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Of all the ritualistic forms of drama in Iran, Shabih-khani is the most sophisticated one. It sums up in many ways the entire dramatic forms and ancient Iranian rituals. It consists of some dimensions of other art forms, such as painting and architecture, and, most significantly, includes aspects of music and poetry. On the other hand, there is little doubt that the most overarching historical trend in Iran pivots around Sufi philosophy and literature. Sufi themes and moods as well as its mystical philosophies have largely characterized the most notable works of poetry and prose in Persian literature. The predominance of Sufi philosophy in literary works notwithstanding, Sufism can be traced in many of the existing art forms in Iran, not to mention in its quotidian culture. In this article, it is aimed to demonstrate some of the impacts of the Sufi and mystical philosophies on Shabih-khani. Our research illustrates that in Shabih-khani, we face much less a representation of historical reality than a popular interpretation of history intertwined with such discourses as Sufism. Having focused on the play which dramatizes Imam Hossein’s martyrdom, we have attempted to lay bare the most important forms of these interpretations.

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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 research was performed to evaluate the potentials of Landsat MSS data for map-ping land features in arid zones of southeastern Esfahan, Iran. Databases of the area were formed using all available relevant maps and reports which were supported by fieldwork. A supervised image classification approach was used and thirty-two training areas were applied. Separability of the spectral classes was examined using feature space plots of im-agery data and self-classification of training areas. The accuracy of the classification was examined by using test and random pixels. The results show the potential of Landsat data for the discrimination of landforms and zones of the playas. Sand deposits (deflated sands and Barchans) expressed different spectral reflectance which could be due to mineralogy of these features. Soil classes differing in moisture content and salinity located on the soil line and limestone classes located along the soil line. The applied imagery data disable to discriminate Barchans from Bare soil I and Andesitic fans from Grey limestone. After image classification the spectral classes were merged to form landforms. The main land-forms were mountains, piedmonts, sand dunes, valleys and playas. The results indicate that integration of field observation and supervised classification can compensate for the lack of detailed topographic maps in some areas.

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Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture,  are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer’s / audience mind in one hand, and experience and physical and mental abstraction on the other hand. Also the context where the play text is formed in, and the context where it is comprehend, are the key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a complex and deductive discourse space in Ofool text. So at first, we are facing linguistic metaphors which act in text structures (dialogues, atmospheres and characterizations), and in higher level, we are facing conceptual metaphors which act by making connection between play text origination and audience experiences that merge contextual discourse space into audience mind space which will result in a new discourse space.

Discourse space is one of the key elements in conveying concepts in any dramatic text. This article seeks to answer the question of how metaphors can be the subject of discourse on social and historical issues and what function they play in the play as a linguistic form.
Based on this statement, we have used the ideas of George Lakoff (1941) and Zoltan Kovecses (1946) and shown how metaphors, which are rooted in language and culture, help to shape the space of discourse. Lakoff and Kovecses see the space of discourse as the result of an interaction between the mind, body, and cultural context in which actors are present.
Thus, in a Dramatic text, we are faced a combination of the interaction between the writer's mind and the audience, as well as both physical and mental experiences and abstractions. Also, the context in which the play is formed and the context in which the play is understood are an essential element.
The results obtained in this article show that Akbar Raadi, using metaphors and cultural and historical contexts of the text, has created a multi-discourse and inferential atmosphere in the Ofool Play.
In this way, on one level we are confronted with linguistic metaphors that operate in the structure of the text (dialogues, atmosphere and characterization), and on a higher level we are dealing with conceptual metaphors that operate through the relationship between the objectivity of the play and the audience's experiences. It integrates the text into the audience's mind and creates a new discourse.
One of the contexts of discourse is culture. Culture is a set of our shared understanding of the world, and frameworks form a major part of that understanding.
Based on the results obtained in this study, frameworks have emerged from the interaction of metaphors and structure our perception of events. Metaphor in meta-historiography is not an array or literary industry, but a linguistic and discourse capacity.
In this respect, we are faced two spectrums of metaphor that represent one category of non-linguistic concepts (related to context and culture) and the other category of linguistic concepts (discourse space).
In the play entitled “ofool” by Akbar Radi , the native context and culture of Narestan are considered, by default. On the other hand, the discourse space in the play is the result of time, mental spaces, parts of culture and texture.
From a discursive point of view, parts of speech and actions play an essential role in the interpretation of events and the formation of concepts. Radi has made dramatic use of confrontations in the direction of discourse about the present and the past, and has tried to construct a form of discourse from different mental spaces, without seeking orientation toward a particular idea.
The basic atmosphere in the play of”ofool” is a broad historical and social context that is not even limited to Narestan or the climate of northern Iran.
The conceptual metaphors of "action is power" and "failure is ignorance", "understanding is freedom", "fighting against nature is oppression", "happiness is obedience" and similar metaphors are concepts that do not remain limited to the text of the play and they can be studied from a cognitive point of view and in the form of any other historical phenomenon in Iran.
As the conflict between Emad and Ascension is a metaphorical reference to the failure of the idea of ​​reform in the history of Iran. Meraj seems to have devoted all his efforts to building the school until the end of the play, but it is Emad who, by "transferring" the property to Kasmai, shows the main action (moving forward) and that he simply surrenders to the situation. Yes, Jahangir is Ascension.
Thus, the passive intellectual who until then had urged the people to wait, to come out of their "dark cocoons" and to use their "terrible power" is doomed to failure.
The evidence presented in this article shows that conceptual metaphors are more culturally and sociologically determined, and that the play, as a text that engages the audience's mental space more dynamically, is a mechanism between understanding abstract concepts and performing them

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Classroom discourse refers to the language and interaction used by the teacher and the students to communicate and shape learning in the educational context. The present study focused on Iranian EFL teachers’ classroom discourse by observing their dominancy, teacher talk, question types, and interactions in their classes. To do so, through a non-experimental, descriptive research design, 20 female experienced teachers with the age range of 30-40, teaching at an upper-intermediate level in different language institutes in Isfahan, Iran were selected based on the convenience sampling. Two classes of the teachers were observed, the sessions were recorded, and their classroom discourses were transcribed and later analyzed. Moreover, to increase the validity and reliability of the research, a semi-structured interview was conducted with volunteer participants; their reflections on their communication with the learners and discourse types were collected and analyzed using descriptive statistics in terms of frequency and percentages. The findings of the study showed that the teachers made use of specific discourse to ascertain their dominance and control in their classes. The findings also revealed that the teachers used more monologic discourse patterns in their classes rather than dialogic ones. Teacher talk far exceeded student talk, Initiation-Response-Feedback pattern dominated the classroom discourse; and display questions were used more frequently than referential ones. These findings could benefit teachers to be more conscious about type of CD and its effect on student-to-student and teacher-to-student interactions. It could also serve the purpose of critical classroom discourse analysis

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Considering different definitions of game, one can categorize them into different types. Inevitably, games have influenced everyone's life at different ages. Games not only entertain individuals, but also reflect the concerns and problems of life. Furthermore, players both repeat such concerns and transmit them, too. ''Poetry'' is one of the most important means of transmitting elements. This element can be changed based on the time and place and it can be compatible accordingly. This research has been done based on descriptive- analytical method and it has classified and considered the play-songs of the people of Fars. The results show these songs used in those games with two or more groups of audiences and mostly considered as non-actional/ verbal games which are constructed on four principals of repetition, dialogue, teasing and consonance. Also, they were counted in counter side of actional games. This spectrum of play-songs (verbal to action) also fits with the element of age because the tendency of young people is more towards verbal games as they get older, they move towards action games. Another point is the poem which is the game and is not part of it, that it is in the four initial categories of game. It is underlined that poem is so dominant in the folklore life. Another is that many of the action games have rules and frameworks in poems and these rules are included in seven groups such as: calling out for game, role calling, choosing the head of the game, starter and fellow, selecting the fired one or the reserved one, punishment, not paying the penalty and announcing the end of the game. The players should accept and perform the rules. The order of these rules and in general, all the songs of the game played a big role in the socialization of the players.
 

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The purpose of this study is identify the effect of economic and social capital of bazaars in the Qajar period on their role in the process of the Iranian Constitutional Revolution, until the issuance of the constitutional decree by Mozaffar al-Din Shah.This Research Method is historical and for collect information have been used Travelogues, memoirs, documents and historical documentd.

The results showed that the social capital of the bazaars in the Qajar period along with their economic capital played a major role in the revolutionary role-playing of the bazaars and the victory of the constitutional revolution.

The bazaars of the Qajar period, by using their accumulated social capital in the urban society and using money and labor under their cover, were able to play a revolutionary role in the first constitution and gain power in the field of politics.

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The application of wing and stabilizer in aerospace vehicle is most important to stability and flight motion. Nonlinear 2D wing is estimated. Nonlinear damping and stiffness with freeplay in plunging and pitching motion is assumed. 2nd order Damping nonlinearity and 3rd order stiffness nonlinearity in pitching and plunging motion is assumed. Fully nonlinear structure with nonlinear 3rd order piston theory aerodynamic is assumed for the first time and result evaluated with different references. The equations are defined with Hamilton principle with the use of kinetic and potential energy and virtual work. They are solved in the state space via the ruge-kuta numerical method to determine chaotic and limit cycle oscillation motion of supersonic airfoil. The result show that as the speed increases, the behavior of 2D wing is softening type with the use of nonlinear rotational stiffness. But, It shows hardening type with the use of transversal nonlinear stiffness. The effect of transversal and rotational freeplay is more complicated than other parameters and increases instability in low speed. In other hand the stability increases with freeplay in high speed. As shown, increase velocity decrease damping effect in post flutter behavior.

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Sociological criticism in the literature analyzes the structures of a society through literary works. Embracing subjects concerning history and sociology links, types, social classes, ideologies, meaningful frameworks, and reflection theory in examining the artworks, Lucian Goldman, as a theoretician, proposed the genetic structuralism by organizing George Lucas ideas. Based on this method, the present study aimed to sociologically criticize the drama play by Akbar Radi, under the name of Ofool (The Descent).To do so, two major questions were designed to investigate the extent to which aesthetic structure of Ofool as a realistic work has a mutual relationship with the structure of the society in its era (۱۹۶۰s). It also explored the realization of the playwright's ideology, as a member of the intellectuals' social class, and the likely awareness of this social class in his literary work. Using descriptive as well as analytical approach, the study concluded that the overall framework of Ofool justified the why of social movements' failure in the ۱۹۶۰s and the pathology of that era via the representation of different social classes and the gaps among them. The author tried not to impose his ideology on the work and kept his play loyal to the realistic style although he reflected the values and consciousness of the intellectuals' social class in his literary work.

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Rereading and recreating literary texts enables intertextual conversation and also transferring and enriching the concepts and themes. Furthermore, it contributes to the creation of the works closer to the taste of contemporaneous audience. Literary works adaption has always been viewed as a resource to create new art and literary works. Reza Ghasemi, a contemporary author and playwright. Has applied Persian literary potentials in his plays. Some of his plays were adapted from traditional Persian literature while some there ones were taken from dramatic and modern works.
Embedded in Deborah's theory, this paper is to closer some adaption techniques in Ghasemi's plays considering reflection, review, recreation and emphasis. For this purpose, five plays were selected of the most important based on adaption.
A close analysis of Ghasemi's plays illustrates that those plays written in Iran rereads traditional texts of Persian literature while two written plays outside of Iran are being adapted from modern plays and stories. Such plays as “ Zahak became king over the world”, “ Mahan Koshyar” and “ the dilemma of the architect Mahyar” are taken from the Zhak by the Ferdowsi and Seven Beauty of Nizami Ganjavi respectively. Likewise, “ it's your turn Mercutio” and the portrait(Temsal) are two plays adopted from several modern texts. Those plays adopted from Persian classical literature are mostly reflecting, rereading and transferring concepts in their genres. Enjoying new plot and characterization in a different setting, his modern plays are of recreating trait in spite of transferring and interpreting concepts in source texts. In both texts, Ghasemi tries to converse with his predecessors and contemporaries and with the audience of his texts simultaneously.

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This article is an in-depth analysis to investigate the what- and how-patterns of semiotic manipulations in the two Persian translations of Oscar Wilde’s playscript “Salomé”, by Abdollah Kowsari (2006) and Abolhassan Tahami (2019). In this research, the dual research question has focused on examining the nature of semiotic manipulations present in the two aforementioned Persian translations. As such, this study particularly aims to identify the probable patterns of manipulation in translating certain proper names and key lexical signs that are of crucially semiological and onomatological import in a literary text. Establishing a supra-textual connection between the literary text and its original context, such semiological and onomatological items need to be retained in the translated text as well. To address the research question, the research methodology has focused on a pro-translation reading of the original text, i.e. the English-version text of “Salomé” playscript, what has been followed by an after-the-event reading of two Persian translations of the same work under a compare-contrast procedure. The analysis of the critical cases sampled from the two translations under study supports the main finding that both translators have domesticized, neutralized, or in cases excluded the certain proper names and key lexical items, i.e. signs and symbols, from the translated text. This approach has resulted in the de-foreignization of the original text during the translation process. Another significant research finding of the study underlines the point that the manipulations done in the semiological and onomatological structure of such a work of drama have led to a breakage between the text of the Persian translation and the original culturallingual context.

1. Introduction
The present study critically examines two Persian translations of the well-known play “Salomé,” written by Oscar Wilde (1854-1900), the renowned Irish author, playwright, and poet. The play “Salomé,” that is related to a biblical event, was first published in English in 1894 by Elkin Mathews & John Lane publishing in London. Due to its carefully-crafted and unique content, “Salomé” has been the subject of analysis and scrutiny by numerous literary and theatrical critics around the world. Having embodied a host of calculated linguacultural and semiological elements leading to a close association being formed between the text and its historico-geographical context, “Salomé” has gained a veritably hierarchic structure as well as a varied syntactic texture. This being said, it seemed fairly sensible to carry out a piece of critical research on two Persian translations of “Salomé”, i.e. Abdollah Kowsari (2006, Hermes Publishing) and Abolhassan Tahami (2019, Negah Publishing), what at the very outset has engaged the researcher of this study to get down to a seriously meticulous reading of both the original and the translations at hand.
A glance at the literary translations and subsequently a critical review of the translatological articles is suggestive of the fact that the appraisal of translation practice and translation evaluation by the literary readers and critics is more or less based on a one-sided reading of the translation text, what is mostly carried out by measuring the rate and quality of the domesticizing approach employed in an attempt to normalize as far as possible the linguacultural means and assets of the literary work in translation (see Even-Zohar (1978/1990/2012); Reiss & Rhodes (2014)). Having this in mind, the present study has tried to have a critical ST-oriented reading of the original text as well as the two Persian translations in order to locate culturallingual motifs, i.e. the semiological and onomatological elements. The present research has two phases. In the initial phase which was marked itself via the simultaneous act of translation to be performed by the researcher, the study went through explore the text of the play in an attempt to examine and extract the whole array of the symbolic words, specific names, and key lexicological signs existing in the original. In the ultimate phase, the study aimed to examine the question if the required associations which existed between the semiological and onomatological elements in the original and its original context via the presence of the semiological and onomatological elements, were also existent between each translation of the play and the assumed context thereof, hence reaching an estimation of the adequacy of the translations under study. In other words, the present study has aimed to analyze and evaluate the approach(s) adopted by both translators in their confrontation with and translation of certain lexical signs and naming-items as the key lexico-semiological elements in the original, what is supposed to retain the close text-context associations in the translated texts as well.
Research Question(s) and Research Hypotheses
The research question being addressed in this article has two sides: Firstly, the study has explored the translation texts to determine if the symbolic words, proper names, and certain key lexical signs all considered as semiotic and nomological elements in the text have been adequately rendered in translation; secondly, the study has tried to answer if the existing relationship in terms of the above-mentioned items serving as linking elements between the original text, i.e. “Salomé”, and its historico-geographical cum socio-cultural context has been preserved in the Persian translations as well. As such, the present research has put forward a two-sided hypotheses, firstly, that the translated texts under study have retained the semiotic and onomastic textual items in terms of translational equivalence; and secondly, that the connection between the translated texts in Persian and the overarching framework of the original context has been maintained in terms of adequately rendering the semiotic and onomastic textual items via employing the adequate equivalents, just as it is the case for the English play "Salomé" and its original context.


2. Theoretical Foundations
By looking at the extra-textual connection existing between the text of a fictional or dramatic work and the original context related to it, and in light of the tripartite unities, i.e. unity of action, unity of place, and unity of time, that lead to the formation of an ‘artistic whole’ within a literary work, one can particularly speak of the existence of “sign-words” in a particular textual narrative. Such “sign-words” are the marked words or key naming or lingua-cultural items that possess a referential and contextual value and appear as symbolic signs serving to identify and locate the original context that is connected with a literary text. In highlighting the multilayered and profound functions of proper names, Bagby and Sigalov (1987), focusing on the viewpoint of Nikonov (1974), provide a triadic functional framework around a proper name as a signifying unit or entity.
Following Nikonov, we discriminate three types of significance inhering in the proper name: first, its etymological meaning, that is, the real meaning of its root; second, the name’s signifying meaning, more exactly, the real function of the proper name qua label; third, its social meaning, or the symbolics of a name which has acquired some determinable historical meaning within the given culture (p. 474)
From an onomastic point of view, Winner and Winner (1976, p. 150) have placed due emphasis on the well-thought-out employment of the names in the texture of fictional works and written that names sometimes “demonstrate a technique peculiar to myth, that is […] where the names are semantically active.” From a discursive point of view, the property of “activeness” or enunciator-ship can be given to a name or term where it stands before the audience as a “sign” or “object”. As such, the subject occupies the position of an identifying agent in his/her interaction with that linguistic object, i.e. name or term. In this regard, the notion of “praxis énonciative” (roughly translated into ‘discursive act’) is pointed out by Shairi (2009) to explain the semiotic nature of an “object” as a discursive actor, as proposed by Greimas (1987). According to Greimas (1987), an ‘object’ is to be referred to as a “discursive agent,” one that “by showcasing the power of its presence, stands in the way of the viewer (subject)” (Greimas, 1987, p. 27). This being said, one is to view a literary text, be it fiction or drama, as including a string of semiotic and nomological motifs in the form of words or names, what establishes a cultural-semiological connection with the text’s backdrop, i.e. the original context. The point is that a literary translation must as well retain the connection with the overarching framework of the original context as such; thus, any attempt to extrapolate, transform, and domesticize such semiotic and nomological items leads to a disruption in the texture of translational work; what has itself arisen from and linked to a foreign text and therefore must enjoy the same cultural-semiological connection with the original context that is related to it.

3. Literature Review
The background of translation-oriented research in Persian, whether in the form of academic thesis or in the form of critical research published in scholarly journals is scantly evidenced, albeit as far as the present research has found access to. However, such research projects, if any, have examined the issue of translation criticism merely through a lens other than that of translatology or semiology, barely employing a duly systematic and fairly methodical approach to tackle with the research topic. Such research lines being theoretically and methodically incongruous with the theoretical scenario of this study have been abstained from being included in the present extended abstract. 

4. Methodology
In regard to the purpose of the present study and in pursuit of arriving at an adequate answer to the research questions posed above, methodology employed in the present research has been one based upon comparing and contrasting the texts of both Persian translations under study with that of the original work. Prior to beginning the text-exploration phase, it is to be stated that to maintain fairness and to avoid partiality in the process of translational criticism, the author of this article has rendered his own translation of “Salomé” in an attempt to gain first-hand knowledge of the semiological elements as they have been worked in the original text, hence not letting go of justness in critical judgement. In regard to the critical research questions addressed above, the sampling method has not been random and the data have been obtained in a purposive way by going through the source text and weighing the Persian translations against the original text. Spotting the translational flaws as such may duly explain the nature of major failings recognized in the translated texts. Collecting the research data via critical sampling has been carried out in a few phases: Firstly, the pro-translational reading of the English text and locating the textual items possessing an onomatological or semiological weight; secondly, the autonomous reading of each translation and at the same time referring to the original playscript to arrive at the points of critical incongruence; thirdly, the translato-semiological reviewing of the samples drawn with an eye to the research questions posed; fourthly, adopting a selection of the most telling examples out of the sampling collection so that a qualitative research of this kind can readily absorb; fifthly, evaluating  and analyzing the selected samples while giving special attention to the whatness and howness of the manipulations in translating the onomatological and semiological elements at work; what has eventually led to a state of inevitable distortion and detachment between the translated text and the original text on the one hand and its culturallingual context on the other. It is to be added that only those sampling-items that have most suggestively provided an explanatory answer to the research questions as such have been included in the ultimate article. Besides, although the translato-semiological analysis for each sampling-item could have accompanied by a proposed translation, this idea has been abandoned to avoid any speculative surmise on the part of the readers indicative of the authorial partiality.
5. Results
In this research, the focus has been on how certain semiotic and onomastic themes, namely symbolic vocabulary, proper names, and key lexical signs, are maintained in two Persian translations of the play "Salomé." Following that line, the study has examined how the connection between the translated texts under study and the overarching framework of the original context has been preserved from a translational semiological perspective. The findings of the present research, as evidenced by the examined samples, indicate that the original context in both translations has undergone a series of inappropriate semiotic alterations and manipulations. Both translations, by approaching the alienation of the literary context, exhibit a range of inappropriate manipulations in favor of domesticization of the original and translationally disqualify the work’s semiotic import to the detriment of the continuity between the translated text and its broader contextual framework. An evaluative study of the two Persian translations - by Abdollah Kowsari (2006) and Abolhassan Tahami (2019) - of Oscar Wilde's "Salomé" shows a disconnection between the semiotics of the translated text and the original context in terms of their linguistic, cultural, and historical ties. The approach to domestication and normativity is evident in both translations: Firstly, in the process of domesticizing the proper names as such and alienating their socio-cultural cultural significance, the onomatological items which serve as storytelling keywords which relate to the work’s chronological narrative; and secondly, in the manipulation of the work’s semiotics and de-semiotization of original cultural capital, the textual signs that evoke a revival of the original historico-geographical context in the translation as well.    
 

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Objective: Recently, phage display libraries have received enormous attention for identification and isolation of pharmaceutical molecules with diagnostic and therapeutic properties. Peptide libraries are known as one of the most important and widely used types of phage display libraries. In the current study, we aimed to screen the Ph.D.^TM-7 phage display peptide library through biopanning for the identification of human colon adenocarcinoma-binding peptide ligands. Methods: Three rounds of biopanning were performed on SW480 as the target cell and fibroblast (HF-SF-PI3), AGS, KYSE-30 and Huh-7 as control cells. The displayed peptide-encoding regions in the genome of SW480-binding phages obtained from the final round of panning were amplified by plaque-PCR and subsequently sequenced. Bioinformatic tools were used to determine the sequence of target cell-binding peptides and further characterization of these peptides. Results: Biopanning of the phage library led to the enrichment of several peptides among which the peptide with “HAMRAQP” was the most dominant. Bioinformatic analysis of the isolated peptides indicated that they are not target unrelated peptides (TUP). Conclusion: The peptides, in particular those with the highest frequency, due to having the capability of specific binding to SW480 cells represent the potential for use in targeting of therapeutic genes and drugs to colon cancer cells.

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.A wide variety of barchan dunes are found in south part of Haj Ali GHoli playa, in central part of Semnan province. Barchan dunes of this area have been formed from quick sand, and with maintain of their crescent shape migrate along prevailing wind. Therefore displacement and lateral movements with annual typical trend is the most important of their characteristics.. The Purpose of this Research is Simulation of Barchan movement Using artificial neural networks.Artificial Neural Networks (ANN) is a non-linear model that acts similar to a human neural system.In recent years, artificial neural networks have become one of the most promising tools in order to model complex processes such as movement of phenomenas. In many studies, ANNs have demonstrated superior results compared to alternative methods.Obtained results illustrate that ANN predicting model is an applicable tool in predicting ofmovement of phenomenas. In order to check the sensitivity of the ANN prediction model movement of 100 Barchan measured. %70 for training and %30 for validation. In order to evaluate the accuracy of ANN model, observed and predicted data were compared and analyzed. The best accuracy of the model was 0/996. It indicate that ANN prediction model is an applicable tool in predicting of movement of phenomenas

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Making computer games in different styles using literary texts is one of the common methods in the game-media-making industry, and due to the technological advances available in Iran and the need for production. Cultural content with a national approach, making computer games adaptation of Iranian literature and culture is necessary. In the present study, the aim is to take an interdisciplinary and pragmatic view while providing appropriate indicators for making a computer game from a narrative text, by analyzing the capacities of one of the works of classical Persian Folk literature Firoozshah (Darabnameh) by Beighami, to show descriptively-analytically how this text and similar works can be used to produce a computer game. However, there seems to be an action-packed narrative with epic and lyrical themes, along with a variety of locations to build the various stages of an open world game and rely on fighting heroes who, in an interactive atmosphere, have the capacity to create coexistence. Has an acceptable perception, along with the multiplicity of characters and their ups and downs to create all kinds of physical conflicts, along with the capacity to design mental challenges in the form of a search framework and a variety of main and secondary missions, is a platform that works This type of literature is suitable for the production of computer games with an effective approach to indigenous culture.

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This article aims at finding the relation between the intellectual and saviour in play The Saviour in the Damp Morning written by Akbar Radi. The main question of this article is who is the saviour in this play and what is their connection to the intellectual and the social order of the time. The proper theory for this analysis is Gilbert Durand’s myth-analysis in which the researcher has followed three steps: close-reading of the play, finding intertextual elements and the myth in the play, and figuring out the relation of the myth to the society in which it was written. The findings show that the saviour in this play is an intellectual who considers himself a Christ-like figure that should save the humanity. This person, however, is passive and in facing problems, he finds the solution in committing suicide. Studying the social situation in the time of the play shows that society needed intellectuals to take action and take a step to save their society. The findings showed that the failure in intellectualism was rooted in the lack of connection between the intellectual and his society, which was echoed in the play.
 

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This study is based on this question, that if it would be required to write a screen play about Islamic and Shi'ah infallible leaders (Imams), then what would be the suitable model for this. The classic model, in this regard often based on the Aristotle model, is not enough and ideal to present the infallible Islamic characters. This is because it is forbidden to show the face of the Islamic infallible characters in film, and also according to Shi'ah believes they have static characters in which they are incompatible with the Aristotle’s characterization model. This study focuses on the characterization aspect in screenplay throw the assessment of the technical capacities in classical screenplay aiming to answer this question that how much these techniques could represent the character of the infallible Shi'ah leaders. The hypothesis of this study is based on this point that the technical capacity of the Aristotle model in screenplay is more proper to show the secular character rather than to represent the holy and infallible character. We have to change the essence of such models founding some new technical capacities and introduce a specific novel model. It has been reached in this study that the characterization models in the Aristotle and Hollywood drama cannot display the Islamic infallible figure, which needs different methods and aesthetic changes. Also, concerning the several problems mentioned in this article, not only scenario writers must look for solutions, but also Islamic scholars, specialized in jurisprudence and Sharia’a, should interfere in resolving the obstacles and suspicions raised in this study, in order for the scenario writer to innovate within a clearly defined perimeter. We also concluded that it is possible to benefit from some of the experiences and innovations in the Western cinema in order to surpass the limited space of our experiences provided that we must expand our creativity potential.  

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Considering the effect of sports on different aspects of individual and social life and its importance at the national level, the present study seeks to examine the role of mass media (radio, television, magazines and internet) in the tendency of women in Tehran. The research method is based on survey and questionnaire data collected from the women statistical society of Tehran. For that matter, 384 people were selected by multi-stage cluster sampling. They were those practicing in public parks and sports clubs in different part of Tehran. The main method in data analysis was Pearson and structural equation modeling and factor analysis with SPSS and AMOS software. Giddens and Budrillard were taken into account to explain the subject in a theatrical framework. The results show that there was a relationship between variables (age and level of development of residential area and women tendency to public sports, but there was no relationship between (academic levels, access to of sports facilities). The results also show that there was a direct and significant relationship between the dimension of media function (eduction, information and advertising, personal body management) and the tendency to public sports, among which information and advertising have the highest correlation coefficient i.e. 0/471 and personal body management had the lowest correlation coefficient of 0/171.