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Volume 1, Issue 1 (1-2013)
Abstract
Abstract:
Zarrin Qabā Nāme is a huge verse in 23133 couplets that probably has been versified in the Safavid period. Its poet is unknown and beginning of itś matter is coming of Solomonś messenger (Zarrin-qabā) to Keyxosrowś court and his confronting with Iranians. Afterwards several stories are narrated that their important persons are Sistanś heroes. Structure, language and content of Zarrin-Qabā-Nāme are storytelling-folklotic. Therefore, studying of its important motifs is useful in knowing and completion of Iranian folk- storytelling literatureś motifs. In this paper, some of these kinds of points and motifs are studied in four parts: 1) Semitic and Islamic matters 2) Rare and single indications, 3) Other matters and contents, and 4) Modeling from other stories.
abstract abstract abstract abstract abstract
Volume 5, Issue 3 (12-2017)
Abstract
During the Safavid era, communications between Iran and India became deeper than before due to the common official language. Persian romantic stories were among the written works during this period in the countries. The question is: "Are Persian romantic stories in the Safavid era in Iran and India fully similar due to the concurrency, common language and existence of similar structures, or have distinction due to different cultural environment?" Some Researches has been done on the storytelling of the Safavid period, But so far, there has been no works published on the influence of intellectual motifs on the Iranian and Indian Persian stories in any of the topics.
In this paper, it has been attempted to answer the question, by analyzing the content of the Stories. Of course, the assumption of this research is that there are many similarities in language, structure, sequences and character's functions in the Persian romantic stories in Iran and India, but despite these similarities, there is a different worldview and attitude towards the characters and events. These differences include: "Death of the lovers at the end of the story", "Girl's freedom in choosing a spouse", "supernatural creatures’ role", “presence of Mysticism and Sufism, "animals’ impact in the story ", "presence of Indian characters" and "independence of the source" that would help to understand the stories written in India from Iranian stories.
Volume 6, Issue 4 (2-2017)
Abstract
Volume 7, Issue 3 (11-2016)
Abstract
The increasing rate of depositing new protein sequences and structures to biological databases such as Protein Data Bank (PDB) indicates the importance of structural comparison to explore the evolutionary relationship among different protein families, prediction of function in annotated proteins and classification of protein structure and folds. Due to the high computational cost, protein multiple structural alignment programs in comparison with the conventional multiple sequence alignment programs are slower and represent approximate answers. Therefore, designing new algorithms is an open problem. In this paper, a novel algorithm named PSNetAl for multiple structural alignments of proteins based on graph matching is introduced. PSNetAl inputs are protein structural files in PDB format. Undirected, distance-based graphs are constructed from pdb input files and multiple alignments of graphs are performed by a progressive algorithm. The largest common subgraph as the output of multiple alignment includes the common nodes among all networks. If there is any structural or evolutionary similarity among networks, it will be expected after multiple alignments structural motifs to be present in the largest common subgraph. To evaluate the functionality of PSNetAl, a dataset containing 76 protein families with 50-90% sequence identity and at least 3 members were extracted from HOMSTRAD database. The obtained results show in 67 out of 76 families more than 90% of structural motifs are observed in the largest common subgraph of the multiple alignment.
Volume 9, Issue 4 (2-2020)
Abstract
Problem Decorative and geometrical experiences are an integral part of Iranian art and traditional architecture in the Islamic era, which has provoked the acclaim of many pundits in this area. One of the challenges of contemporary Islamic architecture is the lack of discourse between traditional and modern approaches to create geometry and new forms.
Aims The purpose of this study will be to produce 3D geometric decoration based on the principles of Gestalt aesthetics so that these forms will be shaped by sound frequencies resulting from the reading of the Quran at the different tunes.
Methods To achieve the desired goals through library and field studies, firstly, recognition and classification of the Quran tunes, then examining the relationship between parametric architecture and music, has been used to analyze them from descriptive-analytical research methods. Then, the modeling methods and pattern deformation based on the principles of Gestalt aesthetics have been studied. Finally, three-dimensional geometric patterns are mapped into a computer simulation method with Rhino software and Grasshopper plugin based on audio input from the Quran.
The result of this study indicated that the mathematical relationship between parametric architecture and Iranian music can be used to create unique dimensional shells, coordinate with valuable features of context-based architecture,
Conclusion Mathematical language can be used as a link between parametric architecture and musical tunes used in the reading of the Quran. Also, 3D shells which are produced with the Islamic architecture approach can play an applied role in the beautification of the urban highways.
Aims The purpose of this study will be to produce 3D geometric decoration based on the principles of Gestalt aesthetics so that these forms will be shaped by sound frequencies resulting from the reading of the Quran at the different tunes.
Methods To achieve the desired goals through library and field studies, firstly, recognition and classification of the Quran tunes, then examining the relationship between parametric architecture and music, has been used to analyze them from descriptive-analytical research methods. Then, the modeling methods and pattern deformation based on the principles of Gestalt aesthetics have been studied. Finally, three-dimensional geometric patterns are mapped into a computer simulation method with Rhino software and Grasshopper plugin based on audio input from the Quran.
The result of this study indicated that the mathematical relationship between parametric architecture and Iranian music can be used to create unique dimensional shells, coordinate with valuable features of context-based architecture,
Conclusion Mathematical language can be used as a link between parametric architecture and musical tunes used in the reading of the Quran. Also, 3D shells which are produced with the Islamic architecture approach can play an applied role in the beautification of the urban highways.
Volume 9, Issue 42 (12-2021)
Abstract
Research background
No article is published on the analysis of Hani and Shaimorid's story. Of course, some books have reported its poems. In addition to giving an account of the first edition of the story, the book Baluchi Romances in verse written by Jahandideh (2011) has also offered the related poems. Faqirshad (2016) has offered poems of the first story together with a report of the story in the book Legacy quoting the musicians' songs. He has published them in Karachi, Pakistan. Rakhshani (2015) has published some poems of the second edition of the story known as Baluchi culture and epic literature in Karachi.
Objectives, questions, and assumptions
Baluchi poem stories are a part of Iranian literature being unknown for non-Baluch Persians and Iranians. In addition to discussing Baluch culture and literature, the publication of these poems can give more acceptable results by investigating similar stories in the Persian literature. In this research, we try to answer the following questions:
Which Iranian regions does Hani and Shaimorid's story belong to? What is the place of this story in Baluchi literature? What are the main motifs of the story?
Main discussion
In literary criticism, motif is one of the important items discussed in the motif field studies when studying the works and thoughts of the author and understanding the relationship between form and content as well as many other different performances. In addition to literature, it is also used in other fields (Jafarpour & Alavi Moghadam, 2012, p. 42). According to the motifs of the stories, the stories can be classified into wonderful stories, love stories, dignity stories, epic stories, etc. (Parsa Nasab, 2009, p. 27).
The main motif of Hani and Shaimorid's story is love. Both heroes love each other and this motif brings about other incidents and motifs. In the classification of different stories, it is regarded as a love story due to its main motif, i.e. love, but it also has some features of epic, dignity, and mystical stories. According to the classification offered by Mirsadeghi, in terms of motif and content, this story has a love and emotional motif and a justice-seeking content. To reach his beloved, the hero of the story undergoes different incidents, and in fact, the hero fights the evils for the sake of love. An important point of such stories is the single beloved (Mirsadeghi, 2015, pp. 103-114). While loving Hani, Shaimorid fights against Mir Chaker's oppression and calls him an oppressor, and Hani warns Mir Chaker of his dirty job in her forced marriage, and seeks for justice until the end of his life.
Conclusion
Hani and Shaimorid's story is the most famous Baluchi poetic and love story. Examining this story, it can be concluded that the story has various motifs, the most important of which are: love, heroic, dignity, and mystical motifs. The story begins with the heroic motif "keeping the promise". Meeting the promise, another heroic motif "generosity" forms, and due to the rival's deception, Shaimorid is forced to give up his unseen fiancée to protect his "reputation". After seeing Hani, his love begins and the story continues with various love motifs. The most important love motifs of the story are as follows: Lover's love at first sight, two-way constant love, hidden meetings, lover's insanity, sending letters and messages, love rival, a wicked woman, virginity, and writing poetry; other motifs include: heroic motifs such as keeping the promise, generosity, tolerating difficulties, being nocturnal, disguising, war skills, traveling and leaving the homeland, chastity; some of the dignity motifs are eternal life, youth revival, capture in nature and prediction; the mystical motifs are mendicant and reprehensible appearance, nicknames of the aged, disciple and the sanctity believed by people after disappearing.
References
Jafarpour, M., & Alavi Moghaddam, M. (2012). The structure of Amir Arsalan's fictional themes. Journal of Persian Literature Textbook, 2, 39-60.
Mirsadeghi, J. (2015). Fiction. Sokhan Publications.
Parsansab, M. (2009). Motifs: definitions, types, directions, etc. Literary Criticism Quarterly, 2(5), 7-41
No article is published on the analysis of Hani and Shaimorid's story. Of course, some books have reported its poems. In addition to giving an account of the first edition of the story, the book Baluchi Romances in verse written by Jahandideh (2011) has also offered the related poems. Faqirshad (2016) has offered poems of the first story together with a report of the story in the book Legacy quoting the musicians' songs. He has published them in Karachi, Pakistan. Rakhshani (2015) has published some poems of the second edition of the story known as Baluchi culture and epic literature in Karachi.
Objectives, questions, and assumptions
Baluchi poem stories are a part of Iranian literature being unknown for non-Baluch Persians and Iranians. In addition to discussing Baluch culture and literature, the publication of these poems can give more acceptable results by investigating similar stories in the Persian literature. In this research, we try to answer the following questions:
Which Iranian regions does Hani and Shaimorid's story belong to? What is the place of this story in Baluchi literature? What are the main motifs of the story?
Main discussion
In literary criticism, motif is one of the important items discussed in the motif field studies when studying the works and thoughts of the author and understanding the relationship between form and content as well as many other different performances. In addition to literature, it is also used in other fields (Jafarpour & Alavi Moghadam, 2012, p. 42). According to the motifs of the stories, the stories can be classified into wonderful stories, love stories, dignity stories, epic stories, etc. (Parsa Nasab, 2009, p. 27).
The main motif of Hani and Shaimorid's story is love. Both heroes love each other and this motif brings about other incidents and motifs. In the classification of different stories, it is regarded as a love story due to its main motif, i.e. love, but it also has some features of epic, dignity, and mystical stories. According to the classification offered by Mirsadeghi, in terms of motif and content, this story has a love and emotional motif and a justice-seeking content. To reach his beloved, the hero of the story undergoes different incidents, and in fact, the hero fights the evils for the sake of love. An important point of such stories is the single beloved (Mirsadeghi, 2015, pp. 103-114). While loving Hani, Shaimorid fights against Mir Chaker's oppression and calls him an oppressor, and Hani warns Mir Chaker of his dirty job in her forced marriage, and seeks for justice until the end of his life.
Conclusion
Hani and Shaimorid's story is the most famous Baluchi poetic and love story. Examining this story, it can be concluded that the story has various motifs, the most important of which are: love, heroic, dignity, and mystical motifs. The story begins with the heroic motif "keeping the promise". Meeting the promise, another heroic motif "generosity" forms, and due to the rival's deception, Shaimorid is forced to give up his unseen fiancée to protect his "reputation". After seeing Hani, his love begins and the story continues with various love motifs. The most important love motifs of the story are as follows: Lover's love at first sight, two-way constant love, hidden meetings, lover's insanity, sending letters and messages, love rival, a wicked woman, virginity, and writing poetry; other motifs include: heroic motifs such as keeping the promise, generosity, tolerating difficulties, being nocturnal, disguising, war skills, traveling and leaving the homeland, chastity; some of the dignity motifs are eternal life, youth revival, capture in nature and prediction; the mystical motifs are mendicant and reprehensible appearance, nicknames of the aged, disciple and the sanctity believed by people after disappearing.
References
Jafarpour, M., & Alavi Moghaddam, M. (2012). The structure of Amir Arsalan's fictional themes. Journal of Persian Literature Textbook, 2, 39-60.
Mirsadeghi, J. (2015). Fiction. Sokhan Publications.
Parsansab, M. (2009). Motifs: definitions, types, directions, etc. Literary Criticism Quarterly, 2(5), 7-41
Volume 10, Issue 46 (9-2022)
Abstract
History of the research
The present research is conducted based on Baloch oral narratives and songs of minstrels known as "Pahlavans". The main source of the story is the narrative of the minstrel known as "Kamalan Hout" popular mainly at the center and south of Balochistan. In the present article, we have stated the content and analyzed the main motifs of the story using the descriptive and analytical methods and sometimes using the comparative study according to the existing poems and narrations and collection of data extracted by library studies.
Aims, questions, and hypothese:
Balochi verse stories are a part of Iranian literature being unknown for non-Baloch and Iranians. In addition to popularization of Baloch culture and literature, publication of these poems can result in more acceptable conclusions in research adapting some similar stories in Iranian literature. In this research, we try to answer the following questions:
1. Which Iranian nations the Bālāč epic belong to?
2. What is the place of the story in Balochi literature?
3. What are the main motifs of the story?
Introduction of Bālāč story
The story has four main heroes: Dōdā, Bālāč, Nakibō and Bibagr. In Balochi culture and literature, Dōdā is the symbol of dedication and protection, Bālāč is the symbol of retaliation, Nakibō is the symbol of loyal friend, and Bibagr is the symbol of dictatorship and depredation.
Dōdā and Bālāč were brothers and Dōdā was older and newlywed, and Bālāč was 12 years old. To revenge his brother's death killed to defend him, Bālāč only had Nakibō by his side, his butler. Hence, they agreed to revenge his death. They first resorted to the famous Sufi "Osman Marvandi" known as "Qalandar Laal Shahbaz". They both went to his tomb in Sēvan. To attract the cooperation of Nakibō, Bālāč made a big promise to him: he swore in Laal Shahbaz court that if Nakibō helps to kill the murderer of his brother, he will give Dōdā's widow wife, horse, clothe, and throne to him.
Bālāč asked Laal Shahbaz once to give him a power to run so fast to take the deer. His prayer was granted and he could take deer in the plain. Therefore, Bālāč trusted his power and asked the permission of Shahbaz to leave there to take part in battle. After bearing many hardships, Bālāč and Nakibō could revenge the brother's death finally. Sometime later, Nakibō said to Bālāč: "you promised me to let me marry Dōdā's widow after overcoming the enemy. Now, it's the time to do as you promised".
Bālāč thought if Dōdā's widow married Nakibō, he would be reprimanded by people saying: Bālāč made Dōdā's widow marry his butler. To get rid of the irritating thoughts of Nakibō's good deeds, Bālāč put an arrow in the bow and shot it at Nakibō's chest and he died. Betraying his loyal friend, Bālāč broke his oath in Laal Shahbaz court, he picked his arrow and bow to return to his homeland. However, due to breaking his oath, his eyes came out of his sockets and fell on the soil when he had only taken about seven steps. Then, he crawled toward Nakibō and regretted it. Finally, he died beside him due to the pain and sorrow.
Main discussion
Epic is one of the main types of literature of which various definitions are offered by researchers. Epic is a narrative poem with the heroic theme and national feature in which unusual events are happening (Shafiei Kadkani, 1993, p.9). Bālāč epic is one of the most famous Balochi epic stories existing for hundreds of years.
Today, in literature studies and research, motifs and their function are the most important issues to study and analyze the literary works. A motif is the element, event, speech, subject or theme repeated in literary works and is often evident in one or more stories concurrently or non-concurrently in the stories of one age or different ages, the stories of one nation or different nations, and sometimes in special types of stories (Parsanasab, 2009, p. 23)
Motifs are similar in the world's literature, because the circulation of literature works originates from common needs of audiences and is affected by the unconscious collective fact of humans in different eras so that common archetypes lead to similar motifs (Dori, 2019, p. 82)
According to the definition, motifs of Bālāč story are very diverse, but since the story is epic, heroism and epic motifs are more prominent.
Conclusions
Bālāč story is the most famous Balochi epics. Over time, narrators have used epic, heroic, dignified and wonderful motifs to narrate it and have made it dynamic. The story includes supernatural and miracle features so that the story's events are mixed with supernatural themes. In the story, epic and heroic motifs are more frequent due to their epic. Motifs of Bālāč epic include: epic motifs such as hero, bravery, revenge, fast run, deception, night battles, unique horse, bearing hardships, swearing, warfare skills, taking an oath and fraternity; dignity motifs such as meeting the saints, hearing revelations and prediction, prayer and its granting, dream; wonderful motifs such as Bālāč's eyes coming out of his sockets after breaking his oath, and Bālāč and Nakibō being invincible against the powerful enemy. The main motif of the story is taking revenge.
Bibliography
Dori, N., & Zareapour, P. (2019). Comparative study of common motifs in court love literature (Tristan and Iseult Romance and Khosro and Shirin Poem). Farhangestan Comparative Literature Review, 9(1), 81-105.
Parsanasab, M. (2009). Motif: definitions, types, functions. The Quarterly Journal of Literary Criticism, 5, 7-41.
Shafiei Kadkani, M. (1993). Types of literature. Persian Language and Literature Education Review, 32, 4-9.
Volume 11, Issue 2 (7-2022)
Abstract
Beet curly top Iran virus (BCTIV) and Beet curly top virus (BCTV) are responsible for the curly top disease in sugar beet Beta vulgaris L. and many other plants. Mixed infection by BCTIV and BCTV in sugar beet plants results in a synergistic interaction, with more severe symptoms than plants infected by either virus, accompanied by an increase in BCTIV and a decrease in BCTV titers. Interaction of the Replication associated protein (Rep) with the nonanucleotide motif within the origin of replication is crucial for the replication of the geminivirus genome. Using an in silico approach, we investigated the possible contribution of the interaction between Rep and the nonanucleotide motifs in the interference between BCTIV and BCTV in mixed infections. The physicochemical characterization of both Reps was performed, and their secondary and tertiary structures were predicted by SOMPA tool and I-TASSER server, respectively. Then, the binding affinity of each Rep towards cognate and non-cognate viral nonanucleotide motifs was assessed using Docking simulations. Cluster analysis of HADDOCK revealed that the total binding energy of BCTV Rep toward its cognate nonanucleotide motif was lower than for the BCTIV complex, confirming a higher affinity of BCTV encoded Rep for its nonanucleotide motif. Interestingly, the BCTIV Rep showed the highest affinity for the nonanucleotide motif of the non-cognate BCTV nonanucleotide motif. Since the replication of geminiviruses relies on species-specific Rep interactions and activities, this result could be considered responsible for the competitive interference of BCTIV towards BCTV.
Volume 11, Issue 50 (5-2023)
Abstract
One of the basic fundamental factors of knowing mythological sources, and preserving and promoting them is to conduct scientific studies in the field of popular folk culture and literature. Swearing, in its various forms, is one of the rituals that has long been manifested in Iranian popular folk culture and literature in various ways. In this study, we analyzed the bite-taker ritual, as an instantiation of swearing (Var) in the Bakhtiari tribe. It was assumed that this ritual takes root from the traditions of ancient Iran. Emphasizing its importance among the Bakhtiari people, this ritual was known to recognize the right-doer from the wrong-doer. So far as the bite is concerned, right from the wrong and the correctness of the word is the importance of the bite from the perspective of the Bakhtiari people. In this study, firstly, the story of bite-taker was narrated and, secondly, their literary manifestations and mythological aspects were investigated. The data was qualitative, and the method of data collection was based on field-library sources. The method of data analysis was in the form of qualitative content. After examining various sources and analyzing the literary and mythological manifestations of motifs of the bite-taker test in the Bakhtiari people, it can be argued that this ritual is a remnant of the ritual of drinking sulfur water in ancient Iran, which, by preserving mythological elements among Bakhtiari people, is believed to be the last solution to prove the truth of the word and distinguish right from wrong. Besides, some certain elements of this test, such as the presence of fire, wearing perfume and white clothes before the test, and perfume, are considered as reminiscent of the story of Siavash in Ferdowsi's Shahnameh.
Volume 11, Issue 52 (9-2023)
Abstract
The literature of popular culture, based on beliefs, thoughts, and desires, has featured many adaptations and revisions of mythical epic narratives. It has been used as a model to create new stories that afford insight into the general perception and perspectives on these tales. This study aims to undertake a comparative analysis of the characters, actions, and mythical epic motifs of the story “Kor-e Asb-e Siah” in Bakhtiari culture and the story of "Siavash" in Shahnameh using document analysis. The comparative investigation encompasses an examination of their social backgrounds, physical attributes, and actions of stepmom characters, horse characteristics, and seeking asylum in another land. The results demonstrated significant similarities between these two stories; the main protagonists are princes with indeterminate maternal lineage, possessing corporeal beauty and horses that share similar qualities such as color, intelligence, and the ability to jump high. Additionally, their stepmothers are seeking for a sexual desire, both ultimately taking refuge in another land, getting married, and building a city and palace for themselves. Nevertheless, there are divergences between these stories; the story of Siavash features more politically motivated character behavior, whereas “Kor-e Asb-e Siah” emphasizes on familial matters. Hence, it could be concluded that “Kor-e Asb-e Siah” in Bakhtiari culture is a creative retelling or adaptation of the story of Siavash.
Volume 12, Issue 5 (12-2021)
Abstract
Cette étude cherche à préciser les différents processus cognitifs mis en œuvre lors de la compréhension d’un texte dans une langue étrangère. Le but de cette étude est d'expliquer l’ensemble des enjeux cognitifs et des facteurs sociaux en jeu dans la compréhension de texte par un lecteur non indigène. Dans ce but, la méthode de recherche descriptive a été choisie pour révéler les similitudes et les différences de compréhension de texte en langue maternelle et en langue étrangère. Pour ce faire, toutes les similitudes et les différences de compréhension en langue maternelle et en langue étrangère ont été explorées, extraites et classifiées de manière exhaustive. Les résultats montrent que si la compréhension de texte en langue seconde a plusieurs points de convergence avec celle en langue maternelle, elle s’en distingue sur plusieurs points tous classifiables en trois grandes catégories (les différences linguistiques et de traitement; les différences individuelles et expérientielles; et les différences socioculturelles et institutionnelles) englobant, chacune, plusieurs sous catégories. Sur la base des résultats de cette étude, un modèle globale de ces différences a été conçu pour la première fois. Les résultats de cette étude débouchent sur une connaissance des spécificités et des limites de la compréhension dans le contexte de l’enseignement de la compréhension de textes en langue étrangère.
Volume 12, Issue 5 (12-2021)
Abstract
Hafez, le grand poète persan, utilise des allusions, des histoires et des récits dans ses poèmes. Le contenu de ses récits est la matière première et un plan d’expression pour transmettre des sens profonds qu'il utilise pour créer un concept important. En fait, en changeant l'allusion, Hafez fournit une analogie pour que les lecteurs n'interprètent pas sa poésie à son niveau littéral et superficiel. Pour ce faire, il choisit souvent ces analogies dans son époque même avant son temps qui sont communes entre l’énonciateur et l’énonciataire. L’objectif de cet article est de montrer que Hafez a créé un nouveau type de l’énonciation et du discours.
Cet article, en s’appuyant sur les théories sémiotiques, examine les vers narratifs de Hafez qui ont des propriétés élastiques et créent un espace cognitif condensé. L’histoire est implicitement et secrètement raconté. L'élasticité et de la condensation des énoncés en sémiotique est pour montrer les différentes dimensions qui dérivent du discours. Par exemple, l'élaboration ou le métalangage est le résultat de la largeur du discours, tandis que la nomination est le résultat de sa condensation. Les vers narratifs ont également cette dimension. À travers eux, le monde du passé et les événements historiques, diverses réalités significatives, sont représentées avec des éléments culturels. Le poète réduit la dimension du temps, reliant le passé au présent, et récite constamment des histoires du passé pour que l’énonciataire acquière une meilleure connaissance de lui-même et du monde
Volume 12, Issue 60 (12-2024)
Abstract
Ancient geographical texts contain valuable information in the field of folklore studies, as they often focus not only on the climatic conditions, but also on the way of life of the people. Athar al-Bilad wa Akhbar al-'Ibad by Zakariya ibn Muhammad al-Qazwini, a geographical text from the 7th century AH, is a work in which the author, relying on various sources, has tried to present a picture of the seven climates and the culture and beliefs of their people. Among the transmitted folk culture, the ordeals are noteworthy.
The author, who is himself a judge, has mentioned examples of ordeals, most of which are considered divine judgments, such as the belief in the purifying properties of hot and cold water (the ordeal by fire and water). Ordeals related to the purity of the origin/body (passing through a cave/crevice, a pure spring) and sacred places and objects, and the judges of the ordeals (the chain of justice and the staff of Solomon).
The present research has addressed the precedents of these cases in different cultures and nations on the one hand, and the continuity of the rituals in later times, trying to consider them as a universal theme and from this perspective, investigate the symbolic/mythological aspects among them.
Volume 13, Issue 15 (3-2014)
Abstract
In this paper, the eXtended Finite Element Method is implemented to model the effect of the mechanical and thermal shocks on a cracked 2D orthotropic media. The uncoupled thermoelasticity equations are considered. Isoparametric four-node and eight-node rectangular elements are used to discrete governing equations. The dynamical stress intensity factors are computed by the interaction integral method. The Newmark and the Crank–Nicolson time integration schemes are used to numerical solve the spatial-discretized elastodynamic and thermal equations, respectively. A MATLAB code is developed to carry out all stages of the calculations from mesh generation to post-processing. Several elastic and thermoelastic numerical examples are implemented, to check the accuracy of the results and to investigate the effect of the orthotropic direction on the stress intensity factors.
Volume 14, Issue 14 (3-2015)
Abstract
To investigate, understanding and predicting dynamic fracture behavior of a cracked body, dynamic stress intensity factors (DSIFs) are important parameters. In the present work interaction integral method is presented to compute static and dynamic stress intensity factors for three-dimensional cracks contained in the functionally graded materials (FGMs), and is implemented in conjunction with the finite element method (FEM). By a suitable definition of the auxiliary fields, the interaction integral method which is not related to derivatives of material properties can be obtained. For the sake of comparison, center, edge and elliptical cracks in homogeneous and functionally graded materials under static and dynamic loading are considered. Then material gradation is introduced in an exponential form in the two directions in and normal to the crack plane. Then the influence of the graded modulus of elasticity on static and dynamic stress intensity factors is investigated. It has been shown that, material gradation has considerable reduce influence on DSIFs of functionally graded material in comparison with homogenous material. While, static stress intensity factors can decrease or increase, depend on the direction of gradation material property.
Volume 16, Issue 61 (7-2023)
Abstract
Knowledge of literary genres is one of the oldest and most influential intertextual approaches that has been used to classify texts since the past and has been subject to change. But the background of the theory of genres in Iran is less than a century, and its justified application in a comprehensive way in many fields and literary trends is still facing ambiguities and challenges. For example, in classifying ancient narratives, the question arises: on what basis and with what considerations can the dominant literary genres in these texts be proved? The lack of serious research and criticism in response to this question has led researchers over the decades to classify ancient Persian stories by resorting to self-invented, unscientific literary terms without methodological explanation, while the common terms not only fail to give a comprehensive indication of the content and linguistic characteristics of such narratives, but even keep them in a genre indecision or lead them to several similar genres. Since one of the functions of motif study is to determine the literary genre of the texts, the present study has attempted to draw on the Aristotelian theory of genres to utilize this potential talent and prove for the first time through the method of inductive reasoning and relying on the statistical community based on the study various motifs of three stories of Abu Tahir Tarsusi that their literary genres belong to the epic.
Extended Abstract
1. Introduction
Prose stories, as one of the oldest currents of Persian literature, are voluminous and generally sequential texts (with supplementary appendices) and report on the actions of kings, generals, and warriors who are often in the shadow of history or in a few cases are basically imaginary and are considered to be created by the minds of storytellers.
1-1. Significance of the Study
Despite their ancient background, the Persian prose epics have not yet found a certain place in the history of Persian literature from the point of view of literary genres, and in research they are generally presented under vague terms such as story, legend, romance, folktale, fantasy, or romance. The above terms, in the absence of comprehensive information on the content and linguistic characteristics, are unable to determine the parent literary genre or subgenre for the above narratives, and often focus unilaterally on the type of narrative or some elements of the story, and sometimes overlap with other non-homogeneous texts. And they leave the literary genre of the text in limbo. Most importantly, researchers have not yet found a methodological and theoretical approach or a logical explanation to justify the use of these terms for the texts in question.
1-2. Problem
The main problem is how to get beyond the stage of asserting the genre and unrelated literary terms and reach the stage of hypothesizing the definition of literary genre and proving it through in-text investigations. So far, the researchers who have written in the field of criticism of fictional narratives have referred to the literary genre of fictional narratives only with short phrases and self-made titles, but the present research attempts to rely on the frequency of the statistical approach and the representation of the statistical community, the hypothesis of a coherent flow of narratives. Prove a story in the literary genre of the epic.
1-3. The Purpose and Method
The main purpose of the study is on the function of the thematic approach in determining the literary genre of the narrative, using a statistical method. Therefore, based on the theory of Aristotelian genres and using the thematic approach, the themes mentioned in the three narratives of Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh were first analyzed in an inductive manner and divided into four sections: Epic and Ayyāri, Lyrical, Amazing and Dignity. Based on the obtained frequency results, the premise of determining their literary type is then proved.
1-4. Literature Review
Although studies have been done in the last decade on the subject of literary genre in the form of authorship and translation, the field of research focusing on Persian literature has been completely neglected due to the importance of motif in determining the literary genre of the text, and there is no research to support this.
1-5. Theoretical Basis
1-5-1. Motif
Motif is one of the terms defined by Russian formalists to understand the cause-effect relationships of the components of a narrative. "Motif" refers to structural and semantic elements such as actions, events, concepts, and objects that have become exemplary elements through repetition. Although it is not considered a fixed part of the narrative, it is a temporary feature that gains importance in a particular narrative situation and usually due to its repetition. Besides the central role of subtexts in knowing the cause-effect relationships of the components of the narrative, the most important function of subtexts is to help in the classification and typology of narratives, which has not received much attention so far.
1-5-2. Literary Genres
If we are to have a scientific view of literature, we should be able to classify literary works as far as possible, and to place similar kinds of literary works in special classes relatively rather than absolutely. After all, the most important characteristic of science is that it can classify; this task is accomplished in literary studies by the approach of "literary genres." Motif is considered one of the main characteristics of literary genres, and its role in this field has not received much attention so far. A literary genre is characterized by a set of features and formal structures that occur in an orderly, cohesive, and simultaneous manner, and motif is one of the most important features mentioned.
1-6. The Case
Since Abu Taher Tarsusi is considered the most prominent narrator in the field of ancient Persian prose narratives and a considerable number of authentic fictional texts are also attributed to him, motif analysis was given preference in determining the literary text type on the basis of the three selected narratives by Tarsusi, which are briefly presented below.
1-6-1. Abu Taher Tarsusi
Abu Taher Tarsusi was born at the beginning of the second half of the fifth century of the Hijri (450 AH) and the last period of his life coincided with the end of the first decade of the second half of the sixth century of the Hijri (560 AH). His works include Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh, Abu Muslim-Nāmeh, Qahramān-Nāmeh, Farāmarz-Nāmeh, Houšang-Nāmeh, Ayyār-Nāmeh, Tavārikh-Nāmeh.
2. Discussion
2-1. Epic and Ayyāri Motifs
According to the results, 1534 instances of common epic and Ayyāri motifs were observed in all three narratives, and among them, Abu Taher Tarsusi provided the highest number of epic and Ayyāri motifs in Qirān Habaši with 549 instances. This is followed by Musayyab-Nāmeh with 538 cases and Dārāb-Nāmeh with 447 cases in second and third place.
2-2. Lyrical motifs
Based on the results, 270 instances of common lyrical motifs were observed in all three narratives, of which Abu Taher Tarsusi in Qirān Habaši provided the most space for lyrical motifs in Qirān Habaši with 125 instances. This is followed by Dārāb-Nāmeh with 117 instances and Musayyab-Nāmeh with 28 instances in second and third place.
2-3. Amazing motifs
Based on the results, 433 instances of surprising common motifs were observed in the three narratives, of which Abu Taher Tarsusi provided the most space for the occurrence of surprising motifs in Dārāb-Nāmeh with 303 instances. This is followed by Qirān Habaši with 77 cases and the Musayyab-Nāmeh with 53 cases in second and third place.
2-4. Dignity motifs
Based on the results, 275 common motifs of dignity were observed in the three narratives, of which Abu Taher Tarsusi in Dārāb-Nāmeh provided the most space for the expression of dignity motifs with 190 instances. This is followed by Qirān Habaši with 63 instances and Musayyab-Nāmeh with 22 instances in second and third place, respectively.
3. Conclusion
After examining the three narratives of Dārāb-Nāmeh, Qirān Habaši and Musayyab-Nāmeh using the motif analysis approach and evaluating the set of their motifs in four parts, according to the report, a total of 2512 common motifs have been identified from these narratives. With 1534 cases, amazing motifs with 433 cases, dignity motifs with 275 cases, and lyrical motifs with 270 cases have the highest frequency in the narratives. Based on this content approach, the three mentioned narratives show their obvious belonging to the epic genre among the long traditional narratives of Iran due to the predominance of epic motifs in them.
Volume 17, Issue 1 (3-2017)
Abstract
In this paper, the extended Finite Element Method (XFEM) is implemented to compute the Stress Intensity Factors (SIFs) for rectangular media subjected to a hygrothermal loading. In governing hygrothermoelasticity equations, the cross coupled of temperature and moisture fields and temperature-dependent diffusion in some cases are considered. Furthermore, an interaction integral for hygrothermal loading is developed to compute the stress intensity factors. The non uniform mesh of isoparametric eight-nod rectangular element is used in XFEM to decrease the absolute error in SIFs computations. In order to numerical results validation, the SIF of mode I is obtained analytically. The coupled governing equations are firstly decoupled in terms of new variables and then solved by the separation of variable method. According to the results, the moisture concentration gradient has a significant effect on the SIFs so should be considered in the model. Up to reaching temperature to its steady state, the cross coupled of temperature and moisture synchronies their time variation which affects on the time variation of SIF. At early time of thermal shock, the SIF for shorter cracks is not necessarily lesser than the longer ones. Also, the mode I SIF for longer and inclined cracks is smaller. On the other hand, considering the moisture concentration as a temperature function increases the time required to reach the moisture steady state.
Volume 22, Issue 3 (4-2020)
Abstract
Among gliadins, α-gliadins are important active proteins in triggering celiac disease in human beings owing to the presence of toxic epitopes. A set of 177 α-gliadin gene sequences and the corresponding proteins were analyzed. Twenty accessions of hexaploids including 1, 14, and 5, respectively representing A, B, and D, with no intact CD-epitopes in α-gliadins, were identified. Twenty-two and 13 conserved motifs in non-repetitive domains NR1 and NR2, respectively, of α-gliadins differentiated all the amino acid sequences encoded by A genome of both diploids and hexaploids. Most of the amino acid sequences encoded by D genome (70 of 75 in hexaploids and 13 of 16 in diploids) could be identified by 22 amino acid motif. Large variations and lesser number of intact CD-epitopes was observed for α-gliadins belonging to B genome. As compared to diploids, repeat length of polyglutamine repetitive domain QII of B genome was lower in hexaploids indicating loss of Q residues during evolution of hexaploid wheat. The information can be used in assigning any α-gliadin sequences onto A, B, and D genomes and identifying wheat accessions with lesser CD-epitopes. The result presented here will be useful for the wheat improvement programs aiming for the management of celiac disease in human beings.
Hossein Mombeini, Seyed Jalal Sadeghi Sharif, Mohammadreza Shahriari, Iraj Noravesh,
Volume 23, Issue 4 (10-2016)
Volume 23, Issue 4 (10-2016)
Abstract
One of the most fundamental economic issues for holding companies is capital allocation. Typically, investors in selecting investment alternatives follow conflicting preferences and goals simultaneously. Therefore, developing a model based on available information can help decision makers to identify the most important competitive factors and focus their attention on the improvement of performance. However, several techniques have been introduced to determine the most important components. Analytical hierarchy process (AHP), a branch of multi criteria decision making (MCDM) methods, is a powerful tool for ranking a set of elements. Nevertheless, the AHP is disable to take into account the uncertainty involved in the process of decision making. On the other hand, intuitionistic fuzzy sets (IFS) are capable of handling the vagueness and ambiguity by using the scale of the pairwise comparisons represented by the IFS. The IFS-AHP (a combination of the IFS and AHP method) can lead to more precise description of the problem under consideration since the IFS is robust in describing complexity and uncertainty. Therefore, the IFS-AHP technique has much more advantages in comparison with the conventional AHP or fuzzy AHP. To demonstrate the potential application of the proposed approach, a real case study on ranking the critical factors influencing the Investment Options in the Holding Companies is illustrated. The results show that criterion C6 (Risk) with value of 0.1451 is the most important factor in Holding Companies.
Volume 27, Issue 1 (3-2020)
Abstract
The Sassanid era is one of the brightest periods of art and civilization in Iran. There are major remains of many different types: monumental rock reliefs, silver vessels, stucco architectural decoration, and seals.
Sassanid art and culture could affect on the Islamic arts in Iran, including in the field of urbanism, architecture, textiles, metallurgy, painting, pottery. There are a lot of motifs that are very similar to the Sassanid ones.
The Sassanid Empire had an enduring legacy in the Islamic period. On the one hand, the continuation of certain artistic techniques, such as silk production, plate, and stucco, may be attributed to the caliph’s practical marshaling of Sassanid artists to the service of the new state. In some cases, motifs on the artwork of the Islamic era do not show only a simple pattern of previous art, but we see full compliance and a copy of the Sassanid motifs. The pottery as well as cultural and artistic works belonging to the Islamic period too show that they were not unaffected by the Sassanid period. Here, an attempt is being made to study the transition of culture and art of the Sassanid era to the Islamic period. The study of the pottery motifs in the Islamic period can specify the amount of influence and the reasons for the transfer of Sassanid art. This research focuses on the designs of Islamic pottery that are much similar to the Sassanid motifs.