زینب رجبی

The aim of the present study was to phenomenologically investigate how spiritual citizenship affects the use of cyberspace. This qualitative study was conducted using the phenomenological method. The purposive sampling method was criterion-based. The data collection tool was semi-structured interviews. Data were collected by interviewing 17 high school teachers in Tehran. The data analysis method was conducted using content analysis. To ensure the validity of the research, Lincoln and Guba criteria were used. The analysis of the interviews indicated 1 overarching theme, 3 first-level organizing themes, 11 second-level organizing themes, and 23 basic themes. And using MaxModule 16 software, the analysis was carried out. The results of the research indicated that the reaction of the spiritual citizen in using cyberspace included issues such as resolving conflicts between modernity and religion, maintaining religious identity in the turbulent cyberspace, avoiding sin in cyberspace, promoting good ethics in cyberspace, not being vulnerable to negative cybermoral issues, institutionalizing positive thoughts against the negative dimension of cyberspace, raising awareness and raising awareness in cyberspace, healthy mental nutrition in cyberspace, healthy mental diet in cyberspace, paying attention to deep learning in cyberspace, exploring knowledge and distinguishing between false and real knowledge, observing user ethics in cyberspace, critical thinking in cyberspace, self-awareness and self-belief in cyberspace, awareness of values and anti-values in cyberspace, using the positive points of cyberspace and rejecting its negative points, creating spiritual games in cyberspace, learning media literacy, building culture in cyberspace, self-control in cyberspace, creating filters in cyberspace, observing moderation in using cyberspace, and the foundation of A solid mindset in cyberspace and self-care and other-care becomes rational.

Iranian mystics have used the metaphor of ‘Reed’ (Ney) to express the story of human distance and humiliation from his/her origin. The story of Leili and Majnoon seems to have highlighted this meaning more than any other stories. Persian miniaturists have also tried to realize these themes  by recognizing mystical principles. One of these innovations has been the realization of metaphor of the reed in form of a shepherd as piper in the story of Leili and Majnoon. The use of this metaphor, as a reminder to man of the day of genesis, is for moving beyond the surface of a love story. The purpose of this article is to identify the connection between mystical concepts and Persian miniatures as well as to show a new visual identity in miniatures to express mystical themes visually. The method of collecting information was library-documentary. In this article, the miniatures of schools of Herat and Second Tabriz are considered, among which four miniatures with similar themes to the story of Leili and Majnoon have been selected as statistical samples. Deploying an analytical-descriptive method, this research has sought to answer the following questions: What are the mystical meanings of reed (Ney) in Rumi's Ney-Namey? How is the visual expression of metaphor of reed(Ney) in Leili and Majnoon's miniatures? Findings have shown that miniaturists by means of a visual expression of various scenes of Leili and Majnoon and through use of metaphor of ‘a shepherd as piper’ has given expressions to themes such as the status of love, lover, beloved, survival, destruction, and so on through frameworks of shapes, colors and composition.

Metaphor is one of the expressive methods for understanding unfamiliar concepts or inner layers and a method of cognition. Linguistic studies in the last few decades have defined a new nature for metaphor, according to which metaphor is not just a literary technique or aspect of speech, but an active process in the human cognitive system. Metaphor is defined as understanding one conceptual domain in terms of another conceptual domain. In this view, the metaphorical function of concepts helps unfamiliar concepts and abstract ideas to be understood and touched. Theorists believe that metaphor is a kind of "way of thinking" and so it can be used in other media and areas of expression, including images, cinema, politics, etc. Metaphor can also be used in non-verbal fields, which is specifically called "visual metaphor" in this sense. In recent decades, the argument of visual metaphors has entered the field of cognitive metaphor theory. Converting verbal metaphors into visual metaphors is possible, but complicated. Many verbal metaphors created by words and phrases can be translated into image language. Visual metaphors are much more difficult to be understood and recognized than verbal metaphors. The comparison of the image and the text can define images as  three-dimensional expressions of the world.Meanwhile, Persian painting is one of the branches of art in which the expressive ability of metaphor is used a lot.  Persian painting is the manifestation of the imaginary world. Discovering and displaying imageries, artists of this type of painting intuit the world of imagination. Since it is neither completely close to nature nor pure abstraction, it has found an intermediate aspect, which has both abstract and imaginary characteristics. On the other hand, not only can artists use the tangible nature, but they can also pass it and gave it an abstract aspect. From this point of view, painters have turned to the language of metaphor to show imaginary images and use facilities that have the capability of associating meanings. The principle of association of meanings, which is particularly evident in metaphor, is of special importance in art, especially in Persian literature. Metaphor in words and accordingly in images is a form that invites the audience from the outside to the inside,  in other words, from something familiar to something strange.  Therefore, through defamiliarization, the artist tries to separate the audience from ordinary and everyday things and introduced another world and truth.The art of painting is full of visual metaphors in various animal, human, plant, and inanimate forms. Human forms are one of the main and fundamental elements of Iranian painting in terms of visual and spiritual aspects as well as semantic associations. Some of the human figures depicted in paintings are directly relevant to the story or theme, and these humans play a specific role. For example, in the stories of Shahnameh or Khamseh of Nizami, kings, companions, warriors, and special characters mentioned in the story are depicted directly. Nevertheless, sometimes in the same pictures, it seems that the painter has put the body and face of the king of his time instead of the king's face of the story; hence they have created a visual metaphor. In this way, they immortalized their contemporary king by recording it in a work of art. On the other hand, they reveal the qualities of justice, valor, and authority of that legendary king in the existence of the king of their time. However, another type of metaphorical expression through human forms is related to "body states" and their role in associating meanings. In Persian painting, many mental and emotional states and some human behaviors are shown through "various body states". In other words, states and body movements are the source area,  mental and emotional states, and behavioral performance are the target area in visual metaphors. This use of metaphor in the human figure can invite the audience from the exterior of the painting to the interior in the process of reading the text.The present research seeks to answer the question: What is the expression of visual metaphor in human forms of miniature painting? The purpose of the research is to explain visual metaphors and identify their expressive aspects in human characters used in paintings and also to study how to express metaphorical states and emotions through the human body and face. Since Persian painting is a symbolic and metaphorical art, it can discover the meaning and inner layers, and provide special expressive capabilities to artists to create artworks.This article has been done on the descriptive-analytical method and by collecting library information and images, the role and position of metaphor, especially conceptual metaphor, and visual metaphor have been studied from the perspective of metaphor in human forms, and present a new analysis of miniature paintings.By examining Persian paintings, which are full of metaphors, it is clear that this art has a layered and complex expression, and therefore, discovering the inner layers and hidden meanings helps better understanding the works. Persian painters have been able to use visual metaphors in various ways by knowing their capabilities and visual functions of them, so they could express inner and distant intentions. Therefore, in response to the research question, it should be mentioned that one of the painters' methods in the metaphorical representation of human figures is the replacement and visual adaptation of a special character instead of the main character of the story, such as using the character of the king of the time (such as Sultan Hossein Mirza, Shah Tahmasab, Humayun, Shah Abbas, and other Qajar kings) and scholars and elders (including Amir Alishir Nawai, Jami and Amir Kabir) and other people instead of the characters of literary stories, such as Iskandar, Anushirvan, Rostam, etc. in the illustrated version of Ferdowsi's Shahnameh or Khamseh of Nizami. They have tried to document the real events of their time in a metaphorical way, and in this way, they have considered these figures as visual metaphors for fictional characters.Additionally, through the type of depiction of body movements of human figures, they show some states and human emotions, such as surprise, conversation, shame and modesty, respect, etc., based on the subject and the need of the image. For example, in conversation mode, people are drawn with closed mouths, and usually, the expression of hands, bodies, eyes, and eyebrows are used to display conversation mode. In the state of surprise, the head is depicted slightly bent forward and the surprised person has put his finger on his lips. The other mode is "advice" which is the state perceived by the organ of the body. In this case, the person giving advice is shown leaning forward a little with affection, while the hand gesture and sometimes the palm of hands are stretched towards the opposite person. "Shame and modesty" is also usually one of the states that are understood in painting through body posture. The display of this state is usually shown in a person who is being advised and is holding one hand on the side of the face and usually, the head is shown downward with a high degree of bending. The mode of "respect" is another mode that is used a lot in paintings. Humans who are in front of important figures such as kings, elders, mystics, or lovers, usually show a state of respect combined with modesty. It is also shown in such a way that these people have placed their hands crossed on each other, and at the same time, the head is lowered as a sign of modesty, and the upper half of the body is also bent forward. In other words, in general, these body movements and postures have given a visual effect to show sensual and emotional states metaphorically, and in general, they have guided the viewer from the appearance of the work to its interior.

With the explosive growth of social media such as Twitter and Instagram, reviews on e-commerce websites, and comments on news websites, individuals and organizations are increasingly using analyzing opinions in these media for their decision-making and designing strategies. Sentiment analysis is one of the techniques used to analyze users' opinions in recent years. The Persian language has specific features and thereby requires unique methods and models to be adopted for sentiment analysis, which are different from those in English and other languages. This paper identifies the characteristics and limitations of the Persian language. Sentiment analysis in each language has specified prerequisites; hence, the direct use of methods, tools, and resources developed for the English language in Persian has its limitations. The present study aims to investigate and compare previous sentiment analysis studies on Persian texts and describe views presented in articles published in the last decade. First, the sentiment analysis levels, approaches, and tasks are described. Then, a detailed survey of the applied sentiment analysis methods used for Persian texts is presented, and previous works in this field are discussed. The advantages and disadvantages of each proposed method are demonstrated. Moreover, the publicly available sentiment analysis resources of Persian texts are studied, and the characteristics and differences of each are highlighted. As a result, according to the recent development of the sentiment analysis field, some issues and challenges not being addressed in Persian texts are listed, and some guidelines are provided for future research on Persian texts. Future requirements of Persian text for improving the sentiment analysis system are detailed.

The present  survey aims to extract the patterns of content developed by Twitter users by using the regulatory focus theory (RFT).

This study was conducted based on text mining techniques. The statistical population consisted of the texts published on Twitter from July 2020 to July 2021, and the data were collected by searching special keywords.

The results of the article indicate that a total of 33,192 tweets were extracted as the dataset, 1,967 of which were selected for labeling by RFC.

The authors of the research conclude that the four main discourses extracted from the analyzed tweets were Possession, Non- Possession, abstinence, and exposure. The results revealed the higher frequency of codes related to the discourse “exposure”, indicating the semantic coherence of “exposure” both on Twitter and the whole society. This semantic coherence can direct and mobilize public opinion to call for cultural reforms.

Various aspects of popular culture in Persian painting is a tradition that has been used for centuries. Basically, realism and folk culture have been considered after Herat school. Painters not only use these cultural elements to create the atmosphere of their works, but give them a metaphorical role to present a semantic layer to the audience. This function is mostly seen in mystical paintings through the display of the appearances of folk culture. Humans and their material tools, in the actions and situations of people, are the subjects of folk culture that play a role in the association of meaning. So, paying attention to ordinary people, especially in the rural and non-urban areas, and using them metaphorically, help the better understanding of the main theme. In this descriptive-analytical study via the case study method, various elements of folk culture in a painting of Mirseyed Ali entitled "Taking the Majnoon to Leili's Tent" has been read metaphorically from the perspective of folk culture.

The inner connection of Persian poetry and literature with painting, which shows commonality in imagination and images, has caused these two domains to have deep attachment and provide a common language and expression to describe forms and meanings of the imaginary world. Iranian poets and painters have used special verbal and visual tools to convey these forms and meanings. This article, with emphasis on metaphor, discusses its role and expressive ability in poetry and painting. In the process, the paper seeks to answer: 1- What are the expressive effects of metaphor in Iranian poetry and painting? 2- How have painters used the capacity of metaphor in their visual expression? The purpose of this article is to study the relationship between the two cultural domains of Iran i.e. poetry and painting, and explain their commonalities, that is, in the world of imagination and images. Another purpose is to identify the type of metaphors and their visual kinds in paintings. This is a descriptive-analytical research in which data have been collected through library and documentation centers. The data indicate that metaphor used in Persian poetry in the form of words and sentences explicitly and implicitly transferred to Iranian painting. In other words, painters expressed these metaphors visually in the form of shapes, colors and textures and thus introduced a new visual identity to express themes.

 Persian literature has been closely related to the miniature throughout history. Recognizing the poetry delicacies and equalizing them in miniature, Persian painters could present a transcendental expression appropriate for the rich Iranian culture. Among this delicacy of poetry, one of the fantastic and beautiful elements which make poetry or miniature active and living is “personification” which expresses a part of the supernatural world. Miniaturists have paid particular attention to personification in classical and contemporary miniature. The miniaturists have utilized the artistic capacities of personification to express their great concepts and heartfelt representations, with animating and symbolic language. This research that has been done on the descriptive-analytical method tries to explain and clarify the situation of personification and its artistic expression in both poetry and Persian painting. Discussion and analysis Personification is one of the most beautiful forms of imagination in poetry that seizes the poet's mind in the inanimate objects of nature and gives them move through the imagination. In rhetoric books, personification is a kind of metaphor that means to use words in a different meaning. Personification gives the artworks, artistic, and imaginative aspect.  Generally speaking the personification in terms of giving human or animal character to the objects is divided into two general types that are humanoid and animalist. The humanoid in the sense of personification means giving humanoid characteristics to the objects. Another type of animalist personification is to attribute the characteristics of animals to the objects. Some experts have equated it to "Animism”.  Using imaginary forms and transforming them into the visual language not only has created a common language between miniature and literature but also has enriched the works of the miniature. The personification is one of the forms of interest in Persian painting, and the ancient Iranian artists have used the artistic language of this device to express their supreme concepts by animating and symbolizing the animals, corpses, plants, and objects. Personification has existed in early Persian miniature and the use of it in the artworks of Kamal ol_Din  Behzad is recognizable. But what is certain is that this device flourished in the second Tabriz School. But after that time the use of personification in Qazvin school and Isfahan school decreased and so few works include such characteristics. During the Qajar period, the artists’ tendency of Western arts changed the style of language and artistic expression. But attention to personification and its visual use is re-emerged in contemporary miniature after a century of decline. Hossein Behzad and then Mahmoud Farshchian and other contemporary Persian miniaturists also revived personification and brought many innovations at various levels. By examining the works of classical and contemporary Persian miniature, the use of personification can be categorized and analyzed in five titles including elements of nature, objects, animals, abstract motifs, and abstract concepts. Artists have used the expressive capacity of personification in the elements of nature and have presented the greatest manifestation of humanoid and animalist in elements such as mountain, rock, soil, plants, clouds, sun, etc. Also, using animalist personification, Persian miniaturists illustrated some texts such as Kalilah and Demena or Mantegh ol-Teir, which are essentially allegorical stories, to express mystical and moral concepts, portrayed animals talking to each other.  Another type of personification has been used in contemporary art which is giving human personality to animals. Miniaturists have also given humanoid and animalist aspects to various objects. In such images, parts of animal or human supplies are often ascribed to the objects and thus fall into the category of personification. Miniaturists have also used humanoid and animalist imagery in illumination and Islamic (arabesque) letters in abstract motifs. One of the distinctive features of contemporary miniature compared to ancient times is the illustration of abstract concepts. Using their imagination, the artists have given a tangible view of metamorphosis and the abstract world.   Conclusion The present study shows that personification is one of the most imaginative forms of literary rhetoric that has created a dynamic effect by animating the objects in the poems. This device has been used in Persian poetry in two general ways: humanoid that means giving humanity to the objects and also animalists or animism means giving animal character to the things. The structure of this device is such that one of the human or animal supplies, actions or doings is attributed to objects. The discussions and conversations between things and non-intellectual objects to express the poet's ideas are examples of this device. Persian miniaturists have also created works that have taken on the metamorphosis dimension by recognizing and using the expressing and imaginary features of personification. Researching the works of classical and modern Persian miniature from the perspective of the use of personification clarifies the fact that the painters in a variety of fields such as natural elements, (including plants, rock and soil, sun and clouds and quadruplet elements, animal elements, objects, abstract motifs, and abstract concepts) have used various aspects of personification as a special way of expressing their heart's presentations. These features have intrinsically linked this art to Persian poetry and provided a common language in expressing the facts of the supernatural world.

Persian painting throughout its history, has always been influenced by Persian literature, and various magnificent works by the themes of epic, lyrical, mystical, moral, etc. In other words, Persian painting owes much of its ideal examples and allegorical themes to literature. The continuous development of Persian painting, rather than the style of visual painting schools in several centuries, has always been remarkable in its relationship with the literature and use of aesthetic basis and poetic themes. This trend continues till today, and contemporary artists are trying to create works that while having relation with literary tradition, reflect the problems of the contemporary world. In the dialogue with Khayyam's poetry, Hossein Behzad, a contemporary painter, seems to be the first person that illustrated Khayyam's quatrains. Due to the problems and sufferings he endured during his miserable life and the bitter events he faced, he felt closer to Khayyam's quatrains and portrayed the works of this poet in visual language. But what is unprecedented in these historical relations and distinguishes Behzad's works from other paintings is their subject-affinity with Khayyam's philosophical ideas. Despite Khayyam's questionable ideas that show specific approach to the world and human beings, the painter had nevertheless portrayed them in such a way that his works were direct interpretations of Khayyam's poems. What can be said about the necessity and importance of this study is that while Behzad referring to the past tradition of literary interaction with painting and showing his perception of literary ability in the visual structure of his paintings, the other artists of his period, separate from traditional literature due to social and cultural conditions of their time, prevalence of re-evaluated thought and the reflection of Western culture and art, in order to create the works in confrontation between tradition and modernity. For this reason, such a case study not only contributes to the visual deepening of the paintings, but also leads to an aesthetic understanding of the conceptual signs and poetic elements involved in those works. Therefore, this research raises the following question: by using which visual signs and in what way has Behzad been able to recreate the hidden thematic of Khayyam's poems by visual language? In order to answer the question of research, first it is tried to explain and interpret the themes and meanings that express the poet's philosophical thought and point of view. Then the visual and symbolic elements used by the painter in illustrating the poems have been analyzed, and finally the thematic signs of the quatrains and the visual signs of the paintings are compared in order to clarify how a literary text can be represented in visual text. Relying on the critique approach, this study tries to put together two literary and visual texts by discovering thematic and visual signs, and then analyzes the quality of representing Khayyam's quatrains in Behzad's paintings. Accordingly, the present study is a descriptive-analytical method based on credible electronic-librarian resources to understand about the quality of representing the themes and meanings of Khayyam's poems in Behzad's works. So investigating the thematic signs and their effects on the paintings in the form of visual signs will lead to a more accurate critic and attractive reading of both poetic and visual texts. The findings show that however that Khayyam's quatrains are philosophical and reflect existential issues such as astonishing of creation, looking for the mysteries of creation, attending to the unreliability of the world, viewing the world wisely, thinking about death and the enjoyment of life, Hossein Behzad has used two types of signs in his visual works in dialogue with Khayyam’s quatrains: 1. Thematic and symbolic signs that illustrate in the paintings in the form of pottery, potter, pottery workshop, soil, water and greenery, old narrator, genius elders, kings, birds, trees, earth mounds Candles, colorful costumes, angels and tormentors, as well as colors such as blue, red, green, black and brown in their special meaning. 2. Visual signs with special visual representations such as point rhythm, color contrast or the dominance of one color on the space, different narration in the background and background in relation to each other in one work and creating different sensual states in faces and figures. The sum of these signs has led the painter to have tremendous innovations and make possible understanding of the themes and concepts of Khayyam's quatrains in his paintings.

“Frame” or Cadre is essentially one of the most important constituent elements of an artwork, and the artists have long paid attention to it in the visual arts of Iran; especially in post-Islamic arts. One of the most important topics in the visual arts is frame and its relation with the artwork or text, without which its components and elements will not be clearly defined. The frame can be the page and the area of the panel, the embedded illustrated image, the interior spaces, or in other words the specific areas within the image of an artwork. The frame actually creates the boundaries, and the various elements of the artwork are defined relative to the frame within the composition. Unless the frame defines the scope of the work, the elements that are embedded in it remain undefined relative to each other and also to the outside of the margin. The frame has an independent identity and has particular importance in Persian artworks in comparison with the arts of other countries. The evolution of frame can be analyzed throughout the history of book-making and painting until contemporary times. The frame is remarkable in its various forms and functions in the painting. The relationship   between the shape of the frame and the theme of artwork, as well as the relationship between the text and the border, indicate the different capabilities and functions of the frame. Therefore frame and its relation to artwork are one of the most important issues in visual arts. In contemporary Persian painting, despite the independence of the artwork from the manuscripts, frame is still used in works and maintains its expressive and important role in visual art. Among contemporary artists, Mahmoud Farshchian has used the various forms of frame in different ways. It should be noted that Farshchian created a special style that while paying attention to the traditional authenticity of Persian painting, created a new language in Persian art.  This article, that has been conducted using a descriptive-analytical method, tries to answer the following two questions: what are the characteristics of frame in traditional Persian painting? And what are the uses of the frame in the works of Farshchian and his innovations in this field? The purpose of the research is to identify and explain the position of frame in the works of traditional Persian painting and its continuation and innovation in the works of Farshchian. In this article, beside the fifteen specimens of the traditional Persian painting that have been chosen in order to explain the variety of frames and their characteristics, about thirty specimens from accessible artworks of all Mahmoud Farshchian’s printed works were selected and analyzed as statistical population, which represent the variety of frames and their different characteristics both in terms of traditional frame functions and their innovations. In conclusion, it has been recognized that frames appear in traditional Persian paintings, generally in the form of rectangular, vertical square or horizontal rectangles, circles, and polygons. Frames may be "closed" and "open" in association with the image. These two types of frames can also be "simple" or "ambulant". Also in reviewing Farshchian's numerous works, it is revealed that he has used both traditional and innovative methods in his works. On the one hand, with regard to the traditional way, he has used traditional open and broken frames, and on the other hand, has used the frame in an innovative way  This article identifies four types of innovative ways that include: 1- The general shape of the frame display: This means using shapes such as rectangular frames with paper plates, oval, altar, Roman and composite frame formats. 2- The way of drawing frame: His works were examined in terms of two aspects: “frame layout" and "the way of creating frame through color separation" in order to distinguish inner and outer space for induction of the frame. 3- Making the frame ambulant: frames that are curved, torn, burned, clouded, or tailored in relation with the content and type of the frame are his innovations in the field. 4- Non- frame works: rarely used in traditional painting and after Hossein Behzad, however there is a great deal of this kind of frame in his works. Also regarding the relationship between the frame and the theme of the painting in Farshchian's works, it should be noted that the frame is an excuse to complete the image and is often in relation with the artist's intended theme. Another function of the frame in his works relates to the role of the frame in creating the border and communicating the border with the text. In his work, the marginal elements contribute to the text as well as the main theme of the work, directly or indirectly through the representation of different worlds and times, and also the presentation of the content within the margin.

Transtextuality theory of Gerard Genette offered a systematic classification in the field of intertextuality studies. This theory includes five main parts: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. In this article one of Kamal al-Din Behzad’s artworks, namely “The Story of Yusof & Zoleikha” has been analyzed by these five parts of Transtextuality theory, in order to identify various dimensions of the painting. The questions are: Which one of Genette’s transtextuality applies to the painting of “The Story of Yusof & Zoleikha”? As a visual text, how is this painting to be identified in the transtextuality relationships? The method of this article is descriptiveanalytical and the data collection is library-based. Findings of the research show that the painting has definite intertextuality, like Quran, Bustan of Sa’di, Yusof & Zoleikha of Jami, and the implicit and visual intertextuality are seen in its forms and colors. The painting has moral-didactic architextuality. All interpretations and reviews related to this painting could be regarded as its metatextuality while it provides several paratextuality as well. This artwork is also considered as a hypertextuality that includes transposition.

The transformation of art in every period of artist’s life is affected by the social evolutions. One of the special historical periods associated with the specific social conditions in Iran that influenced on the art and artists, was the occurrence of the First and Second World War. The coincidence of famine and poverty caused by these wars and the events of the horrible condition of Hussein Behzad’s life, in the childhood and adolescence, made him affected a lot by the social conditions.
This paper, which aims at understanding the reflection of social events in Behzad's artworks, has been performed by descriptive-analytical methods and with library studies. In addition, it analyzes the content and visual structures of the works of the artist, and tries to answer this question: how do the social evolutions and the reflection of them affect the life and the artworks of Hossein Behzad? In this article, his life and artworks on the theme and visual structure that based on the reflection approach have been analyzed. The findings showed that social evolutions were clearly reflected in the theme and with the technical innovation of the artist in the visual structure of the works.

Middle Ages contain several doctrinal paintings about Christian religion from fifth to fifteenth centuries. Saint Augustine & Tomas Aquinas were the two famous philosophers of the early & the late periods of Middle Ages that had most influenced the paintings of this ages. Saint Augustine’s divinely Christian teaching linked Christian teachings with that of the Plato and Neoplatonism’s theology, during the whole Middle Ages. Through his divinely theory, the church became the most powerful and influential reference of Christian world to lead people towards the heavenly world, welfare and prosperity; the prosperity which is nothing but depicting God, whose existence is the reason behind all the world beauties.  Augustine’s divinely teachings, which were based on the transcendence of the mankind and seeking for the way towards the heavenly world, endowed the arts of the Middle Ages with a divine and metaphysical outlook. Paying attention to the physical world was not considered materialistic and objective, but was a way of conceiving the higher, celestial aspect of things. He believed that these material objects are the reflections of the spiritual world. So his beliefs were based upon proportion and unity (the unity of the whole and the part), and that everything should portray a perfect image just like the spiritual ones. During the 13th century and with the emergence of Franciscans and Dominicans orders, particularly the great Scholastic philosopher of the day, i.e. Saint Tomas Aquinas, a revolution happened in church teachings. At this point of time, also considered a type of revival of the Aristotle’s philosophy, people like Saint Tomas Aquinas were seeking ways of adapting philosophical concepts with Christian teachings. Therefore, this time period might be deemed as the age of successful association of religion, philosophy and art. Following the previous ideals, Aquinas emphasized on teaching art as a medium for helping the human race attain prosperity, but he propounded that paying attention to concrete, material things is the prelude to recognize the spiritual. It should be noted that the influence of such belief is noticeable in the artworks created towards the end of late thirteen and then in fifteen centuries. He was of the opinion that beauty has three prerequisites: perfection, proportion and clarity. Such theories affected the appearance of the statues that were created after the thirteen century. Although these statues still lacked anatomic characteristics of their Renaissance counterparts; however, they seem more real as compared to previous centuries. It means that during this time span, and under the influence of Aquinas’s teachings, we can see more real dispositions as well as intrinsic emotional characteristics even in the statues and portraits of the saints. Ultimately it could be said that the pre- thirteen centuries paintings are of spiritual and metaphysical outlook while after the thirteenth century, these paintings take more material and personal perspectives and thus make way for the advent of Renaissance. This research has taken descriptive- analytic method to study two different eras in Middle Ages, and answer these questions: What are the differences of Augustine and Aquinas’s ideas about art? What influences did they leave on the art of painting in the Middle Ages? And finally, what are the differences of the paintings created during the early Middle Ages as compared to those created towards the end of the eras? Moreover, the essay aims to review the thoughts and beliefs of the two abovementioned philosophers and analyze their influence over the painting styles of the Middle Ages. The conclusions indicated that before the thirteenth century, features such as attention to spiritual world, simplicity, lack of perspective, transparence and brightness of colors, proportion, unity and generally an ideal form of art developed under the influence of Augustine. But after the thirteen century, while the previous characteristics were being still employed in the paintings, under the influence of Aquinas’s theories, some earthly and emotional aspects were added to the paintings of the time through paying attention to the development of spirit from the physical to the spiritual world and the use of intellect and faith as the two ways of perception.

Today, development of social networks and its popularity resulted in the creation of large amounts of data and content of their users. Analyzing the content produced by users can be very effective in achieving economic, political, cultural, social, and defense goals. Nowadays, many aspects of human life are affected by the influence of social networks on the Internet. Social networks have given rise to numerous threats and problems against their users, in addition to creating opportunities that have not existed before. Thus, in security reasons, sentiment analysis or opinion mining in social networks is significant. In this paper, we proposed a novel sentiment analysis model based on the bag-of-concepts approach as well as commonsense knowledge. First, a method was proposed for understanding ambiguous sentiment concepts, and then a method was provided to disambiguate the polarities with the help of bag-of-concepts and its links with other concepts. The polarity of ambiguous concepts was more accurately detected when we took into account the positive and negative context vectors and the relations to the concepts in the Semantic Knowledge Base. Finally, the proposed model was evaluated by applying it on the review corpus, and the experimental results showed the effectiveness of the proposed model.

Iranian art is an important historical phenomenon. This art, which had reached a high level in the early stages, succeeded in many fields and in various ways up to contemporary times. Meanwhile, Iranian art that dating back thousands of years is a precious supporter of contemporary artists. In that first human civilization, which appeared more than six thousand years ago on Iran, art was the essential element that played a role in the following periods and throughout the ages, it retained its distinctive features. The revival of ancient traditions in the contemporary world and its integration with the contemporary art, creates works of identity in the genuine Iranian culture. In these arts, artists were able to expand their artistic arts in various fields such as combinations and adornment in harmonious colors, with elegance and technical skill.
Here it should be notice that persian arts has always been symbolic and iconic in ancient times throughout the Islamic era. This is especially be seen in the works of the Achaemenids. What is more than seen in Achaemenid art is the attention to internal and spiritual issues.
Hence, in all aspects of design, including the design of humans, animals, plants, etc., there is considerable abstraction, and this is even seen in the details of the clothing and arrangement of beards and animal organs. In fact, with the understanding of the spiritual world and the realities of the objects, the artists have created a pink creation, beyond the material form, which, while displaying the nature of objects, also depicts the spiritual form.
In the Sassanid era, many of the effects of that era were restored due to the desire to return to the Achaemenid era, but the dominance of the Greek-Roman culture did not completely disappear. Because the Sassanid art was influenced by the Achaemenid era, it can even be seen in many ways that it has been mirroring and repeating the themes of that era.
In the Sassanid art, it should be noted that rock formations are the most important works of Sassanian design. Undoubtedly, these royal monuments have been made by skilled artists, and the form of fabrics in the Naghsh of Rustam and the design of a variety of woven fabrics in the Taghe Bostan, show that no attempt has been made in their execution.
Majid Mehregan, who is one of the contemporary persian painting artists, has created works inspired of ancient characteristics, more than other artists. His interest in this field has made his art a compilation of ancient Iranian art and the art of the Islamic era.
The purpose of this study is to determine the use of Mehregan from drawings and motifs used in Achaemenid and Sassanid works and its integration with Islamic painting. This article seeks to answer the following questions: How does the Mehregan use the features of drawings and pre-Islamic art, especially the Achaemenid and Sasanian, in his works? And which motifs and elements of Achaemenid and Sassanid art have been used in his works?
This paper also attempts to provide a brief overview of some of the features of design and motifs, especially from the pointview of the design of the organs of humans, animals, plants, and tools and implements of warfare and decoration in the Achaemenid and Sasanian periods as the introduction to the discussion. And then to study and analyze the works of Mehregan. It should be noted that in this study, those elements are discussed that Mehregan were inspired by pre-Islamic art and so the other elements and forms refused.
This article, which is conducted in a descriptive-analytical method, describes how Mehregan uses the drawings and motifs of the Achaemenid and Sasanian arts in his works. The method of collecting information is through a book, article, internet and pictures of his artwork. In this research, all of the available works of Mehregan have been considered as a statistical society and the statistical sample of this research includes those works that were influenced by pre-Islamic works.
The findings of the study showed that Mehregan uses the factors such as simplification of forms, the use of thick lines, using decorations and plant designs such as Lotus flowers and the use of animal design and implements of war under the influence of Achaemenid and Sassanid art, has been able to create a new language in the contemporary Iranian art and create works that reflect the compilation of pre-Islamic and Islamic era.

With regard to the need for improving international relations, exchanges and cooperation in the Iranian banking system after lifting the sanctions, banking supervision is expected to enhance and implement the latest banking standards and requirements so as to facilitate the engagement of foreign banks and investors in the country, which in turn would pave the way for Iranian involvement in the international arenas. This will not be realized unless legal, institutional and regulatory measures are taken within the banking system aimed at building a proper business environment. This study attempted to develop a conceptual model for regulatory governance over Central Bank of Iran in line with enforcement of the 20-Year Vision and the general policies of Resilience Economy. The methodology is based on a qualitative approach as well as Grounded Theory. The statistical population consists of 21 experts and specialists familiar with the banking and regulation literature selected through a judgemental sampling approach. In this study, data were collected using semi-structured interviews. Then, the data were analyzed through a coding technique derived from Grounded Theory using Atlasti. Finally, the dimensions of the new model were explained. The reliability and validity of the data were obtained through participant review and non-participant expert review, which were highly reliable. The core theme of this study was resilient regulatory governance, the dimensions of which were explained with regard to the causal and mediator conditions. Then, the strategies were developed and final model was presented. At the end, it was suggested that a resilient regulatory governance should be implemented through revising the laws and regulations, establishing the banking codes and regulation, designing an integrated financial policy system, institutionalizing an integrated financial policy system, reforming the banking sector, strengthening the banking supervision and expanding an appropriate banking conduct based on prescriptions of the Central Bank.

Nanocomposite membranes of ethylene-propylene-diene monomer/multiwalled carbon nanotubes (EPDM/MWCNT) were prepared by solution casting، solvent evaporation and cross-link technique to be applied in CO2/N2 gas separation. Both simple and functionalized MWCNTs have been used. The effect of incorporated different amounts multiwalled carbon nanotubes (0-4 wt%)، of both simple and functionalized types، on the performance of nanocomposite membranes was studied. Fourier transform infrared (FTIR) spectroscopy and field emission scanning electron microscopy (FESEM) were used to evaluate the structural/morphological observations of nanocomposite membranes. Comparing the FTIR results of pure and functionalized nanotubes confirmed the presence of carboxylic groups on the functional carbon nanotubes. The FESEM images indicated that at low concentrations، carbon nanotube particles were dispersed well in the EPDM matrix، but they formed agglomerates at concentrations beyond 1 wt%. By incorporation of MWCNTs، the mechanicalproperties of nanocomposite membranes including tensile strength، Young''s modulus and elongation-at-break considerably were improved. By increasing carbon nanotube loading up to 0. 75 wt%، the permeability of both CO2 and N2 and the CO2/N2 selectivity increased. Further loading led to higher permeability of CO2/N2، while the selectivity ofthe system decreased that could be attributed to further agglomeration of carbon nanotube particles. Furthermore، functionalization of carbon nanotubes improved their dispersion and the mechanical properties and gas separation performance of nanocomposite membranes. Through functionalizing of MWCNTs، both the CO2 permeability and CO2/N2 selectivity of the optimum membrane (0. 75 wt% MWCNTs) increased from 37. 95 and 18. 03 Barrer to 57. 57 and 23. 43 Barrer، respectively. At ambient temperature، by the increase in feed pressure a slight increase in the permeability of both CO2 and N2 gases was observed، while the CO2/N2 selectivity was not highly affected.

Through the history of art & religious civilizations, there are always sacred & spiritual artworks that endeavor connecthumanswith spiritual worlds,of whichthe most obvious manifestations aresacred portraits. Portraits of the pious humans give the opportunity to represent spirituality and divineness in form of human images that have always been taken into especial consideration by religious civilizations. These portraits have special characteristics so that if they are put together, it seems that they possessa united and collective essence. Therefore recognizing the common characteristics of sacred portraits in religious civilizations is the main goal of this research.In this essay by means of analyzing and explaining the ideal portrait and expressing the different viewpoints of experts in this area, it is tried to recognize the common characteristics of the sacred portraits andthe ways artists have manipulated them in their works. Using analytic and descriptive methods based on description of existing cases of portraits from some of the religious civilizationsandbesides exploring the artists’ perceptions of sacred portraits in various civilizations which are developed from the ideal portrait, some of the common characteristics of these portraits are recognized. The results of this essay show that there are common characteristics in sacred portraits in religious civilizations through which a perfect portrait may be conceived. As a result main common characteristics include: extended and arched eyebrows, bigand almond like eyes, extended nose, small lips, altar like and broad foreheads.