The Later Ludwig Wittgenstein believes that language games cause the formation of meaning. He considers language to have a logic that is perfected in its original grammar. But situational contradictions create conditions in which another conception of the same situation can be reached. An image that crystallizes in a new language game and can be called imagination. Thus, this notion can be transformed from a mental thing to a Lingual one. One of the contexts in which these language games can be followed by example is the field of dramatic texts. Hence, because Wittgenstein describes the nature of research in description and opposes analysis and explanation, he claims that the philosophy of language has done its job by describing language games, with the aim of how imagination is formed in language. Asghar Farhadi's About Eli has been selected for research. How does Farhadi organize his language game to achieve this goal? He seems to have used the absence element for this language game. This research, which is based on a qualitative method and on the collection of library information from the perspective of applied purpose, has reached the conclusion that absence causes the formation of contradictory and shaky language situations and helps different language procedures in dealing with Form each other.

1. Introduction
The philosophical idea of “language games” by Ludwig Josef Johann Wittgenstein alongside with linguist, Ferdinand de Saussure, has brought about major changes in theories of language studies. This philosopher developed philosophical research in an attempt not to describe than‌ to explain, but to focus on functional elements. In this regard, he replaced meaning not only with a picture that he considers mind word‌ but the function of the ‌language.
A screenplay text by Asghar Farhadi has been purposefully selected ‌for this study in this regard to address the issue in the field of philosophy of art. Farhadi is known as an international filmmaker whose art works have been warmly welcomed by local and international viewers with any form of language game he chooses. About Elly (2008) has been chosen. This film has dramatically created a situation in which language game‌ expansion is feasible. This study aims at determining the role that language game plays in developing dramatic language in such plays.
The question is how Farhadi has turned the element of imagination into language factor and expanded dramatic language in his ‌narratives.

2. Literature Review
The late Wittgenstein believes that the meaning of language forms ‌in its function. Human is involved in language‌ games in everyday language. The games‌ which we learn how to play while playing ‌and apply ‌unconsciously. These games are subject to‌ rules that are considered ‌grammar. Grammars have primary and secondary forms. The primary grammars are the context for building initial sentences in‌ language games; on the other hand, secondary grammars influence the infrastructure of‌ language which is culturally shaped. He does not believe in the mind aspect and takes this view that whatever happens in the language life of people‌ has a prominent aspect, which has to be coordinated and accompanied by‌ language games. The mentality of people is regarded as an individual grammar that is inaccessible to the public and it will not be perceivable unless it takes the language aspect in one of the language game rules.
Imagination is no exception.
Throughout the history of philosophy, imagination has a mental nature that is in line with Wittgenstein's mental subject‌; thus, it can be available until a language structure is made‌. Therefore, it must be determined how the language game of imagination makes meaning in function‌. One of the factors is "‌absence" that can integrate imagination into language games. Absence has been repeatedly discussed. It occasionally has philosophical, linguistic, and artistic logic aspects. Thus, absence has aspects ‌that can face its function‌ with different daily issues‌. Absence comprises all of these ‌functions in the context of language.

3. Methodology
Wittgenstein has benefited from the descriptive method to provide his research and this study. According to‌ Wittgenstein, a researcher has to provide schemes based on which a machine operates, like drawing an engineering map, to know how the machine works‌; this refers to how to study language and find grammar in language‌. Hence, this study has considered how the language of imagination has been applied in Farhadi’s screenplay by reviewing Wittgenstein's literature‌ and providing study‌ samples of Farhadi’s texts. This study is based on a functional goal, collecting library information, qualitative method, and descriptive nature.

4. Discussion
About Elly by Asghar Farhadi is examined‌. Language‌ games are created in this screenplay, which is listed in following table‌.

Table 1
 The situation and language games of the movie about Eli (Source: Authors)

Situation  A	Sepideh and Elly situation: Elly has a fiancé who is going to divorce her and Sepideh has suggested her to travel with her to North in order to introduce her to Ahmad. (This situation is in ‌preface.)	Language game P
Situation B	Sepideh situation: Sepideh has started the absence play of preface‌. All the players in the game have believed her‌ story.	Language game ~P
Situation C	Elly situation: Elly has disappeared in ‌this situation. Everyone is looking for her and to know how she is.	Language game q
Situation D	Alireza situation (Elly’s fiancé): Elly’s fiancé has entered the game and the story of situation is‌ obvious.	Language game r
Situation E	Collective situation: Inverting the situation of A in a new language game	Language game ~r

In these situations‌, agents involved in language games create contexts ‌for playing without any absent elements in order to present ‌an aspect of their language and make another factor for aspect‌ expansion. Dramatic‌ dialogues ‌are first ‌selected and‌ then analyzed individually. It is obvious that the writer of the screenplay ‌has chosen various ‌ways to apply absence in this‌ analysis. Factors such as deletion of a character’s ‌name, and physical deletion of a character to name a few, reach‌ to deep linguistic structure, ‌which transforms the function of ‌language.

5. Conclusion
“Absence”, if not considered as language reference, could create an imaginary situation in language games. Asghar Farhadi has tested these issues by considering different situations of language games in his screenplay of “About Elly”. His function has resulted in switching from absence to name and physical deletion and different situations. Consequently, what has been considered ‌mental is turned into something objective and linguistic. The created‌ situations are widely considered logical situations‌. It is not nonsense. However, on the other hand, the logical situations are turned into another procedure of language and are somehow transformed into an imaginative situation when are in conflict with previous and next situations. We can identify other aspects of language by using the expression “imagine” depending on the agent and the situation that has been created. Absence destabilizes the unconscious situation of language. This instability continuously leads to the creation of various kinds of language games; thus, the functional aspect of language develops. This note is a direct answer to the research question and proves the‌ hypothesis in this study. This issue could result in creating drama in conscious areas due to the fact that contradictory situations cause tension and challenges between them, which Farhadi has taken advantage of in the screenplay of “About Elly”. Eventually, it can be claimed that imagination is not just a mental matter. It also can have verbal characteristics provided that we can identify and express its proper language game. This is a way of expanding language. It is important that Wittgenstein does not seek for providing a specific shape or instruction for ‌language games. They might be family-related‌ but are more focused on how to play language‌ games in method than on providing or explaining a specific instruction‌. In this study, we tried to ‌heed more attention to absence ‌as one of these possibilities.
 

This article seeks to explicate the interpretive model of symbolic expressions, termed "the evolutionary-oriented pattern", 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'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'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.

1. Introduction
In the mystical worldview, existence and the world are considered a "symbolic system," 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, "truth is nothing but the disclosure of existence through the intermediary of language" (Eco, 2018, p.168). The notion that "language is the voice of existence" 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 "profound unity with things" and discover the truth of existence. In this context, language becomes an "unconscious metaphor" that makes us aware of the inner essence of things.

Research Questions
1.    What is Peirce's definition of metaphor?
2.    Is Peircean semiotics equipped with a transcendental function besides its non-transcendental function? if yes;
3.    What is the role of both transcendental and non-transcendental processes in the Interpretation?

2. Literature Review
Anderson (1984) is the first study that compiles Pierce'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's article, which compares Pierce's perspective on metaphor with the interactive approach of Richards and Max Black's theory. Neville (1996) endeavors to adapt Peirce'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's pragmatic and experiential philosophy, fundamentally, he does not accept such a possibility.

3. Metaphor and Semantic Networks
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 "ultimate rational interpretation." 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.

4. Conclusion
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'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's interpretant. This is because, as Peirce states, a sign represents its interpretation from certain aspects.
However, the interpretive hermeneutics of metaphor and its "evolutionary-oriented pattern", 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'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.

Abstract
In the current study on premodern Iranian poetries, from the first century of the history of Persian literature to the period of literary return, it is seen that the imaginary forms used in the poetry of the poets of the third to fifth centuries AH are innovative and the product of their own poetic experience. But with the passage of time from the end of the fifth century onwards, poets, instead of incorporating images of their own personal experience and elements of nature and life into poetry, have always remained within the same images. The question that this research seeks to answer is: why from the end of the fifth century onwards (until the return period), the forms of imagination used in the poetry of Iranian poets are often imitative and repetitive, and devoid of any kind of innovation?
Extended abstract
By examining the poetry of pre-modern Iranian poets, from the first century of the history of Persian literature to the period of literary return, it can be seen that the images used in the poetry of poets of the third to fifth centuries AH are innovative and the product of their personal poetic experience. But over time, from the end of the fifth century onwards, poets, instead of incorporating images of the product of their personal experience and new elements of nature and life into poetry, have always remained within the same range of images of the poets of the past.
The question that this research seeks to answer is: why from the end of the fifth century onwards (until the period of literary return), the forms of imagination used in the poetry of Iranian poets are often repetitive and any innovation is out of the realm of the ancients? Thomas Kuhn's theory of paradigm can be used to answer this question. According to this theory, scientific transformations alternate between normative and revolutionary periods. The movement of science in normative periods takes place through a "paradigm". Scientific paradigms are accepted patterns in the scientific community for significant periods of time about a major aspect of nature. What makes these patterns valid is the metaphysics or philosophy that governs that paradigm. Therefore, what is "scientific, normative and valid" in one paradigm is "unscientific, abnormal and invalid" in the intellectual, philosophical and cultural context of the other paradigm. Sometimes scientists accidentally encounter phenomena that do not conform to the norms and assumptions governing the paradigm. In the first encounter, these cases are considered as exceptional cases or the product of experimental error, and so on. But when the number of these inconsistencies increases, such justifications no longer work, and the paradigm is in crisis. Over time, this crisis deepens until a new paradigm emerges. As the new paradigm grows, so does the previous critical paradigm. Kuhn calls such a development a "scientific revolution." In his view, the "paradigms" before and after the scientific revolutions are "incomparable."
Kuhn's theory of paradigm is true not only of the history of science, but of all phenomena, including art and literature. In general, it can be said that in each period of time, according to the metaphysics of that period, there is a ruling paradigm that has its own presuppositions, norms and rules. These presuppositions and norms are based upon a fixed pattern that the paradigm as a whole imposes. In these paradigms, only those phenomena (including scientific, artistic, literary, etc.) can emerge that are consistent with the norms and assumptions governing the paradigm, while any innovation will be disregarded.
Accordingly, the imitation of imaginary forms in pre-modern Persian poetry is a phenomenon that should be studied in the presuppositions and norms that dominate the pre-modern paradigm. By examining the premodern paradigm as an all-encompassing whole, one can arrive at assumptions and norms that act as a model for all phenomena of this paradigm. One of these presuppositions is the idea of the originality of the past. In this view, everything in the past has an intrinsic value, so they are only valid and normal when they are imitations of that valuable and sacred past. In the eyes of the pre-modern man, the past is a model of the sacred and golden age, which is always viewed with a respectful eye, and man always remembers it as a dream day. This sacred past is a lost paradise to which all efforts are directed at. 
The manifestation of this presupposition can be seen in all intellectual areas of this paradigm. The originality of the past in the field of history has shown itself in the form of a distant view of time, and in the field of philosophy as a belief in the return of people to the origin of existence (first intellect). Looking at the poetry of Iranian poets from the fifth century AH onwards (until the return period), it is also possible to understand this kind of attitude in the world of literature. These poets have either explicitly mentioned their past poets as the supreme example of poetry, or, without openly praising their past, have accepted them as their role models and tried to write poetry like them. So it is natural that these poets, by following the example of the first Persian poets, instead of depicting their personal poetic experiences, repeat the same imaginary forms and images that had been previously tested by previous poets, and as a result, the imagination in their poetry is imitative and lacks innovation, and even if a poet was innovative, he has not left the realm of vision and attitude of the ancients.