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Both intertextuality and intermediality are discursive phenomena that impact the semiotics by defamiliarization or interaction of the media and the text. Intertextuality function since its appearance could be seen only in the literature and its contrast was only with multi-media novel. In various arts, especially in the cinema, theatre and cyberspace, it seems that they could not achieve to prove the transdiscursive technical and media situation – particularly in the criticism area – until intermediality is discussed. The intermediality shows interaction of various characteristics between different mass media next to each other keeping all characteristics of its signs. It has then a transposition by which the primitive characteristics are suspended and differentiated. The most important aspect of this media conflux is to establish a material and a form of expression next to another material and form. The purpose of this research – besides studying intermediality discourse – is to consider its function in the semiotics and arts as well. That is why having the intertextuality reread, the borders between text and media and, finally, the effects produced by interaction of the media are regarded to gain a proper theory about intermediality.

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In order to investigate the concept and function of the Iranian market, which is one of the important and influential elements in Iranian cities and has many social, economic, political, physical and cultural functions, it is possible to examine it in the framework of text analysis approaches such as linguistics and semiotics. The context of the Iranian market has implicational features; in other words, the context itself and its constructive factors all have the ability of meaning association. Now, given that the purpose of this research is to implement a conceptual model for proper reading and to examine the effective components in creating concept in the Iranian market like a context and as a shear of the city with a layered semiotic framework, its layers must be Identified and objective representation of the code network must be specified in a communicative action. Therefore, after explaining the basic concepts and outlining the theoretical necessities in the field of architectural semiotics, the layers involved in this reading will be identified and will be subjected to a precise analysis of the layered semiotic approach. The semiotics methodology of the foundation theory helps the researcher, in the form of an analytical method, identify the layers of Iranian market and examine the factors affecting the proper reading and decoding of it by identifying the signs and codes presented in the Iranian architecture, while investigating the signs and changing the types of them. The results of the current research showed that the market is a context in which various layers are slipping over each other and the monopolistic and separatist relations of the building elements have become overlapping and penetrating relations. The physical, functional, environmental, temporal, and semantic layers have been combined and unified and created a systematic whole in the name of Bazaar. In fact, the sets of the companion layers and the systems involved in this building are mutually supportive, and the coherence and creativity and proper reading of the Iranian market is possible due to the combination of the physical, functional, semantic, environmental and temporal layers; in such a way that the reading of this epitaxial semiotic complex relies on the audience's sense of movement within the physical and ultra-physical codes of the Iranian market.
 

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-The term “Ta’ziyeh” refers to an Iranian dramatic genre which might be compared to the Western Passion Play and is the only indigenous drama of the entire Islamic world. This ritual drama has both an Islamic and a Persian heritage, the central theme of which is the tragic and heroic martyrdom of Imam Husayn, the grandson of the Prophet Mohammed and the third Imam of Shi’ite in the desert of Karbala in 680 A.D. Shiites believe that Imam Husayn sacrificed his life to be their Intercessor on the Day of Judgment. The history of Ta’ziyeh did not begin with the events at Karbala rather it dates back to pre-Islamic culture as well as the dramatic expressions of both the Memorial of Zarer, a religious epic from the Sassanid era, (226-652 A.D.), and the Tragedy of Siyavush, a work from ancient Iran, which precedes the Ta’ziyeh play by 1,200 years. The tradition continued from an early processional form to the Magtal-Khani (a recital of martyrdom stories), until it took a dramatic shape. Further, both the playwrights and the structure of the Takiyeh performance building, its performance site, contributed to the evolution of Ta’ziyeh. In this paper, the emphasis is to demonstrate the character of Ta’ziyeh, its foundation and, the development of its various elements. It also attempts to reveal, from an objective stance, its value to a people who embrace it as a kind of ritual, both a holy and national art form. Ta’ziyeh is a kind of ritual drama which has fascinated some of the world’s most famous theatre historians, critics, and performers, who view in it some elements of the postmodern theatre.

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Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest.