---

---

Translation is, in many ways, the communicative act of transferring a message between two languages. This activity requires a certain degree of communicative competence in two languages. In all of the models from translation studies previously reviewed, competence in two languages is an undisputed aspect of translation competence. Clear grammatical competence plays a vital role in the act of translation. This sub component  is defined as control of vocabulary (the words of a language), morphology (the way that smaller parts combine to form words), syntax (the way that words combine to form phrases and sentences), and graphemic (writing system) knowledge.
Each of these aspects contribute both to the interpretation of the source text and the production of the target text. A breakdown in any one of these areas can affect the act of translation. Insufficient knowledge of vocabulary can lead to miscomprehension of the source text or failure to successfully communicate meaning in the target text. This competence can be aided through proper and skillful use of dictionaries and other professional resources, but only to a degree. A translator’s knowledge of morphology and syntax helps both interpretation and production in the act of translation. A failure to understand the effects that syntax and morphology have on meaning can also lead to incomplete or mistaken understanding of the source text and the production of a difficult or misleading rendition in the target text. Graphemic knowledge, likewise, plays a part in both the interpretation and production aspects of translation. Failure to understand differences in meaning carries by punctuation and diacritical marking can lead to misapprehension of the source text. Lack of knowledge of writing mechanics or misapplication of graphemic knowledge can lead to interference with communication of meaning and difficulty in the comprehension of a target text. Therefore, each of the aspects of grammatical competences is vital to the act of translation and is being assessed either directly or indirectly in any authentic translation task.
This research was done with the aim to study the possibility of adapting the Error Tree Analysis (ETA) Method to the area of translation from Arabic to Persian (Persian), and vice versa.
To do this, after gathering information regarding the mentioned method, in each case a relevant sample error in both languages of Arabic and Persian has been given and the possibility of adjusting ETA to translation between the two languages and for Persian-speaking Language learners has been proven relying on a descriptive-analytical method.
The results of the studies indicate that, however, in the section of linguistic competence, some options the ETA method offers are related to phonology and they cannot be used in the area of written translation, but if we consider the area of translation as a vaster area including both written and oral interpretation, all the mentioned error cases could be seen that happen when using ETA in translation between Arabic and Persian.
In errors related to words phonetics in Arabic, pronouncing alphabets and letters from various parts of the vocal tract, long or shortness of the vowels, impact of vowels on meaning of the words and their differences, main or secondary role of the consisting letters of article “ال” and the role of “-ّ” (the sign of germination/doubling of a consonant) in the meaning of a word all have impacts on occurring an error.
In lexical interlingual errors, sharing alphabets in both Arabic and Persian Languages, numerous Arabic words borrowed and used in Persian – some in the same meaning some in other, some in the same meaning but with different application – play a key role in the occurrence of such errors.
In intralingual lexical errors, the incomplete familiarity of the Persian-speaking language learner with the Arabic Language, its grammar, expressions, and proverbs is the main factor for an error to occur.
In the area of intralingual-developmental errors, lack of familiarity and command of the Arabic language and its conjugation and other grammatical rules leads to occurrence of an error. Among the Persian-speaking learners of Arabic, the omission error while using subject and object pronouns, articles and “navasekh” (auxiliary verbs), addition errors while using prepositions with transitive verbs in nature, substitution error in incorrect application of prepositions in transitive verbs with a letter and words diacritic, and the change/convert error in incorrect connection of a declarative sentence starting with a noun to a declarative sentence starting with a verb. This method could be used in understanding the frequency of Arabic students’ errors in universities and solving such errors in order to increase the efficiency quotient of teaching this language.
 

---

Regression analysis is one of the most widely used statistical tests in vegetation evaluation. Indirect methods of estimating forage yield always require regression analysis. The basic question in such research is that at least a few pairs of samples are required to achieve a valid regression equation. Therefore, this study determines the sample size required to estimate the yield of Haloxylon persicum Bunge, Artemisia sieberi Besser and Stipagrostis pennata (Trin.) De Winter using plant dimensions including cover percentage, plant area, height and volume. After correlation and regression analyzes, power analysis and effect size were calculated. The results showed that for regression analysis and the statistical importance of the equation and regression coefficients between the cover and yield for these species, about 26, 14 and 18 pairs (respectively) were proposed. By comparing the method used in this study with other rules of thumb, it can be deduced that the use of Green's rule (N≥ 50 + 8M and N ≥104 + M) is not recommended, because with at least one independent variable (M) About 58 to 105 pairs of samples are required. In the studies within Iran, double sampling methods are generally used, in which between 7 and 30 pairs (an average of 15 pairs) are recommended, which is closer to the number of pairs of the present study (14 to 26) than the rules of thumb.
 

---

Poetry is beyond ordinary speech due to its implicit language, weight, rhyme and the combination of its constituent elements with poetic feelings, and therefore, its translation is difficult and sometimes impossible. The main concern of the translator of the poem is to explain the special features of the original text as much as possible and to create an effectiveness poetic text in the target language. Since the words and elements of both languages ​​are not exactly the same, there is a loss of meaning in translating the poem, and the translator can compensate this loss in some way. In an analytical-descriptive approach, the present article studies the strategies of meaning loss compensation in translation of Arabic poetry and tries to present the guidelines so that translator can create a text having the same effect on the readers while sustaining the features of Arabic poetry. For this purpose, by examining the opinions of a group of experts in the field of translation about Meaning loss compensation deals with positions of meaning loss and its compensation strategies in translation of Arabic poetry into Persian at the phonetic, lexical, imaginative, stylistic and cultural levels. The present research has been done based on translation samples of some contemporary Arabic poets derived from Shafií Kadkani Arabic contemporary poetry book (2008). The findings showed that in the translation of Arabic contemporary poetry into Persian, meaning loss is occurred at the phonetic, lexical, imaginative, stylistic and cultural levels and by using compensation strategy, translator can sustain the general tone of the main text and use in place- compensation  and Kind- compensation.

1. Introduction
Translation experts believe that poetry translation is considered as difficult and valuable. The content and the form are inseparably intertwined in the poetry. The language of poetry is usually implicit not explicit. Poetry is distinguished by its musical style or rhythm, and this is a basic and unattainable feature the translator is required to translate (Baker and Saldina, 2009; Kashanian translation, 2017, p. 253). Poetry also has imagination and emotion and its purpose is to influence the feelings and emotions of the audience. Then, the constituent elements of poetry and what is presented in the image form are beyond ordinary speech, and this makes the poetry translation difficult, complex and in some cases impossible (Al-Buyeh Langroudi, 2013, p. 14).
In poetry, sounds are effective in conveying the poet's content and feelings. The poet uses his imagination to express his feelings and also pays attention to the implicit meanings of the word and uses a special style and method to express his emotions and feelings that distinguish his poetry from other poems. Poetry also expresses the cultural and linguistic issues to which it is composed. Therefore, in translating the poetry, it is important to pay attention to sounds, words, images, style of poetry and cultural issues. The main concern of the poet translator is to explain the special features of the original text as much as possible and to create a poetic text in the target language that has a similar effect on the readers (Baker and Saldina, 2017, p. 259). The imbalance of different phonetic, lexical, visual, stylistic and cultural levels of the original poem with its translation results in a loss of meaning in translation.
 
2. Questions and Hypotheses
Researchers try to answer these two questions: a) in translating Arabic poetry into Persian, at what levels may a loss of meaning occur? B) In the translation of Arabic poems into Persian, what mechanisms are used to compensate for the loss of meaning at various levels?
It is assumed that in translating Arabic poetry into Persian, there is a loss of meaning at the phonetic, lexical, visual, stylistic and cultural levels, and the translator compensates the meaning using other language tools of the target text or the same language tools elsewhere in the target text.
 
3. Research method
Given that there is a loss of meaning in the translation of literary texts especially poetry and the translator can compensate for it in some way, the positions of meaning loss and its compensation strategies in the translation of contemporary Arabic poetry into Persian have been discussed by examining the opinions of a group of translation experts including Echo, Vienna, Darblane, Hinges, Newmark, etc. about the positions of meaning loss in poetry translation and its compensation mechanisms and providing evidence of the translation of Arabic poems into Persian. Examples are selected from the book of contemporary Arabic poetry by Mohammad Reza Shafiei Kadkani, who is one of the contemporary Iranian critics and poets.
 
4. Results
Studying the opinions of some translation experts about the loss of meaning in translation and its compensation strategies, it was found that in translation and especially the translation of poetry, there is a loss of meaning and the translator can compensate for this loss. Through compensation, what is expressed in one mode in the source language is changed to another mode in the target language so that the target text can have the same effect as the original text on the audience. In translating Arabic poetry into Persian, the difference between the phonetic, lexical, visual and cultural elements of Persian and Arabic and the difference between the style of the poet and the translator can cause meaning loss at the phonetic, lexical, visual, stylistic and cultural levels. The present study offers the following solutions to compensate for this loss:
At the phonetic level, there may be a loss of meaning in the translation of puns, weight and rhyme, phonation and repetition. When the Persian equivalent of pun words in the source language is not related to each other in the target language, the translator can transfer the general tone of Arabic poetry to the Persian text by creating puns in another part of the text or by using other language industries such as phonology. In translating weight and rhyme, given the importance of these two elements in poetry, the translator should try to transfer the effect of weight and rhyme of contemporary Arabic poetry to the Persian text. The difference in words and weights of Arabic and Persian poetry prevents the translator from using the rhyme and weight of the original poem, and to compensate for the loss due to the untranslatability of the weight and rhyme, he can use different sections of the lines in translating the poem. Differences in the vocabulary of two languages ​​may cause the transliteration to be untranslatable, and it is possible for the translator to create a phonogram in another part of the destination text by repeating another letter that has the semantic characteristics of the repeated letter in the source language and to deal with compensation of untranslatability of this linguistic feature. Considering the purpose of repeating a word or phrase in the original poem, the translator can also repeat another word or phrase in the translation that is not in the original text, but the translator creates an effect similar to Arabic poetry on the audience using it.
At the lexical level, the translator can compensate for the loss of meaning in one word and in another word of the target text, which includes the semantic burden of the untranslatable word in the original text.

• Restrictions such as the difference in the weight of the poem and its translation, and the difference in the words of the source and target languages, etc., may prevent the image in the original poem from being transferred in the translation; In this case, the translator can transfer the images intended by the poet in another part of the translation.
• The difference between the style of the poet and the translator causes the words and their arrangement way in the original poem to be different from its translation, and this leads to loss in meaning. Literary re-creation and creation are suggested solutions to compensate for the loss of meaning at the style level.
• Since the audience of the target text is not familiar with the cultural issues of Arabic poetry like the audience of the source text, cultural negligence in translating poetry can be compensated by bringing a cultural equivalent and further explanation and compensational increase at the cultural level.

Therefore, in order to create a dynamic balance between the source text and the target text, translator of Arabic poetry into Persian can compensate for the loss of translation in two general ways:
- Using compensation in type: by using other linguistic tools of the target text, to create the same effect as Arabic poetry on the reader of the translation.
Using compensation in place: Compensate for the intended effect elsewhere in the target destination text, thereby compensating for the limitation of the target language in one part of the text

---

The details of the fundamental mechanisms of translation can be analyzed through Semiotics. In his various works, Umberto Eco, one of the semioticians, has studied the symbolic aspects of translation. Umberto Eco's semiotics is based on how the text is combined with the reader's personal and cultural encyclopedia. In Echo's view, text has two levels of expression and content, and in poetry, expression prevails over content. In translation of poetry, the expression essence in the target text tries to be equal to the essence of expression in the source text so that it can affect the audience almost like the source text. The present investigation, using a descriptive-analytical method and a semiotic approach based on Umberto Eco's view, studies the transfer of Adonis's poetic signs at expressive substance level in the Persian translation process .To this purpose, Adonis's three volume book entitled" the past, the place of the present" translated by Amirhossein Allahyari (2019) is examined. At linguistic essence level, words and grammar are studied, and at the level of non-linguistic essence, puns, rhymes and melodies are studied. The result of this research shows that the transfer of the signs of Adonis's poetry in Allahyari translation is more pronounced at the level of non-linguistic essence. In order to convey the signs of Adonis's poetry in translation, after establishing a connection between the various linguistic and non-linguistic essences in the text of the poem, Allahyari negotiates them and uses encyclopedic information to create a text in the target language that affects the audience like Adonis's poetry; In this regard, he has sometimes neglected his allegiance to the essence of language.

1. Introduction
The significance of poetry among the Persian speakers, position of contemporary Arabic poetry in world literature, and the cultural affinity between Iranians and Arab countries' people have resulted in increasing the translation of contemporary Arabic poetry into Persian in the recent years. In order to analyze the translations, various methods can be used. Semiotics is one of these methods that analyzes the transfer of signs from one language to another one. Umberto Eco is also one of the semioticians who have used semiotic approach in his various works to study the translation.
The three-volume collection of Al-Katab: Ams al-Makan Al-aan has special importance  among the works of Adonis a prominent contemporary Arab poet. Amir Hossein Allahyari, who is a lyricist himself and has literal translation published the Persian translation of this poetry collection for the first time in 1396 A.H. and it has been published three times  so far.

2. Questions and Hypotheses
The present study tries to answer these questions: 1. In which levels of expressive substance is the transfer of the signs of Adonis's poem in Al-Hiary translation more evident? 2. In the process of transferring the signs of Adonis's poem into Persian language, what methods did Al-Hiari use? The considered hypotheses are as follows: 1. Transferring the signs of Adonis's poem in Allahiari's translation has a greater expression at the level of non-linguistic essence. 2. In order to convey the signs of Adonis's poem in translation, after establishing a relationship between various linguistic and non-linguistic essences in the poetic text, Ellahiari negotiated them and using encyclopedic information, he created a text in the target language affecting the audience like Adonis's poem. be; In this regard, he has sometimes has abandoned loyalty to the linguistic essence.

3. Research method
The present study seeks to use Umberto Eco's semiotics ,which is based on content and expression, to investigate how the signs of Adonis's poem are transferred at the level of expressive substance in Allahiari translation. Examining the basic concepts in Eco's semiotics, this study has used his opinions in the book entitled " Saying the Approximate Same Thing" to investigate how to transfer the signs of Adonis's poem into Persian language. Since the mentioned book has not been translated into Farsi, the Arabic  translation of it by Ahmad Al-Samai entitled "An Naqul Al-sheé Taqriba" has been used (2012). In this book, Eko uses the opinions of Yilmazlev, Peirce and the encyclopedia model for translation, and based on this, he explains his position about some of the translated works. The data of the research was selected from the three-volume collection Al-Ketab: The Past, the Place Now (2018), which is translated by Al-Katab: Ams Al-Makan Al-Aan Adonis, and as said, Amir Hossein Allahyari translateded it into Persian.

4. Results
Text is a combination of signs and is formed by referring to often context-based and culture-based codes. The manner of combination of text with the encyclopedia of the reader's personal and cultural knowledge forms the core of eco semiotics. From Eco's point of view, the text has two levels of expression and content, and each of these two levels has different essences. In the text of the poem where the expression dominates the content, there are also non-linguistic essences at the level of expression in addition to the linguistic essence. Eco believes that two source and destination texts cannot have the same impact  on their readers. Therefore, the translator negotiates with the text and finally decides to delete some effects of the original text and transfer some to the target text according to the goals of the text. In poetry translation, the essence of expression in the target text tries to be equal to the linguistic and non-linguistic essence of the source text so that it can have almost the same effect on the target audience as the effect of source text on the target audience.
Transferring the signs of Adonis's poem in Allahyari's translation has a greater expression at the level of non-linguistic substance. In order to convey the signs of Adonis's poem, the translator, after communicating between the linguistic and non-linguistic essences in the poetic text, negotiated them and created a text in the target language that would have the same effect as Adonis's poem on the audience; In this regard, he has sometimes abandoned loyalty to the linguistic essence.
At the linguistic essence level, according to the context of Adonis's poem and the cultural and linguistic issues of the source and target texts, the translator has transferred vocabulary and grammatical rules in such a way that the target text has the same effect on the audience as the source text. Sometimes, in order to be faithful to the intentions of the text, after explaining the core content of a word to himself, he negotiated about the obvious violation of the literal meaning of that word and ignored the literal meaning of the word, and sometimes he made mistakes in the translation.
In the translation of non-linguistic essences such as puns, rhymes and beats, Allahyari has tried to transfer the signs from Adonis' poem in such a way that the poetry of the target text does not lack anything from the original text. At the level of puns, he has transferred the melodiousness from the source text to the target text by observing the puns in different sections, in the manner of the original text, and sometimes by negotiating whether to use the literal equivalent of the word or to observe the melodiousness of the text. It has decided to produce a melodious text by ignoring the literal meaning of the words and using Persian equivalent words to impress the audience with the musicality of the text. In addition to creating music in the translation of the poem repetition of some phonemes along with similar words has helped to induce some concepts to the audience of the target text, which are in line with the main goals of the text.
In the examples where, due to the existence of common words between Arabic and Persian, it has been possible to use the rhymes of the original text in the translation, the rhyme of the Adonis poem has been given without any change in the target text. Sometimes, ignoring the content of the source text and the linguistic essence, the translator has sought to consider the non-linguistic essence of the source text as an effective factor and, more than anything else, take the side of rhyme; even if the literal meaning of the source text is lost. The translator has tried to pay attention to the cultural issues of Persian and Arabic language in choosing rhymes.
Since the music of Adonis's poem is not limited to the prosody format and of poetry, but in the connection manner of words and the rhythms of his poetry, it is an amazing music the same as music of poem weight. In the translation of some phrases, Allahyari has failed to respect the dictionary level of the original text in order to preserve the rhythm


 

---

Knock is a random and complex phenomenon in reciprocating engines and engine tests under knocking conditions involve high costs. In this investigation, EF7(TC) engine which is a bi-fuel spark ignition engine and has relatively high probability of knock phenomena, is used. The simulation is conducted using KIVA-3V code to simulate the engine under non-knocking and knocking conditions. ANSYS-ICEM software is used to generate structured mesh for its geometry which is provided by IPCO. The original KIVA-3V code doesn't have an auto-ignition model; therefore, a knock integral model has been added to the original code. In this paper, the results of simulation are verified using two methods, experimental in-cylinder pressure and exhaust port gas temperature. The theoretical results proved a good agreement with experimental data. Compare to experimental data, it shows that KIVA-3V and Integral Knock method could simulate knock accurately although the code cannot simulate the fluctuations of knock. Finally, development of flame in combustion chamber and formation of second flame front was investigated in numerical simulation. Besides, the simulation results show that second flame-front is created near exhaust valves and propagate onward. The results show that the model can accurately predict autoignition and calculate the effects of Knock, So, it is possible to use this model to investigate the Knock phenomenon and its effects without any experimental tests which engine damages are expected during a knocking cycle.

---

---

Background: Current models of memory impairment involve the specific brain regions lesion, such as hippocampus, amygdale, nucleus basalis of magnucellularis (NBM) and entorinal cortex. There is some disagreement with respect to the specific roles of these structures, perhaps due to sub regional differences within each area. The aim of the present study was to evaluate the effect of intra-hippocampal administration of ibotonic acid and cholchicine on associative aversive memory.
Methods: Forty male Wistar rats were used in this study. Animals were cannulated bilaterally in the CA1 and dentate gyrus of the hippocampus for infusion of ibotonic acid and cholchicine(8 g/ l) respectively. Then step down passive avoidance learning (PAL) was used 14 days later. Data was analyzed by independent T-test, and p<0.05 considered as statistically significant.
Results: Intra dentate gyrus administration of 8 g/ l colchicine did not show PAL (p > 0.05). Also intra CA1 administration of ibotenic acid didn’t demonstrate significant change in memory retention tested 24 h after training compared to related vehicle control groups (p >0.05).
Conclusion: Our findings showed that single dose of colchicine or ibotenic acid targeting CA1 and dentate gyrus of hippocampus has no significant change on associative memory in passive avoidance learning paradigm.

---

Background: Regarding to chronic nature of epilepsy, side effects and resistance to chemical drugs, and with the objective to access to more effective treatment procedures, herbal medicine have received remarkable interest. The aim of this study was to determine the anticonvulsant effects of hydro-alcoholic extract of Cichorium intybus leaves on PTZ-induced seizure in male mice.
 Methods: In this experimental study, 56 albino male mice weighing 20-25 g were divided randomly into seven groups. All groups were injected intraperitoneally. The negative and positive control groups received saline (10 ml/1000g) and Phenobarbital (40mg/kg) respectively. Treatment groups received hydro – alcoholic extract of Cichorium intybus leaves at doses of 100, 300, 500, 800 and 1000 mg/kg. All injections were carried out 45 minutes prior to the experiment. In order to provoke convulsion, after 45 minutes pentylenetetrazol (PTZ) was injected (80 mg/kg) to all groups and initiation time of myoclonic and tonic-clonic seizures and percent of 24 h death were measured.
Results: The results indicated that the extract delayed the initiation time of myoclonic and tonic-clonic seizures in comparison with control group. The delay was significant at doses of 1000 and 800 mg/kg (P < 0.001) and 500 mg/kg (P < 0.01) for myoclonic seizure and 1000, 800 and 500 mg/kg (P < 0.001) and 300 mg/kg (P < 0.05) for tonic-clonic seizure. Also, the extract decreased the 24 h death.
 Conclusion: It seems the hydro-alcoholic extract of Cichorium intybus have decremental effect on PTZ-induced seizure.

---

Introduction: Seizure is one of the most important symptoms of epilepsy and many other neurogenic injuries. Due to the chronicity of epilepsy and the side effects of chemical drugs and drug resistance, with the aim of achieving effective treatment methods and less adverse effects, use of medicinal plants has attracted a lot of attention. The aim of this study was to investigate the effect of hydro-alcoholic extract of Eryngium caeruleum on pentylenetetrazol (PTZ)-induced seizures in male mice.
Methods: In this experimental study the NMRI male mice were randomly divided into six groups of 8 each. Forty-five minutes before the injection of PTZ (80 mg/kg) as a convulsive agent, hydro-alcoholic extract of Eryngium caeruleum (100, 300, 500 and 1000 mg/kg; to the treatment group), saline (10 ml/kg; to the negative control group,) or Phenobarbital (40 mg/kg; to the positive control group) were injected. All injections were done intraperitoneally (IP). The initiation time of myo-clonic and tonic-clonic seizures and death percent within 24 h were measured and P<0.05 was considered significant.
Results: The results showed that different doses of the extract delayed the onset of myo-clonic and tonic-clonic convulsions and reduced the percentage of 24-hour mortality compared to the control group, which were significant in the doses of 300, 500 and 1000 mg/kg.
Conclusion: It seems that the hydro-alcoholic extract of Eryngium caeruleum presented decremental effect on PTZ-induced seizure and death in male mice.

---

One of the most important challenges to the translation process is implementing the criteria for evaluating its quality to narrative scripts, especially in transferring cultural elements from one language to another. The translation quality assessment of Juliane House is a linguistic process consisting of three basic steps, implemented within the context of the text type, the quality of interpretations used and based on functional equivalence between the source text and the translated text. This research is an attempt to compare the above criteria by translating selected excerpts from book With Panegyrist of War in the Territory of Name and Disgraceby Nader Ebrahimi that includes his narrative from the Iraq-Iran war. The descriptive-analytical research seeks to achieve a proper equivalence between the source and the translated text in three steps: a thorough and comprehensive understanding of the text, its interpretation and translation. Finally, in the theory of Juliane House, the quality of translation is not merely a matter of linguistics, but of cultural practice, since the author expresses his literary experience in a particular cultural field and the text demands a particular audience who is familiar with the culture of the front line. As such, the translation of the elements of this narrative is based on overt translation in House theory. The translation method of many of the terms and expressions in this narrative is based on House's theory of descriptive method, while the translation method of most narratives is literal.

---

Narratology is a new science and the result of the structuralist revolution in the field of fiction, which achieves the various dimensions and hidden meanings of a literary work and increases the power of understanding the text by examining its narrative techniques and structures. One of the most prominent structuralist theorists is Gerard Genette, whose theory in one of the most complete and effective theories of narratology. Genette's theory holds that the structure of literary texts is described and analyzed based on the three components of time, mood, and voice. This paper examines the narrative component and its function in the short stories "Sourat Shakira" by Mahmoud Shoukair and "Asrar al-Duri" by Akram Haniyeh, the contemporary Palestinian writers, using an analytical-descriptive method. The paper aims at showing the usefulness of the narrative study of the short story despite the limitations of the structure and its small volume in reading and analyzing a literary work and penetrating its inner layers.