Document Type : Original Article
Authors
1
Professor of Persian Language and Literature, Qom University, Qom, Iran (Corresponding Author)
2
Professor of Persian Language and Literature, Qom University, Qom, Iran .
3
PhD student of Persian Language and Literature, Qom University, Qom, Iran .
Abstract
Rhetorical semiotics is one of the types of "textual codes" in Daniel Chandler''s tripartite classification, encompassing a broader range than previous rhetorical discussions and is not limited to verbal elements; rather, these signs can be sought in images, sounds, or the context of speech. In this semiotic approach, the relationships between signs and their implicit meanings are examined from a rhetorical perspective, and in addition to linguistics and literary works, it is applicable to other artistic forms such as cinema, painting, photography, music, and architecture. In this article, we examined "The Pear Tree" and its film adaptation based on rhetorical signs in four semiotics domains of symbols, intertextual elements, oppositions, and expressive elements, each of which consisting of several components. The results of these analyses showed that rhetorical signs such as metaphor, simile, irony, metonymy, synecdoche, proverbs, binary oppositions, paradox, and various symbols related to people, objects, sounds, and nature are embedded throughout the text, accompanied by hints that guide the audience to discover the rhetorical signs. Based on the analyses, instances related to the first category, semiotics of symbols, and the fourth category, semiotics of expressive elements, were found more frequently than the other two categories in the story and the film adaptation. Moreover, the most significant rhetorical sign of the two works can be observed in the title, the Pear Tree, which serves as a metaphor for the main character.
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