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The poetries of Sheevan Foumani are various from the conceptual and functional views.These stylistic varieties in poetries represent the frequency of experience that by means of them the poet incorporates component of meaning to the linguistic community of poetries.He carries out the aim by using the symbolic units in a specific style.Since the most of his poetries are symbolic and symbols of poetries are manifested in the forms of attributes,identification,personalization,impersonalization,the current research aims at investigating the semantic components of poetries of Fokhos and Aghadar in accordance with sociolinguistics. Also, it aims at drawing discursive boundaries through the symbolic representation of social actors based on the discursive functions.Therefore, two combined models of socio-semantic of Van Leeuwan and semio-semantic of Paris have been chosen to achieve these goals.As a main purpose,this research investigates the features of the model of Van Leeuwan on poetries.Consequently,the critical approach of the semio-semantic analysis of Paris tries to explain the discursive boundaries of poetries. Primarily by implementing the model of Van Leeuwan on verses, the results of research indicated that the representation of social actors in two poetries has been mostly formed by the factor of impersonalization. Moreover, based on the saliency of impersonalization, the semio-semantic analysis of poetries is formed by instrumenting this component in the direction of creating discursive spaces and the result indicated that discursive functions of appeasement,resistance,and insistence are often organized in textual layers that are related to the subcomponents of impersonalization.

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The main aim of this research is finding the similarities and differences between the representations of social actors in the two different versions of Bahman’s vengeance seeking. Accordingly, the author tried to find the ideological background behind the two texts and show the difference in impression by studying socio-semantic elements that Theo Van Leeuwen offered in his suggested pattern and comparing them with the corresponding parts in Shahnama and Bahmannama. The results showed that some branches of the two main methods are exclusion, and inclusion is to some extent visible in both texts. Also association, dissociation, nomination and categorization along with their subsets are the techniques used to represent the social actors. Analysis of the two texts clearly shows that Bahman in Shahnama is seeking legitimacy for his goal while he has the authority and individuality in Bahmannama while he does not need to use persuasive and approval seeking techniques; so representations of social actors in Shahnama are more than in Bahmannama and they were used deliberately.

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Revealing the unequal relations of power, which lead to hegemony in media and make audiences aware of it, has been in the center of attention for Critical Discourse Analysis (CDA) for a long period of time. Van Leeuwen’s (2008) socio-semantic network of social actors is considered as a competent framework for linguists and discourse analysts to do so. In this article, we study 50 hard news and articles published in leading international news agencies and newspapers about Iran’s nuclear program during November and December 2010 to analyze the way the social actors of both sides of the quarrel have been represented in the media. The results showed that although the international news agencies and newspapers claim to stay neutral in representing the events, some linguistic mechanisms to represent Iranian social actors differently from the western ones are obvious and Iranian social actors playing role in this case are shown as irrational hardliners while western counterparts are introduced as logical peace seeker ones.

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Critical discourse analysis deals with power and ideology. This approach makes connection between ideology and the manner of expression by the use of discursive features. This article was carried out in discreptive-analytic method to study discursive features in the expressions, sentences and texts of the narration “Miyan-e diruz va farad” from “Azar Mah-e Akhar-e Payiz” (Azar, The Last Month of Autumn) written by Ebrahim Golestan. Therefore, the present article studies socio-semantic features on the basis of Van Leeuwen (1996) in the story of “Miyan-e diruz va farad” for clarifying the ideology beyond the text. This article aims to answer these questions: 1- How are socio-semantic features used in this story? 2- Have social situations been affected in the style of narration? and 3-What kind of functions has the author considered for ideology? The results indicated that this story has used all kinds of socio-semantic features with the exception of symbolization. The author has used implicit features due to political and social situations, and explicit features have been used because of the importance of actors and their actions. The author has also used ideology for transferring group believes. This article makes an attempt to express why the author has used these features and expressed them implicity.

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The goal of this article is to demystify the press texts and discover their hidden layers of meaning in the framework of critical discourse analysis. To do so, using socio-semantic features of Van Leeuwen's model (1996), 40 numbers of four Iranian Persian publications of a two–month period, from July 22 to September 21, 2011 were studied qualitatively. The data analysis results indicated that the ideology dominating the minds of writers and groups is reflected in the text using discursive features as personalization, impersonalization, activation, backgrounding, etc., and the linguistic realization of discursive structures is performed using linguistic structures as nominalization, pre-modifiers, active versus passive structures, coordination, etc. in the texts. Also there is a dialectic relationship between discursive structures and ideology, which can be determined by studying these structures in the texts and social institutions.

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Van Leeuwen's socio- semiotic network of social actors (2008), is a framework in Critical Discourse Analysis which helps discourse analysts discover how the social features ,settled in the underlying levels of discourses, are represented on the upper levels. This study tries to explore the way social actors are nominated and categorized in “Al” which is a story about the culture of nomadic people in Iran by Mohammad Bahmanbeigi, a famous Iranian novelist and the winner of the UNESCO’s literacy prize. By social actors we mean every single person that plays a role or occupies a specific position in a given society. Particularly, this study attempts to find answers to the following questions:
1. How does the writer use nomination and categorization to express his own viewpoints about the social actors of Nomadic societies of Iran?
2. Can these nominations and categorizations reflect the nomadic people's viewpoints about social actors at the time of nomadic people's illiteracy?
Adopting Van Leeuwen's model of representing social actors, a lot of researcher have tried to explore the social actors of different political and educational discourses but the innovation of this study is that it tries to change the direction of studies from political discourses to literary ones.  Another point is that most of the studies about the representation of social actors have relied mostly on the frequency of the socio- semantic features for their final discussion and results but this study has focused more on qualitative analysis than just counting the frequency of the socio- semiotic features. Although counting frequencies can reveal significant patterns, it is better not to make great claims for numbers. On the contrary, it is important to realize that frequencies often shift with the stages in the writer’s argument and may not be an overall characteristic of the text (vide. Van Leeuwen, 2008: 31).
 The results of this study show that the representation of social actors in “Al” is purposeful and serves to control the viewpoints of the society. The writer, using the advantages of nomination and categorization, expresses his viewpoints covertly and portrays the oppression of women in nomadic societies. On the one hand, the writer categorizes women generically to demonstrate them as the social actors engaged in common complications and on the other hand, he nominates women specifically and individually to picture them as distinguished and independent persons. Men's appraisements are all positive and represent the nomadic people's opinions about males but the appraisements of women, according to the social norms dominating the text, are changing. Using the advantages of deviation, the writer introduces the main character of the story as a deviant actor involved in opposite activities to challenge social norms and beliefs.

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Through uncovering the underlying elements of language, this research aims to reveal the hidden layers of meaning in press texts in the framework of a critical discourse analysis. Having used socio-semantic features of Van Leeuwen's model (1996), this paper has studied, qualitatively, 40 issues of four Iranian Persian publications for a period of two months, from July 22 to September 21, 2011. These publications were 'E'temad', 'Sharq', Resalat' and Keyhan. The analyses included recognizing discursive structures in the texts, determining the linguistic realizations of structures, and explaining along with uncovering the hidden layers of meaning and the ideology behind the texts. The research results out of the data analysis indicate that the ideology dominating the minds of writers and groups is reflected in the texts using discursive features as exclusion, activation, passivation, personalization and impersonalization. Exclusion has been the most frequently used feature in 'E'temad and 'Sharq', whereas activation has had the highest frequency of occurrences in 'Resalat' and 'Keyhan'. The discursive structures take place using linguistic instruments like pre-modifiers, active vs. passive structures, coordination and circumstantials, in the texts. Besides, the relationship between discursive structures and ideology is dialectal, which can be determined by studying these structures in the texts and social institutions.

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Hegemonies imposed from sources of power have been an issue of investigation for many years. In recent years, media and movies have gained particular attention due to their society-affecting power. The present study explores how male and female characters are represented in American movies based on the Van Leeuwen’s (2008) social actor categorization. Hence, the researchers focus on the scripts of the movies available in fiction genre of COCA (Corpus of Contemporary American English). A representative sample of words depicting each gender was chosen based on their frequencies, and accordingly, their collocations were extracted. The findings indicate that men and women representations were following stereotypical depiction of gender roles; while men tended to be associated with high-ranked jobs, positions, activities, and identification categories, women were shown to be passively linked with inferior features, low-income jobs, child-bearers, and sexual aspects. More specifically, women were mostly objectified through a patriarchal perspective. The results might shed light on the archetypical imposition of power from above and may pave the way for unbiased media where depths, not just the appearances, of characters are of greater significance.