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Abstract:
Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature, this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives, which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers, despite the existing large culrual legacy, have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives, this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives, the paper goes then to propund some common ignored challenges concerning the "adaptation" techniques for media productions. Finally, we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.

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This paper analyzes communicative style of dialogues in Akbar Radi’s Melody of Rainy City (1998), using Grice’s ‘cooperative principle.’ The word ‘Gilan’, the name of the main character of the Melody of Rainy City, refers to a female name and also a province in the northern Iran. The play reveals the contradictions which can be naturally seen in the gap between the traditional culture and the imposing elements of modernity. Examining the cultural differences of characters, this paper deals with their hesitation to defend or dispose their individual values. Gilan’s nervous instability symbolizes the cultural chaos the province is facing. She is the young girl of an old caretaker who works for an aristocratic family. Gilan is in love with a youngguy who has just completed his academic education and returned home from the West. The socio-political debates of family members during their daily talks and their quarrels over the legacy of father, basically, have made these cultural gaps to be largely explicit. By using a cultural approach for the analysis of the relationship between characters, this article reveals how these paradoxical behaviors have been especially prevalent among the middle class of Iranian society. This paper finally presents a stylistic reading of dramatic dialogues as the conversational behavior of social characters.

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Abstract
This paper aims to examine the major effects of popular culture of folklore culture in the production process of Iranian dramatic literatureand studying the solutions for localizing the literature. This interdisciplinary study, tries to discuss the effective roll of folklores roll of developing Indigenous patterns of creative writing for the dramatic arts. Hamid Amjad, as one of the Iranian contemporary dramatists, uses various aspects of folk culture in create and representing dramatic world, and his works are proper example for research for studying some factors such as
language and tone, beliefs and customs, behaviors and subjects, and common signs of Iranian folklore culture.
This study is organised with gathering library data and the method of direct expose of dramatic texts, and with analytical method tries to determine the potential of Iranian folklore culture in organizing the ideas and realize them using techniques of playwriting. Findings of this research shows that some of the most important indexes of Iranian folklore culture, like folk tales, folk feasts and folk language was attend in creating dramatic texts by Hamid Amjad. Comparative comparison with some dramatic concepts and elements, like characterizations, subject, creating folk spaces and native language and culture, shows the different aspects of this usage. finally, research shows that using the elements from folklore

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The Dialogic beats make up a significant portion of a play as concrete manifestations of language paying attention to reader’s mind. This paper aims to study on features of linguistic arrangements find an answer for the main research question i.e. analysis of Dialogic beats in “technique of playwriting” by Mohammad Yaghoubi and their function in linguistic structure in discussed samples. The theoretical framework derived from linguists’ ideas in field of literature and drama such as Paul C. Castagno and Vimala Herman enables qualitative analysis of samples and achieving objectives of the research. The research method is descriptive – analytical. The findings suggest the fact that Yaghoubi, as one of the Iranian contemporary playwrights, uses different arrangements in writing dialogue and applies dialogic beats in wide levels of linguistic and meta-linguistic implications as a mean for “emphasis”, “suspension”, “interruption” and also effecting on ending methods of the work. The difference is that function and the way of using these linguistic arrangements has been more specific and more harmonic with the theme of work.

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Lieber (2004, 2009) is a decompositional approach with seven semantic features and a principle called coindexation principle. In this theory each lexical item has one semantic skeleton and one semantic body. The skeleton may consist of a hierarchical arrangement of functions and arguments and the semantic body contains two layers: the first one, like semantic skeleton, is relatively stable and can be formalized but the second layer consisting of general information and encyclopedic knowledge, varies a lot. Coindexation principle identifies the arguments of two or more lexical items and makes another item that denotes one unified lexical item. This paper studies the semantic contributions of prepositions in Persian, and then, based on semantic features, classifies them. The conclusion of the paper is that prepositions like other categories as a result of semantic skeletons and weak semantic bodies, own semantic contributions and they have some common semantic features with verbs. Lastly, based on the semantic contribution/features of prepositions, they can be classified.
 

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The purpose of this paper is to outline the theory and practice of discourse analysis as a tool of interpretation in translation of dramatic works. By translation of dramatic works, the discourses of target language has been influenced and undergone some significant differences that has been making different interpretations. Translations of Bertolt Brecht’s plays because of their historical implications of the social status in two decades 50 to 60 and 80 in Iran, prepare the best data to measure this point. This descriptive study by incorporation of direct observation of original work and Library based method analysed primary data that have been collected and  followed by focusing on the framework of  Norman Fairclough approach to discourse analysis. This research aims to show how in the Persian translation of Brecht’s works, conscious or unconscious, some changes have been created. To find the answer of this question, the translation of the forty Brecht’ plays, Herr Puntila und sein KnechtMatti,Baal, Im Dickicht der Stadte, and Die Geschichte der Simone Machard has been chosen. These samples were selected based on varieties of translations belonging to different ages in order to find more significant differences .The findings indicate that most of Brecht's plays in accordance with the political context, social influence or dominant discourses of  every period - at least at the level of lexical and conceptual context- are subjected to cultural distortions.

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Sustainable design (also called environmental design, environmentally sustainable design, environmentally conscious design, etc.) is the philosophy of designing physical objects, the built environment, and services to comply with the principles of social, economic, and ecological sustainability. Generally speaking, Environmentally Sustainable Design endeavors to reduce the impacts of the construction on the natural environment, in addition to improving the comfort of inhabitants.
Human climatic comfort as an important factor of attending people in urban open spaces is one of the most effective varieties for creating Sustainable urban places in order to achieve viable lively social living in urban areas. Owing to the fact, improving the quality of life and human comfort should be taken into account by urban studies and urban experts. Thus, the importance of climatic studies connected to open space and utilizing the results to access a better spatial structure in urban projects is undeniable. In terms of climate comfort, there are several factors affect the human life and the responsiveness of urban spaces to the human needs. One of the most important factors of climate comfort is the airflow. In this regard, airflow defines as the motion of air passes through objects especially high-rise buildings. The amount of air can be measured by its volume or by its mass.
In this study, the optimum usage of air flow to improve the quality of climatic comfort around high-rise buildings has been taken into consideration. Actually, this research aims to apply the airflows for designing urban spaces especially in high-rise areas. In fact, the appropriate usage of airflows has been considered as an important approach of creating responsible urban space to meet the needs of human comfort. Hence, this paper tries to answer these questions: “How does wind behave around Ekbatan buildings?” And “In response to the human comfort, which forms are preferred regarding the existing air flow patterns in Ekbatan complex?”
Several studies about air flow’s effects and difficulties around high buildings have been conducted by researchers such as Arens (1981), Penwarden (1973), Aynsley (1976), Davenport (1976).In addition, in Iran ,Ranjbar (1389), Tahbaz (1370, 1386), Razjouyan (1372, 1386) carried out researches on architectural aerodynamic and airflow around urban blocks.
The research method of this paper is a practical analytics. Required information for this study is collected via observation, literature review, and documentaries. In this paper, three steps have been followed: First, The descriptive- annalistic method used for understanding the present situation. Second, Simulation technique (by ENVI-met software) employed to observe and analyze the relation between the shape of high-rise residential buildings and wind behavior in the case study. Third, a logical argumentation to reach the conclusion. ENVI-met is a three-dimensional microclimate model designed to simulate the surface – plant-air interactions in urban environment with a typical resolution of 0.5 to 10 min space and 10 sec in time. Typical areas of application are Urban Climatology, Architecture, Building Design or Environmental Planning, just to name a few. ENVI-met is a prognostic model based on the fundamental laws of fluid dynamics and thermo- dynamics. The model includes the simulation of: flow around and between buildings, exchange processes of heat and vapor at the ground surface and at walls, turbulence, exchange at vegetation and vegetation parameters, bioclimatology and pollutant dispersion.
The selected area is in Ekbatan complex located in Tehran, Iran which consist of three phases. The modeling area is selected from three phases with different types of residential buildings. The reason for selecting Ekbatan complex is the variety of buildings in forms and public spaces surrounded them and as well as airflow concerns in this area. Climatic data entered into the software is May average data in 2013.
Eventually, the best form for Ekbatan residential buildings was evaluated according to the human comfort against wind. For more explanation, some of the most important rules for urban designing based on airflow comfort have been verified here. When wind strikes buildings, especially high-rise buildings, the wind that flows down the facade, causes to accelerating wind speeds near the windward corners. The increase in wind speed directly depends on the height. Besides, Wind is funneled between two buildings causing wind acceleration between them. According to the simulations, the behavior of wind, particularly the speed of wind, changes while passing through the buildings.
Furthermore, the spatial pattern of Ekbatan complex has been analyzed from different aspects of airflow. The optimized plot has been presented based on three axes. As follow:
1. Analyzing the physical pattern of the location. In other words, this axis tries to understand how buildings were organized next to each other in an adjacent unit.
2. Recognizing the most important environmental factors which affect the desirable urban design. Academically speaking, this step aims to identify environmental aspects of cases.
3. Presenting the optimized-plan. In this section, three alternatives have been simulated by the software. The Structural elements on the drawings and simulation software are Residential blocks, Commercial blocks, the vegetation and green land cover and floor coverings Including asphalt, concrete pavement and dust. It should be noted that the simulation started from 6 am and took 12 hours to analyze.
Finally, some practical strategies (based on software analyses) have been presented for the future developments. For instance, wind speed in backside space of the buildings against air flow, is very low and sometimes it turns to zero. These situations lead to random air movements and consequently wind turbulence. In these cases buildings that step back can be used to reduce undesirable downward wind flows. Wide facades that face the prevailing wind are often undesirable in comparison to less width facades.
In conclusion the study shows that the forms and physical features of the blocks have significant impacts on the wind behavior. According to the analysis, proposed plan has been formed mostly base on controlling and optimizing airflow. However, it should be noted that to achieve proper design and in Consistent with climate, it is unavoidable to have a comprehensive view of all aspects of climate as well as physical aspect.

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In this research, it has been attempted to investigate how the point of view in story and drama is perceived. For this purpose, two case studies are considered: the short story Snail Cracker (by Shahryar Mandanipour) and the play “Hovel of Trauma& Agony"(by Mahmoud OstadMohammad). The similarity between two case studies is the fact that in both, the audience finds out viewpoint of absent characters, through the statements of present figures in the story and drama worlds. To understand how it works, a combination of the linguistic approaches of McIntyre, based on “Deictic Shift” and Ryan's notion of “Possible Worlds” are adopted as the theoretical framework of the study. The main problem of the article is to discover narratological capabilities of the point of view in creating dramatic or narrative hidden spaces. The main goal of  this article is to investigate the construction process of the absent character's viewpoint in the main scene of the events. The research findings are being analyzed based on the narratological indices of McIntyre and Ryan. Research methodology is descriptive –analytic. The results reveal that despite discrepancies between the story and drama worlds, they have some features in common: their figures can develop narratological perspectives and absent persons' viewpoint through linguistic markers which effect on the dialogues, they are also able to influence on assumed audience’s (reader’s) perception.

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According to Sheridan and Gillett (2005), one fundamental form of inequality, being on the rise since 9/11, is religious discrimination. The main source of experiencing and being exposed to such inequalities and discriminations can be television which ‘is such an important source of information and entertainment that viewers cannot escape its gradual encroachment into their everyday lives’ (Laughey, 2007, p. 20). American TV series are so major and worldly-known entertaining media that many of them have millions of viewers around the world. So, it will be of great importance to make sure if they want to keep and even worsen this picture of Islam and Islamophobia. Therefore, this paper investigates the role of American TV series in promoting Islamophobia in public view. To do so, one has to analyze two main aspects of the TV shows which are the conversations and the picture frames. For analyzing the former, we have chosen Norman Fairclough’s (1992a, 1995, 2001) approach to Critical Discourse Analysis, and for the latter, Kress and van Leeuwen’s (2006) Grammar of Visual Design. American TV series, named Homeland (2011- still on air in 2017), broadcasted by Showtime® in the U.S has been the corpus of the present study. Its story that is mainly connected to the Middle East with lots of Muslim characters explains our choice. Consequently, the present study seeks to answer the following research questions: 1. Do the analyzed sequences of Homeland have Islamophobic elements based on Fairclough’s (1992a, 1995, 2001) CDA framework? 2. Do the analyzed sequences of Homeland have Islamophobic elements based on Kress and van Leeuwen’s (2006) Grammar of Visual Design? 3. Are there any combinations of visual and discursive elements to promote Islamophobia in the analyzed sequences of Homeland which can be analyzed by an integration of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s (2006) Grammar of Visual Design?
Our work has led us to the conclusion that many cases in Homeland TV series, either discursive (based on Fairclough’s CDA framework (1992a, 1995, 2001)) or visual (based on Kress and van Leeuwen’s Grammar of Visual Design (2006)), were Islamophobic. Furthermore, there were cases in which both visual and discursive (audio) elements were used to promote Islamophobia. As a result, all of the research questions receive a positive answer. Moreover, it can be concluded that a combination of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s Grammar of Visual Design (2006) can create a powerful approach in critical media analysis to expose the real policies of the media and power owners and decode the encrypted messages behind what is shown to the public. It is worth noting that analyzing a greater number of TV series could result in a higher generalization of our results.

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Aim Plant functional groups are categories of species that exhibit similar responses to environmental parameters. The current research was carried out to evaluate factors that describe the distribution of plant functional groups in mountainous rangelands of Chaharbagh, Golestan.
Methods Three transects of 300 meters were considered in the representative area of each plant type. Along each transect, 10 plots were considered in dimensions of 2 x 2 meters. The names of species, the percentage of vegetation, and the number of species were determined. Six soil samples were collected for each plant type. The biological form of each plant species was determined. Plants were classified based on edibility, vegetative form, biological form, and life span. To evaluate the relationship between environmental factors and plant functional groups, Redundancy Detrended Analysis (RDA) was applied.
Findings The results showed that the occurrence of phanerophytes was affected by electrical conductivity and lime. With an increase in potassium, the frequency of camophytes increased. Palatability values of the first class were affected by direction, saturated moisture content, and organic carbon. Values of tree-type growth were affected by electrical conductivity and lime. Forb vegetation increased in correlation with clay percentage. Grass and pseudo-grass vegetative forms were affected by direction factors, soil saturated moisture content, and organic carbon.
Conclusion Overall, a precise study of differences in plant functional groups can be an important approach for monitoring changes in rangeland under management strategies which require further attention in future research.
 

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Aims: Preventing rangeland degradation and conserving them is a challenging task that necessitates targeted changes in rangeland policy and management systems. Planning should aim for the optimal utilization of rangelands while meeting the needs of stakeholders. One of the most crucial measures involves adopting a systemic approach to rangeland management, encompassing all resources, livelihood potentials, and income generated from rangelands through multi-purpose use. To effectively manage rangelands, it is crucial to take a comprehensive approach that considers all resources, livelihood opportunities, and income generated from these areas through multi-purpose use. This involves adopting a systemic approach to rangeland management, encompassing the identification and utilization of non-sustainable potentials within the content of multi-purpose exploitation of rangelands. Such an approach can have a significant impact on reducing the livelihood dependence of pastoralists. Since numerous factors influence its successful implementation in rangeland management, particularly in the summer season, this research was conducted to investigate the influential drivers affecting the development of multi-purpose management in the summer rangelands of Mazandaran Province, utilizing a future studies approach.
Materials & Methods: This descriptive-applied study employed a survey method. The study population comprised experts, deputy heads of departments, and members specializing in rangeland management. Through purposive judgment sampling, 50 individuals were selected from these populations within the natural resources domain in Sari, Mazandaran Province. Data was collected using a researcher-developed questionnaire, and the Cross-Impact Analysis technique was applied to analyze 21 extracted indices from individual and group interviews. The MicMac software facilitated this analysis.
Findings: The study revealed that the primary influential drivers for the advancement of multi-purpose rangeland management included “decentralization and stakeholder participation in the implementation process of multi-purpose plans,” “The results indicated that the indicators “ decentralization and stakeholder participation in the implementation process of multi-purpose plans,” “ generation of new employment prospects and strengthening of rural income potentials,” “ establishment and fortification of rural cooperatives and organizations,” “ governmental support and assistance,” and “ trust-building communication between stakeholders and the government” were the most significant drivers with the highest coefficients of 607, 596, 585, 585, and 564, respectively. These indicators influenced the multi-purpose utilization of the studied region’s rangelands.
Conclusion: Based on the obtained results, the paramount recommendation of this study, employing a forward-thinking approach, is the development of a long-term vision document encompassing economic, socio-cultural, and environmental dimensions. This strategic move is poised to catalyze the transformation of the multi-purpose rangeland management system in Mazandaran Province.

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This paper attampts to analyze the functions of the capacities of language from the perspective of verbal irony in the representation of historical events in the two plays "Jangnameh Golaman" and "Fathnameh Kallat" based on the idea of Meta historiography. Accordingly, we first attempt to provide a definition of Meta historiography and the importance of irony as an important component in Meta historiography, and then elaborate on the types of verbal irony and its function in the dramatic text and analyze the components in the study samples. Therefore, the framework of the discussion is a combination of the linguistic and stylistic studies of Deirdre Wilson and Hayden White. The method of this research is descriptive and analytical and it is possible to analyze the components with sample mining. The findings of this study show that in two plays by Bahram Beizaie, a verbal irony is a linguistic device for employ the potential capacities of language and a tool for historical implications. This linguistic capacity manifests itself sometimes in parodic and significant statements and sometimes in the interpretive and analytical context of the text, given that the mechanism of creating irony and sence in the play's text cannot be extrapolated without considering the meta text of history

1. Introduction
Dramatic literature is one of the most critical fields in dealing with historical and social themes. It has undergone extensive developments in line with new theories in other areas of science. One of the latest theories that have a linguistic approach is the idea of metahistory. This theory, described by the American philosopher and historian Hayden White, has received much attention from scholars and researchers in recent years. It has become the basis of literary studies from a linguistic perspective. This research, to explain the idea of metahistory from the standpoint of linguistic practices, tries to answer how verbal irony, as one of the main components in meta-history, leads to the representation and not the re-narration of history in Bahram Beyzai's plays. To this end, we first explain the idea of meta-history, verbal irony, and its types as basic features in meta-historiography. Within Wilson and Sperber's verbal ironic theory framework, we study the two plays Jangnameh Golaman and Fathnameh Kallat. 
Hayden White's idea of metahistoriography was a literary strategy for recreating history. Based on Nietzsche, White believed that there was a gap between facts and perceptions of truth, which was the source of human bitterness and frustration. This gap is an ironic and painful situation from which humanity is to find a way out, and he needs to find that way in himself. Meta-history is a way of extending and talking about this unbearable situation. In general, it has an expressive and rhetorical meaning, which is characterized by relying on the configuration of deep imaginative structures and the function of verbal terms. 
As a rhetorical figure, the irony is a conscious turn in this type of narrative history in such a way that no certainty can impose itself on history in the form of a definite interpretation. Hence, there are various reports and reflections about a weak narrative of an event. In this sense, the irony is a trick or rhetorical figure that can produce concepts and meanings in the deep layers of speech, and verbal irony, as the most common type of irony while using its imitative capacities and interpretive and analytical similarities, provides a basis for presenting various reports of past events; therefore history is freed from the shackles of imposing a particular narrative.
Wilson and Sperber consider the main feature of verbal irony to be its propositions, which are deliberately uttered by ironists, or they create semantic prominences as a linguistic technique. The first type is "parody," which is a paradox and is related to repetition in the form of language. In a way that there is often an element that has been exaggerated, and the second type is the echo of a word or action that the ironist interprets. Thus, there is always an intermediary between what is said or done and its representation.
In the metahistorical play, we are confronted with ironic expression, so the irony is expressed through two levels of verbal speech and linguistic style. In this sense, language has a vast capacity to deal with historical events. This research method is descriptive and analytical, and it has made it possible to analyze the components by sampling. In this research, based on two plays by Bahram Beyzai, a verbal irony has been studied from the two perspectives of speech and linguistic style. Findings in this study show that the meaning of the word is never limited to parts of speech, but along with body language, tone, and sounds, it forms a kind of expression that is related to the experiences of the audience and therefore, each audience will have their perception and interpretation of it. 
In the Jangnameh Golaman, although the excerpts are uttered for the purpose of laughter, they are placed in a verbal structure and in relation to the meta-text of history, reflecting a hidden meaning that is deeply connected to the historical and cultural mechanisms of a nation. From an interpretive point of view, we are faced with a kind of linguistic style in which the text is open to interpretation. Thus, understanding this type of irony is in the light of the understanding of the text in the context in which the text is read (or watched). From a metahistorical point of view, this type of irony creates constant references between the present and the past and considers history as the hypertext in which the original text is formed. In this sense, in Fathnameh Kallat, concepts are constructed concerning the presuppositions and context of the text, but it is not conveyed only through verbal propositions, but it ironically depicts and expresses an agonizing situation.
It seems necessary to mention two points. First, the study of metahistory, as well as verbal irony theories, shows that whether we encounter irony as a verbal proposition or as a linguistic prominence, we are, inevitably, beyond transcendence of grammar and syntax, and practical analysis of ironic discourses; because the ironic sense is not only constructed through the form of language but also in the intermediate relationship between the experiences of the audience and the text. Hence, there is no entirely rational applied model for ironic analysis. The second point is related to the development of this debate in dramatic literature, which can open new perspectives on the study of playwriting, especially the study of dramatic literature in Iran, which is very limited.

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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.
 

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

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

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Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest.

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The tube spinning process is one of the forming processes to fabricate conical seamless tubes. This process is done warm or cold, with or without mandrel. In this article, the possibility of forming of an Al-6061 conical tube by hot die-less spinning process has been investigated. An estimation of tangential force and required power can be obtained by analytical methods. So, the ideal work and upper bound methods have been utilized to derive equations for calculation of tangential force and required power of forming. An identical result was acquired for the two methods. The proposed equations can be used in design stage of the process. Furthermore, final thickness and initial length of the tube have been calculated by using of geometrical relations and constant volume law. The proposed formulation has been compared by experimental results. The final thickness and initial length of the tube are in good agreement with experimental results. An error of 0.5% and 5.5% were observed for final thickness and initial length, respectively. The obtained equation for the final thickness is a cosine function of the conical angle. Hence, it predicts higher final thickness in comparison with the sheet spinning process.

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1. The capital flows from liquidity to real estate. Builders and physical changes in the city will be aimed not at reforming or meeting the need, but at creating a safe space for capital. Capital is directed to a place where it creates added value.
2. The government seeks to drive capital out of real estate and direct it toward production.