span&gt;ایدئولویک غالب، نشان داده می‏شود که گفتمان غالب با استفاده از ماهیت چند معنایی و چند بعدی زبان و با در اختیار داشتن قدرت سامان دادن ساختارهای زبانی، ماهیتی غیر از ماهیت اصیل بومیان کاناک برای آن‌ها تعریف کرده، &lt;/span&gt;&lt;span&gt;و آن‌ها آن را پذیرفته و هویت انسانی خود را از دست می‏دهند. &lt;/span&gt;&lt;span dir=&quot;LTR&quot;&gt;&lt;br&gt;</OtherAbstract>
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