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Language learners find it hard to change a text’s wording and present it differently while maintaining the original meaning in the text. This research therefore examined the effect of concept mapping instruction on summarizing short stories for EFL learners. Two intact grade-eight classes were assigned to experimental (n = 20) and control (n = 18) groups randomly. They summarized a starter-level short story, Drive into danger, using a maximum of 450 words as pretest. Next, the experimental group experienced concept-mapping instruction whereas the latter group received the traditional way of teaching summarization, for six consecutive weeks. Both groups summarized the same story again, based on their instruction, into a 450-word text at a maximum as posttest. Pretest and posttest summaries were assessed in terms of content, organization, vocabulary, and language use. The experimental group positively improved on overall performance, content, and organization, marginally improved on vocabulary, but did not improve on language use. Furthermore, the participants’ feedback on the instructional treatment support the statistical results. The findings offer several instructional implications.

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Minimalism is a movement in art and literature which is said to have its origin in the post- Vietnam- war America. The movement, which took place in visual arts first, has been always associated with the notions of smallness, shortness and the minimum usage of artistic representation devices; which is a sort of "reduction". This essay analyzes the minimalist short story. For this purpose, a brief history of minimalism as a movement in art and fiction has been provided first. Afterward, the nature of minimalist short story has been described and then some characteristics of the minimalist short story, such as language, characterization, plot, etc are discussed.

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 Payande. H.,PH.D
                                                 
Abstract:
 
Sources available in Persian language about the literary genre of “short Short story” are, in comparison with sources about the short story, very scarce. Likewise, Iranian writers of fictions are more motivated to write short stories than short short stories. This essay offers a definition of the short short story and proceeds to explain the structure of this form of fiction and discusses its elements. The next section of the essay presents a detailed analysis of “Safheye Havades”, a typical short short story written by the contemporary Iranian writer Ali Ghane’. It is argued, in this analysis, that the author has succeeded in exploiting the potentials of this literary genre to defamiliarize some aspects of social realities and that in fact this short short story could be considered as a critical commentary on the dominant culture of our society, a commentary through which the author has managed to critically scrutinize our habituation to tragedy as an everyday phenomenon as well as our solipsistic behavior.
 
 

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Mohammad Taghi Bahar is the initiator of historical stylistics in Iran by publishing “Tarikhe Tatavor e Nasre Farsi” (the Evolution of Farsi Pose) (1331/1952), and his manner has been followed so far. To exit the recession with which Farsi prose stylistics is afflicted, one of the solutions suggested in this article is applying the new branches of stylistics and retrieval of the suitable tools for analyzing Persian texts. To reach this goal, we will consider critical stylistics as one of the new branches, and specifically discuss the arguable stylistic layers in the critical stylistics of short story and novel. The basic question processed in this study is that what stylistic variables could be discussed in critical investigating of short story and novel styles, which leads to discovering the ideologies and power relations in the texts. To answer the question, we will consider studying story and novel in textual and narrative macro-layers by analyzing focalization; the level of persistence of focalization and the facets of focalization (perceptual facet: time, order, duration, frequency, and space; an overall and eye-bird’s view or a partial and close-up view, cognitive and ideological facets), and lexical, syntactic, pragmatic and rhetorical micro-layers in relation with its external layer (situational context). The aim will be applying the new branches of stylistics in studying Farsi literature texts; many of the stylistic criteria and features discussed in this article could be applied in studying the style of other branches of narrative literature, e. g. myth, fiction, allegory and romance.

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As a Pioneer story writer, Jamalzadeh by bringing together Western and Eastern techniques in Yeki bud yeki nabud^[1] founded a new style that became famous as “short story.” “Veylân od-Dowleh” with a different structure from the other five story of this collection poses the subject of joblessness which is similar to the “Le Vagabond,” the work of French writer, Guy de Maupassant. In these two stories, the joblessness is discussed from two different angles: voluntary joblessness, by emphasizing on the mystical observation, and involuntary unemployment. By posing this question that whether Jamalzadeh, in the writing of this story, was influenced by Maupassant or not, I investigate comparatively these two works, looking at the subject and style of expression. Accordingly, drawing on some textual examples from these two stories, I have investigated the views of the two writers about the subject of unemployment through a study of the personalities, actions, and reactions of the two protagonists struggling with the inner-self and the outside world. [1] Once Upon a Time

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Yeki Bud Yeki Nabud, a story collection written by Mohammad Ali Jamalzadeh (1892-1997), marks the beginning of modern short story in Iran. Along with the stories in this collection, also known as the very first attempts to write Persian short story, the foreword to this book is of prime importance in Persian literary studies and literary theory. One of the basic and yet significant concepts of this foreword is “literary democracy.” The analysis of the micro-concepts and metaphors developed in this foreword helps us analyze this particular macro-concept and hence better understand the foundation for the notion of “literary democracy.” It is also important to note to what extend this macro-concept have played a role in modern Persian literature.

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Up to this date, regardless of whether the writers or poets are from different geographic regions which period of history they belong to, they have always written about the world of women and they may even have created the same and similar ideas in their works. In this comparative study, first, the place, role, and characteristics of women and their needs and desires in a society and family are examined in the literature of Iran and Spain. In order to narrow down the research field, the short story of "Pink Nail-Polish" by Jalal Al-e-Ahmad and the play of "Yerma" by Federico Garcia Lorca have been studied as two famous works written by professional authors in both countries. First, a brief overview of the history of life and socio-cultural activities of both writers has been presented, then woman, her place, desires and needs have been studied separately, and finally the two works are compared.

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This article examines the reproduction of gender identity in Dowlatabadi’s short story “The Man” in the light of Judith Butler’s theory of Gender Performativity. It investigates the cultural function of identity and the way language discursively reflects the role of the unestablished identity in the story. It also presents new outlooks towards language performativity of the male/female dichotomy. What this article focuses on is an individual's identity, and language, exploring the concept of gender performativity.
Butler asserts that performativity is a ritualized production and a constrained reiteration of cultural intelligibility under the compulsory prohibition pressed by the power regimes. The culturally-acquired gender is crafted based on the socially recognizable standards, which form the directionality of the self-representation. A Gender is an act that requires a repeated performance in ritual and social dramas. She declares that one is not born but rather becomes a subject whose gender is a discursive construction that defines his/her body. Moreover, the gendered subjects were subordinated to the language that interpellated them, so that each individual became a linguistically stylized occasion.
Dowlatabadi’s main character in this story undergoes transfiguration from childhood to adulthood affected by the social upheavals leading him towards his crafted and gendered identity formation. His father’s roles are resignified through the reiteration and imitation of the gendered and naturalized regulations. Surveying “The Man” elucidates that gender identity is an imitation, which leads the character to resignify and recontextualize the parodic gender reproductions. Therefore, the established discourses gave the agent the feasibility to establish his intelligible social existence.
Springing from the discussion about gender performativity of Dowlatabadi’s character, the article concluded that identity is a phantasmatic construction. What an individual performes is a non-intrinsic parody of the culturally constructed regulations. It can be concluded that identity is established by the power of language that interpellates the subjects.
 
 

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One of the stages of recognizing the intellectual, cultural and emotional characteristics of nations possessing culture and literature is the adjustment of their literary works. Semiotics approach reaches meaning through the literary text, and in this process, regimes of discourse as the main elements of discourse shape the narrative and change from one status to another. This study analyzes of Savab ya Gonah by Jamalzadeh and The Corn Planting by Anderson of two Iranian and American writers by the use of Greimas’s semiotics model, also explicate types of regimes of Discourse.The main question of this research is how the narrative process of signification is formed and what are the most important discourse systems involved in meaning production? The results showed that both authors have used a variety of narrative discourse systems in their story, but the discourse systems of action and Stative have been the dominant discourses in the narrative formation so that the narrative with Stative has turned to action and again to the Stative with aesthetic and mythical type. and we are confronted with the process of forming high spiritual values, and the characters in the story make their mythical presence visible to the audience. But what leads to the difference between the themes of the two stories is the attitude of the actors and the value worldview in these two cultures, such as in the story of Savab ya Gonah, the main actor in the form of religious codes of retribution and reconciliation with death is elevated to the status of myths. However, in The Corn Planting story, the main actors, in the form of Eco-Semiotics codes, linked the death of the child at the end of the narrative by turning to nature and attaining mythical status.

1. Introduction
 Developments in the study of the field of sign provided the basis for the transition from structural semiotics to discourse semiotics. Greimas, with his extensive research and new findings, made profound changes in the semiotics of the Paris School, so that the three levels of change created by his studies under the headings: 1) structural semantics; 2) narrative semiotics; 3) discursive semiotics. Accordingly signs in the field of semiotics are manifested beyond the signs in the structural approach, as they are a dynamic and interacting entity, forming meanings and emerging within Regimes of  Discourse.The present study intends to study the regime of discourse in two stories by two authors of East and West, based on the discourse semiotics approach, and shows that the types of semantic processes in both stories cause the formation of discourses and the creation of intelligent, emotional and events to show how much the moral, cultural messages and myths hidden in the underlying layers of these narratives can affect the life, thinking and lifestyle of their audiences.
 
 
2. Research questions
 This study tries to find out what are the types of regimes of discourse used in the story of the authors and how these regimes are formed and from their interaction, the meanings are formed and the narrative is developed. Also, what are the main similarities and differences in the process of producing meaning in the stories in question? The next question is what moral themes, characterization, and mythology are used in the underlying layers of these two stories? The main hypothesis of the article is that a set of action and stative discourses and unexpected events play a role in shaping the narrative process and creating meaning, which change its nature by transforming from stative to action and vice versa. The secondary hypothesis is that there is a difference in the occurrence of human actions in both cultures, and this difference in the lifestyle of the actors makes the cultural function different in both discourses.
 
3. Methodology
 The method of this research is descriptive-analytical method and the purpose is to analyze the regime of discourse from the perspective of discourse semiotics and enlighten the action and stative regimes of discourse so that a clearer reading can be done for the reader. In the research model, first, the text of the story is decomposed into its components and parts and then it is analyzed meaningfully by inductive method from the components to the whole text. In this approach, the elements and underlying layers of the text are considered in interaction with each other and processes and regime of discourse are examined and analyzed.
 
 
4. Innovation
 The present study aims to study and analyze the processes of meaning production and regime of discourse from Savab ya Gonah and The Corn planting short stories according to  semiotics approach and comparatively, to analyze and discover the mechanisms of meaning production in two short stories by two Eastern and Western writers so that we reveal the similarities and differences in the cultural and social themes underlying the story.
 
5. Discussion
In this study, the regime of discourse in two stories by the authors of Eastern and Western and their semiotics relations was examined and depicted by descriptive-analytical method and comparative type. One of the moral points raised in the story of Savab ya Gonah written by Mohammad Ali Jamalzadeh were the issue of poverty and misery, which are the main cause of crime. They forces Sohrab, who could not afford for  himself and his mother’s daily life, to take risks in order to reach the wealth by seizing a part of the wealth of his wealthy neighbor, Haj Fathulla. He enters to tensive regime of discourse and commits the murder of Haj Fathulla and is imprisoned. In this part of the narrative, we enter the stative regime of discourse. Sohrab, who has accepted the act of murder by entering the cognitive system,  and considers death  as liberation from calamities. The semantic processes in this story from the point of view of semiotics show that actions are subject to special conditions and proceed based on cognition and experience and are not based solely on physical strength. Sometimes, actions are a function of emotions and statives and lead to action. In some cases, statives lead to cognition and attainment of the aesthetic. Eventually, by entering to the aesthetics of nothingness and absence  atmosphere,  death becomes a stage for revival and spiritual life. The main actor of the narrative, with the retribution of his death, is linked to a myth in an aesthetic process such as light-winged birds, and at the end of the tensive process, he clearly explains the fluidity of meaning and its non-confinement in stereotyped forms. That is, the narrative changes from stative to the action regime of discourse and finds its way back to the stative which is of aesthetic and mythical nature.
 
Table 1
 The story processes of Savab ya Gonah at a glance
 

stative regime of discourse	actional regime of discourse	event	Cognitive space	tensive space	transformation of the actional regime of discourse into the stative regime of discourse of aesthetic (transcendental) kind
Poverty and misery of Sohrab family	Sohrab and his mother's efforts for livelihood and the narrator's support of them	Sohrab committed murde	confession of murder committed by Sohrab and blaming himself	The torment of the victim's conscience in Sohrab's dream and the death of Sohrab's mother	Acceptance of retribution by Sohrab and death is a stage of his spiritual life

 
The main theme of The Corn Planting is the pride and being happy for what we have, sacrifice in maintaining it and accepting the situation of life, patience and endurance in the face of adversity. The main semantic processes in this story have advanced the narrative, using the intelligent regime of discourse means actional discourse as well as the emotional regime of discourse, stative discourse. In this story, actions are linked to cognition, and sometimes they are subject to the morality of ethics and create love, sometimes they are the generators of love and affection, and they figure out some cases of dependency. Even the occurrence of an unexpected event, in addition to the action, leads to the transcendence of the concept of death, patience and perseverance. In other words, Hatch and his wife's dependency on their only child, leads to uninterrupted work on the farm. With the event of Will's death, we enter a tensive space, but the occurrence of a tensive atmosphere instead of disturbing the mental balance of the main characters of the narrative, by working non-stop on the farm, is an attempt to nostalgia which is aesthetic and mythical. In other words, he makes them a myth who like a saint worshiping and praying in the sanctuary of worship, has surrendered. The aesthetic atmosphere of the corn planting has also gone beyond myth, and every moment, by planting death in the heart of darkness, waiting for sprouting hope and lif  in the bed of existence.
 
Table 2
 The story processes of The Corn Planting at a glance
 

stative regime of discourse	ethic	actional regime of discourse	event	tensive space	transformation of the actional regime of discourse into the stative regime of discourse of aesthetic (transcendental) kind
Parent solitudes for their only child	Will financial support for his parents	the relentless effort of Hatch and his wife	Will 's death in a car accident	Getting the news of the child's death	transcendence of the position of the subjects in time of corn planting to worshiping saints

6. Conclusion
 The findings indicated that in the comparison of these two narratives, the most important regime of discourse are stative, action and the occurrence of an unexpected event cause a transformation in the stative regime of discourse and mythical. Ultimately distinguishes the two narratives is the lifestyle and performance of the actors and their cultural differences. Because in the story of Savab ya Gonah, the main actor achieves the status of a myth by choosing death and retribution, and in the story of The Corn planting the main actors in the form of Eco-Semiotics codes, by turning to nature and accepting the loss of a child, transcend his death to the status of a myth.

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The current research aims to investigate all the components of thymic structure of discourse (modal and tensive components) in short story of “Mi’ad” by Goli Taraghi- one of the writers of contemporary Persian fictional literature. Research methodology is descriptive –analytical. In fact, the author seeks to explain the underlying interaction of these semiotic components “in this short story by relying on the phenomenal presence of enunciator in order to show how thymic structures emerge in discourse and affect the process of meaning production and perception. To this end, the main objective of the present research is to answer the following questions: 1.What are the fundamental semiotic constituents and mechanisms of discourse thymic structure in this short story? 2. How is it possible to explain the function of narrative action with regard to hierarchical nature of discourse thymic structure? The results showed that discourse thymic structure is the output of phenomenal presence of subject­ enunciator which in its own turn marginalizes narrative action through modal constituents’ turbulence and then stabilizes them by emergence of thymic state of hope which one again rehabilitate narrative action in semiotic field. Undoubtedly, these interactions are in constant relationship with semiotic modes of presence.

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Sociology of literature is one of the systematic and scientific efforts that helps to study literature. To examine the role of social structures in the production of literary works, Lucien Goldman chooses the method of evolutionary constructivism, which discusses the effects of creative structures. According to him, the literary text shows the links between the mental structures of literary realities and social realities. The author does not reflect the pure reflection of consciousness, but there is a strong connection between the categories raised in his work and his social consciousness. In this research, relying on the method of formative constructivism, the relationship between the characteristics of the main character of Golshiri's stories and the political, social and cultural conditions of the time of their writing is analyzed. This study shows that although Golshiri belongs to the middle class of society, by entering the privileged group of intellectuals, he has paid more attention to the issues and problems in this class, including political and reformist concerns, more than the general problems of the people. This, along with his party and political leanings, has led most of the main characters in his stories to be selected from the new, educated middle class. Therefore, political ideology is more prominent in its stories than other ideologies. In this context, Golshiri provides a vivid picture of political deceivers, expedient actions, and the fear and pessimism of political repression. In social ideology, the confrontation between poverty and wealth and its consequences and the boredom of the main characters from family and professional life are prominent. In cultural ideology, the tendency of the middle class and the intelligentsia to study socio-political works as well as the tendency of deprived and rural people to superstition and popular beliefs is evident. Finally, from the point of view of religious ideology, most of the main characters have a religious nature, and the author, by creating them, shows his critical and anti-sectarian view of this ideology.

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The ratio of government apparatus to social institutions has a special place in Mahmoud Dolatabadi’s short stories which has often been overlooked due to being in the shadow of Kalidar. Accordingly, by analyzing the actions and reactions of social groups with the state institution that are the Quasi-nation of the nation, one can define and explain this two-way relationship which takes into account the legitimacy of the power institution from the point of view of society. The results of the receipt and explanation of these works reflect the fact that there is a kind of alienation, rupture, and fission between the institutional power and the community that led to the confrontation between the two institution. On the other hand, the reflection of this confrontation is based on linguistic and literary techniques embodied in fictional masterpieces. From the point of view of ideological function, it means the increasing deepening of the discontinuity. In the final analysis, it focuses on a kind of decriminalization of the dominant political discourse of the Pahlavi era.

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This research is going to review short story named "The leopards who have run with me" written by Bijan Najdi, based on sociological criticism by Lucien Goldmann's genetic structuralism method. With regard to the fact that intended research  field of here is social realistic novel, this articl is going to deal with the unrealistic short story in a  descriptive-analytical way then review it’s capable for sociological criticism. In this method explores the correspondence between the general structures of the work and the social structures in which the story develops. The results of the of this article show that such a critical method, bears the necessary instrumentation for analyzing and interpreting short story and Najdi was not negligent about the social issues beside making poetic sphere for his stories and the form and content of his book are shaped by the structures of society. By creating implication, de indirectly has referred to social harms especially modernity invasion into Iran's society after the war and the mechanization consequencies for societies in current century.

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The present article seeks to examine the relationship between the gender of fictional characters and place in Zoya Pirzad's The Acrid taste of Persimmon Short Story, based on the theory of place semiotics. In this story, the life of a traditional woman is narrated who does not leave the shell of gender stereotypes until the end of the story.The house (place), which plays a pivotal role in The Acrid taste of Persimmon, is a realm full of signs that become part of the identity of the female character. In fact, the house and the activities inside it find a feminine identity and outside and everything that belongs to it, they find a masculine identity.The results show that the Acrid taste of Persimmon has been successful in representing gender (female / inside and male / outside) by relying on symptoms.

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Narratology is a new science and the result of the structuralist revolution in the field of fiction, which achieves the various dimensions and hidden meanings of a literary work and increases the power of understanding the text by examining its narrative techniques and structures. One of the most prominent structuralist theorists is Gerard Genette, whose theory in one of the most complete and effective theories of narratology. Genette's theory holds that the structure of literary texts is described and analyzed based on the three components of time, mood, and voice. This paper examines the narrative component and its function in the short stories "Sourat Shakira" by Mahmoud Shoukair and "Asrar al-Duri" by Akram Haniyeh, the contemporary Palestinian writers, using an analytical-descriptive method. The paper aims at showing the usefulness of the narrative study of the short story despite the limitations of the structure and its small volume in reading and analyzing a literary work and penetrating its inner layers.