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The main concern in fish transportation is minimizing stress during transportation. In this study, the effect of zeolite and clove essence in terms of transportation on survival and stress rainbow trout was investigated. 4 treatments (each treatment included 3 replicate) including control treatment, clove essence (25 mg/l), zeolite (14g/l) and clove essence (25mg/l) + (14g/l) were considered. 156 fish (with average weight 80 ± 4.4 g) were randomly distributed with a 130 kg/m3 density. At time zero, 6, 12 and 18 hours after starting transportation, survival rates, cortisol and glucose levels (as indicators of stress) were measured and analyzed. In the end, results showed a significant difference in the survival rates that control treatment had the lowest survival rates (P

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One of the important topics in many literary works is “love”. In the literature, the authors have provided specific definitions for love. Many of the authors have drawn virtual love and some others have pictured a real one. Among the writers whose works have addressed the issue of love is the Russian writer and the great thinker, Tolstoy. Between 1880 and 1904, when the shadow of moral crisis was over the world, Tolstoy founded a new religion by presenting a new definition of love, and presented a new definition of faith and morality according. Romain Rolland, the French writer, reading the works of Tolstoy and thinking about them, was fascinated by the opinions of this Russian author. After getting familiar with Tolstoy’s religion and morality, which was indicative of the real love, Rolland tried to reflect his beliefs in his works and present a new picture of love. The best example of his religious beliefs is the novel Jean-Christophe. In this study, first we are going to get familiar with Tolstoy’s religious and moral beliefs though defining his new religion, and then study the manifestation of love on his novel Jean-Christophe by using those beliefs.  

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Perceiving beauty is, in fact, a perception that is originated in mystical-experimental religiosity. In this regard, Molavi's view is not a mere theory; rather it is an expression of his practical experience and inner conduct. In his experience, love precedes the Good and God is situated on top of the pyramid of the Good. Molavi takes love as his most important object and searches perceiving beauty in God. Through conceiving beloved in God, the lover achieves high stages of perceiving the divine Good. In Molavi’s view, beauty is reflected in men's perception before it is realized in its external manifestations. And this is exactly the meaning of relativity in the conception of beauty and evil. In this connection, even the most evil manifestations of vice are considered. Perceiving beauty does not attempt to negate the evil in this world by philosophical simplifications and deification of beauty. In fact, it reveals its inner beauty through a profound interpretation of the evil. Molavi uses the parable of a painter in this context to interpret the world with a perception of beauty. The painter here is someone whose most important feature is beauty and is skillful in creating beauty. Therefore, Molavi's worldview of the Good is not just a theory. Neither is it merely a philosophical solution for negating evil. It is rather the natural result of his reconciliation with the world.

 

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In a greenhouse experiment, the effects of Glomus intraradices and indigenous mycorrhizal isolates from soils under plow and no-till treatments on the uptake of 32P placed at 1, 2.5 and 4 cm from the roots of white clover (Trifolium repens) in 23, 37 or 46 days after planting were compared.Spores of the indigenous fungi were mostly a mixture of Glomus mossea, G. clarum, G. caledonium and G. claroideum . The colonization of the roots with regard to hyphae, vesicle or arbuscules was significantly different among fungi. Uptake of 32P from different distances from the roots was strongly dependent on the mycorrhizal isolate used and the plant-symbiont age. Indigenous fungi were more effective in translocating 32P from short distances compared with G. intraradices as measured in the plants. At the age of 46 days, for example, fungi from no-till and plowed plots transported 8-10 times more 32P to the plants as compared with G. intraradices, when32P was placed at 1-cm distance from the roots. These differences, however, disappeared when 32P was placed at 2.5 or 4 cm from the roots. As the plant-symbiont grew older, relatively more 32P was translocated to the tops and the differences between fungi in this respect became more pronounced. In 21-, 37- and 46-day-old plants, for example, and when 32P was placed 1 cm from the root surface, 18, 21 and 56%, respectively, of the absorbed 32P was translocated to the tops in plants inoculated with fungi from plowed fields. Progressively lesser amounts of total absorbed 32P were translocated to the tops as 32P was placed farther away from the roots. For example in 46 days after planting 51, 30 and 11% of total absorbed 32P was translocated to the tops when 32P was placed at 1, 2.5 and 4 cm from the roots, respectively, white clovers being inoculated with fungi from no-till soil. It is concluded that the native mycorrhizal fungi , after a long period of different tillage practices, may have different effects on the partitioning of absorbed phosphorus within white clover.

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‘Love’, which has been so generously bestowed by God upon the inner and outer worlds of human beings is a fundamental and pivotal issue; since it has its roots in the nature of man and the essence of life, and attracts them subconsciously. Pluto (270 AD, p.203 or 204) and Molana (604- 672 Lunar) are among those thinkers, who have talked about and artistically elaborated on love and its related concepts. Influenced by the different thinking atmospheres of their time, their incompatible civilizations as well as other variables of their time that have differently affected them, the two high-minded elites, who had greatly affected the thinking of other thinkers educated by them, were led to view love differently. The examination of the reflections of Neo-platonic thinking in the literary and theosophical texts including Molana Jalal-o-Din Balkhi’s Masnavi is important in many ways, and the important phenomenon of love is a profound and mysterious concept that, in a way, connects Plato’s theosophy with that of Molavi. Certain concepts in the reviewed works of these prominent characters, which have sometimes been taken as identical and influenced by each other, do seem different in some cases.  Despite a huge time gap –almost a millennium- between the writing time of “a collection of Pluto’s woks” and Molana’s Masnavi”, this paper aims to compare and contrast the concept of love in these two works through the library method of research using descriptive, inferential and analytic approaches to scrutinize some manifestations of similarities and differences between the viewpoints of these outstanding figures in the realm of insight and wisdom.

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One goal of comparative studies of literature is to search for the human “truth” that has appeared as archetypes in the literature of all nations and all times. In this paper, the author draws an archetypal comparison of romantic love in the French story of "Tristan and Iseult" and the Iranian epic romance "Samak-e-‘Ayyar". It starts with explaining the Jungian concepts of mother and father archetypes, anima and animus, conscious and unconscious, as well as collective conscious and unconscious. Since individuation process in the Jungian psychology has to do with the connection between the conscious and unconscious, the tale romantic love could be seen as individuation process in which each lover seeks to connect to his/her anima (feminine unconscious) and animus (masculine unconscious), based on his/her gender. After providing a synopsis of each story, the author explains the archetypal roles and symbolic meanings of kings, queens, heroes, witches, and princesses in each story using Marie-Louise Von Franz’s methodology for the interpretations of fairy tales. It then compares romantic love in each story by analyzing its characters, functions, and events, and explaining its similarities and differences. Since archetypal literary analysis reveals the attitude, outlook, and behaviors of the people that the myths are originated among them, this comparative study aims to answer to a rather broad question: How is it that in the French story of the 12th century, romantic love ends with death and tragedy; however, in the pre-Islamic Iranian tale, it ends with the :union: of lovers?  

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The Ghazals of Hafiz and the Canzoniere of Petrarch (1304–1374) have at least three common characteristics: (a) from the qualitative point of view: Each of these two works is at the top of the medieval love poetry: one in the Persian literature, and the other in the European literature; (b) from the chronological point of view: These two books of poetry have been written during the fourteen the century A.D. (8^th  century AH); (c) from the quantitative point of view: The ghazals of Hafiz contain near 4092 distichs or bayts (i. e., 8184 lines or mesra') and the Canzoniere of Petrarch contains 7784 lines. So, they are contemporary, contain a similar number of lines and are at the top of the medieval love poetry. The description of the beloved's eye is one of the principal common places of these two poets: Petrarch mentions the eye 263 times in the Canzoniere and Hafiz 216 times in the Ghazals. Moreover, Hafez writes about the Narcissus-a metaphor of the eye-in 44 distichs. This paper shows, with the comparative-contrast method, the common and different characteristics of the beloved's eye in the Hafiz and Petrarch's poetry.    

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This analytical-descriptive study aimed to investigate the essence of "grief of nostalgy " as one of the most important mystical sources in the poems of Ibn Farez and Hafez; two great representatives of the mystical poetry of Persian and Arabic literature. More specifically, attempts were made to see how this grief  entered their works and how they reacted to it. The findings suggest that in their mystical thoughts, the separation of the soul from the body and the fall of man from paradise into this world are manifestation of  his grief. In turn, the mystic reaction of the poet to escape from soul nostalgy in the body is the thought of death and fatalism and to turn to earthly love, as commonly thought of, as representation of love of true beloved. The earthly love in the poetry of the two poets is a translation of divine love and a reflection of the first day vow, to which the mystics resorted to fantasize the divine love and to diminish the pain of longings for the true beloved.  Sleeping, dreaming, and seclusion are other structures  to this nostalgy
 

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A reminder of memory for all humans is a common feeling, but in art and literature, and especially in the eyes of poets, it has a different appearance. Reminder of memories is one of the important resources for poets and artists in the literary and artistic structure of their works. Hannin, or the love and affection that the poet has in relation to his past, is associated with remembrance of memories and the poet places it on the basis of his poetry. The eloquence of the poet is his first stimulus to remind his memories and Hannin to his homeland, which leads to the formation of an architectural and artistic form of Ghasideh. Sheikh al-Wa'ili wrote the verse " towards Najaf Ashraf; My Beloved Land " after the departure of Najaf Ashraf; the land of his childhood and adolescence. In his Ghasideh, he tells his love and affection to his land and describes it in the most beautiful form. From the depths of the poet's feelings, one can understand the depth of this love and interest in the homeland. On the other hand, Shahriar, the famous Iranian poet, sings “Heidar Baba" in Turkish after the abandonment and divorce from his motherland, in which he recalled the memories of his childhood and adolescence and the regret of the time spent in the village on the slopes of Mountains of Heidar Baba. The present study uses a descriptive-analytical method to study and adapt these two stories through two poets' songs relying on the American Comparative Literature School.  It addresses three levels of timing, spatial and social remembrance, pointing out the similarities and differences in their poetry, as well as the distinctive features of their artistic images used to express their memories and poetic experiences which have been mentioned. From the research results, it can be said that natural elements (nature) have an active role in shaping the structure of poetry memories. And their poetry and musical images have served their thoughts, and these functional aesthetic images have been addressed to the audience and have led to a better understanding of the audience in the process of reading the text.

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Time is an abstract concept standing beside others such as the location and human. Time, in human experience, has two aspects of outer time and inner time. The outer time is indeed that real time which the human being is unable to change its circumstances, while the inner time is the creation of the man’s mind. The present research deals with the examination of the concept of time in the poems of Mahmoud  Darwish and Gheisar Aminpour so as to specify the utilization of the time element by these two poets. This article, at first, has set to define the time lexically and the main opinions stated about time .Then, presenting a definition of outer time and inner time, it studies the thoughts of these two poets on the element of time. This research shows that Mahmoud Darwish and Gheisar Aminpour, for achieving eternity and escape from death, have had recourse to modes like return to past, myth and love, indicating the common view of these two poets on the element of time.    

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For the first time Sohrawadi employed the term “No-where” (Nākojā Ābād) in his works to describe the “realm world”, which is the world out of the general perception humans. This paper investigates the two treatises of Sohrawardi, “The Song of Gabriel’s Wing “(Avāze pare Jebraīl) and “In the Fact of Love” (Fi-Al- Haqiqat- o- al Eshq). The author, based on the analysis of the “No-where” metaphorical mappings, has shown that the central metaphor of No-where is place while No-where is placeless. This indicates that the macro-support of No-where is an ideal realm. In other words, Sohrawardi, based on his mentality towards the example world, has applied various semantic generalizations at the level of micro-metaphors to describe and visualize No-where.  In the current research, the aim of the author was to illustrate some of the most extensive metaphorical patterns of “No-where” in the two mentioned works and explain how Sohrawardi, within an  aesthetic and yet philosophical and mystical framework, has expressed his own view about this place.  

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Since so many people are constantly trying to find sufficient evidence for the existence of God, but fail to attain that evidence, though they are not at fault, the issue of divine hiddenness takes form. Some contemporary philosophers have conducted investigations on this issue by various means, but the philosopher who first took steps to investigate this issue more comprehensively is the Canadian philosopher J.L. Schellenberg. In 2015, he proposed the argument for divine hiddenness in his book The Hiddenness Argument and presented it as a counterargument in favor of atheism. This argument claims that if there was a God, he should have provided sufficient evidence and reason supporting this belief at least for those in search of him, but this is not the case and thus, God does not exist. The aim of this paper, in addition to explaining Schellenberg's argument for divine hiddenness, will be to examine the view of Michael Rea, an American philosopher of religion, on this issue.
 

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Abstract:
Fārs province is considered as one of the geographical and historical region of Iran which has great extent and geographical diversity being always the site of different ethnics, groups, and races. The Persian people, tribes and nomads, like races of Qašqāyi, BoirAhmadi, and tribes of Xamse, have had the prominent role in culture and identity of people of this province. Therefore, the culture of this region can be divided into three main branches: Torki, Lori, and Fārsi.
The Fārsi culture is a collection of different cultures of urban, rural, and nomadic that flows in a range from the northeast to south of Fārs province. Although, the parts of central province namely city limits of Širāz also plays an important role in the nature of Fārsi culture, but this culture is prominent in the mid-southern and southeastern province. A region that includes cities of Jahrom, Fasā, Estahbān, Sarvestān, Dārāb, and even Lārestān.
Southeastern Fārs in terms of natural and human geography, is very diverse. In this range, ethnicities, races, and tribes of Fārs, Tork, Arab, Lor, with languages, accents, various customs and ideas, live together. Their life and jobs is based on animal husbandry and agriculture.It should be noted that despite the existence of Torki and Arabic languages ​​and cultures in this region, the Fārsi language and culture has more well-known and prominent importance and extent. Most poems of Tork-speakers and especially Arab-speakers in this region are Fārsi and are usually followed by the song. From this perspective, we can better understand the meaning of phenomenon and concept called "Fārsi culture". Fārsi culture can be seen through the localpoems and are considered as well-known language and symbol. In fact, the poems of Dobeyti (quatrain) and Takbeyti (couplet) are intertwined in the most cases and almost in all of the social and cultural aspects with singing and folk songs. Poem and music’s accompaniment in the songs performance of the Šarve, Sarkuhi, Hājiyuni, Sābunāti, and Jahromi cause to better understanding of the Fārsi culture’s Dobeyti and Takbeyti.
The basic goal of this research is to recognize the Fārsi culture through the poetry used in folk songs.
On the one hand, the extent and diversity in the themes of poetry including complaint, discredited the world, oppression-contest, religious and altruism, with a focus on the concept of "love-and-separation", representing the beliefs and thoughts of people and on the other hand, the phenomenon of singing, due to presence in diverse circumstances of the time and place, has social function. The purpose of locative and temporal situations is a wide spectrum of the rituals, jobs, lullabies, and almost all of moments of solitude and pull-together (companionship). In a sense, understanding of the relationship between poetry and song with Fārsi’s culture relies on the social position and meaning of folk songs.
The research methodology of the present research is flied study and library based methodology in order to better understand the executive context of these songs alongside considering the literary, anthropological and psychological factors. 
 

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  The use of edible films to release antimicrobial constituents in food packaging is a form of active packaging. There are many studies about antimicrobial properties of spice extracts; however their application to edible films is limited. In this study chitosan-based edible films containing thyme and clove essential oils were prepared at 0.5, 1 and 1.5 percent v/v. Antibacterial properties of edible films were tested against five strains of Gram-positive and Gram-negative bacteria. Physical and mechanical properties of films including humidity content, water vapor permeability, tensile strength and elongation at break were measured. Films containing thyme essential oil showed larger inhibitory zones (p<0.05) compared to those of containing clove essential oil. Films were more effective against Gram-positive bacteria than Gram-negative ones. Incorporation of essential oils increased water vapor permeability of chitosan-based films. Incorporation of essential oils decreased tensile strength of films. Films containing thyme essential oil showed larger reduction in tensile strength property compared to those of containing clove essential oil.

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The present research examines the concept of love in two separate and distinct spheres. On the one hand, love is considered as a transcendental experience and concept that is static and related to a meta-human truth. This type of reading of love is mainly initiated and developed through Plato’s writings. On the other, there is a view that considers love (even in its Platonic sense) a humane, cultural and more importantly “textual” phenomenon. In other words, love can only be understood, multiplied and experienced within language (or as Jacques Lacan calls, “symbolic order”). In this paper, I have studied these two views in relation to the collection of short stories entitled, Love on the Sidewalk, written by the contemporary Iranian writer, Mostafa Mastour. In order to do this, I have first studied the concept of ‘absence’ in love and how the experience of love always depends on the absence of the lover or the beloved. I then argue that love, in these stories, is a ‘sign’ that is constructed and signified with a system of signs. And finally I illustrate how the characters in these stories fall in love and understand love through “narratives of love”. All this would give love a plural and narrative significance. Love is therefore a sign that is always in the process of being constructed.

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Since the second century AD Sufi-es have entered the concept of "love" in his speech,and so they defined a new relationship between themselves and God, Although initially this relationship met with opposition from scholars and speakers, but gradually found its place in Sufi-es discourse Finally, in the beginning of sixth century attempt of Sufi-es in along four these centuries to define and describe of "love", Sufism enter in new stage which saw its glorying in the centuries from 6 to 8th. In this study author wants to analysis of basic and secondary cosmological viewpoints of Sufi-es about love. Author with this goal, by study and analysis of ontological and structural metaphors in conceptual metaphor theory has searched these viewpoints and finally has approved that metaphorizing of Sufies since the beginning show their viewpoints to this concept. These two standpoint aroused of two basic structural metaphor: GOD IS SULTAN and GOD IS BELOVED.

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A Study about the evolution of Vahhab's Character in the context of love in Khane-ye Edrisiha Based on Joseph Campbell's Theory of Hero's Journey Khane-ye Edrisiha, the symbolic novel by Ghazaleh Alizadeh, has good potentials for symbolic reading. One of the appropriate methods to comprehend this symbolic structure is an analysis based on "Hero's Journey" that Joseph Campbell suggests. the present research aims to show how the scheme of evolution at the context of love for Vahhab, one of the main characters of the novel, adapts with "Hero's Journey" pattern. This adaptation shows itself through analyzing the novel. This pattern doesn’t apply to the novel only in these stages: Atonement with the Father and the stages that come after the Magic Flight. The omission of the latter stages depends on the general plot of the novel and the writer's decision for the ending section, but the omission of Atonement with the Father stage and almost deletion of Vahab's father in this novel is an important and significant issue that needs another psychosocial study. Key Words Kane-ye Edrisiha, Ghazaleh Alizadeh, Joseph Campbell, Hero's Journey, Love

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The image and description of the image of beloved is one of the most important issues in Persian and folk poetry. Images and testimonies help both draw objectively the beloved body and the attitude of the poet, as well as the general attitude of the society and culture in which the poet lives. The purpose of this research is to examine the images and descriptions of the beloved body in Bakhtiari's folk poems by comparing them to the image of beloved in Persian poetry to answer the following questions: What elements are used to describe the beloved body and what are the adjectives that show the differences and similarities with Persian poetry in this area? The results of the research showed that, in Bakhtiari folk poems, the images look more like typographic characters (sensory, sensory, singular to singular and detailed), and that the names of this type are different. The poets used this type of comparisons in which the signified is much closer to the referent. Bakhtiari's life is based on nomadism, alongside agriculture and, to this end they rely more on the sky and constellation. A greater number of these elements is therefore used to illustrate the climatic color of the images which is very high. Compared to Persian poetry, there are differences and similarities that are more similar in terms of descriptions and differences in the field of imagery.