fatemeh mehrabi

Nowadays, achieving a balance between economic development goals and environmental protection has become one of the main priorities for policymakers. Using the E-DSGE model, this study introduces a new rule for fiscal and monetary policies and carbon taxation, aiming to regulate and stabilize carbon emission levels along with ensuring economic growth. It analyzes the interactions between fiscal and monetary policies and environmental policies. The findings indicate that while all the mentioned policies can bring carbon emissions close to the target level, their underlying mechanisms differ. Fiscal and monetary policies impact emissions by changing production levels, while environmental policies affect emissions by altering firms' spending on pollution reduction. In the presence of positive productivity shocks, fiscal policy is more effective in adjusting tax revenues, monetary policy in regulating prices, and environmental policy in modifying carbon emission intensity

The symbolic and mythological content is a hallmark of Iranian art, reflecting the cultural meanings of society in each historical period. These concepts allow for the inference of the hidden content within the motifs used, revealing their intrinsic value and significance. Following the fall of the Sassanian Empire, the rise of Islam, and the subsequent decline of the Abbasid caliphs, significant shifts occurred in the legitimacy of Iranian rulers. This era saw the resurgence of the idea of a powerful state and the revival of Iran's ancient heritage, leading to the establishment of dynasties such as the Tahirids, Saffavids, Samanids, and Buyeh. Al-Buyeh period, recognized as a Shiite dynasty, is considered one of the most artistically, politically, socially, and scientifically prosperous periods in the history of Islamic and Iranian civilization. The religious and political autonomy of this era influenced the artistic works, which were content-wise shaped by Shiite beliefs and structurally by Sassanian art. A distinctive feature of this period's art is the presence of religious concepts and elements, often represented through various animal and predominantly mythological motifs. The double-headed eagle motif is one such pattern, recurrently found in metals, ceramics, architectural works, and particularly textiles, whose origins have remained elusive due to insufficient research. The motifs employed in the artistic works of the period, whether in metalwork, architecture, textiles, ceramics, etc., possess a symbolic dimension that extends beyond their decorative function, deeply rooted in the religious beliefs and convictions of the people of that time, and aligned with Islamic principles.As previously mentioned, the double-headed eagle motif, frequently observed in the visual culture of that era, especially in textiles, appears in a repetitive or widespread manner. Subsequent studies on this symbolic motif revealed that its semantic origins in Al-Buyeh period culture have not yet been explored; thus, this paper aims to conduct a content analysis of the motif to uncover the semantic origins of the double-headed eagle in the visual culture of the Al-Buyeh period, employing Panofsky's iconological approach. This endeavor marks the first attempt to unravel the meaning of this symbolic motif. The necessary data were collected through library research, and the methodology employed was descriptive-analytical. The interplay between art and religion during the Al-Buyeh period is a fundamental aspect of this research, encompassing the exploration of the meaning and symbolic facets of the motifs and the proliferation of Iranian-Islamic concepts. Research Questions:  What are the religious themes that gave rise to the symbolic meaning of the double-headed eagle in the visual culture of the Al-Buyeh period? Or, what concepts were represented by the use of the double-headed eagle symbol in the visual culture of the Al-Buyeh period?

The methodology used in the present article is based on Panofsky's iconological approach, which involves three stages:Primary or Natural Subject Matter: This level of meaning arises from the combination of factual and expressional meanings, discerned through the identification of pure forms. The factual meaning is grasped by engaging with the various formal aspects of a work and interpreting their interrelations. The expressional meaning is accessed through reference to the reactions and judgments that have become ingrained in a person due to their experiences within a specific environment about a particular phenomenon or subject. Panofsky himself elucidates this level of meaning using the example of a human figure who greets others by removing his hat. In explaining the genesis of primary meaning in this instance, he states that the figure and its action comprise two facets: firstly, the human figure consisting of line, color, and volume; and secondly, the concept that forms in the mind of an observer familiar with the culture from which the action of hat removal originates. For an observer acquainted with this context, the meaning derived from these two aspects is that the individual is seeking interaction (greeting) with their audience. Panofsky posits that the interaction thus established elicits a response in the observer, who can then make judgments about the person's intentions, the emotions conveyed through the act of removing the hat, and similar considerations, based on their prior knowledge of the individual. He deems this judgment to require empathetic perception, which constitutes the expressional or representational meaning. The synthesis of these two meanings generates a primary or natural meaning in the mind of the observer when confronted with this scene (Panofsky, 1972: 3-4).Secondary or Conventional Subject Matter: The second level of meaning in Panofsky's framework is entirely subjective and acts as a cultural code that has been conventionally predetermined among a group of people. At this analytical stage, the link between the form of the artistic work and its concealed subject matter is scrutinized, and the secondary subject matter of the artwork is what becomes perceptible through this examination.Intrinsic Meaning or Content: The third level in Panofsky's theory, necessitates an understanding of the principles and beliefs of the cultural backdrop that gave rise to an artistic work. "At this level of meaning, our minds strive to forge a robust connection between the latent meaning in the observable and tangible characteristics of action, along with the embedded concept within it, and the mental, often invisible, and sometimes concealed conventional meaning. This level of meaning is synthesized and intuitively formed. In this phase, we encounter the ultimate objective of iconology, where, unlike the first and second levels, the artist has subconsciously assembled elements within their work, unaware of the interplay and connections among them" (Ghani and Mehrabi, 2018: 98).  

An iconological analysis of the double-headed eagle motif within the visual culture of the Al-Buyeh period, guided by Panofsky's approach, has revealed that both the motif itself and its depiction of a human abduction by the bird hold significant importance. The findings indicate that the historical origins of the double-headed eagle motif can be traced back to the Sumerian civilization, where it symbolized fire, summer, the sun, and divine power. This motif is not only present in Eastern art but also found in Western art. The double-headed eagle motif is less a representation of a natural bird and more akin to a supernatural one, similar to the Simurgh or Huma bird, with its roots likely in the Sassanian period. Additionally, the discovery of a textile piece featuring this motif near the hills close to the Shrine of Shahrbano, near the city of Rey, suggests a connection between Shia Iran and Zoroastrian Iran through such iconographies. In Greek culture, the motif's narrative of human abduction by a double-headed eagle stems from the story of Zeus, in the form of a double-headed eagle, capturing Ganymede to serve as a cupbearer in Olympus. In India, the motif relates to the tale of Krishna riding on the back of Garuda, a mythical bird, undergoing historical stages to unveil existential truths. During the Sassanian era, the eagle is depicted carrying a feminine figure to the skies, interpreted as an embodiment of the goddess Anahita, symbolizing a divine-assisted human ascension. However, in Al-Buyeh period culture, this motif represents the synthesis of Shia Iran and Zoroastrian Iran, suggesting a meaning that transcends its symbolic representation and martyrdom. Specifically, it appears to reference Zayd ibn Ali, the religious Imam revered by the Buyeh, whose legacy they endeavored to promote and preserve. This connection is the semantic origin of the double-headed eagle motif in the visual culture of the Al-Buyeh period.

Peripheral venous catheters are the most common method of peripheral vascular access. Despite their wide therapeutic applications, their placement may be associated with various complications. The aimed to investigate the effect of different positions of peripheral venous catheter placement on the incidence of phlebitis and catheter longevity in adult patients hospitalized in Arak.

This descriptive cross-sectional study was conducted in Arak. Participants in the study were divided into four groups based on the placement site of their peripheral catheters: median cubital vein, cephalic vein, antebrachial median vein, and dorsal metacarpal vein. Phlebitis was assessed every 12 hours using the Jackson Visual Phlebitis Scale. Data analysis was performed using SPSS version23. The significance level was considered 0.05.

A total of 299 patients participated in this study. The majority of patients were male and admitted to general wards. The findings of this study showed that the duration of peripheral venous catheter placement in patients' hands varied depending on the anatomical site (P = 0.010). Specifically, in 25% of patients, the catheter placed in the median cubital vein had a longevity of less than 12 hours, while this rate was only 8.43%, 2.99%, and 6.49% for the cephalic, median, and dorsal hand veins, respectively. Also, there was no significant relationship between the placement site of peripheral venous catheters and phlebitis (P = 0.724).

the catheter placed in the median cubital vein had less longevity compared to other anatomical sites. However, no significant difference was reported in terms of the catheter placement site and phlebitis.

Many cinematic works in the world revolve around a central character. It can be claimed that the common feature of these works leads to an archetype that Joseph Campbell used as the basis of his theory, which makes it easy to understand all their hidden meanings. The hero's archetype appears in most works as a man, while the hero can also be a woman. Due to the limited presence of female heroes in cinematic works, this study intends to investigate female heroes' presence based on the film "La Femme Nikita." The research is about to answer these questions: "What is the pattern that shapes the story of the hero in the movie" La Femme Nikita"? What is the hidden meaning of this work and how it is formed despite its structural similarity with other works of the hero How is the axis done? ". In this way, the article toakes a descriptive and analytical method and, based on the analysis of information collected from constructive comparative mythology, concluded that the pattern shaping the story of the hero in the film " La Femme Nikita" is the same explanatory pattern of Campbell. However, certain details are different due to the change in the hero's gender. This work's hidden meaning is derived from the dual confrontation of nature/culture, animus/anima, love/violence, forgiveness/justice, and the confrontation and conflict with the West's patriarchal culture.

Sadiqi Beiq Kitabdar, as a prominent Persian artist from the tenth to eleventh centuries, holds a unique position in the annals of traditional Persian painting. Despite the extensive study done by Welch, exploration into his life and works has been scarce. Sadiqi's artistic brilliance was somewhat overshadowed by contemporaries such as Bihzad or Reza Abbasi, and compounded by his reputed sharp temper that deterred effusive praise from his peers. However, delving deeper into the narrative of his life reveals a fascinating tale of an unconventional Qizilbash warrior, who has ascended to the pinnacle of artistic mastery amidst the Safavid era's cultural ferment. Understanding Sadiqi's contributions necessitates a nuanced examination of his life's chronicle, set against the backdrop of Iran's socio-political milieu in the Safavid era. Welch's meticulous research has illuminated key facets of Sadiqi's existence, offering insights into his patronage dynamics and the evolving landscape of Persian artistry. This study endeavors to unravel Sadiqi's enigmatic persona while shedding light on his profound impact on the burgeoning self-awareness and artistic ethos of the Safavid epoch.

This research adopts a qualitative strategy employing a descriptive, historiographical method. Focusing on the Safavid period, it examines the concept of self-awareness in Persian painting, with Sadiqi Beiq Kitabdar as the primary subject. The study analyzes Sadiqi's artistic expressions and signatures. To do so, it employs an interdisciplinary approach to understand his self-awareness and its impact on the Safavid painting evolution.

Sadiqi Beiq, renowned for his prowess as a painter, emerged equally as a self-aware and prolific writer. Through his literary works, particularly Majma' al-Khawas, Sadiqi revealed a keen awareness of his status and effectiveness across various domains. His writings were marked by directness, candid observations, and occasional criticisms, reflecting his self-assured persona. Sadiqi's interactions with contemporaries, artists, and peers underscored his self-awareness, evident in his nuanced assessments and critiques. Despite his sharp temperament, Sadiqi's writings offered insights into the social and cultural milieu of his time, positioning him and his contemporaries within the broader artistic landscape of the Safavid era.
In Majma' al-Khawas, Sadiqi showcased his discerning eye and critical attitude towards his contemporaries, sparing few from his candid evaluations. His commentary on poets and painters alike reflected his self-confidence and uncompromising nature. Notably, Sadiqi's writings depicted a selective acknowledgment of the talent, with few individuals receiving praise, often accompanied by subtle self-comparisons or references to his own accomplishments. His interactions with fellow artists revealed a complex blend of pride, confidence, and perhaps, a desire for recognition.
Sadiqi's self-awareness extended beyond his literary works to his treatises on painting such as Qanun al-Sovar. In this technical treatise, he positioned himself as an authority, advocating naturalism and emphasizing the significance of imbuing paintings with meanings. Sadiqi's self-appointed role, as a guide in the realm of Persian painting, reflected his aspiration for lasting recognition and influence. Moreover, his writings suggested a deep-seated desire for artistic mastery and innovation, evident in his quest to explore the meaning behind painting. Through his poems and treatises, Sadiqi crafted a narrative of self-aggrandizement, portraying him as a polymath of an unparalleled talent. Despite occasional critiques from contemporaries like Iskandar Beiq Turkman, who had questioned his literary prowess, Sadiqi's writings exuded confidence and self-assurance. His self-perception, as a multifaceted artist who was adept in both poetry and painting, underscored his ambition and self-awareness. Contemporary accounts offered further insights into Sadiqi's self-aware persona. Mirza Taher Nasrabadi's anecdote depicted Sadiqi's assertiveness and awareness of his artistic value as he swiftly dismissed praise in favor of material recognition. Similarly, Ohadi-e Balyani and Valeh Esfahani's descriptions highlighted Sadiqi's reputation for haughtiness and conceit, which aligned with his strong sense of self-awareness.
Overall, Sadiqi Beiq emerged as a multifaceted figure, whose writings and interactions reflected a nuanced understanding of his own abilities and place within the artistic community. His self-awareness, even though perceived as arrogance in some cases, was integral to his identity as an artist striving for recognition and mastery in the vibrant cultural milieu of Safavid Iran.

The study has delves into the transformative process, whereby artists' self-awareness shaped the trajectory of modern Persian painting with a focus on the influential figure of Sadiqi Beiq during the Safavid era. Through an examination of Sadiqi's self-awareness in his artistic endeavors, the study has elucidated his pivotal role in fostering a movement of artist self-awareness within this period. Sadiqi's extensive body of works, encompassing both paintings and writings, has underscored his acute awareness of his impact and status as an artist. His writings, whether authored by him or about him, revealed a nuanced understanding of his influence, which he strategically leverages when necessary. Moreover, while Sadiqi's critiques of others were at times harsh, his deliberate concealment of opinions regarding certain individuals suggested a calculated control over his behavior, indicative of his self-awareness.
The study contends that Sadiqi's self-awareness and intelligence were instrumental in shaping contemporary modern painting art. Traditionally, Persian painting revolved around narrative-driven illustrations, characterized by a plethora of motifs and a rational, imaginative atmosphere. However, amidst religious reforms in Iran, the exodus of painters from the court led to a democratization of art patronage, resulting in a proliferation of painting genres and styles. This transition from elaborate, narrative-driven illustrations to single-page paintings marked a shift towards audience’s deeper engagement and reflection.
In this period of artistic flux, Sadiqi and his contemporaries played a pivotal role in shaping modern Persian painting. Sadiqi's treatise on painting emphasized the importance of capturing both form and meaning and advocated a closer resemblance to nature in artworks. His artistic evolution mirrored this ethos as his works progressively embraced natural elements and techniques, such as perspective and shading, borrowed from the Western art. Notably, Sadiqi's reconfiguration of traditional painting formats and incorporation of natural elements facilitated a closer alignment between art and reality and elevated Persian painting to the new heights of realism and human-centric expression.
In conclusion, the study posits Sadiqi Beg Mosavver as a central figure in the emergence of modern Persian painting. His self-awareness and artistic innovations served as catalysts for transformative change within the artistic landscape of the Safavid era. Through his visionary approach to painting and his profound understanding of artistic expression, Sadiqi left an indelible mark on the Persian art, ushering in an era characterized by heightened emotional resonance, narrative depth, and humanistic sensibility.

Toxoplasma gondii is a protozoan parasite, a member of the phylum Apicomplexa. Felids are definitive hosts, and all warm-blooded animals and humans are intermediate hosts. The clinical symptoms of toxoplasmosis among chickens are mostly subclinical, but the infection of chickens and eggs is important as a source of protein for human consumption. 

This study aimed to detect T. gondii in chicken meat and egg by molecular examination.

In this study, 100 chicken legs, 50 eggs of free-range hens, and 50 eggs of industrial hens were collected from different stores in Semnan City, Iran. The samples were inspected for the Toxoplasma B1 gene after DNA extraction.

According to the results, Toxoplasma DNA was detected in 23% of chicken legs, 36% of eggs of free-range hens, and 20% of eggs of industrial hens. The infection rate was not significantly different between eggs of free-range and industrial hens (P>0.05). 

Therefore, Toxoplasma is present in chicken meats and eggs in Semnan, Iran, and it is recommended that people eat well-cooked chicken meat and eggs for disease control and feed domestic carnivores with cooked meat to prevent the parasite life cycle.

As an art that has always served powerful kings and patrons in the pre-modern period, painting is a medium for representing phenomena influenced by dominant discourses. This art, which was popular in art workshops in different parts of the Ottoman Empire in the tenth century AH, such as Istanbul and Baghdad, was a platform for producing various literary and artistic texts with ideological functions. One of the texts created during this period in the city of Baghdad was the book "Thawāqib-i Manāqib" by Abdul Wahab Hamedani. This article considered a unique feature, which is presenting a particular image of Rumi, which is not evident in other illustrated texts. This book produced in a city that was not the capital and therefore not under the direct supervision of the court; on the other hand, it was religiously opposed to the central government; But inside it, a manuscript produced that has no royal patron and at the same time was given as a gift to the court and the king himself. These whole events bring an idea to mind that a work produced on such an occasion is about a particular subject. Probably in a confrontational or interactive action with the government and a particular discourse that should explore. For this purpose, this study analyzed the effect of dominant discourses on the depiction of Rumi's character in Thawāqib-i Manāqib. The whole study based on answering this question: 1. What is the subject of the paintings of the Thawāqib-i Manāqib manuscript, prepared in the Ottoman Baghdad school, and from what position Do they speak? And 2. how is the arrangement of visual elements, and how is the ideological message expressed in these works? The present study conducted by descriptive-analytical method, and the method of data collection was library studies. The statistical population of this research is the paintings of the Morgan Library of New York version of the book Thawāqib-i Manāqib. The paintings of this book were 29, of which 15 drawings were selected non-randomly and judiciously as study samples of the study; the criterion for selecting these samples was the active presence of Rumi in them. The information obtained in this study was analyzed based on Fairclough's theory of discourse analysis. Finally, it concluded that the position of the book's supporters and its producers and illustrators are a mediation between Shiite and Sunni discourses and the subject that the book tried to address. Rarely, Rumi's extraordinary and undeniable role in establishing interaction between the two discourses, and in this way, several visual or thematic effects are used, each of which emphasizes this mediation and its qualities somehow. In this book, the Prophet (PBUH), the Sultan, and the Caliph represent the Sunnis, and the Imams (AS) represent the Shiites, and they are depicted in different spaces next to each other artists have formed intertextual and inter-discourse spaces with different audiences. By looking at it, they find themselves in it. In these paintings, Rumi is sitting and standing with the Prophet (PBUH) as well as with the sultans and nobles; He deals with saints, he has an everyday life with ordinary people, humans and animals resort to him, he deals with natural animals and supernatural beings, he both dies and can bring the dead back to life. Slowly These mediating features have given Rumi's life and, consequently, this book an intertextual and interdisciplinary quality that is in line with a higher goal. The lofty goal of this mode of representation, as noted, is the link between the Shiite and Sunni discourses in those historical contexts. At this historical juncture, Rumi sees, as an institution that does not have enough power for absolute domination, the only way to remove division and find an ally. In the context in which Rumi is trying to establish himself, two poles have no common point other than a single origin (the Qur'an and the Prophet (PBUH)), and only by introducing a third and neutral character can one remain between them. In order to bring in a third party, no choice can be better than Rumi because in addition to establishing this relationship, it will have a more significant function, and that was to legitimize him. Finally, it can be concluded that all of these, along with the mentioned visual features, somehow carry the ideological message of Rumi's sovereignty and his rightness. The transcendental composition of the paintings, Rumi's position in each painting, the ratio of his dimensions to other people, the whole image and even the ratio of his head to the body, the use of symbolic colors such as azure, the use of special coatings appropriate to each person's social status, including visual elements some artists created clever works to emphasize Rumi's degree, his influential role in the Sufi, Shiite, and Sunni discourses, and his place with everyone.

Surgery, chemotherapy and radiotherapy are the main pillars of brain tumor treatment. Radiotherapy is usually done with photon, which with this method, photon radiates to healthy tissue and causes secondary cancers. Proton therapy is a new method in radiotherapy that addresses many of these concerns. Considering the newness of this treatment method, we decided to introduce this method and its applications to review the systematic review of proton therapy in the treatment of brain tumors.

In this systematic review, Scopus, Medline PubMed, Google Scholar, CINAHL, Trip and Magiran, SID databases were searched between 2017 and 2022. The search was done based on the keywords, Proton therapy, Brain Tumor, Proton radiotherapy and suitable Mesh words and using the PRISMA checklist, and 16 articles were included in the study out of 40 articles searched.

Proton therapy in adults is effective in treating low-grade glioma tumors and benign tumors such as meningioma. They are also used as an effective treatment in the control of chondrosarcoma and chordoma tumors that are resistant to other types of radiation therapy. The role of this therapeutic method in the treatment of brain tumors, craniopharyngiomas, ependymomas, germ cell tumors, low-grade gliomas, medulloblastomas and atypical teratoid/rhabdoid tumors in children is very important because it does not spread to the surrounding tissue and reduces the possibility of late toxicity of the central nervous system. Gives.

Considering the benefits of proton therapy, such as reducing the damage of healthy tissue around the tumor, its use in the treatment of tumors resistant to radiotherapy and its wide application in the treatment of all types of brain tumors in children, this treatment method is recommended in the country for patients with tumors. brain to plan and execute.

Nowadays, antimicrobial resistance is one of the most important concerns caused by the extensive use of antibiotics. Efforts to find new materials with antimicrobial effects have been continued more seriously than before. Nanoparticles (NPs) with very small dimensions and extraordinary properties have the potential to overcome antimicrobial resistance, so the use of previous antimicrobial substances at the nanometer dimensions to investigate physicochemical and antimicrobial effects could help overcome these universal concerns.

In this study, NPs were synthesized by hydrothermal-assisted microwave technique. Scanning electron microscopy (SEM), dynamic light scattering (DLS), and atomic force microscopy (AFM) were carried out to investigate the physicochemical properties. Further, energy dispersive spectroscopy and Fourier-transform infrared spectroscopy analyses were carried out to analyze the chemical composition of nanocomposites. Then, their minimum inhibitory concentration was measured on seven bacterial isolates.

The majority of NPs were in the range of 40-100 nanometers which is the well-optimized size for our purpose. Antimicrobial analysis revealed the effect of synthesized nanocomposites on every seven microbial isolates, including three gram-positive isolates (i.e., Staphylococcus aureus, Micrococcus luteus, Bacillus subtilis) and four gram-negative isolates (i.e., Serratia marcescens, Escherichia coli, Pseudomonas aeruginosa, Klebsiella pneumoniae).

Synthesized nanocomposite revealed a good antimicrobial effect on all bacterial isolates. It is suggested to investigate the cellular toxicity of synthesized nanocomposite in the next studies.

As the world's population increases, the incidence of infertility is increasing, and infertility is now considered to affect 8–12% of couples worldwide. Assisted reproductive technology (ART) such as in vitro fertilization (IVF) and intracytoplasmic sperm injection (ICSI) is revolutionizing the field of reproductive medicine and strives continuously to provide infertile patients with access to appropriate and efficient treatments. However, some causes leading to total/low fertilization rate in ART have been addressed. Phospholipase C zeta (PLCζ) is the main sperm-specific factor responsible for triggering oocyte activation (OA). Therefore, PLCζ abnormalities, including low and absent expression as well as its mutation has been described as one of the fertility rate inducers resulted from the oocyte activation deficiency and sperm parameters abnormalities and failed IVF and ICSI cycles. In this review article we have aimed to focus on the latest information of the PLCζ published data in the Web of Science, Scopus, Science Direct and PubMed databases and resulted in the failed IVF and ICSI and recurrent ICSI and IVF failure. In addition the investigations on PLCζ gene and its coded protein in the animals have been also reported.

Studies have shown that the change in PLCζ expression and its mutations can cause a decrease in the fertilization rate due to egg activation defects and abnormalities in sperm parameters and failure in ART.

Thinkers and scholars have adopted different approaches towards the meanings and concepts of colors. In the conceptual trinity of “viewer (addressee)”, “author (artist)” and “artwork”, if we put the second and third items aside, then the way the addressee would encounter an artwork matters. How such an encounter would be if he/she is aware of Hāj Mohammad-Karim Khān Kermāni’s views about the red light is another issue to be considered.The present article would examine the views of Mohammad-Karim Khān by employing Henry Corbin’s hermeneutic-phenomenological approach. Then, the results of the study and the descriptive-analytical method of considering colors in an artwork would be proposed according to the addressee’s point of view. The article concludes that when an artwork is judged through Mohammad-Karim Khān’s views, we can achieve a sort of personal intuition besides mere observation. In the case study of this reserach, consequences of intuition indicate that when the relationship between forms and visual elements of the pateh (a work of Iranian traditional needlework folk art) and the red color in the background of the work is studied through this scholar’s opinions, it would establish relations with Imam Hossein’s, a grandson of the Islamic prophet Muhammad, life and his martyrdom. Person (addressee) who is aware of such a mentality would unconsciously be directed towards theory of the Universal Perfect Man and salvation through invocation of the Saint Imams.

Persian painting is one of the critical contexts for the emergence and design of Persian and Islamic wisdom, which has a long life in the history of illustration of this land. The main issue of this research is to reflect on the use of Persian painting from philosophical principles affecting its color and light. The Persian painter uses various techniques to create this meta-sensory space, one of which is wisdom-based coloring. The primary purpose of this research is to study and analyze the views of Najmuddin Kobra to use them in the audience-oriented critique of works of art. However, the question that guides this paper to achieve its goal is that if the audience is aware of Najmuddin Kobra's views on the manifestation of the colored lights, how do they read that work encountering with a work of art?

Accordingly, Sheikh Najmuddin Kobra's views were analyzed in this study through Henry Corbin's hermeneutic phenomenology, and later, an artwork's colors were analyzed with a descriptive and analytical method by the audience. The present paper intends to adopt this approach to read the views of Sheikh Najmuddin Kobra and then consider the practical application of these views on a work of art to find an answer to the problem brought up in this article.

In the case study of the present paper, the slightest visual and color details in a mystical ideal system such as the mysticism of Sheikh Najmuddin Kobra can be part of a set of conventional cultural codes. The general basis of Najmuddin Kobra's views on the concept of intuition has been formed by himself. To explain his views, the Sheikh refers to what he calls "the path of observation." In his view, the dual levels of observation are such that forms and fantasies are perceived first, and in the second place, essences are revealed by colors. Of course, it should be noted that in Najmuddin Kobra's thought, color is not an accident but a kind of manifestation of meaning. In addition to this, he mentions two types of observations which are as follows:Mundane observation: Attention to the earth, occult observation, related to shapes and colors, seas and wells, and the like.Transcendental observation: Attention to the sky, apparent intuitive observation related to the sun, moons, and stars, and any subjective intuition.Najm Kobra begins his discussion on the intuition of colored light with the question of "In the path of observation, how different are existence, soul and devil?" In answering this question, he mentions a system based on the three factors of existence, soul, and devil and describes the intuition of colored light based upon the diversity of the effects of each factor.
Existence effects; According to Najm Kobra, existence in the first degree is the infinite darkness and gloom that attracts the seeker, and when there is a little purity and light in it, it corrects itself and finds a unique purity and becomes a white cloud.
Soul effects; According to Sheikh, a person's soul is melted in the color of the sky as soon as it appears, and if the devil dominates it, it will burn like dark springs or fire. Sheikh attributes each visible light due to the effects of the soul to one of Amara, Lavameh, or Motma'ina.
Devil effects; Najm Kobra believes that the devil is a fiery fire in which no purity is felt and is accompanied by darkness and blasphemy and embodied in the body of optimism.To overcome the evil effects of existence, soul, and devil, Sheikh proposes solutions such as the reminder and appearance of a helping angel or a heavenly witness and finally finds his way to see the light through allegories about the deserts to be traveled, mountains, plains, rivers, wells, and the sea which are to be understood. Finally, he describes his system of colored light as follows:Green; green is the sign of the life of the heart.Red; if it is not cloudy, the color of fire is a sign of the life of effort and power. If it is cloudy, it is a sign of intensity and unhappiness, and it means that the seeker is suffering due to a struggle with the soul and the devil.Blue; blue is the color of life.Yellow is a sign of weakness and disability.Finally, Najm Kobra speaks of a timeline through which humans with struggle can observe black light, dark shades of red and dark shades of blue seen as the green light, light shades of red, light shades of blue, and yellow. To experience this change in intuition, the Sheikh mentions a tool called heart. From one way, he likens the setting of this transformation, the seeker's existence, to a well in which man is at the beginning and end of the path and in an absolute state of darkness. After experiencing these transformations of the heart, a green light shines on the wellhead, and in a short time, it pervades everywhere so that no trace of the initial darkness remains. He describes how the heart transforms through the seven levels of existence and mentions the seven wells above which a sky and a constellation existed, talking with man from the bottom of the well. Sheikh considers the emergence of this light is possible when the man has borne the heavy burden of Mujahideen, so if a great intellect is revealed to him, the colors will also appear on him. The second factor causing the appearance of this light is the mention of the heart, one of the signs and symptoms of which is that the human being sees a source of light in front of him that flows as fast as possible, and the seeker feels calm when he sees it.This paper has studied a painted folio from the book Samak-e Ayyar of the Al-Injou period, currently kept in Oxford's Bodleian Library. This painting shows the story of the capture of Faghfor Shah in the battle with Daburah, who finally Samak rushes to his aid and saves him from the well. The set of colors used in this painting are six: black, two shades of red, green, blue, yellow, and white. The colors used in the lower part of the painting are black, blue, yellow, and red, and all the colors used in the upper part are white, red, purple, blue, yellow, and green, and all are bright and shiny. The black color at the bottom of the image is like a dark cloud that is the product of the appearance of purity and light in the seeker and the promise of his ascent from the depths of absolute darkness. In this painting, the predominant color of Faghforshah's dress is opaque red, and Najm Kobra considers it as a symbol of trouble and unhappiness, which is consistent with the situation of Faghfor Shah who is trapped in a well and is worried and anxious to get rid of it and has struggled and intensified. All four colors, light black, red, blue, and dull yellow, are the product of the turbidity existing in Faghfor's life. The celestial witness which has led Faghfour to get rid of this darkness is Samak Ayar, whose three colors of green, purple and white are evident in his clothes simultaneously, and he is the one who will ultimately lead to Faghfour's liberation and freedom.

The findings of this study indicate that the components, composition, color, theme, and meaning behind this painting are entirely consistent with the theoretical foundations of Sheikh Najmuddin Kobra. The painter has beautifully shown this difference by combining the image into lower and upper parts and coloring it into two opaque and explicit modes. Criticism is placed on the role depicted in it and the apparent meaning derived from the observer text. An audience-oriented critique can indicate the degree of human ascent from the well of darkness.

The purpose of the present study is to validate the health innovation questionnaire in sport clubs. This research is practical in terms of purpose and the data were collected using a field method. The statistical population consists of the customers of gyms that had innovation. The sampling method was purposive based on the innovation used by the gyms. The measurement tool was a questionnaire by Yoshida et al. (2013) that involved 18 questions. The microscales included innovation in sport performance, innovation in environmental beauty, innovation in equipment, innovation in online services, innovation in the brand communication, and innovation of program faithfulness. Face and concept validity of the questionnaire after translation was approved by the expert professors. To indigenize the questionnaire, confirmatory factor analysis was used and standardization of the scales was also explored using conceptual validity and reliability. The results showed that all the applied factors could be good determinators of the concept of innovation in sport clubs.

Pressure ulcers are localized damage to the skin and/or underlying tissue that usually occurs over a bony prominence as a result of pressure. The patient was a 60-year-old male who was admitted to the intensive care unit for 1 month due to decreased consciousness in February 2019. He had a Grade 4 pressure ulcer in the sacrum area measuring 15 cm × 15 cm with 4 cm deep and exudate secretion and discoloration of the ulcer to yellow (ancestral tissue) and necrotic tissue around the ulcer. The ulcer was first bandaged with the daily silver sulfate ointment, but no healing process was achieved. After the patient was conscious and transferred to the inpatient ward, the necrotic tissue was debrided and washed with normal saline every day. Then, the ulcer was coated with 2 g of sucralfate tablets (4 tablets of 500 mg) dissolved in 5 cc of distilled water and mixed with 15 g of silver sulfadiazine ointment and was finally bandaged with sterile gauze. The Pressure Ulcer Scale for Healing instrument was used to evaluate the ulcer healing process. After 40 days, the patient’s ulcer changed to a Grade 2 pressure ulcer measuring about 5 cm × 5 cm with pink color (granular tissue enclosed by epithelial tissue) on the skin.

The objective of this study was to investigate the effects of different irrigation strategies, planting methods and various nitrogen application rates on water and solutes transport under the root zone. Furthermore, Hydrus-1D model was used to simulate the drainage water and soil nutrient (N, K) leaching by the drainage water in the experimental treatments. Results indicated that variable alternate furrow irrigation (VAFI) decreased drainage water by a mean value of 30% compared with that obtained in full irrigation (OFI); whereas, precipitation played a significant role in increasing drainage water. About 60% and 80% of drainage water occurred due to rainfall in the full irrigation strategy in the first and second year, respectively, and most of the drainage water in VAFI strategy occurred due to precipitation as 90% for both years. Additionally, precipitation during the low growth stages of winter wheat (fall and winter) had noticeable influence on solute transport. On average, 75%, and 65% of leached nitrate, and potassium, respectively, occurred due to rainfall in OFI method; however, about 85% of leached nitrate, and potassium in VAFI strategy occurred due to rainfall events. Application of 150 kg N ha−1 decreased about 40% nitrate leaching below the root zone in comparison with that obtained in 300 kg N ha−1 without significant difference in crop yield. Hydrus-1D model reasonably simulated solute transport especially nitrate and potassium. Therefore, Hydrus-1D could be a successful tool for predicting N, and K transport and making proper management decisions to improving environmental problems.

Ilam Carpet is a collection of rural carpets in Iran which has influenced by the different factors in its evolution during the time that causes the integration and development of this carpet. This integration in the design and role of the Ilam carpet is because of a permanent authority that, despite the continuous changes of this carpet during the time, always remained unchanged and there is a possibility which is one of the involved factors in the creation of this carpet. Therefore, this research was going to consider the process of understanding the Ilam carpet through its environment, geography and its culture. The main purpose of this study is to understand the way and the type of relation between the texts which create the meaning of Ilam Carpet. In the encounter with artistic work, if a vast collection of literary and artistic texts is recognizable, it is possible to obtain the hidden meaning of the work through reading and understanding of the very collection and the relationships among its members. The combination of a set of texts and the achievement of an integrated text is a process which is always carried out by the human mind to create new texts. One of the greatest theoreticians who bring up a complete method for analyzing such a thing is Gerard Genette, who offered a new way for understanding the relationship between the text with his Hypertextuality method. The research is descriptive and analytical and provides information in a library-based manner. the Analysis of the Information in This research was done based on the theory of hypertextuality of Gerard Genette, and the procedure was recognizing the component of the artwork and then determining their influences on forming the final text. The result of this study shows that the carpets which have studied in this research are samples of culture and the art of Ilam region which in their process of evolution, a set of text with different ideologic roots were to create a unified system which has a semantic cohesion and esoteric cohesion despite its Formal plurality. Ilam carpets using different texts with pre-Zoroastrian (Mithraic), Zoroastrian and postZoroastrian (Islamic) foundations, and jointing them through the different ways were up to create a text which is meaningful for a Muslim person with Iranian heritage. During this research, it was found that one of the most important properties of this carpet is its Mithraic foundation which has preserved its meaning during the time and in the other ideologic systems. this condition, which gives rise to "textual continuity," is to guarantee the survival of an artist by loading time as well as by modifying proposed systems. Textual consistency is a special situation in which the textual elements are interconnected. Demanding the relevance of the carpet of this rug and the way it is formed in this testimony is based on a robust reforming system that has evolved over different periods through the convergence of Islamic and Iranian textures.

The Holy Quran is the book of this world and the hereafter and guides man from God; Where it has the necessary programs to meet the physical and mental needs and special attention has been paid to the issue of eating and drinking. In the present study, the role of meat quality on human health has been investigated.

In this review study, data were collected in a library and interdisciplinary-comparative manner from authoritative Quranic and Holy Quran sources and compared with today’s medical and scientific knowledge.

What can be deduced from the study of scientific medical texts is that the quality of meat can affect the health of the human body and mind; And the results of studying the verses of the Holy Quran in this field also confirm this issue.

The findings of this study show that not only the teachings of the Qur’an and the religion of Islam are not inconsistent with various sciences, but also confirmed by these sciences, and the Qur’nic guidelines regarding nutrition guarantee the physical and mental health of human beings

Considering the new Coronavirus outbreak and limited data about this pandemic in Iran, this study aimed at assessing the demographic characteristics, clinical symptoms, paraclinical findings, and radiological features of hospitalized patients with COVID-19 according to their hospital records. 

In this descriptive-cross-sectional study, the required data were collected from the Health Information System (HIS) and the records of the patients who had been hospitalized following positive COVID-19 Polymerase Chain Reaction (PCR) and lung Computed Tomography (CT) scans, in some hospitals of Markazi Province, Iran from February 20, 2020, to April 20, 2020. The selected hospitals were affiliated with the Iranian Social Security Organization. Clinical follow-up was continued until April 26, 2020. During this period, 260 records were assessed. The collected data included demographic characteristics, clinical symptoms, as well as the paraclinical findings and radiological features of the patients. The obtained data were analyzed by SPSS. 

Among 260 confirmed cases of COVID-19, 161 (61.9%) cases were men and 99 (38.1%) were women. The Mean±SD age of the explored patients was 58.78±16.44 years. Besides, 221 (85%) patients were hospitalized in the general ward and 39 (15%) cases in the Intensive Care Unit (ICU). Hypertension and diabetes were the most prevalent medical histories (comorbidities). Fever, fatigue, cough, anorexia, myalgia, dyspnea, oliguria, taste impairment, and smell deficiency were the most frequent clinical symptoms. Neutrophilia, lymphopenia, low blood glucose level, and increased BUN, ALP, CRP, and ESR were among the critical laboratory findings. Almost 30% of the studied patients presented acidosis in arterial blood gases analysis and 55% had normal blood gasses. Decreased PaO2 was observed in 80% of the investigated patients. Most of the patients had received oxygen therapy, lopinavir, and hydroxychloroquine. Additionally, 11.2% of the patients were under invasive mechanical ventilators. Concerning the lung CT scan, 42.7% of the patients had ≥5 involved lobes. In terms of density, 51.9% of the subjects had mixed opacity. Most lung damages (41.5%) were in the central part of the lungs. In 55.8% of cases, these damages were patchy lesions, and 40% had an air-bronchogram. According to the Chi-squared test data, there was a significant relationship between the location of the lesions and the patient’s need for suction (P<0.001). Besides, patients with central lung lesions required the highest percentage of suction (26%). In this study, 15% of the explored patients were hospitalized in the ICU, 84% were discharged by April 26, and 8.07% died. 

The current research results provide the health team with beneficial information about the assessment and care of patients with COVID-19 and the prediction of treatment outcomes.

Book of “Jame al-Tavarikh” by Khajeh Rashid al-Din Fazlullah Hamedani is one of the firs t books after Islam that s tarted to revolute Iranian painting to draw holy Prophet (Mohammad), after centuries. This book contains paintings on the subject of life and description of the Prophet and was written his torically at an important point in the his tory of Iran and the cultural and social influences that Iranian society went through in this period can be seen in its picters. In this book, several drawings are dedicated to the portrayal of the Prophet of Islam , which a glance on it, it comes to mind how the subject of illus trating of the Prophet (PBUH), which was previously unusual and even done cautiously, became normal in the Ilkhan’s ruling discourse? The data required for this research were obtained by selecting a s tudy sample and observing and analyzing them in their components, and the information required for their analysis was gathered by library s tudies. The s tudy sample of this research is a picture from “Jame al-Tavarikh” by Khajeh Rashid al-Din Fazlullah Hameda that represented the s tory of the ascension of the holly Prophet. This image is one of the firs t works in the Iranian painting tradition with the subject of Ascension. Its s tyle of illus trating was the firs t Tabriz s tyle or the Mongolian (Ilkhani) style and in its illus tration, various Chinese, Mongolian, Byzantine and Iranian elements have been used. Finally, the answer to the ques tion of this research was possible through sample analysis with the method of critical analysis of Fairclough discourse. This analysis was performed according to the mentioned method in three levels, which are described (with considering empirical, communicative and expressive values), interpretation and explanation (which examines three situational, ins titutional and social indicators effective on forming the art work). The results of this s tudy indicate that the Ilkhani government, by accepting some values ​​of Iran, namely Islam and Shi’ism, and along with its coexis tence with some Mongolian values, took texts from both Iranian-Islamic and Mongolian civilizations and used them in an inter civil discourse, inter textual texts ,They created an enter civilization that was acceptable both to the Iranian Muslim citizen and implicitly ins tilled in the Iranian citizens the values ​​of accepting the Mongols as the rulers of this land, and thus in categories such as the painting by choosing his torical subjects, especially his tory. Islam and its coexis tence with some Mongol values, is coming to the fore.

Researches on the design of Iranian handmade rugs have extremely conducted based on the regional taste of carpeting. The Iranian people select the carpet primarily based on the city of weaving. Thus, the aesthetic features of the rug correspond to the second criteria of carpet selection. This is a general question of the history of aesthetics under this broad inquiry: what is beauty and what is the beautiful commodity? In this regard, Chaleshtor’s lozenge rugs, which are world-famous textiles in terms of design, pattern, color and texture, were selected as the case studies. Given the subject matter, it was important to the authors to know: what are the characteristics of the beauty of the lozenge rugs? In other words, this question emerged: can the principles of aesthetics rule over a single piece of lozenge rug and give it a beautiful verdict? The goals of this research was to recognize the beauty of lozenge rug woven in Chaleshtor. The authors presented the different attitudes and interpretations of aesthetics from the perspective of the scholars in the field who were generally experts in the philosophy of aesthetics. The results of this study demonstrated that beauty factors in the Chaleshtor’s lozenge rugs can be divided into two groups, external (form of design) and internal (content of design). The complementary analysis of lozenge rugs which was conducted based on the theory of ‘form of design’ indicated that visual features such as unity in diversity in terms of carpet layout, unity and diversity in the color elements, color unity in the whole context of the carpet layouts, and the color compositions make the Chaleshtor’s lozenge rugs as the beautiful commodity.

Because of human dependence on sustainable food production, it is needed to adopt agricultural production to climate change, and their consequences on associated socioeconomic issues. Crop modelling potentially can contribute to global food and nutrition security. Therefore, in this context DSSAT (decision support system for agro-technology transfer) was validated for predicting growth and yield of wheat under a diverse semi-arid climate (2 years with diverse climates) and different irrigation strategies, planting methods, and nitrogen rates. The irrigation strategies were ordinary furrow irrigation (OFI) and variable alternate furrow irrigation (VAFI), and the planting methods were on-ridge planting (ORP) and in-furrow planting (IFP) methods. The fertilizer levels were 0 (N0), 150 (N1) and 300 (N2) kg N ha−1. Results indicated that water stress and inappropriate weather especially during the stem elongation influences the grain yield remarkably without noticeable effect on straw yield. Furthermore, VAFI strategy did not impose any limitation on top dry matter N concentration in both years. Calibration of DSSAT showed that the model underestimated the actual evapotranspiration at the end of growing season (during spring with high temperature) and resulted in overestimating the soil water content at depths under 10 cm during this period of time. Since the potential transpiration has an important role in calculating the effect of water stress factor, the model overestimated slightly the maximum leaf area index (LAI) and consequently biomass and yield in water stress condition; however, overall, model could statistically simulate LAI (NRMSE = 0.3, d = 0.96, R2 = 0.95), total dry matter (NRMSE = 0.07, d = 0.99, and R2 = 96) and grain yield (NRMSE = 0.13, d = 0.96, and R2 = 90). Model also could reasonably simulate the nitrogen components including the grain N concentration (NRMSE = 0.05, d = 0.95), above-ground nitrogen uptake (NRMSE = 0.11, d = 0.99), and soil nitrate content (NRMSE = 0.23, d = 0.86). However, evaluating the model with data set from 2015 to 2016 indicated that the model could not simulate wheat yield and nitrogen components in validation year due to strong effects of diverse weather condition and water stress on grain yield and crop development.

The proliferation of technology and the development of artificial intelligence in modern life, especially in the field of human communication, has become an opportunity to make fundamental changes in this field, both in human-machine and human relationships. These developments, as much as they can make human relationships successful, may also be responsible for their decline. Therefore, the present study has examined this issue in the context of cinema and in particular Spike Jonze' film "Her" by considering one of the areas that have presented the opportunities and challenges in recent years. Artificial intelligence in shaping human relationships and human-machine relationships. The chosen method for the analysis of this film is the myth-analysis method, which provides an analysis of the artworks concerning their social background. The findings of this study indicate that the most important factor in the success of the film is its adherence to shaping patterns in intelligence-related mythical narratives, so understanding and analyzing relationships in mythical narratives can lead to an understanding of human-machine relations in modern life and Under the influence of artificial intelligence.

Today, with the development of human life and the overwhelming fall of antibiotics and uncontrolled bacterial resistance, the need to find materials with antimicrobial effects is felt more than ever. Nanotechnology has created a new opportunity to investigate the antimicrobial effects of nanomaterials.

In this study, using hydrothermal and microwave auxiliary chemicals, polylactic acid / calcium oxide nanostructures were prepared and the physicochemical and microbial properties of these nanostructures were evaluated. Bacterial strains were obtained from the Scientific and Industrial Research Organization of Iran, the collection center of industrial microorganisms.

Physicochemical characterization of optimized polylactic acid / calcium oxide nanostructures showed the antimicrobial effect of nanoparticles on 3 strains gram-positive bacteria Micrococcus luteus (PTCC 1110), Bacillus subtilis (PTCC 1023), Staphylococcus aureus (PTCC 1112) and 4 strains gram-negative bacteria Escherichia coli (PTCC 1330), Klebsiella pneumonia (PTCC 1053), Serratia marcescens (PTCC 1621), Pseudomonas aeruginosa (PTCC 1074). In this study, the observed MIC (minimum growth inhibition concentration) observed for both Gram-positive and Gram-negative bacteria ranged between 0.5
<mic≤8.

Antimicrobial effect of polyelactic acid / calcium oxide nanostructures was observed on all the mentioned bacteria except E. coli. It is recommended to conduct microbial and cellular studies on these nanomaterials.</mic≤8.

Brain tumors are less common than other cancers; however, they are associated with serious symptoms and poor prognosis.Most brain tumors are treated through surgery combined with radiotherapy and chemotherapy. These therapeutic methods are associated with neurotoxic complications and decrease the quality of life of patients. Intraoperative Radiation Therapy (IORT) is an innovative combination of surgery and radiotherapy, in which the direct radiation to the tumor bed during tumor resection is done. IORT is a new therapeutic method; therefore, the present 5-year systematic review was conducted to introduce IORT and its advantages and disadvantages in the treatment of brain tumors.

In this systematic review study, PubMed, Google Scholar, Cochrane Database, and Trip Medical Database, and CINAHL Database were searched for the published articles over a five year (2014 to 2019) using the keywords, including IORT and Brain Tumor and Intraoperative Radiation Therapy AND Brain Tumor. Articles were checked with the PRISMA checklist. Finally, 50 articles were included in the study.

IORT method has been used in the treatment of brain tumors, especially glioblastoma. The effective radiation dose to treat brain tumors is 15-40 Gy. However, the appropriate technique and patient selection is the key to success with IORT. It is also used to treat recurrent pelvic, head and neck, and colorectal cancers, but it has shown more effective to treat brain tumors.

IORT is an effective treatment for brain tumors, especially glioblastoma. It is more effective than external radiation therapy, due to the reduced tumor recurrence, maximal protection of healthy tissue, shorter duration of treatment, and cost-effectiveness.

Tahmasebi Fālnāmeh is one of the few Iranian works of art that bring together information from various sources and Iranian-Islamic ideals (Shiite and Sufi). The multiplicity of sources shaping the content of this book has led to the production of a work that is variegated and hybrid in its application of visual elements. Since artistic imagination is a crucial factor in the embodiment of reason in the tangible, it is possible to study how meaning is shaped in works of art through techniques inspired by the analysis of imagination. In this paper, one of the methods of imagination-oriented analysis proposed by Gilbert Durand has been adopted to analyze an illustration in Tahmasebi Fālnāmeh. The research data was obtained by observing and decomposing the image into its components. Also, the information required for analysis was also attained from library research before applying Durand’s imagination method of analysis. The results indicate that the artist of the illustration has drawn on all twelve structures explained by the Durand to express the theme of immortality in his portray of Resurrections Day.